Our guide to new art shows — and some that will be closing soon.
‘MAUREEN GALLACE: CLEAR DAY’ at MoMA PS1 (through Sept. 10). Win big by going small. This unshowy New York painter has spent 30 years refining her visions of rural Connecticut and the coast of New England, and six dozen of her concentrated paintings will force you to slow down, look hard and find the profound in the everyday. Ms. Gallace’s best works depict houses, barns or cabanas, often missing their windows and pared down to simple polygons; the landscapes they lie in, by contrast, can be worked so hard they appear almost finger-painted. Each one is as sober and strange as a Morandi still life, and an antidote to an art world lately beholden to spectacle. (Jason Farago)
‘MAKING SPACE: WOMEN ARTISTS AND POSTWAR ABSTRACTION’ at the Museum of Modern Art (through Aug. 13). The work in this show, dating from the end of World War II to the beginning of second-wave feminism, is all abstract and all by women. And although it starts in what feels like honorable-mention mode — Lee Krasner is here, for instance, but not in the museum’s permanent galleries of Abstract Expressionism — it doesn’t stay there. Instead, it goes for difference and stays with it, introducing us to artists of diverse geographic and ethnic backgrounds whom we may not know, or have an institutional context for. Among them are such luminaries, present and past, as Etel Adnan, Ruth Asawa, Lina Bo Bardi, Bela Kolarova, Anne Ryan and Lenore Tawney. (Holland Cotter)
‘IRVING PENN: CENTENNIAL’ at the Metropolitan Museum of Art (through July 30). In this crystalline exhibition, nearly every gallery exhales its own delicious breath, offering up concentrated views of Penn’s innovative still-life and fashion work for Vogue; his portraits of cultural luminaries and tradesmen, as well as of indigenous Peruvians; his nearly abstract close-ups of voluptuous nudes; and his colossal cigarette butts, with their tragicomic evocations of Roman columns, tombstones and even corpses. Also on display: his…