The compact survey “Reflections on the Electric Mirror: New Feminist Video” brings together five artists working individually and two collaborative duos, all of them 30-something women. Despite gender and generational uniformity, these artists could not be more varied in their sexual politics.

Despite the forward-looking nature of their name, the San Francisco-based collective Futurefarmers, who play off the nomenclature of an agricultural organization established in the early 20th century (Future Farmers of America), presented a museum exhibition with a very 19th-century feel. Items in the large main gallery included a row of five movable wooden oars coming out of a wall, an old two-person tree saw and a schoolhouse chalkboard.

DETORIORATION, THEY SAID brings together four US-based positions from a generation embarking on its thirties. The title of the exhibition refers to a set of artworks that articulate entropic effects without referring explicitly to process. Curated by Raphael Gygax, the works by these artists investigate a consumerist modernism-obsessed Western culture with an unmistakably loud and colorful under-belly.

One prominent Chelsea gallerist called Anselm Reyle's "Monochrome Age" exhibition at Gagosian (his first at this gallery), "the most hated show in Chelsea." Indeed, the 19 works of sculpture here are grand, ranging in size but trending between human size and monumental. They're flashy without exception, and sometimes even flashing. So the immediate protest is taken for granted: Reyle's work is terribly, wantonly out of step with our chastened, purified times. Relief, 2009, is a grid of 45 plastic panels in two sail molds (exhibited in other permutations elsewhere), which shield variable LED controlled by computer. The lights glow on the floor and in the cracks in the grid like the new lights on New York City buses, and they seem to yearn for installation in a boutique hotel.

The current exhibition of works by Monica Bonvicini and Tom Burr is an odd coupling, estranged yet intimate, and feral at a studious remove. If the similarities in the two artists' bodies of work are obvious—sculpture that infuses minimalist forms with an eros both feminist and homoerotic; a blunt insistence that familiar objects (power tools, S&M-type equestrian items, men's shoes) act as objective correlatives; a nervy awareness of institutional critique and the fetishism of the built environment—the way curator Nikola Dietrich paired the work is less explicit.