Sarah Lucas

LONDON Tate Britain Two monumental cast concrete marrows, Florian and Kevin (both 2013), greet visitors at the entrance to Tate Britain. These blatantly phallic forms are a fitting precursor to “Happy Gas,” an exuberant, if irreverent, survey of Sarah Lucas’s practice over four decades.

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Anne Wu

BROOKLYN Smack Mellon Descendants of Bauhaus or De Stijl interiors, Wu’s sculptures assert bright, clean lines and use commonplace industrial materials. They evoke Fred Sandback’s 1999 description of his geometric yarn sculptures as “drawing that is habitable” and prompt associations or recollections.

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Georg Baselitz

LONDON Serpentine With their alarming height and imperfect, seemingly unfinished surfaces, which lend a strangely animated quality, Baselitz’s figures present a perplexing dichotomy. They are clumsy and anatomically skew-whiff, yet winningly vulnerable.

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Cynthia Lahti

NEW YORK James Fuentes Lahti uses a range of clays, from dark red to porcelain, and she also varies her sculpting, glazing, and firing methods (which include raku and salt firing). Her approach to building heads and figures seem to reference a wide swath of art history.

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