A coeval of the Abstract Expressionists, Mathieu (1921–2012) isn’t well known on these shores, but he’s considered one of France’s most important abstract artists—and, indeed,was much admired by American art critic Clement Greenberg. Unlike Jackson Pollock et al., Mathieu didn't traffic in storm und drang, taking instead a lyrical approach to gestural painting that resembled calligraphy more than it did the dripping and slashing of his AbEx contemporaries. (It is remarkable how his work at times anticipates graffiti art.) He liked to work big, and these four compositions from 1978—each measuring approximately eight by 19 feet—are among his biggest, and were created specifically for the artist’s retrospective at the Grand Palais in Paris that same year.
Venue name: Nahmad Contemporary
VENUE Address: 980 Madison Avenue, third floor
3rd Floor New York 10075
Cross street: Between 76th St and 77th St
Opening hours: Tue–Sat 10am–6pm
Transport: Subway: 6 to 77th St (Lexington Ave)
Feb 8 2019-May 12 2019
Showing some of Frida Kahlo’s most important paintings, this exhibition takes a deep dive into the artist and her legend. Kept out of sight for 50 years, a collection of personal items are also on view, from her favored traditional Tehuana dresses and pre-Columbian jewelry to the hand-painted corsets she wore to support her back, crushed at age 18 in a collision between a trolley and a bus she was riding.
Address: 200 Eastern Pkwy Brooklyn 11238
Cross street: at Washington Ave
Opening hours: Wed, Fri–Sun 11am–6pm; Thu 11am–10pm. First Saturday of every month 11am–11pm.
Transport: Subway: 2, 3 to Eastern Pkwy–Brooklyn Museum

Funky yet elegant, formal yet throwaway, abstract yet representational—these contradictions define Fyfe’s paintings and continue to do so in his latest offerings. With an eye, perhaps, towards the centennial of World War I’s final year, the artist bases his latest compositions on a volume of poems written by Guillaume Apollinaire while he served in the trenches with the French army. Fyfe scrawls Apollinaire’s texts across mixed-media substrates of paint and found fabrics—including advertising banners, kites and in one instance, a Confederate flag. Evoking “materiality, lightness and distance,” as he puts it, Fyfe’s latest works mix the decorative with the political.
Venue name: Nathalie Karg Gallery
 Address: 291 Grand St New York City 10002

Cross street: between Allen and Eldridge StsOpening hours: Wed–Sun 11am–6pm
A self-taught artist with autism spectrum disorder, Mullen is one of several names associated with the Bay Area’s NIAD Center For Art & Disabilities who have received wider art world recognition for their unique artistic practices—which, in Mullen’s case, entails exuberant paintings based on lifestyle, news and contemporary art periodicals. The work here, created over the last two years, focuses on art magazine covers, which, in Mullen’s hands, become thickly impastoed abstractions.
Venue name: JTT
Address: 191 Chrystie St New York City 10002
Cross street: between Rivington and Stanton StsOpening hours: Wed–Sun 11am–6pmTransport: Subway: F to Delancey St; J, Z, M to Delancey–Essex Sts
Event website: http://www.jttnyc.com
Emily Macdonald-Korth, an art conservator, thought she was going in for a regular forensic job last month when a client asked her to verify that the Jean-Michel Basquiat painting he owned was in fact done in 1981, as he’d been told.
She planned to conduct pigment and elemental analyses, take technical photographs, and look at the picture under UV and infrared lights. It was all checking out normally until she brought out her handheld UV flashlight, usually used to spot varnish or other signs that a painting has undergone repair, and turned off the overhead lights.
That’s when she saw them: drawings that Basquiat had made in invisible ink.
“I start looking at this thing and I see these arrows,” Macdonald-Korth told artnet News. She flipped the lights back on to make sure she wasn’t imagining things and the arrows disappeared. She flipped the lights off again and there they were: two arrows drawn in what looked like black-light crayon, virtually identical to other arrows drawn visibly on the canvas with red and black oil sticks. “I’ve never seen anything like it,” she said. “He basically did a totally secret part of this painting.”
In fact, this isn’t the first time Basquiat has been known to use fluorescent UV materials. In 2012, Sotheby’s London discovered that his painting Orange Sports Figure from 1982—done just months after the one Macdonald-Korth analyzed—contained an invisible-ink signature of the artist’s name in the bottom right corner. But he has never been known to include UV-specific imagery in his work.
It’s not clear whether Basquiat intended the invisible drawings to serve as an underlying guide for the painting, or if he considered them an element of the completed work. But Macdonald-Korth thinks they fit into his larger process of painting over an image and leaving it partially visible, “so there’s a history there, having something secret there,” she said. “He must have been playing with a UV flashlight and thought, ‘this is cool.’ It really relates to his use of erasure.”

Macdonald-Korth believes that more UV drawings will appear on other canvases if owners take the time to look. 
Peace is the beauty of life. It is sunshine. It is the smile of a child, the love of a mother, the joy of a father, the togetherness of a family. It is the advancement of man, the victory of a just cause, the triumph of truth.
Size: 23 x 30 cm
Medium: acrylics on canvas

size: 23 x 30 cm , acrylics on canvas
Let your tears come. Let them water your soul.    

Heaven knows we need never be ashamed of our tears, for they are rain upon the blinding dust of earth, overlying our hard hearts.

“And above all, watch with glittering eyes the whole world around you because the greatest secrets are always hidden in the most unlikely places. Those who don't believe in magic will never find it.”

Let the rain wash away all the pain of yesterday. 
The 1980s saw a revival of Pop Art and Minimalist aesthetics under the rubric, “Neo-Geo,” which quickly produced art-stars such as Peter Halley, whose fluorescent-colored, “cell-and-conduit” abstractions repurposed circuit-board diagrams to evoke the dawning information age. But like a lot of art that produces more heat than light, Halley’s efforts fell out of favor with stateside collectors by the end of the Reagan era, compelling him to rely on the kindness of European admirers during the ensuing decade. Among them was the Italian dealer Gian Enzo Sperone, whose personal cache of Halley’s compositions makes up this show—one of several over the past year or so that have marked a resurgence of interest in the artist’s work.
Venue name: Sperone Westwater
VENUE Address: 257 Bowery
New York 10002
Cross street: Between E Houston and Stanton St
Opening hours: Tue–Sat 10am–6pm
Transport: Subway: F to Lower East Side–Second Ave