Worldwide icon-chevron-right North America icon-chevron-right United States icon-chevron-right New York State icon-chevron-right New York icon-chevron-right Top five shows: Aug 30–Sept 5, 2012

Heads up! We’re working hard to be accurate – but these are unusual times, so please always check before heading out.

 (Photograph: Angelo Piccozzi)1/5
Photograph: Angelo PiccozziGagosian Gallery Presents John Chamberlain Public Art at Seagram Building The late John Chamberlain is known for creating grand sculptures from discarded car parts, and for occasionally having his work mistaken for common garbage. Four identifiable Chamberlain works—titled PINEAPPLESURPRISE, MERMAIDSMISCHIEF, ROBUSTFAGOTTO and FROSTYDICKFANTASY—are on public display in front of the Seagram Building.
 (Photograph: Courtesy Luxembourg & Dayan)2/5
Photograph: Courtesy Luxembourg & DayanMark Flood, “The Hateful Years” at Luxembourg & DayanThe Houston collagist’s work occupies five floors of Luxembourg & Dayan, comprising much of his output from the ’70s and ’80s. Through Sept 29
 (Photograph: Courtesy of the Whitney Museum of American Art)3/5
Photograph: Courtesy of the Whitney Museum of American ArtOskar Fischinger, “Space Light Art–A Film Environment” at Whitney Museum of American ArtThe pioneering abstract animator predated ’60s counterculture by four decades, and Fischinger’s Raumlichtkunst is an anachronism that demands a reconsideration of his era. Through Oct 28
 (Photograph: © 2012 Artists Rights Society (ARS))4/5
Photograph: © 2012 Artists Rights Society (ARS)“Ghosts in the Machine” at New Museum of Contemporary ArtAs we inch ever closer to the line between man and machine that humans were never meant to cross, artists consider the consequences. Through Oct 7
5/5
Rey Akdogan, “off set” at MoMA PS1Akdogan’s show puts common industrial products to uncommon use, and the adjacent projection piece, Carousel #5, is 13 minutes of handmade abstraction. Through Sept 17

Top five shows: Aug 30–Sept 5, 2012

The best of the week in art.

By Howard Halle
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