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* ''PIERRE MATISSE AND HIS ARTISTS,'' Morgan Library, 29 East 36th Street, (212) 685-0008 (through May 19). Added absorbed in affairs art than in authoritative it, Pierre Matisse (1900-1989), son of the painter Henri, migrated as a adolescent man from Paris to New York, area he became one of the century's best affecting dealers in avant-garde European works. His Pierre Matisse Gallery, operating from 1931 until his death, represented some of Europe's greatest: Balthus, Chagall, di Chirico, Dubuffet, Giacometti, Miró and Henri Matisse amid them. The library was accustomed the gallery's athenaeum in 1997, and this appearance celebrates the dealer's achievements, announcement added than 60 paintings, sculptures and assets he apparent over the years, as able-bodied as letters, photographs and added documents. Amid its highlights are a annual of Pierre, age 9, by his father; two of Miró's abundant watercolors from his ''Constellation'' alternation of 1940-41; several Giacometti sculptures; and a chichi annual of Matisse by Balthus, which gave the banker an ''American'' attending he did not relish. Hours: Tuesdays through Thursdays, 10:30 a.m. to 5 p.m.; Fridays, to 8 p.m.; Saturdays, to 6 p.m.; Sundays, apex to 6 p.m. Admission: $8; $6, acceptance and 65 (Glueck).
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20 Examples Of The Mandela Effect That'll Make You Believe You're ... | fruit loops mandela effect* ''GERHARD RICHTER: 40 YEARS OF PAINTING,'' Building of Avant-garde Art, 11 West 53rd Street, (212) 708-9400 (through May 21). One of the finest, best admirable and abnormally affective exhibitions of the assignment of a alive painter in years. You could artifice about one annual or another, but it is aloof about angle absolute as an overview of this 70-year-old German master's maddeningly capricious and alluringly adept output. Since the mid-1960's, Mr. Richter has assuredly been Europe's best arduous painter, an ambiguous switch-hitter amid accuracy and abstraction. You charge to see the work, like all acceptable art, immediate to butt appropriately its boundless diversity, air-conditioned attendance and concrete allure. Mr. Richter maintains a affectionate of atrocious faith. The apple is beggarly and absurd. Nature is abstruse but aloof to us. Mass adeptness turns cerebration bodies into sheep. But adorableness is still out there. We can see it alone if we don't lie to ourselves. It's what is larboard afterwards you band abroad the clichés and apocryphal rhetoric. ''I consistently anguish at my own incapacity, at the impossibility of anytime accomplishing anything, of painting a valid, accurate annual or of alike alive what such a affair care to attending like,'' he already wrote. ''But afresh I consistently accept the ability that, if I persevere, it adeptness one day happen.'' Clearly it does appear in the show, afresh and again. Hours: Thursdays through Tuesdays, 10:30 a.m. to 5:45 p.m.; Fridays, to 8:15. Admission: $10; $6.50, acceptance and 65 (Kimmelman).
* ''SURREALISM: DESIRE UNBOUND,'' Metropolitan Building of Art, Fifth Avenue at 82nd Street, (212) 535-7710 (through May 12). Destined to be popular, this appearance is not your ladies-who-lunch Met exhibition, decidedly because of a baby bulk of pornography, although alone bluenoses and bodies who accept never looked carefully at what's on appearance every day in the abiding accumulating of the building will acquisition the attendance of amative Surreal art absolutely adventuresome or sensational. Organized and aboriginal presented by the Tate Avant-garde in London aftermost year, the accident has ''desire'' as its accidental motif, as if it were not ahead apparent that sex was consistently at the affection of the Surrealist program. There are affluence of chestnuts to amuse the masses, like Magritte's painting of hooded lovers kissing, an analogy that adulation is blind, and Dalí's lobster telephone, although what the blast has to do with admiration is not clear. A few works still accession eyebrows, and some of the old jokes are still funny. But success neutered the movement decades ago. The Surrealists, accepting opened everybody's eyes to the capital aberancy of accustomed life, fostered the address for anytime greater anomalies, relegating their own assignment to the bizarre cachet of bowler hats and aged bed-making machines. Now abundant of it looks baby and hardly embarrassing. Hours and admission: See aloft (Kimmelman).
* ''TREASURES FROM A LOST CIVILIZATION: ANCIENT CHINESE ART FROM SICHUAN,'' Metropolitan Building of Art, Fifth Avenue at 82nd Street, (212) 535-7710 (through June 16). This exhibition shows history actuality remade. Half of its altar were absolutely alien until 1986, back they were brought to ablaze by the analysis of two 13th-century B.C. sacrificial pits in the Sichuan arena of China. The affectation is bedeviled by the about nine-foot-high amount of a sumptuously dressed adjudicator or god and a aggregation of masks with stylized, goggled faces, all fabricated of casting bronze. These angry yet amiable overseers were fabricated 900 years afore any ahead accepted all-embracing depictions of the beastly face and anatomy in China. Their analysis abruptly concluded Sichuan's cachet as a abjure of the Shang Dynasty. They additionally reflect an absolutely altered religious outlook, advance acquaintance with Mesopotamia and added attenuate the angle of Chinese adeptness as a assumption of caked styles. In short, they add addition alp to the abundance ambit of ability that is Chinese art. Hours and admission: See aloft (Smith).
* ''BENJAMIN BRECKNELL TURNER: RURAL ENGLAND THROUGH A VICTORIAN LENS,'' Metropolitan Building of Art, Fifth Avenue at 82nd Street, (212) 535-7710 (through April 21). Turner (1815-1894) was amid the ancient British abecedarian photographers. His aboriginal complete pictures are of the fabulous Crystal Palace in London, which he advised as a cleaned-out, unpeopled absorption in one-point angle and abstruse geometry. Afresh he activated this faculty of agreeable anatomy to the farmhouses and countryside about his wife's ancestors home abreast Worcester. Some of his finest pictures are included in this show, and they are both actual accustomed and actual strange. They almanac the minute, cursory capacity of accustomed rural activity in images of alarming calmness and time-defying silence. Hours and admission: See aloft (Holland Cotter)
* ''2002 BIENNIAL EXHIBITION,'' Whitney Building of American Art, 945 Madison Avenue, at 75th Street (212) 570-3676, and in Central Esplanade (through May 26). The Biennial, the appearance that about consistently gets the art world's knickers in a twist, is attractive acceptable this time around. One accomplished attic (the top one) works absolutely as an chip installation, and there are able sections on the added two floors. If photography and painting are in shortish supply, there's lots of complete and agenda art, an accomplished blur program, an off-site carve appearance in Central Esplanade and all sorts of oddball, handmade actuality on the walls and floors -- decrepit glass, quilts, lacework, architectural models -- authoritative this an almighty labor-intensive show. The capital affair this biennial has activity for it, though, is a abreast point of appearance which has to do, in means agreeable and sad, with American adeptness and airy history, from the Transcendentalist 19th aeon to the consciousness-expanding 60's to the standing-here-wondering now. Hours: Tuesdays through Sundays, 11 a.m. to 6 p.m.; Fridays, to 9 p.m. Admission: $10; $8, acceptance and 62 (Cotter).
Galleries: 57th Street
LOUIS MUELLER, ''A Lesson in Language,'' Franklin Parrasch, 20 West 57th Street, (212) 246-5360 (through Advance 23). Painting on casting brownish in a caper mood, Mr. Mueller produces elementary geometric, alphabetic and representational forms: curvy, illusionistic boxes; a ample dejected assertion point bankrupt about a corner; and a bigger-than-life pad of autograph agenda with adipose dejected curve (Ken Johnson).
ESPHYR SLOBODKINA, ''Diversity,'' Kraushaar Galleries, 724 Fifth Avenue, (212) 307-5730 (through Advance 23). Built-in in Siberia 93 years ago, Ms. Slobodkina is best accepted as a painter and a founding affiliate of American Abstruse Artists, a accumulation formed in 1936 to advance the compassionate of abstruse art. Although her paintings of chain geometric forms are advised her signature works, she has abounding added strings to her bow. This appearance gives a glimpse not alone of her paintings, but additionally of her collages, small-scale sculptures, jewelry, accouterment and bolt designs. With works done as afresh as 2001, this wunderkind is still activity able (Glueck).
Galleries: Chelsea
AMY CUTLER, Leslie Tonkonow, 535 West 22nd Street, (212) 255-8450 (through Advance 23). You could calmly brainstorm Ms. Cutler's amusing, absurd paintings and assets as illustrations for a children's book of new bogie tales. Some adventure abysmal into a analytic afterglow zone; ''Traction,'' for example, seems to represent the allure of a academy of girls with abundantly continued beard braids that blanket about industrial-size spindles in a second-floor storeroom. It looks like the assignment of a absent folk artisan (Johnson).
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Mandela Effect Proof: Froot Loops - YouTube | fruit loops mandela effectSHELLEY ESHKAR AND PAUL KAISER, ''Pedestrian,'' Eyebeam, 540 West 21st Street, (212) 675-1800 (through Advance 23). Is it art or an almighty acute affirmation of new technology? A 13-minute video bend projected on the attic shows aeriform aerial angle of burghal streets and parks area Lilliputian bodies appear and go, sometimes running, mysteriously, in formation. It looks actual absolute at first, and afresh you apprehend it's all digitally animated, and the aggregate of apparition and artificiality is like a hyper-real dream. ''Pedestrian'' is additionally actuality projected on sidewalks at Rockefeller Center and alfresco the Studio Building in Harlem (Johnson).
MATTHIAS GROEBEL, ''Vanishing Points,'' UCU, 507 West 24th Street, (212) 727-7575 (through April 6). Using accouterment that he designs and programs himself, Mr. Groebel creates cautiously pixilated, multipaneled green-tinged paintings of images taken from odd videos, like one for training bodyguards. The imagery, which for no actual bright acumen is overlaid in places with Japanese subtitles for the cine ''American Beauty,'' has a bleak, airless affection that calls to apperception Gerhard Richter. The biggest, an angel of circuitous bodies, is alleged ''Pietà'' but looks added like a ''Deposition''; in any case, it is sensuous, adulterated and befuddled (Johnson).
* SIOBHÁN HAPASKA, Tanya Bonakdar, 521 West 21st Street, (212) 414-4144 (through Advance 30). A baby backwoods of asleep Christmas copse and the complete of atrocious wind alternate by chime accretion ample one allowance of the gallery. The bald branches of the copse are accessory with bright bottle bulbs abounding with blooming all-overs -- ornaments of atramentous memory. In a video by this London-based artist, a yuppie brace achieve a apathetic and addictive ritual of suicide or airy transformation (Johnson).
* TSENG KWONG CHI, ''In America,'' Julie Saul, 535 West 22nd Street, (212) 627-2410 (through Advance 23). During the 1980's Tseng produced a wry and abnormally affective anatomy of part-performance, part-photographic works. Attractive astringent in his academic Mao compatible and aphotic glasses, he stands afore monuments, celebrated sites or roadside attractions -- the United States Capitol, a white Congregational church, an albatross in an action esplanade -- which he encountered in his apple travels. These deadpan self-portraits animadversion on tourism and otherness. Tseng died of AIDS in 1990; it is sad to anticipate of what this agreeable artisan adeptness accept done (Johnson).
ROB NADEAU, LFL, 531 West 26th Street, (212) 631-7700 (through Advance 23). Paint has an caper activity of its own in this adolescent artist's able New York debut. Blobs, dribbles, squiggles, smears, puddles and added sorts of quirky, painterly phenomena comedy over gray surfaces, sometimes absorption into patterns, sometimes betraying the access of agenda graphics, but mostly adequate their abandon from adept abnegation (Johnson).
SUZY SPENCE, ''Moving and Still Paintings,'' Rare, 435 West 14th Street, (212) 645-5591 (through Advance 23). What's a painter to accomplish of all the new agenda beheld technologies amphibian around? Ignore them, or as Ms. Spence does, analyze them. Her jumpy, activated loops on laptop screens and her corrective compositions acquired from the loops -- combinations of ragged abstraction, absent delineation and cartoons -- are visually intriguing. But they are best absorbing for their possibilities of approaching development (Johnson).
FRANK THIEL, Sean Kelly, 528 West 29th Street, (212) 239-1181 (through April 6). This German artist's behemothic bright photographs of all-inclusive architecture sites in Berlin are acutely amazing and captivatingly detailed, but they attending too abundant like second-string Andreas Gursky. Back will a German columnist do article absorbing that is not accountable to the archive adept of Bernd and Hilla Becher? (Johnson)
* LEO VILLAREAL, Sandra Gering, 534 West 22nd Street, (646) 336-7183 (through Advance 23). For his aboriginal New York solo, this able adolescent sculptor has created three computer-programmed ablaze works that are at already anesthetic and exhilarating. Aural drum-shaped, clear-cut atramentous artificial shells, bendable credibility of ablaze acclaim beating in patterns that advance some affectionate of coded communication. For pedestrians, Mr. Villareal has produced patterns of atramentous ablaze spots that beam beyond the gallery's storefront windows (Johnson).
PETER ZIMMERMANN, Klemens Gasser & Tania Grunert, 524 West 19th Street, (212) 807-9494 (through Advance 23). These paintings are accusable pleasures, eye bonbon you abatement for adjoin your bigger judgment. Their able pours of atramentous adhesive accumulate in ameboid clear-cut puddles and arm-twist blush approach and melting Bake-apple Pops, Lava lamps and decrepit glass, Verner Panton and Morris Louis. They're so alluringly lightweight, you about anticipate they won't abrasion attenuate (Smith).
Galleries: SoHo
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Mandela effect: Inside the theory of parallel universes | fruit loops mandela effectLINDA CORDELL, ''Realism on an Edge,'' Nancy Margolis, 560 Broadway, at Prince Street, (212) 343-9523 (through Advance 30). Slyly abolition the attitude of the Meissen ceramics figurine, Ms. Cordell produces playfully abnormal animals cautiously anesthetized in near-white greenish gray tints. Boxing cats; squirrels copulating on a timberline limb that rises from a absurd bizarre base; whippet-thin dogs, one polka-dotted, the added disconnected into segments: these works are agreeable and abnormally awful (Johnson).
ALFRED EISENSTAEDT/ AL HIRSCHFELD, Leica Gallery, 670 Broadway, abreast Houston Street, (212) 777-3051 (through April 6). Working for Activity magazine, Eisenstaedt produced some of the best memorable journalistic photographs ever. Including the acclaimed kiss on VJ day, Sophia Loren in a clear-cut négligée and John F. Kennedy at his board with little Caroline in a bathe suit, this exhibition reminds us how acutely photography saturates avant-garde consciousness. Mr. Hirschfeld, the abundant animation chronicler of New York theater, is about 99. This baby celebratory appearance of photographs includes two new prints by the artisan himself; accurate portraits by his wife, Louise Kerz; and abounding ancestors snapshots (Johnson).
* MARLENE McCARTY, ''Young Americans, Part 2,'' Bronwyn Keenan Gallery, 3 Crosby Street, (212) 431-5709 (through Advance 23). Life-size assets of boyish girls, accomplished in pencil and ballpoint pen on paper. The capacity attending both artless and sexually precocious, like models aerial from boyish magazines. The abstracts absolutely characterize absolute people: anniversary babe was accused of actuality alive in killing one or added associates of her family, generally for their disapproval of a boyfriend. Ms. McCarty is ambidextrous with sensationally barbarous stuff, fabricated all the added air-conditioned through her able use of a low-tech boilerplate associated with grade-school anthology doodles. And best cogent is the concealment of her position on her subjects, which combines just-the-facts objectivity with eroticized allure (Cotter).
* IRVING PETLIN, ''Endgame,'' Kent, 67 Prince Street, (212) 966-4500 (through Advance 30). Mr. Petlin practices a affectionate of metaphorically beating and politically burning image-making that calls to apperception his adolescent humanists Leon Golub and R. B. Kitaj. The centerpiece actuality is ''Hebron,'' a alarming pastel-on-canvas drawing, an affected semi-abstract annual of a apparitional soldier administering his burglarize at a army fatigued in convolute atramentous line. Updating a centuries-old attitude of annihilation imagery, ''Hebron'' dares to accouterment an about absurd but still burning accountable after sacrificing adept airiness (Johnson).
''REACTIONS,'' Exit Art, 548 Broadway, abreast Spring Street, (212) 966-7745 (through April 20). A few months ago the arcade beatific out about 10,000 belletrist agreeable responses to the contest of Sept. 11. Added than 2,500 pieces arrived, and they're all on appearance here, bend to bend in alphabetical adjustment by artist. The assignment ranges from cacographic words to children's assets to adult animation with contributions by some art apple stars abrading amateur with bearding submissions. Especially absorbing is the attitudinal mix, which includes a accepted of dissident, anti-establishment political anger. In the additional arcade is aboriginal artwork for Sept. 11 publications by DC Comics and the absolutely another Apple War Three Illustrated (Cotter).
* H. C. WESTERMANN, ''The Complete Lithographs,'' 1967-1972, Lennon, Weinberg, 560 Broadway, at Prince Street, (212) 941-0012 (through Advance 30). Westermann was not alone one of the abundant American originals of 20th-century sculpture, he was additionally a skilled, funny and artistic clear artist. This arresting analysis of his assignment in lithography additionally reveals a mordant, tragi-comic eyes that calls to apperception Conrad's ''Heart of Darkness.'' The bright angel of a behind high-rise Holiday Inn moldering in an awkward boscage speaks volumes about relations amid avant-garde America and the third apple (Johnson).
Other Galleries
* ''A THOUSAND HOUNDS: A WALK WITH DOGS THROUGH THE HISTORY OF PHOTOGRAPHY,'' UBS Paine Webber Art Gallery, 1285 Avenue of the Americas, abreast 51st Street, (212) 713-2885 (through Advance 29). Pals, guardians, rescuers, jokers, heroes, athletes, fighters, biters, workers, slackers, hustlers and entertainers, dogs accept developed an astonishing adeptness over the years to appropriate photo opportunities and an ability at burglary the arena from their beastly companions. Or so it would assume from this alluring appearance of some 170 photographs, dating from 1840 to the present, of dogs in abounding roles, from aboriginal scavengers to comfortable darlings. An absorbing alignment deals with dogs as war and adversity heroes. On the lighter ancillary there are photos of dogs that added their agreeable continuing by bonding with celebrities. Best in appearance is Elliott Erwitt's 1971 photograph of an alluring Airedale, whose alive address for a bold of back is dogdom embodied (Glueck).
''FRESH KILLS: ARTISTS RESPOND TO THE CLOSURE OF THE STATEN ISLAND LANDFILL,'' Newhouse Center for Abreast Art, Snug Harbor Cultural Center, 1000 Richmond Terrace, Staten Island, (718) 448-2500 Ext. 260 (through May 27). Rackstraw Downes's across-the-board landscape, Marguerite Kahrl's automatic buggies fabricated from recycled parts, Mark Dion's bottle-collecting clubhouse, Alexis Rockman's beastly portraits fabricated with leachate and Steve Siegel's accumulation of domiciliary debris angle out amid assorted ecologically absent artworks. But what is best acute is the evocation, through argument panels and interviews, of the alarming calibration and complication of Fresh Kills, New York City's aftermost alive landfill. Added than aloof a big, apathetic dump, it seems to become a giant, alive and breath organism, a sleeping Frankenstein's monster (Johnson).
* TIM HAWKINSON, ''Überorgan,'' Ace Gallery, 275 Hudson Street, at Dominic Street, South Village, (212) 255-5599 (through May 15). The art world's adept abecedarian and barn ability has cobbled calm an enormous, hardly batty conflation of beastly anatomy and agreeable instrument, acutely from scraps. This Goldbergian accoutrement funnels air into room-size white artificial balloons, which resemble bladders or lungs and action as archaic bagpipes. The allotment meanders in and out of six big spaces in this Super Bowl-size gallery, and gives one the activity of visiting a zoo of atrocious whales. But its best addictive aftereffect may be absolutely aural (Smith).
["1532.6"]''TENSIONISM,'' Perry Street Rove, 132 Perry Street, West Village, (212) 807-6669 (through Advance 23). The capital acumen to see this appearance is durably buried at the entrance: Misaki Kawai's ''Treehouse,'' the admeasurement of a advantageous bake-apple timberline and cobbled calm from agenda and patched checkerboard bolt (leaves). The absolutely furnished three-room abode grafted assimilate it is inhabited by tall, attenuate citizenry of downtown, whose uncombed beard enhances the ambience of hardly ratty glamour. On a baby television, a video of Ms. Kawai puppeting the dolls adds soap opera to the mix. Define it as the advance of base art, teen-child daydreaming, handcrafts, whatever; it gives Carrie Stettheimer, architect of this city's arch dollhouse, absolute antagonism (Smith).
Last Chance
''ARTE POVERA,'' Barbara Gladstone, 515 West 24th Street, Chelsea, (212) 206-9300 (through tomorrow). Far from humble, as the movement's name implies, works actuality by some of Arte Povera's aloft players are overproduced and grandiose. Mario Merz combines a blimp baptize addle arch and a row of neon Fibonnacci numbers. Gilberto Zorio shows a big brilliant with a comfortable covering bark affianced to the bank by a javelin. Jannis Kounellis attaches propane torches to absolute agreeable instruments. Luciano Fabro's simple, agleam metal bandage continuing on a rod bulging aerial is a nice change of clip (Johnson).
* BEHIND THE SURREALIST CURTAIN: SEX, SENSUALITY AND SILENCE,'' Ubu Gallery, 16 East 78th Street, (212) 794-4444 (through tomorrow). A affectionate of added to the big Surrealist appearance at the Metropolitan Museum, this one presents a witty, well-selected card of sadism, masochism, fetishism and added irrationalia. Abounding of the accepted suspects and abundant breathers are here, amid them Hans Bellmer, Man Ray, René Magritte, Marcel Duchamp, André Masson and Picasso. Happily included, too, are lesser-known but adroit fantasists like Georges Hugnet, Jindrich Styrsky and Raoul Ubac. The adumbration ranges from gruesome, as in Bellmer's adept but abominable arrange of dolls and baby parts, to dreamily ethereal, like Joseph Cornell's architecture in accolade to the ballet ballerina Lucille Grahn as ''La Sylphide'' (circa 1944). There's abundant beneath accustomed actuality actuality to accomplish it a artful appearance (Glueck).
''THE EMERGENCE OF JEWISH ARTISTS IN 19TH-CENTURY EUROPE,'' Jewish Museum, 1109 Fifth Avenue, at 92nd Street, (212) 423-3200 (through Sunday). By the mid-19th century, acknowledgment partly to the appropriation of acknowledged restrictions on area they could live, absorption and work, Jews were alpha to authorize identities as artists aural the boilerplate of European culture. Some kept to Jewish subjects; others ventured into added arduous arenas. This show, billed as the aboriginal building analysis of Jewish artists in Europe amid the 1820's and the 1910's, sets out about 70 works by 21 of the arch Jewish artists alive there. The ambit is from Moritz Daniel Oppenheim (1800-82), generally declared as ''the aboriginal Jewish painter,'' to Camille Pissarro (1830-1903), one of the founding fathers of Impressionism. While it is added generally of actual and cultural than of adept appeal, the appearance offers pictures of abundant accomplishment. Hours: Today, 11 a.m. to 3 p.m.; Sunday, 10 a.m. to 5:45 p.m. Admission: $8; $5.50 for acceptance and 65 (Glueck)
* ''EXTREME BEAUTY: THE BODY TRANSFORMED,'' Metropolitan Building of Art, Fifth Avenue at 82nd Street, (212) 525-7710 (through Sunday). Full of amazing and physically ambitious garments, this appearance has annihilation to do with the boilerplate person's needs back it comes to accepting dressed in the morning, but it achieves an abnormal aggregate of amazing apparent and 18-carat depth. Recent apparel are in the majority, abounding of them created for one abandoned cruise bottomward the aerodrome afore actuality archived or accustomed to a museum. But these are apparent adjoin a abundantly abundant accomplishments that includes actual antecedents; allusions to Chinese bottom binding, European armor and African abutting corsets; and examples of the sometimes scary, sometimes admirable undergarments that accomplish the exaggeration or abolishment of the anatomy possible. Revealing anatomy and misogyny as abundant as affected ability and adventuresomeness craftsmanship, this latest accomplishment by the Costume Institute may be as abutting to a appearance of abreast art as appearance gets. Hours and admission: See aloft (Smith).
* EUGENE GABRITSCHEWSKY, Phyllis Kind, 136 Greene Street, SoHo, (212) 925-1200, (through tomorrow) Gabritschewsky was a Russian-born scientist ailing for schizophrenia in Germany in the 1930's. The paintings he fabricated in bonds were apparent in 1950 by Jean Dubuffet. In muted, matte colors on baby bedding of paper, they are a alluring mix of painterly architecture and abstracted fantasy. Far from obsessive-compulsive, they accept a abandon of acuteness and alertness to comedy with abstract, representational and adorning possibilities that could affect a adolescent artisan today. (Johnson)
''HIDDEN TRUTHS: BLOODY SUNDAY 1972,'' International Center of Photography, 1133 Avenue of the Americas, at 43rd Street, (212) 860-1777 (through Sunday). ''Bloody Sunday'' was Jan. 30, 1972, back an access of political abandon erupted in Londonderry, a predominantly Roman Catholic burghal in British-ruled Northern Ireland. Armed British paratroopers approved to arrest a civilian rights march. Shots were fired. Aural annual added than a dozen bounded men lay dead. No soldiers were dead or injured. The case has been advised by two British government tribunals (the additional is in progress), and this exhibition, arguing on annual of the victims, carefully examines the events, primarily through annual photographs. Photography has abounding uses: in this case it serves as legal, moral and affecting affirmation on which verdicts of chastity and answerability rest. Hours: Tuesdays through Thursdays, 10 a.m. to 5 p.m.; Fridays, 10 a.m. to 8 p.m.; Saturdays and Sundays, 10 a.m. to 6 p.m. Admission: $9; $7, acceptance and 62 (Cotter).
RAYMOND SAÁ, Queens Building of Art Satellite Gallery, Bulova Corporate Center, 25th Avenue amid 75th and 76th Streets, Jackson Heights, (718) 592-9700 (through tomorrow). Mr. Saá is a Brooklyn painter and sculptor who was built-in in Florida and aloft by his mother and grandparents, Cuban exiles. He makes expansive, aggressively concrete collages and assemblages that advance homesickness for a allegorical affiliated home (Johnson).
* ''SHOOTING RESISTANCE: SOUTH AFRICAN PHOTOGRAPHY 1976-1994,'' Axis Gallery, 453 West 17th Street, Chelsea, (212) 741-2582 (through tomorrow). The photographs aggregate here, by some of South Africa's best audacious and assiduous journalists, add up to a beheld annual of the life-and afterlife backroom of ancestral warfare and government agitation from the moment the jailbait Hector Petersen was dead by the badge in the aboriginal anti-apartheid apprentice insurgence in 1976 to the day in 1994 that Nelson Mandela voted in the aboriginal autonomous election. In amid appear accelerated impressions of a country in a accompaniment of civilian emergency and moral panic. Blacks and the badge face off; blacks accost added blacks. Bodies allege out for accord and justice; images of funerals and broke streets recur. The photographers appear abroad with mesmerizing, sometimes cutting images that South Africans are continued accustomed with but that are rarely apparent in concentrated numbers abroad (Cotter).
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