Gallop's picks for New York galleries, October 30–November 5, 2026: 4 shows worth the trip, plus 4 openings and 4 last chances, each with a note from Gallop's editors.
The exhibition’s centerpiece is a de-commissioned shipping crate that formerly housed a priceless figurative sculpture. Its painted skin opens with oversized zippers to reveal a stretcher-like cage and a field of flowers.
Calida Rawles's Parallax centers on three paintings based on photographs she took of her youngest daughter in a pool. The photographs were made within seconds of one another as Rawles moved around her in the water.
Kaletski makes paintings and collages on discarded cardboard packaging, incorporating logos, forms, and fragments of design. He began working on cardboard in 1976, shortly after moving from Soviet Russia to New York.
After a year and a half of submissions, the New Yorker bought a cartoon by Guy Richards Smit, and two became the most shared cartoons of 2025. In this body of work, Smit renders scenes that began as quick pen-and-ink wash cartoons in paint, with attention to color and surface.
Steve Locke’s recent paintings use heightened color, shifts in scale, and more gestural brushwork.
Erin Shirreff’s Ctlg collages layer photographs of cast components from earlier sculpture to construct imagined sculptures.
Bari Ziperstein's ceramic sculptures are cast from the left and right hands of the artist's 12-year-old son, Lawrence. Each hand is glazed and carved with patterns inspired by a ladies' glove from the Wiener Werkstätte.
Seams is Nina Kintsurashvili's first solo exhibition at the gallery. Kintsurashvili applies paint thickly and scrapes it back, sometimes within the same afternoon.
The exhibition combines small formats with large-scale canvases. Each painting starts as a drawing, with recurring figures, stone fragments, columns and arched passageways.
McCall assembles three solid-light installations spanning more than fifty years. In Line Describing a Cone, a projected line takes thirty minutes to draw a circle, making a cone in a haze-filled room.
The paintings depict human figures in scenes of sand, sea and maritime horizons, with stark contrasts between light and shadow. Marella builds his own supports in layers of cloth, sand and shells, which are dried and planed to create grainy surfaces.
Paintings and drawings translate the artist’s photographs into hand-crafted renderings on canvas and paper. Layers of acrylic ink are built into grids and multicolored dots.
Everything else on view: every gallery show in New York, the week’s openings and what’s closing soon.
Gallop's picks for the week of October 30: David Kennedy Cutler at Derek Eller Gallery (Tribeca); Calida Rawles at Lehmann Maupin (Chelsea); Alexander Kaletski at Anna Zorina (Chelsea); Guy Richards Smit at A Hug From The Art World (Chelsea). Each comes with a short note on what's in the show.
Opening the week of October 30: Steve Locke at Alexander Gray Associates (Chinatown); Erin Shirreff at Sikkema Malloy Jenkins (Chelsea); Bari Ziperstein at Charles Moffett (Chinatown); Nina Kintsurashvili at Chapter NY (Tribeca).
Last chance the week of October 30: Volker Hüller at Grimm, until Saturday Oct 31; Anthony McCall at Sean Kelly, until Saturday Oct 31; Vittorio Marella at Amanita, until Saturday Oct 31; Asher Liftin at 125 Newbury, until Saturday Nov 7.
Gallop's editors go through every show on view in New York each week and pick a handful worth the trip, with a note on each. The same picks go out in Gallop's weekly email every Thursday, and every show is on the Gallop map with the gallery's address and hours.
Gallop's picks for New York, every Thursday.
