(image via Uprise Art)

Quiet as a Space
Opening reception Thursday, March 14 at 54 Eldridge Street, 6 pm to 8 pm. On view through April 1. 

One type of trendy online content today can be found under the label “oddly satisfying.” Paint cutting videos, hands poking indents in spheres of colorful slime, objects fitting perfectly into one another, and so on. Imagery like that can be calming to observe, even if you don’t know exactly why. The work of artist Adrian Kay Wong, an LA dweller bringing his work to the Lower East Side beginning Thursday, has a similar feel to it. Smooth diagonal slashes, even squares, symmetrical curves, and more calming geometry abounds in Wong’s paintings, which are graced with bold colors and landscapes populated with desks, lamps, couches, and flowers. They’re simple, they’re impressive, and they’re definitely satisfying.

(image via M. David and Co. / Facebook)

The Thread
Opening Friday, March 15 at M. David + Co., 6 pm to 9 pm. On view through April 14. 

Some artists consider their peers to be like family, but with Lizbeth Mitty and Dana James, it’s literal: the two painters are mother and daughter, and will be joining forces to display their work in a duo exhibition at Bushwick space M. David + Co. this coming Friday. Described as “unapologetic champions of beauty,” Mitty and James both create works that are abstract and colorful, favoring creamy pastels, evocative smudges, and mazelike lines. Of course, though they’re family, their processes differ: Mitty is more inspired by objects found in old scrapyards, while James has a proclivity for cutting up old paintings and making them into new ones.

(image via Lubov)

Opening Saturday, March 16 at Lubov, 6 pm to 9 pm. On view through April 28.

The description for Stefan Schwartzman’s new solo show at Lubov does not hold back. “When you’re getting fucked in the ass you get an experience that is exposing,” it reads. “And there is a splitting of personality. Or one could say, a spitting of personality, into the asshole.” Such a description might seem to conjure an onslaught of vivid, explicit imagery, but Schwartzman’s work is actually a bit more subtle. His drawings resemble sketches, with light, delicate linework and feathery shading. If you look closely, you can make out a shoe, a face, a pair of breasts, or maybe an ear. The drawings flirt with both realism and fantasy, creating something that’s a little of both and something all its own.