Art and Museums in NYC This Week

“Eiffel Tower,” a 1924 oil painting by the French artist Robert Delaunay, and an oak side chair designed by Frank Lloyd Wright. CreditChang W. Lee/The New York Times

Our guide to new art shows — and some that will be closing soon.

‘JAPANESE BAMBOO ART: THE ABBEY COLLECTION’ at the Metropolitan Museum of Art (through Feb. 4). This fabulous show celebrates Diane and Arthur Abbey’s gift of some 70 bamboo baskets and sculptures, which nearly doubles the Met’s already outstanding holdings in this genre and brings them into the 20th and 21st centuries. The curator has embedded this trove within what is essentially a second exhibition that traces bamboo’s presence through folding screens, ink paintings, porcelain, netsuke, kimonos and more. (Roberta Smith)

‘ETTORE SOTTSASS: DESIGN RADICAL’ at the Met Breuer (through Oct. 8). No surprise here: The first big New York survey of this many-styled Italian design guru’s 60-year career has a combative air. You may argue your way through the show, and also take issue with some of its contextual artworks — the exhibition is nearly half non-Sottsass — but it is an invigorating, illuminating experience. (Smith)

Last Chance

‘EUGEN GABRITSCHEVSKY: THEATER OF THE IMPERCEPTIBLE’ at the American Folk Art Museum (closes on Aug. 20). Eugen Gabritschevsky was well on his way to a successful career as a geneticist when a series of nervous breakdowns left him, in his late 30s, institutionalized. Unable to continue his research, he turned to his other childhood passion — drawing. The quality of the more than 3,000 gouaches he produced over the next five decades is mixed, but at its best, Gabritschevsky’s work presents a series of mesmerizing dispatches from some archetypal dream world. (Will Heinrich)

‘THE JAZZ AGE: AMERICAN STYLE IN THE 1920s’ at the Cooper Hewitt, Smithsonian Design Museum (closes on Aug. 20). While handsomely and mostly filled with Art Deco, this exhibition has banished those words — Art Deco, that is — in an attempt to show how American design was shaped by numerous European influences and to acknowledge the importance of jazz, the African-American invention that was this country’s first original modernism. Still, for better and for worse, it can’t evade the happy-few obliviousness of Deco’s relentless high-end glamour. (Smith)

‘MAKING SPACE: WOMEN ARTISTS AND POSTWAR ABSTRACTION’ at the Museum of Modern Art (closes on Aug. 13). The work in this show, dating from the end of World War II to the beginning of second-wave feminism, is all abstract and all by women. And although the exhibition starts in what feels like honorable-mention mode — Lee Krasner is here, for instance, but not in the museum’s permanent galleries of Abstract Expressionism — it doesn’t stay there. Instead, it goes for difference and stays with it, introducing us to artists of diverse geographic and ethnic backgrounds whom we may not know, or have an institutional context for. Among them are such luminaries, present and past, as Etel Adnan, Ruth Asawa, Lina Bo Bardi, Bela Kolarova, Anne Ryan and Lenore Tawney. (Holland Cotter)

‘UPTOWN’ at the Wallach Art Gallery (closes on Aug. 20). Columbia University’s art gallery has a new home: a white pavilion, designed by Renzo Piano, a shout away from the 125th Street Fairway supermarket. It opens with a showcase of contemporary art by the Wallach’s neighbors, and it’s got real Harlem terroir. Nari Ward reworks a liquor store sign into a flower-strewn altarpiece, as redolent of Afro-Caribbean rites as the French Rococo; the married artists Julie Mehretu and Jessica Rankin duet in a suite of allusive works on paper, an act of creation and an act of love. (Jason Farago)