Seductive and unabashedly narrative, Sharon Kopriva’s first full-scale museum show featured some 65 works—sculptures, assemblages, paintings and drawings—created between 1982 and 2012. Kopriva (b. 1948) gained widespread recognition when Walter Hopps curated a solo exhibition of her work at the Menil Collection in 2000.

Trisha Baga’s engaging installation at the Whitney Museum’s Lobby Gallery, Plymouth Rock 2 (2011), combined video and a number of small floor-scattered objects.

The evocative works in Irena Knezevic’s exhibition “Night of the World” belie the horrifying narrative from which they unfold.

Can a photograph be a poem? There are essential aspects of Paola Ferrario’s work that remind me very strongly of the poetry of William Carlos Williams.

Since the early 2000s, Seth Price has sought to trouble the institutional and commercial boundaries that separate art from other sectors of the economy—a position outlined in his personal manifesto, “Dispersion” (2002), an essay that opens with Marcel Broodthaer’s dictum “The definition of artistic activity occurs, first of all, in the field of distribution.”