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SUBJECT: REAL ESTATE (90%); REAL ESTATE AGENTS (88%); CHILDREN (88%); ENTREPRENEURSHIP (77%); INTERIOR DECORATING (76%); FAMILY (76%); AUCTIONS (76%); RESIDENTIAL PROPERTY (74%); SUBURBS (73%); LAND USE PLANNING (73%); HEDGE FUNDS (72%); HISTORIC SITES (71%); HISTORIC DISTRICTS & STRUCTURES (69%); REAL ESTATE INVESTING (68%); COMMERCIAL PROPERTY (68%); EMPTY NESTERS (67%); HISTORY (64%)
PERSON: REGIS PHILBIN (52%); MICHAEL MCMAHON (50%)
GEOGRAPHIC: NEW YORK, NY, USA (96%) NEW YORK, USA (96%) UNITED STATES (96%)
LOAD-DATE: May 2, 2008
LANGUAGE: ENGLISH
GRAPHIC: PHOTO: HORSES AND TRAILS: In and around Bedford, there are horse farms, a county park and miles of trails, some for riding. (PHOTOGRAPH BY SUSAN STAVA FOR THE NEW YORK TIMES) MAP Map of Bedford in New York.
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The New York Times
May 2, 2008 Friday

Late Edition - Final

54 More Claim Bloomberg Firm Discriminated
BYLINE: By ALAN FEUER
SECTION: Section B; Column 0; Metropolitan Desk; Pg. 1
LENGTH: 778 words
At least 54 more women are accusing Bloomberg L.P., the financial-services and media company founded by Mayor Michael R. Bloomberg, of discriminating against pregnant employees, a lawyer for the federal government said on Thursday.

The women have joined a class-action lawsuit filed against the company in September by the Equal Employment Opportunity Commission. Though the suit does not name Mr. Bloomberg as a defendant and claims discrimination that assertedly occurred after he left an active role in the company, it is the latest and most sweeping of a string of discrimination and sexual harassment complaints filed against the firm since the 1990s.

Previously, the lawsuit involved only four women who claimed they were demoted or had their pay cut after becoming pregnant and taking maternity leaves. Word of the additional women came at a brief hearing in Federal District Court in Manhattan, where the suit was filed. The women's names were not released at the hearing, nor was there any mention of their specific claims. Government officials said that their names had not yet been made public.

The number of women involved is likely to grow, Raechel L. Adams, a lawyer for the Equal Employment Opportunity Commission, told Judge Loretta A. Preska. The commission has identified 478 women at the company who were on maternity leave at some point from 2002 to the present and is reaching out to them, she said. Judith Czelusniak, a spokeswoman for Bloomberg L.P., said that the company had more than 10,000 employees in 126 offices around the world and that fewer than two dozen employment lawsuits had been filed against it in the United States since its founding in 1981.

Ms. Czelusniak added that last month a federal judge in New Jersey dismissed a discrimination suit by four current and former employees, finding that the plaintiffs' claims were baseless. ''We believe that the court will render a similar judgment in the case brought by the E.E.O.C.,'' she said.

An annoyed Mr. Bloomberg declined to address the suit during a news conference about the city's budget, ostensibly because he was willing to take only questions about the budget. ''What does this have to do with the budget?'' he snapped at a reporter, although the mayor had already discussed his thoughts on a temporary reprieve of the gasoline tax and federal energy legislation.

''I have absolutely no idea,'' he added. ''You'll have to ask the company and next time don't bother to ask us a question. Stick to the topic. Everybody else plays by the rules; you'll just have to as well.''

Mayor Bloomberg stepped down as chairman of Bloomberg L.P. during his first run for mayor, in 2001, but remains its majority shareholder. For years he portrayed himself as being disengaged from the company, but he acknowledged last year that he regularly stayed in touch with its senior executives.

When the lawsuit was filed, there were only three named plaintiffs -- Jill Patricot, Janet Loures and Tanys Lancaster. A fourth, Monica Prestia, joined the suit about two months later.

According to a commission claim, Ms. Lancaster was earning nearly $300,000 a year in a senior position in the transaction products department when she told her bosses she was pregnant. Afterward, she was demoted and her pay was cut, the claim said.

Ms. Patricot, the claim said, was unable to maintain her previous work schedule after returning from maternity leave because of child-care needs. As a result, the commission said, she was demoted to an entry-level position.

As for Ms. Loures, the commission said that her duties as a senior manager in the global data division were reduced after she took maternity leave for a first and then a second child.

In general, the lawsuit charges that the women were replaced by more- junior male employees, excluded from management meetings or subjected to comments that included, ''You are not committed'' and ''You don't want to be here.''

Ms. Prestia claimed in the lawsuit that after she had her first child in 2005, she received the worst performance review of her career, her compensation fell, and a supervisor who could not have children of her own was openly hostile to her. At one point, the suit contends, a different supervisor asked her, ''What is this, your third baby?''

Anna C. Aguilar, a lawyer for Bloomberg L.P., told Judge Preska that the company had turned over more than a million pages of documents that the commission requested, adding that the company would be looking at internal e-mail messages to determine if any were relevant to the case. Depositions have been scheduled for this summer and a pretrial hearing for September.
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SUBJECT: LITIGATION (96%); SUITS & CLAIMS (93%); US FEDERAL GOVERNMENT (91%); LAWYERS (90%); PREGNANCY & CHILDBIRTH (90%); MATERNITY LEAVE (90%); ENTREPRENEURSHIP (90%); CITY GOVERNMENT (89%); MAYORS (89%); BANKING & FINANCE (78%); GOVERNMENT BUDGETS (78%); CLASS ACTIONS (77%); WOMEN (78%); EMPLOYMENT (78%); SEXUAL HARASSMENT (78%); LABOR & EMPLOYMENT LAW (77%); JUDGES (77%); LAW COURTS & TRIBUNALS (73%); PRESS CONFERENCES (73%); WAGES & SALARIES (72%); ENERGY REGULATION (64%); TAXES & TAXATION (63%); FUEL TAX (50%); SHAREHOLDERS (50%)
COMPANY: BLOOMBERG LP (96%)
ORGANIZATION: EQUAL EMPLOYMENT OPPORTUNITY COMMISSION (84%)
INDUSTRY: NAICS519110 NEWS SYNDICATES (96%); NAICS516110 INTERNET PUBLISHING AND BROADCASTING (96%); NAICS511120 PERIODICAL PUBLISHERS (96%); SIC7383 NEWS SYNDICATES (96%); SIC4899 COMMUNICATIONS SERVICES, NEC (96%); SIC4832 RADIO BROADCASTING STATIONS (96%); SIC2741 MISC. PUBLISHING (96%); SIC2721 PERIODICALS: PUBLISHING, OR PUBLISHING & PRINTING (96%); NAICS519130 INTERNET PUBLISHING & BROADCASTING & WEB SEARCH PORTALS (96%)
PERSON: MICHAEL BLOOMBERG (95%)
GEOGRAPHIC: NEW YORK, NY, USA (92%) NEW YORK, USA (92%); NEW JERSEY, USA (79%) UNITED STATES (92%)
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The New York Times
May 2, 2008 Friday

Late Edition - Final

On Throne, Onstage, Online and on Cellphone
BYLINE: By BEN SISARIO
SECTION: Section E; Column 0; Movies, Performing Arts/Weekend Desk; Pg. 1
LENGTH: 803 words
HALFWAY through her 32-minute set on Wednesday night at the Roseland Ballroom in Manhattan -- a promotional show for her new album, ''Hard Candy,'' that was attended by 2,200 lucky, screamy fans -- Madonna offered a message of sympathy. ''All you people I saw sleeping in the street last night,'' she announced, holding a jet-black electric guitar, ''this song is for you.''

It was ''Hung Up,'' about the agony of waiting. And as she finished the song, she added, just in case the message wasn't clear, ''Anybody who knows me knows how much I hate to wait.''

New York may be a city of the impatient, but for Madonna's admirers, the chance to see her do a free, stripped-down version of a stadium show, with a team of backup dancers and a guest appearance by Justin Timberlake -- and in a room minuscule by her usual touring standards -- was something worth waiting for. And waiting for a very long time.

Madonna played six songs, four from ''Hard Candy,'' which was released on Tuesday. But the line outside Roseland, on West 52nd Street, formed 60 hours before showtime. By late Tuesday it had stretched around the block, as the faithful stood and sat and slept and caffeinated themselves for the chance to score one of the 750 wristbands that guaranteed free admission.

Erica Gabriel, a 28-year-old makeup artist, waited through the night in line with friends. Once wristbanded sometime after 6 a.m., she returned home to prepare her elaborate, swooping hairstyle and what she called her ''stewardess-Madonna-tricky-tranny look.''

''Gays don't camp out,'' said one of Ms. Gabriel's friends, as the group laughed, ''but we'll camp out for this.''

There is something almost quaint about an overnight line for concert spots in an era of Internet presales and text-message ordering. But Madonna's show was also part of a technologically sophisticated, 21st-century product rollout that involved multiple media tie-ins. It was broadcast live on the Internet by MSN and on cellphones worldwide by Verizon and Vodafone. In addition to the spots given to fans on the line -- that's on a line, not online -- about 1,000 went to radio and Internet contest winners, and 200 to members of Madonna's social-networking fan club.

And at 49, Madonna is on the entrepreneurial vanguard of the music business. ''Hard Candy'' is her last album for her longtime label, Warner Brothers. In October she announced a deal with the touring giant Live Nation that would encompass recordings, tours, merchandising and other revenue sources; it is valued at a reported $120 million.

Billboard said on Wednesday that the first-day sales of ''Hard Candy'' exceeded 100,000 copies in the United States, giving it a good chance of being next week's No. 1.

Not that the Music Biz 2.0 stuff mattered much to the people who crammed into Roseland on Wednesday, even those who breathe media and marketing. One of them was Tanesha Fields, a pretty 26-year-old who works in advertising and said her nights were filled with business parties.

''I don't have to go to another media event for a year,'' she said. ''This tops them all.''

The room roared with ''Omigods'' and lighted up with digital-camera flashes when Madonna emerged at 10:09 p.m. from behind a revolving stage barrier, dressed in shiny black and wearing lace-up boots. Backed by a band whose members worked in the far corners of the stage, she opened with ''Candy Shop,'' a new song with a bubbly synth hook that was a ringer for a 1980s club hit.

Next, holding an acoustic guitar and with computer graphics whizzing over the screens behind her, she played another new one, the wistful ''Miles Away.'' But big roars returned when Mr. Timberlake emerged in a sharp white jacket and black scarf for the third number, ''4 Minutes,'' and joined Madonna in some dirty dancing that had slight bondage overtones -- with Madonna dominant, of course.

The show was swift clockwork. At 10:23, right after ''4 Minutes,'' Madonna picked out the riff to the Rolling Stones' ''(I Can't Get No) Satisfaction'' on the electric guitar and led a grungy version of ''Hung Up.'' At 10:32 there was a slight costume change -- she put on a black zip-up top with ''HARD'' in silver letters on the front and ''CANDY'' on the back -- and, with a team of b-boy backup dancers, sang another high-energy, retro-electro new song, ''Give It 2 Me.''

Then came ''Music'' from 2000, much dancing and a quick makeup and hair fix in the wings. By 10:42, Madonna and her dancers had swung back through the revolving wall, and the lights went up.

Some had waited for more than two days for a half-hour show. But no one seemed to be complaining.

''I had the time of my life tonight,'' said Jeanrene St. Pierre, a fan-club contest winner from Montreal who wore a ''BOYTOY'' necklace. ''Of course it was worth it.''
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SUBJECT: MUSIC (89%); MUSIC INDUSTRY (89%); VISUAL & PERFORMING ARTS (78%); DANCE (78%); INTERNET SOCIAL NETWORKING (77%); STADIUMS & ARENAS (77%); ENTERTAINMENT & ARTS (73%); INTERNET & WWW (72%); STRINGED INSTRUMENTS (71%); NEW PRODUCTS (71%); ENTREPRENEURSHIP (60%); TEXT MESSAGING (77%); MOBILE & CELLULAR TELEPHONES (84%); INTERNET BROADCASTING (65%)
COMPANY: VERIZON COMMUNICATIONS INC (58%)
TICKER: VZC (LSE) (58%); VZ (NYSE) (58%); VER (SWX) (58%)
INDUSTRY: NAICS517212 CELLULAR & OTHER WIRELESS TELECOMMUNICATIONS (51%); NAICS517110 WIRED TELECOMMUNICATIONS CARRIERS (58%); SIC4813 TELEPHONE COMMUNICATIONS, EXCEPT RADIOTELEPHONE (51%); NAICS517210 WIRELESS TELECOMMUNICATIONS CARRIERS (EXCEPT SATELLITE) (58%)
PERSON: MADONNA (86%); JUSTIN TIMBERLAKE (55%)
GEOGRAPHIC: NEW YORK, NY, USA (88%) NEW YORK, USA (88%) UNITED STATES (88%)
LOAD-DATE: May 2, 2008
LANGUAGE: ENGLISH
GRAPHIC: PHOTOS: Madonna played several songs from ''Hard Candy.'' (PHOTOGRAPH BY MICHAEL NAGLE FOR THE NEW YORK TIMES) (pg. E17)

Madonna holds court during a promotional performance at Roseland. (PHOTOGRAPH BY MICHAEL NAGLE FOR THE NEW YORK TIMES) (pg. E1)

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The New York Times
May 2, 2008 Friday

The New York Times on the Web

Museum and Gallery Listings
BYLINE: By THE NEW YORK TIMES
SECTION: Section ; Column 0; Movies, Performing Arts/Weekend Desk; Pg.
LENGTH: 6409 words
ART

Museums and galleries are in Manhattan unless otherwise noted. Full reviews of recent art shows: nytimes.com/art.

WAYNE THIEBAUD: 'THE FIGURE' In the 1960s Wayne Thiebaud reanimated the traditional still life. His thickly painted pictures of pies, cakes and other food products in cafeteria-style order had terrific visual snap, and they subtly satirized the mechanization of modern life.

Mr. Thiebaud did something similar with figure painting, as this excellent show of paintings and drawings dating from 1963 to 1992 demonstrates. The drawings are mostly in pencil, and most are coolly libidinous studies of nude female models. A few portray clothed men sitting on chairs, like ''Man Reading,'' right. All are compelling for their skillful draftsmanship and their detached yet affectionate attentiveness.

The show's main attraction is a set of six oil paintings from the '60s. Each depicts a single figure isolated against a blank wall. Like the food paintings, they are thickly done in high-contrast colors, and the realism is simplified to almost cartoonish, Pop Artish effect. A slightly melancholy emotional distance calls to mind Edward Hopper.

Sitting sideways on a wooden chair, a young woman in blue shoes and a colorfully striped miniskirt gazes vacantly into space. She seems both ordinary and tantalizingly enigmatic. Erotic interest is heightened in three other paintings of women, all young, voluptuous and nude. One sits at a table on which lies a mysteriously suggestive hand mirror, a traditional attribute of Venus.

The men are comical. A heavyset fellow in a business suit hunches over a book, presenting the bright dome of his bald head. An uncomfortable-looking young man in a suit and tie stands against a wall, as if in a police lineup. They are like John Cheever characters, men of the '50s soon to be swept up in the craziness of the '60s. (Through May 30, Allan Stone Gallery, 113 East 90th Street, Manhattan, 212-987-4997, allanstonegallery.com.) KEN JOHNSON

Museums

AMERICAN FOLK ART MUSEUM: 'ASA AMES: OCCUPATION SCULPTURING,' through Sept. 14. This first show devoted to the American sculptor Asa Ames (1823-1851) is a gem. Its eight carved and painted wood portraits -- roughly two-thirds of the work of Ames's brief maturity -- introduce an artist who translated the style of self-taught American portrait painters into three dimensions, imbuing their artificiality with the sense of suspended life found in 19th-century photography. A crowded, wonderfully bizarre photograph that Ames orchestrated of himself, his work and a friend is a poignant tribute to his ambition. 45 West 53rd Street, [phone], folkartmuseum.org. (Roberta Smith)

AMERICAN FOLK ART MUSEUM: 'DARGERISM: CONTEMPORARY ARTISTS AND HENRY DARGER,' through Sept. 21. The great Outsider Henry Darger (1892-1973) was completely unknown as an artist during his own lifetime. Now his epic adventure, ''The Story of the Vivian Girls, in What Is Known as the Realms of the Unreal, of the Glandeco-Angelinnian War Storm, Caused by the Child Slave Rebellion'' is famous and a big influence on mainstream artists. This intriguing exhibition presents 12 of Darger's gorgeous, bizarre watercolors and works by 11 contemporary artists who have been inspired by him, including Justine Kurland, Trenton Doyle Hancock and, most surprisingly, Paula Rego. (See above.) (Ken Johnson)

AMERICAN FOLK ART MUSEUM: 'EARL CUNNINGHAM'S AMERICA,' through Aug. 31. The folk artist Earl Cunningham (1893-1977) romanticized the American landscape without hyperbole. Cunningham didn't suffuse his paintings with divine light or invoke manifest destiny, like the Hudson River School artists; he simply showed the many small interactions of the Atlantic coastal ecosystem -- a delicate balance of dock workers, harbor pilots, fishermen, farmers, waterfowl and American Indian tribes. Some 50 of Cunningham's cheerful, intensely colored paintings are on view at the Lincoln Square branch of the American Folk Art Museum. Whether you think of Cunningham as a folk artist or a Modernist, his paintings display an intuitive grace. 2 Lincoln Square, Columbus Avenue between 65th and 66th Streets, [phone], folkartmuseum.org. (Karen Rosenberg)

BROOKLYN MUSEUM: '$;MURAKAMI,' through July 13. Bring the kids and the shopping-centered tweens. This survey of Takashi Murakami, the artist frequently called the Japanese Andy Warhol, has it all: immense, toylike sculptures; an animated cartoon that rivals Disney; and a fully functioning Louis Vuitton boutique (Brooklyn's first!) selling Murakami bags. But it also elucidates the trajectory of an artist who began by recycling Japanese popular culture and then gradually figured out how to go deeper, harnessing Japanese traditions of painting, craft and spirituality. The art-commerce, high-low conundrums are fun, but the steady improvement in the paintings is the real heart of the matter. Along with the animated cartoons, which should please aesthetes of all ages, there is a moral component as well. 200 Eastern Parkway, at Prospect Park, [phone], brooklynmuseum.org. (Smith)

BROOKLYN MUSEUM: 'UTAGAWA: MASTERS OF THE JAPANESE PRINT, 1770-1900,' through June 15. This fascinating show tells the story of a group of artists that dominated the woodblock print business in Japan for much of the 19th century. Not everything in it is a masterpiece, but among its 95 prints are stunning portraits of actors, geishas and warriors; colorful retellings of old myths; views of contemporary urban life; and gorgeous, poetically captivating landscapes. (See above.) (Johnson)

COOPER-HEWITT NATIONAL DESIGN MUSEUM: 'ROCOCO: THE CONTINUING CURVE, 1730-2008,' through July 6. This enthralling show has an extraordinarily high sumptuousness quotient. It explores the 18th-century Rococo style and its legacy, with a focus on furniture, ceramic vases, jewelry, mirrors, snuff boxes and other sorts of domestic ware. It includes works from most of the countries that Rococo reached, from Germany to Guatemala; takes in 19th-century Rococo revivals; and pursues the spirit if not the actual style of Rococo into the 20th century and beyond. 2 East 91st Street, Manhattan, [phone], cooperhewitt.org. (Johnson)

EL MUSEO DEL BARRIO: 'ART DOES NOT EQUAL LIFE: ACTIONS BY ARTISTS OF THE AMERICAS, 1960-2000,' through May 18. The redefinition of modernism(s) through the illumination of its Latin American manifestations has been one of the joys of the current New York art season. This revelatory addition concentrates on the Happenings, Conceptual and Performance Art and Body Art and video that thrived in Latin America despite, or in response to, dire political and economic situations. With photographic and video documentation in the majority, the toughness and scope of the material, aided by a thoughtful installation, create their own fascination. 1230 Fifth Avenue, at 104th Street, East Harlem, [phone], elmuseo.org. (Smith)

GUGGENHEIM MUSEUM: 'CAI GUO-QIANG: I WANT TO BELIEVE,' through May 28. This museumwide survey of a leading Chinese artist indicates considerable command of cross-cultural references and extreme appropriation, including a gang of sculptors remaking a classic Social Realist ensemble of life-size figures while you watch. Gunpowder is a favored material, violence a frequent motif. A stop-action installation of seemingly exploding cars hangs in the atrium space. Scores of arrows make pincushions of snarling tigers (stuffed), and there are carved-wood religious sculptures and an entire fishing boat. Videos documenting pyrotechnical land-art pieces go boom. The show has far more than its share of hollow spectacle. The scorched, mural-size gunpowder drawings that combine elements of performance art, Abstract Expressionism and traditional Chinese and Japanese painting are the most believable. 1071 Fifth Avenue, at 89th Street, [phone], guggenheim.org. (Smith)

JAPAN SOCIETY: 'THE GENIUS OF JAPANESE LACQUER: MASTERWORKS BY SHIBATA ZESHIN,' through June 15. In Japan, before there was plastic, there was lacquer. Shiny, waterproof and lightweight, it made an excellent coating for wooden cups, bowls, utensils and food storage containers. In the hands of a skilled, ingenious artisan like Shibata Zeshin (1807-1891) it was a high art. This beautiful show presents almost 75 objects -- many dumbfoundingly sumptuous -- and paintings by this man, considered the greatest of all Japanese lacquer artists. 333 East 47th Street, Manhattan, [phone], japansociety.org. (Johnson)

THE JEWISH MUSEUM: 'WARHOL'S JEWS: TEN PORTRAITS RECONSIDERED,' through Aug. 3. In 1980 Andy Warhol produced a series of portraits of famous Jews, including Sigmund Freud, Gertrude Stein and the Marx Brothers. When they appeared at the Jewish Museum that year, the critics hated them. But they were warmly received by Jewish audiences when they were exhibited in museums and Jewish institutions around the country. Viewing them in this return engagement, it is hard to imagine anyone growing very excited for or against such bland, posterlike images. 1109 Fifth Avenue, at 92nd Street, [phone], thejewishmuseum.org. (Johnson)

THE METROPOLITAN MUSEUM OF ART: 'JEFF KOONS ON THE ROOF,' through Oct. 26. Panoramic views of Central Park and the Manhattan skyline from the Cantor Roof Garden are distracting, but the three sculptures now on display there are well worth visiting. Each is a greatly enlarged, glossily lacquered, stainless-steel representation of something small: a toy dog made of twisted-together balloons; a Valentine heart wrapped in red foil; and the silhouette of Piglet from a Winnie the Pooh coloring book randomly colored, as if by a young child. [phone], metmuseum.org. (Johnson)

THE METROPOLITAN MUSEUM OF ART: 'GUSTAVE COURBET,' through May 18. Starting with an amazing if claustrophobic gallery of self-portraits that emphasize Courbet's ambition, attention to the old masters and inborn truculence, this show offers a grand tour of one of 19th-century European painting's most unruly geniuses. Realism, at whose prow he is usually placed, is in many ways the least of it. Several works could easily date from the 20th century, by artists like Balthus, Picabia or Max Ernst. What Courbet made most real was the sheer, implicitly ironic uncanniness of painting itself, which he conveyed in a commanding discombobulation. Some paintings barely hold together; others collapse inward into strange, shapeless masses. No artist before Picasso put so much of himself on canvas; few since have built in so many spatial booby traps, ambiguous feelings or elements of rebellion and dissent. Some were conscious; others were left for us to discover, to feel in our bones. [phone], metmuseum.org. (See above.) (Smith)

THE MET: 'POUSSIN AND NATURE: ARCADIAN VISIONS,' through May 11. If a painter can be judged by the love he inspires, Nicholas Poussin (1594-1665) was one of art history's great valentines. Corot, Delacroix, Constable and Cezanne all adored him. So did Picasso and Matisse. You can see why in this show of his post-Classical, pre-Romantic landscapes and drawings. Every age has a different style for ''serious'' in art; Poussin's was different from our own, but enthralling and moving in its moral gravity and poise. (See above.) (Cotter)

THE METROPOLITAN MUSEUM OF ART: 'TIBETAN ARMS AND ARMOR FROM THE PERMANENT COLLECTION,' through fall 2009. The paradox of militant Buddhism inspired the Metropolitan's fascinating 2006 exhibition ''Warriors of the Himalayas: Rediscovering the Arms and Armor of Tibet.'' Now Donald LaRocca, the museum's arms and armor curator, has created a follow-up installation of 35 objects from the Met's collection (including 5 acquired in 2007). This time the focus is on defense rather than offense: examples of horse and body armor, dating from the 15th through the 20th centuries, outnumber swords, guns and spears. Most of these objects have seen more ceremonial than military action. All of them equate supreme craftsmanship with defense of the body and Buddhist principles. (See above.) (Rosenberg)

MORGAN LIBRARY & MUSEUM: 'ILLUMINATING THE MEDIEVAL HUNT,' through Aug. 10. As part of a conservation effort, the Morgan Library's 14th-century hunting manuscript ''Le Livre de la Chasse'' has been temporarily unbound, affording viewers a rare opportunity to study the individual pages. Fifty illustrated leaves are on view in this show, along with other manuscripts and printed books from the 11th to the 16th century. Gaston Phoebus's authoritative text examines the characteristics of various wild animals, explores different methods of hunting and provides instruction on caring for hounds. ''Le Livre de la Chasse'' was written for medieval aristocrats, but it will appeal to contemporary athletes, nature lovers and dog owners. 225 Madison Avenue, at 36th Street, [phone], themorgan.org. (Rosenberg)

MUSEUM OF CONTEMPORARY AFRICAN DIASPORAN ARTS: DREAD SCOTT: 'WELCOME TO AMERICA,' through June 1. Dread Scott's installation with an American flag on the floor caused a flap in 1989 when the first President Bush disapproved, and this New York artist continues to make issue-specific work in a classic political-art mode. The installations, sculptures and videos in this survey dramatize Hurricane Katrina, the incarceration of black males and the Iraq war as if they were all part of a single national problem, and he argues forcefully that they are. 80 Hanson Place, at South Portland Avenue, Fort Greene, Brooklyn, [phone], mocada.org. (Cotter)

MUSEUM OF MODERN ART: 'COLOR CHART: REINVENTING COLOR, 1950 TO TODAY,' through May 12. Organized by Ann Temkin, a curator in the museum's department of painting and sculpture, color functions as a ready-made in ''Color Chart'' -- something to be bought or appropriated, rather than mixed on a palette. The show is a rejoinder to the notion of color as the province of formalists, and to the idea that Minimal and Conceptual art comes only in shades of black, white and gray. In the upper section of the lobby a floor created by the artist Jim Lambie surrounds concentric strips of brightly hued tape. In the galleries there are postwar classics by Ellsworth Kelly, Robert Rauschenberg and Sherrie Levine. [phone], moma.org. (Rosenberg)

MUSEUM OF MODERN ART AND P.S. 1 CONTEMPORARY ART CENTER: 'TAKE YOUR TIME: OLAFUR ELIASSON,' through June 30. Near the end of a decade crammed with junk-art collectibles geared to junk-bond budgets, we get bare walls, open space, light and color in this survey of work by an artist, born in Denmark in 1967, who is well known for creating immaterialist magic through bare-bones means: literally, in some cases, mist and mirrors. As optically enchanting as the results are, though, in the end we are left wanting more from Mr. Eliasson's less. [phone], moma.org; 22-25 Jackson Avenue, Long Island City, Queens, [phone], ps1.org. (Cotter)

NEUE GALERIE: 'GUSTAV KLIMT: THE RONALD S. LAUDER AND SERGE SABARSKY COLLECTIONS,' through June 30. The first New York museum show devoted exclusively to this Viennese master is less a coherent Klimt exhibition than a Klimt-o-rama. The main draw is a veritable retrospective of the drawings, erotic and otherwise, and a smattering of paintings starring the new-in-town, gold-on-gold ''Adele Bloch-Bauer I.'' Also here: a photo mural of sections of Klimt's most famous painted mural, the ''Beethoven Frieze''; a period room; photographs and personal effects, including one of the artist's signature caftans; and piped-in music, all written in Vienna of course, and available for purchase on CD. 1048 Fifth Avenue, at 86th Street, [phone], neuegalerie.org. (Smith)

NEUE GALERIE: 'WIENER WERKSTaTTE JEWELRY,' through June 30. Founded in 1903, the Wiener Werkstatte, or Vienna Workshops, set out to prove that the modern world still needed fine craftsmanship and good design. Its first product was jewelry, of which this stunning exhibition presents 40 gorgeous examples. Works in gold, silver and semi-precious stones by the workshop's co-founders, Josef Hoffmann and Koloman Moser, and others -- including, most notably, Dagobert Peche -- magically blur the line between personal ornament and miniature sculpture. 1048 Fifth Avenue, at 86th Street, [phone], neuegalerie.org. (Johnson)

NEW MUSEUM OF CONTEMPORARY ART: 'TOMMA ABTS,' through June 29. The small, hard-edged abstractions by this German-born painter, who is based in London and was the 2006 Turner Prize winner, are not showy, but they are intensely absorbing. Basic, formal elements like stripes, arcs, circles, planes and polygons are carefully layered, juxtaposed and interwoven in all sorts of subtly eccentric ways. Ms. Abts's colors are muted but seductive, and she adds highlights and shadows, creating mysterious, three-dimensional illusions. 235 Bowery, at Prince Street, Lower East Side, [phone], newmuseum.org. (Johnson)

NEW YORK PUBLIC LIBRARY, HUMANITIES AND SOCIAL SCIENCES LIBRARY: 'MONUMENTAL FRANCE: THE PHOTOGRAPHS OF EDOUARD BALDUS' AND SKETCHES ON GLASS: CLICHES-VERRE FROM THE NEW YORK PUBLIC LIBRARY,' through June 28. This pair of exhibitions focuses on the experimental period after the birth of photography (the 1850s through the 1870s). Film had not yet been invented, but glass-plate and paper negatives allowed artists to micromanage the camera's performance or to bypass it entirely. ''Monumental France: The Photographs of Edouard Baldus'' gathers 38 artisanal prints of French architectural landmarks. ''Sketches on Glass: Cliches-Verre From the New York Public Library'' presents prints made with hand-drawn glass plates on light-sensitive paper (no camera required). Together these shows reveal that artists in mid-19th-century France blurred the distinction between the photograph and the unique object. Fifth Avenue and 42nd Street, [phone], nypl.org. (Rosenberg)

NOGUCHI MUSEUM: 'DESIGN: ISAMU KENMOCHI AND ISAMU NOGUCHI,' through May 25. The Bamboo Basket Chair was the result of a brief collaboration in 1950 between the Japanese-American sculptor and designer Isamu Noguchi (1904-88) and the Japanese industrial designer Isamu Kenmochi (1912-71). The chair was never manufactured, and the prototype was lost. The example here was recreated from photographs. Mostly, however, the chair provides an excuse to compare the design careers of Noguchi and Kenmochi and examine their roles in midcentury modern design, as well as the cultural relationship between Japan and the United States. Kenmochi's ''Japanese modern'' furniture is here, as well as a room devoted to Noguchi's most popular design achievement, the Akari light sculptures. 9-01 33rd Road, at Vernon Boulevard, Long Island City, Queens, [phone], noguchi.org. (Martha Schwendener)

P.S. 1 CONTEMPORARY ART CENTER: 'WACK! ART AND THE FEMINIST REVOLUTION,' through May 12. This big, messy, fascinating scrapbook of a show focuses on the years between the mid-1960s and the early '80s, when feminism had its most intense impact on contemporary art. Presenting works by 120 women, it is uneven in quality, but the overall effect is exciting. It takes you back to a heady time when women were throwing out old, patriarchal laws and reinventing art in all kinds of idiosyncratic and sometimes dangerously extreme terms. 22-25 Jackson Avenue, at 46th Avenue, Long Island City, Queens, [phone], ps1.org. (Johnson)

THE STUDIO MUSEUM IN HARLEM: 'FLOW,' through June 29. Afropolitanism is the modish tag for recent work by young African artists. What unites them is a shared view of Africa, less as a place than as a concept, a cultural force -- one that runs through the world the way a gulf stream runs through an ocean, part of the whole, but with its own tides and temperatures. This idea, or something like it, lies behind ''Flow,'' a fine-textured survey of 20 artists who, with a few exceptions, were born in Africa after 1970 but who now live in Europe or the United States. The show is a worthy successor to ''Freestyle'' and ''Frequency,'' benchmark surveys of new African-American art. 144 West 125th Street, [phone], studiomuseum.org. (Cotter)

WHITNEY MUSEUM OF AMERICAN ART: 'WHITNEY BIENNIAL 2008,' through June 1. This year's light-touch show takes lowered expectations -- lessness, ephemerality and failure, to use the words of its young curators, Henriette Huldisch and Shamim M. Momin -- as its theme, and makes at least an appearance of trying to circumvent an object-obsessed market. With 81 artists, this is the smallest Biennial in a while, and feels that way, even as it fills three floors and more of the museum, and continues at the Park Avenue Armory (at 67th Street), with a program of installation and performance art. If the overall mix feels uncharismatic, there are good artists on hand, most with work commissioned by the museum for the occasion. In an anti-triumphalist show, uncertainty, political and existential, rules. 945 Madison Avenue at 75th Street, [phone], whitney.org. (Cotter)

Galleries: Uptown

'WINE, WORSHIP AND SACRIFICE: THE GOLDEN GRAVES OF ANCIENT VANI' In small but elegant new galleries, a study center founded in 2006 under the auspices of New York University presents its inaugural exhibition. This show offers more than 100 objects unearthed from ancient graves in Vani, a cosmopolitan city established in Colchis -- modern-day Georgia -- in the eighth century B.C. It includes beautiful, intricate gold jewelry discovered in grave sites of the rich and powerful; the life-size bronze torso of a youth made in classic Hellenistic style; and two strikingly exotic bronze lamps with functional parts in the form of elephant heads. Institute for the Study of the Ancient World, 15 East 84th Street, [phone], nyu.edu/isaw, through June 1. (Johnson)

Galleries: SoHo

'SUBSTRACTION' This show of large-scale paintings by six young artists proposes a new fusion of postwar abstraction and graffiti art. Despite an infectious spirit, originality is scarce. Reason for going: three canvases by Sterling Ruby push spray-can painting to new heights of atmospheric toxicity that some are calling ''Gangsta Rothkos.'' Deitch Projects, 18 Wooster Street, near Grand Street, [phone], deitch.com, through May 24. (Smith)

Galleries: Chelsea

KENNETH TIN-KIN HUNG: 'RESIDENTIAL ERECTION' Looking at Mr. Hung's art is like peeking into the fever dream of an overworked political blogger. In a John Heartfield-meets-Monty Python style, his manic, computer-animated montages gleefully skewer all comers, left and right, including President Bush, Rush Limbaugh, Oprah Winfrey, Michael Moore and the current and former contenders in this year's presidential race. Postmasters, 459 West 19th Street, [phone], postmastersart.com, through May 10. (Johnson)

MCDERMOTT & MCGOUGH: 'DETROIT' The McDermott & McGough Wayback machine is now parked in the American 1950s. Though predictably campy, the duo's treatment of this destination is impressively suave and emotionally complex. This exhibition at Nicholas Robinson consists of extraordinarily lucid, richly colored staged photographs resembling stills from an old film about teenage love, desire, wanderlust and guilt. Nicholas Robinson, 535 West 20th Street, [phone], nrgallery.com, through May 17. (Ken Johnson)

SCOTT OLSON The small paintings in this artist's first solo show filter a loosely Constructivist geometry through the scale and turned-in concentration of manuscript illumination. Their outsize emphasis on process, amplified by contrasting techniques, colors and surfaces, makes them extra engrossing, especially for canvases not much larger than your face. Taxter & Spengemann, 504 West 22nd Street, [phone], taxterandspengemann.com, through May 10. (Smith)

PIOTR UKLANSKI One of the bad boys of contemporary art goes big time and sustains quite a bit of his badness. Diverse works in a labyrinth of galleries move through the pomp and circumstance of the Communist, Roman Catholic and Modernist beliefs; Polish Christmas traditions; and the Solidarity movement, with a closing reference to the 1944 Warsaw uprising against the Germans. Festivalist identity-art spectacle is a target; yet a sense of Polish suffering and pride comes across. Gagosian Gallery, 522 West 21st Street, [phone], gagosian.com, through May 17. (Smith)

Galleries: Other

'NEW YORK COOL: PAINTING AND SCULPTURE FROM THE N.Y.U. ART COLLECTION' This exhibition subjects the late '50s and early '60s -- a period normally seen as a transitional phase between Abstract Expressionism and Pop, Pollock and Warhol -- to intense scrutiny. It reintroduces minor characters like Seymour Lipton, Robert Goodnough and Conrad Marca-Relli, and exposes hidden sides of well-known artists (Miriam Schapiro's early geometric abstraction). It reminds us that the art world of that time was a multifarious scene shaped by artists beyond Robert Rauschenberg and Jasper Johns. Grey Art Gallery, New York University, 100 Washington Square East, Greenwich Village, [phone], nyu.edu/greyart, through July 19. (Rosenberg)

BLAKE RAYNE The abstract paintings in this show, an important one for this impressive New York artist, were made with aerosol spray directed at folded, cut and stitched-together canvas. And the pictures are only part of a larger conceptual package that includes the display of the paintings' shipping containers and has involved closing the gallery for a week. Mr. Rayne's taking apart of art conventions is erudite, visually effective and of a piece: the installation looks like a cross between a paneled library and a spreading bruise. Miguel Abreu Gallery, 36 Orchard Street, Lower East Side, [phone], miguelabreugallery.com, through May 18. (Cotter)

'UNDER PAIN OF DEATH' This uneven show about capital punishment has too many pieces that are only indirectly related to the theme, but it has some thought-provoking works, including ''The Last Supper,'' an Errol Morris-style documentary film by Mats Bigert and Lars Bergstrom, about preparing final meals for condemned prisoners; and an understated, oddly abstracted video by Harun Farocki in which surveillance tapes reveal murderous conditions in a maximum-security prison. Austrian Cultural Form, 11 East 52nd Street, [phone], acfny.org, through May 10. (Johnson)

Out of Town

SMITHSONIAN AMERICAN ART MUSEUM : 'COLOR AS FIELD: AMERICAN PAINTING, 1950-1975,' through May 26. An overdue, if far from perfect, reconsideration of Color Field painting reintroduces the joyful pictorial derring-do of an art movement partly done in by the single-minded advocacy of its biggest fan, the great American art critic Clement Greenberg. It is wonderful to see some of the best of this work float free of the Greenbergian claims for greatness and inevitability, propelled by the fantastic soft power of brilliant color, big scale and judicious amounts of pristine raw canvas -- especially as wielded by Helen Frankenthaler, Morris Louis, Kenneth Noland and Jules Olitski. Perhaps humorless power-lust prevented Greenberg from seeing that if, as he said, Abstract Expressionism was Baroque, then Color Field might be Rococo: beautiful, sometimes frivolous and even comedic. Eighth Street and F Street, NW, Washington, [phone], americanart.si.edu. (Smith)

Last Chance

ASIA SOCIETY AND MUSEUM: 'DESIGNED FOR PLEASURE: THE WORLD OF EDO JAPAN IN PRINTS AND PAINTINGS, 1680-1860' Organized by the Japanese Art Society, this show anchors the ''floating world'' of ukiyo-e prints firmly in economic and social reality. It includes works by well-known artists, including Hokusai and Hiroshige, and emphasizes the entrepreneurial role of print publishers and the relationship between printmaking, painting and literature in the Edo period. Because the prints are sensitive to light, ''Designed for Pleasure'' will be shown in two installments. 725 Park Avenue, at 70th Street, [phone], asiasociety.org; closes on Sunday. (Rosenberg)

ASHLEY BICKERTON In garish digital photographs printed on canvas, partly overpainted and presented within wide, wooden frames elaborately decorated to resemble Indonesian tourist kitsch, Mr. Bickerton stars as an Ugly American in a South Pacific paradise. His skin is blue, and he is accompanied by voluptuous female islanders whose partly nude bodies are painted in tropical hues. The question is, does unchecked hedonism lead to erotic utopia or moral insanity? Lehmann Maupin Gallery, 540 West 26th Street, Chelsea, [phone], lehmannmaupin.com; closes on Saturday. (Johnson)

'DAN FLAVIN: THE 1964 GREEN GALLERY EXHIBITION' We're used to seeing Dan Flavin's fluorescent light sculptures in spiffy and august museum settings, where they can look sleek and grand, with no hardware-store bloodlines showing. But when the work initially appeared more than 40 years ago, it made a different impression. And we can sense what it might have been from this re-creation of Mr. Flavin's first solo -- at the Green Gallery, owned by Richard Bellamy, in the late fall of 1964 -- using fluorescent tubing as the sole medium. Zwirner & Wirth, 32 East 69th Street, [phone], zwirnerandwirth.com; closes on Saturday. (Holland Cotter)

INTERNATIONAL CENTER OF PHOTOGRAPHY: 'ARCHIVE FEVER: USES OF THE DOCUMENT IN CONTEMPORARY ART' You need no grounding in art theory to understand the messages generated by this powerful brain-pincher of a theme show. The archive of the title is less a thing or a place than a concept, an immersive environment: the sum total of documentary images, mostly photographic, circulating in the culture, on the street, in the media and finally in what is called the collective memory. From an Andy Warhol silk-screen of a black civil rights demonstrator attacked by police dogs, to a gallery wallpapered with the front pages of international newspapers reporting on the destruction of the twin towers, truth, untruth and their consequences make up the riveting story here. 1133 Avenue of the Americas, at 43rd Street, [phone], icp.org; closes on Sunday. (Cotter)

INTERNATIONAL CENTER OF PHOTOGRAPHY: 'THE COLLECTIONS OF BARBARA BLOOM' Instead of the walk-in installations for which Ms. Bloom is best known, this survey displays pieces from different phases of her career as discrete works of sculpture, assemblage, collage, photography and design. This is confusing, but attentive viewers will profit from studying her ideologically subversive, dryly humorous and formally inventive play with many different forms of representation, from faux-antique plaster self-portrait busts to a found-object sculpture in the form of a Braille edition of Playboy magazine. (See above.) Closes on Sunday. (Johnson)

SHERRIE LEVINE Sleek even in her own terms, the 18th New York gallery solo of this appropriation-art pioneer juxtaposes rows of nature-lover postcards, individually framed, with two polished bronze sculptures that pit realism against Modernism, while lampooning the inflated art market. The postcards' emphasis on nature and unfettered perception is very suggestive, given Ms. Levine's usual cerebral machinations. Paula Cooper Gallery, 534 West 21st Street, Chelsea, [phone], paulacoopergallery.com; closes on Saturday. (Smith)

RYAN MCGINLEY: 'I KNOW WHERE THE SUMMER GOES' Ryan McGinley has come a long way from his 2003 solo debut at the Whitney Museum of American Art, which featured shots of bratty young rebels reveling in bodily fluids. His latest photographs, inspired by nudist magazines from the '60s and '70s and enhanced by atmospheric effects like fog machinesand fireworks, have a gentler, midsummer-night's-dream air of magic and mischief. The photographs convey the idea, rather than the experience, of spontaneity; Mr. McGinley has been candid about the fact that his road trips are methodically produced events involving carefully screened and directed models. Team Gallery, 83 Grand Street, between Wooster and Greene Streets, SoHo, [phone], teamgal.com; closes on Saturday. (Rosenberg)

THE METROPOLITAN MUSEUM OF ART: 'JASPER JOHNS: GRAY' Since his paintings of targets and American flags took the art world by storm 50 years ago, Jasper Johns has been a cultural fact and the subject of numerous museum exhibitions. But this is one of the best. Moody, opulent and eloquent, it singles out his many paintings in gray, the color at the core of his sensibility, along with numerous sculptures, drawings and prints that are inherently gray. Together they chronicle his maturation from brilliant, methodical young artist to a deeper, more lyrical, less predictable one. And frankly, it is almost a relief to follow the incessant unfolding of this singular career without the brightly colored, better-known masterpieces. [phone], metmuseum.org; closes on Sunday. (Smith)

THE MET: 'SILVERSMITHS TO THE NATION: THOMAS FLETCHER AND SIDNEY GARDINER, 1808-1842' Blending neo-Classical kitsch, patriotic flair and superb craftsmanship, the Philadelphia silversmiths Thomas Fletcher and Sidney Gardiner pumped up the genre of the commemorative cup to works of awesome, small-scale monumentalism. Standing almost 30 inches from its hairy paw feet to the furrowed brow of a bellicose eagle mounted on the lid of its soup tureen bowl, an urn made in 1813 to honor Capt. Isaac Hull was at the time the heaviest, tallest and most complex work in silver ever produced in North America. It is still pretty impressive. (See above.) Closes on Sunday. (Johnson)

'NEOREALISMO: POSTWAR PHOTOGRAPHY IN ITALY' With 82 images by 19 photographers, this wonderful show is a crash course in the extraordinary pictures taken of Italy stumbling back to life after World War II. Against a backdrop of whitewashed villages and timeless landscapes that sometimes evoke Renaissance paintings, scenes of poverty, harsh labor and desolation alternate with displays of spirit, perseverance and tenderness. Impish children, craggy old men, black-clad clergy and widows and ubiquitous bicycles -- they all create an ambience you can almost taste, and they had an indelible effect on Italian and French cinema. Steven Kasher Gallery, 521 West 23rd Street, Chelsea, [phone], stevenkasher.com; closes on Saturday. (Smith)

THOMAS NOZKOWSKI At 64, Mr. Nozkowski has erased the division between geometric and organic form -- an early Modernist bugaboo -- melding them into a signature style unburdened by a signature motif. Each painting feels like a new adventure in shape, space, color and suggested meaning, and also like a joke on Modernist seriousness that is also serious, most of all in its visual richness and telling surface variations. PaceWildenstein, 534 West 25th Street, Chelsea, [phone], pacewildenstein.com; closes on Saturday. (Smith)

ALICE O'MALLEY: 'COMMUNITY OF ELSEWHERES' An old-style space on the rapidly gentrifying Lower East Side gives a sense of undergrounds present or recently past in this show of Alice O'Malley's full-length portrait photographs. Artists (Nicole Eisenman, Justine Kurland, Jocelyn Taylor); poets, (Eileen Myles); performers, (Dean Johnson); party givers (Kenny Kenny); and professional partygoers (Viva) mingle in a display organized by the singer Antony that catches a still gritty cross-dressing, reverse-grandeur moment that wasn't so long ago -- about 2001 -- but is fading fast. Participant Inc., 253 East Houston Street, Lower East Side, [phone], participantinc.org; closes on Sunday. (Cotter)

WALTER ROBINSON: '80S PAINTINGS' In the wake of Richard Prince's exploitation of pulp fiction book covers, their precedents deserve consideration. They include the early 1980s paintings of Walter Robinson, the artist, critic, editor, newshound and founder of Artnet.com. With appropriate bravura and irony undercut by an appealing sincerity, they depict icy blondes, torrid lovers, the occasional beach scene or handsome American G.I., and they are almost too up to date for their own good. Metro Pictures, 519 West 24th Street, Chelsea, [phone], metropicturesgallery.com; closes on Saturday. (Smith)

DIETER ROTH One of the best shows of drawing anywhere in the city packs more than 500 works by a single artist into one Chelsea gallery. The artist, Dieter Roth (1930-98), is best known for his conceptual experiments with decaying foodstuffs; sculptures with chocolate and sausage were the focus of a 2004 retrospective at the Museum of Modern Art and P.S. 1. Roth was also a prolific printmaker and, as this show reveals, a tirelessly inventive draftsman who could make powerfully organic art out of substances that weren't perishable or pungent. Gladstone Gallery, 515 West 24th Street, [phone], gladstonegallery.com; closes on Saturday. (Rosenberg)

AARON VAN ERP AND SEBASTIAN LUDWIG Introducing the work of two young painters -- one Dutch (Mr. van Erp), one German (Mr. Ludwig) -- this exhibition suggests Luc Tuymans and Neo Rauch as the poles of current European painting. Mr. van Erp spitefully inserts small, grotesque figures into brushy, gray Tuymans-like vagueness, as in ''Nocturne With Smoldering Dog.'' Mr. Ludwig's labor-intensive surfaces direct elements evocative of tapestries, intarsia screens and German woodcuts toward Surrealism. Both painters are extremely adept and thoughtful, if presently timid. Sperone Westwater, 415 West 13th Street, West Village, [phone], speronewestwater.com; closes on Saturday. (Smith)

'YOU & ME, SOMETIMES ...' In this intriguingly textured group show, organized by Sandra Antelo-Suarez, history, politics, pop culture and conceptualism do a dance, and objects glance off one another without quite touching. Cool shows tend to work this way at present, to be about something but not. And any show with Minerva Cuevas, Allan Kaprow, Karin Schneider and Francisco de Goya tends to work well, and it is even better when the show includes work by artists not often seen here: in this case the young Bosnian conceptualist Sejla Kameric; the New Zealand filmmaker Darcy Lange; Mario Garcia Torres of Mexico City; and the Italian-born Claudio Perna (1937-1997). Lehmann Maupin, 201 Chrystie Street, at Stanton Street, Lower East Side, [phone], lehmannmaupin.com; closes on Saturday. (Cotter)