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"Contributed by Sharon Butler / We are into September, which is a grueling month for the art community, like hanging out with an old friend from high school who’s developed a proselytizing passion for endurance sports: exhausting, but in the end, with luck, inspiring. Note that 56 Henry has moved to 46 Walker, changed its name to the Ellie Rines Gallery, and invited Christopher Ho to do the inaugural show. Davin Nolan has moved downtown to Tribeca. Karma closed the East Village spaces but have a Yvonne Jacquette solo in their Chelsea gallery. After a short hiatus, Garth Greenan reopens with two new spaces on Greene Street in Soho. I’m pleased to see…"

"Contributed by Sharon Butler / In September, Two Coats of Paint welcomes Scott Wolniak, a Chicago-based multidisciplinary artist working primarily as a painter, with occasional forays into sculpture, video, and curatorial projects. Scott has taught for many years in the Department of Visual Arts at the University of Chicago. The outdoor world, from the vastness of the American West to the defiant weeds that push through cracks in city sidewalks, have shaped his aesthetic since childhood."

"Contributed by Karlyn Benson / Late summer is arguably the best time in the Hudson Valley, with mild temperatures, sunny skies, flowers blooming everywhere, and loads of fresh produce at local markets. There is a similar sense of abundance in the galleries. Openings on September 5 include Escape Hatch: Felix Beaudry, Samantha Bittman, Chris Edwards at Roundabouts Now; Dirty Joke at Utopia, Amy Jacobs at Headstone; Jim Denney and Dennis Gordon at Time and Space Limited; knee deep in this body of water at The Re Institute; Brett De Palma, RM Fischer, and Judy Glantzman at CAS; Joseph Fucigna and group show Material Culture at G-Town Arts, and Ted Dixon at WAAM."

"Contributed by Taylor Bielecki / In Shuyao Huang’s exhibition “Still Becoming,” currently on view at Art Cake, she investigates color, repetition, and form as modes of experiencing time, interruption, and the transformation of space. Diving deeply into color theory and in line with her longstanding practice, Huang uses strong, simple bands of color as pacing intervals to pull us in and slow us down. The color and thickness of each band are deliberately calculated. The soothing pastel mixtures in, say, Almost the Same, encourage patient contemplation, whereas starkly confrontational primary colors urge jumping to the next. Rather than functioning as a repeated motif, the stripes are a flexible framework for imparting subtle variations in rhythm and affect, which she accomplishes by shifting their proportion, spacing, and color accumulation."

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