So many shows, so little time; always the problem in this compact column, but as this one’s my last, which to choose? Nathan Slate Joseph’s exquisite cloisonnes of rust at Sundaram Tagore? H. K. Zamani’s meditations on geodesic tents at Solway Jones? Pat O’Neill’s intoxicating blend of visionary film and absurdly logical woodcraft at Rosamund Felsen? Fellow film-artist Robert Nelson’s photos of the vertiginously ordinary at Another Year in LA? Thomas Pathe’s seductive monochrome surfaces at Bachofner? D.J. Hall’s hyper-realist California girls-of-a-certain-age at Koplin del Rio? Robert Rauschenberg’s last prints at Greenfield-Sacks? Lawrence Gipe’s painterly nods to modernist hope and glory, or Bruce Houston’s miniature send-ups of art-historical tropes, at Lora Schlesinger? The daft cartoon drawings Joe Clower did almost 30 years ago at Cardwell Jimmerson? How about years of Jirayr Zorthian’s artistic dialogue with Richard Feynman, on view at the Armory? Or Steve Roden’s latest excursions into visualizing sound at Vielmetter? More deliciously funky mega-objects by Kristin Morgin at Marc Selwyn? Or simply delicious micro-objects by Robert Graham at Frank Lloyd? Perhaps Lewis Baltz’s “sites of technology,” caught on film two decades ago, at Luisotti? Or Hyoung Tae Lim’s ironically titled “My Name is Korea” photos of dissolute young Seoul brothers at Sara Lee? Well,... More >>>