Ever since the Indian-born British artist Anish Kapoor emerged in the early 1980s, success has quickly followed on success. The early geometric forms made of powdered pigment, followed by solid sculptures and reliefs featuring deep “voids” or mirrored surfaces, have lately led to massive museum installations like Marsyas (2002), a blood-red, stretched-PVC sculpture that filled the Turbine Hall at London’s Tate Modern, and such public art behemoths as the stainless-steel Cloud Gate in Chicago’s Millennium Park. The five steel-mesh Tees Valley Giants that are currently under construction (with structural engineer Cecil Balmond) in the northeast of England are being called the biggest art project in the world.

Ranjani Shettar’s first solo museum show included three impressive multipart sculptures. Two works on paper, a cluster of wax-dribbled sheets and an 8-foot-tall print containing a stream of red, green and brown pigments functioned as supporting material. Although in sympathy with recent sculptural trends in the use of common materials and irregular, anti-minimalist shapes, the sculptures of this young artist from Bangalore, India, offer a welcome emphasis on refined craftsmanship.

The 102 works of art in David Shapiro’s “Everything Must Go” were meticulously arranged on three capacious drop cloths spread out on the gallery floor, mimicking low-end street vendors’ preferred method of merchandising their stuff. Among the selection of exactingly crafted, small-scale sculptures—cast bronze pistachio shells, minuscule black trash bags, life-size condom and Unicef boxes, and many altered found objects—were numerous drawings, and these too were displayed flat, most unframed.

Cindy Tower’s “Riding the Rubble Down” at the Sheldon Art Galleries presents (through May 2) 15 paintings from her recent “Workplaces” series, plus a short documentary video on the artist by Malcolm Gay.

Two short video works by Keren Cytter recently on view in New York both feature, typically for this artist, bare interiors and non-actors from whom she draws performances that strike a delicate balance between professional and amateur. In her second New York solo, the young Israeli artist, who lives in Berlin, extended her study of cinematic conventions and how they mediate individual identities.