Fuzzy Logic is a technological problem solving approach and works much the same way that humans tackle problems: by considering all available information and making the best possible decision given the input. It is used in a variety of ways from household objects to stock market predictions, from cars to pacemakers or modern cyborgs. Turkish artist Hayal Pozanti has made the merger of technology and humanity the anchor of her practice. In her new show at Rachel Uffner, Pozanti presents a set of sunshade paintings that merge the emotive art of mark making with a subject matter of matching computer parts with emotions, as in for example, “10 Neurochips 8 Chuckles”. In Pozanti’s work technology and humanity are on equal footing, working side by side in an ideal partnership for the betterment of humanity. What could possibly go wrong? Through October 23.

There is something very domestic about Jonas Wood’s practice. Whether it is his subject matter of interiors, lush greenery and family members or his unaffected flattened cut out painting style, Wood’s sense of color and layering of patterns recalls Henry Matisse who once remarked that painting should have “a soothing, calming influence on the mind, rather like a good armchair”. A new body of work currently on view at Anton Kern of mostly portraits of his friends and family members and their pets brackets this statement beautifully. Through October 22.

A novel kind of social interaction experiment between viewer, artwork and artist is being tested at Dominique Levy Gallery in New York. Brazilian-born artist Karin Schneider introduces the exhibition through a “Situational Diagram” based on several constructive principles such as Negation as in Ad Reinhardt’s black paintings, Extraction as in Henry Matisse’s cutouts, or Splitting as in Barnett Newman’s zip paintings. Visitors are asked to linger to perceive the various ways in which the configuration of the works negotiate formal, moral and aesthetic concerns. Collectors need to take a leap of faith as the sixteen monochrome paintings on the 2nd floor come with an interesting caveat: the works are subject to alteration by another (unknown) artist at any time after purchase. The show is accompanied by a series of poetry readings and public programs. Through October 20.

Welcome to the gym from hell! Gladstone Gallery is re-visiting Matthew Barney’s break-out exhibition “Facility of Decline” from 1991 with the familiar sexual fetishist exercise equipment cast in polyethylene, petroleum jelly, sucrose, and tapioca. Barney’s critically acclaimed videos “Radical Drill” and “Blind Perenium”, shown on high-mounted small TV-projectors masquerading as surveillance cameras, give a taste of what’s to come in form of his brilliant “Cremaster” series. Two key sculptures of the exhibition “Transsexualis”, housed in a private gym room that looks and feels like a meat locker and “Repressia” a wrestling mat in flesh color, frame this seminal exhibition that examines masculinity, sexual fetishes, gender ambiguousness, the malleability of sculpture and the value of the aesthetic object. Through October 22.

According to Meleko Mokgosi the only way to investigate the history of Southern African liberation movements from Western hegemony is paradoxically via the decidedly complicit Western genre of History Painting. In his view, rather than attack the problem from the outside, it is better to come at it from within. In Comrade II, an exhibition part of a brilliant two gallery show at Jack Shainman, Mokgosi judiciously employs History Painting’s main covenant of truth via images by proving that the truth cannot be investigated by ignoring the perpetrator’s means of representation. Through October 22.

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