Jeff Koons, Metallic Venus, 2010-12, mirror-polished stainless steel with transparent color coating and live flowering plants, 100 by 52 by 40 inches. Edition of three plus one artist's proof. © Jeff Koons. Courtesy Gagosian Gallery.

Even Jeff Koons's vaunted perfectionism and attention to detail couldn't overcome the everyday realities of installation delays this week in New York. He was double-booked, opening shows five blocks and less than 24 hours apart at two of the art world's most prestigious galleries, David Zwirner and Gagosian.

Both "Gazing Ball," at Zwirner, and "New Paintings and Sculpture," at Gagosian, saw press previews canceled or abbreviated, personal appearances by the artist nixed, and openings that were delayed, rushed or prolonged. Despite these snafus and the rumors of Koons's possible defection from Gagosian that accompanied the announcement of the artist's first show at Zwirner, the two shows together provide a miniature survey of Koons's recent two- and three-dimensional output.

Crowds lined 19th and 24th streets respectively on Wednesday and Thursday nights, hoping to glimpse the phenomenon that is Jeff Koons, along with the art world glitterati that accompanies him. Koons did not disappoint, appearing at the opening of both his virgin outing with Zwirner and his latest entry in an over-10-year collaboration with Gagosian.

The Zwirner show introduces a single new Koons series, featuring some two dozen white plaster figures whose sources range from classical antiquity to contemporary suburbia. The mythological statuary, with subjects like centaurs, Hercules and Diana, is more Caesar's Palace than Winter Palace, but the plaster in each case is secondary to the magical, hand-blown, identical cobalt-hued glass "Gazing Ball" incorporated into each sculpture. Roughly basketball-size and based on popular lawn ornaments, they recall sorcerers' crystal balls. Using his trademark shiny, curved surfaces, Koons employs these orbs to connect the thematically varied sculptures.

"New Paintings and Sculpture," at Gagosian, is a more eclectic, wide-ranging and fun affair, uniting work from several recent Koons series including "Celebration," "Antiquity" and "Hulk Elvis." The blockbusters here are the mammoth, happy-making, party-hued balloon creations. Balloon Swan (Blue), 2004-11, Balloon Rabbit (Yellow), 2005-10, and Balloon Monkey (Red), 2006-13 take up the gallery's whole warehouse-scale west wing. In the back gallery a black granite "Gorilla" quotes 19th-century French sculptor Emmanuel Frémiet, but favors Donkey Kong. It's based on a souvenir Koons bought from a vending machine at the Los Angeles Zoo, and it faces, at the gallery's opposite end, a polychromed Hulk pushing a wheelbarrow teeming with fresh flowers.

Eight "Antiquity" paintings line the walls of the gallery's middle section, including Antiquity (Satyr), 2010-13,Antiquity (Uli), 2012-13, and Antiquity (Forest), 2010-13. Amalgamating cubist homage, inflatable toys, ancient marble nudes, and Victoria's Secret, these canvases span Koons's iconographic spectrum. A mirror-polished, 8½-foot-high stainless steel Balloon Venus (Magenta), 2008-12, dominates the room's center.

As of this writing, there's more to come. A "Gazing Ball" group of letter boxes at Zwirner was still being, according to a Koons studio employee, "secured" on the gallery floor a day after the show's opening. Another piece in the series, featuring a hybrid mailbox-carburetor, was not yet installed as of Thursday night. It's set to be added to the mix with its attached "Gazing Ball" on Friday.

And that's not all. On the horizon is a Koons retrospective at New York's Whitney Museum in 2014, where he's scheduled to take over the entire Marcel Breuer building before the museum vacates it for the Meat Packing district.