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Opening June 7th at Rose Gallery is Global Feminisms artist Tomoko Sawada’s Bride. Sawada’s diptychs represent a meditation on the dichotomies of old and new, east and west, and tradition and fashion.

(Tomoko Sawada, BRIDE, 2007, 1983, 19.75 x 19.75 in., Lambda print mounted on Alpolic. Courtesy: Rose Gallery.)

“Not for the prude, humor-less, or squeamish!” June 4th through 14th, apexart presents a series of free events entitled Come Out & Play. Wednesday’s event, Supermasochist, perhaps the most controversial on the week’s bill, will feature a discussion with Sheree Rose, collaborator and dominatrix of her late husband Bob Flanagan. A screening of Sick: The Life and Death of Bob Flanagan, Supermasochist will be preceded by relevant short films by numerous artists.

(Courtesy: apexart.)

Chez Bushwick Presents Three Films by Yvonne Rainer, the final two of which occur on June 11th, with a screening of Murder and Murder (1996), and June 18th, with a screening of Privilege (1990).

(Courtesy: Chez Bushwick.)

Work by abstract artist Carol Ross, Paintings 1988-1990, remains on view through June 14th at Janos Gat Gallery. In this collection, one can sense Ross’s unique, often feminine approach to the transition from the modernist, flat, painted canvas to a minimalist unified object.

(Carol Ross, Arch, 74 x 68 inches. Courtesy: Carol Ross.)

Also through June 14th, Global Feminisms artist Lee Bul presents an exciting installation of work at Lehmann Maupin in her first solo exhibition in New York.

(Lee Bul, Sternbau 4, 2007, crystal, glass, and acrylic beads on nickel chrome wire, stainless steel, and aluminum armature. Photo: Patrick Gries. © Lee Bul, © Fondation Cartier pour l’art contemporain. Courtesy: Fondation Cartier pour l’art contemporain, Paris, and Lehmann Maupin.)

Andrea Meislin Gallery currently hosts Gender This, a show of paintings by Shelley Adler, through June 21st. Adler’s portraits of ambiguously-gendered figures invite the viewer to question her assumptions about the gender of Adler’s other subjects as well.

(Shelley Adler, Untitled (Blue Woman), 2007, oil on canvas. Courtesy: Andrea Meislin Gallery.)

Jack *%SS is now open, through June 28th, at Susan Inglett Gallery and includes work by Marina Abramovic, Sophie Calle, Carolee Schneemann, and Sara Greenberger Rafferty. The exhibition takes its title from the MTV show of the same name which features stunts and pranks acted out by and upon its cast of characters; Jack *%SS explores the value of similar tactics executed in the realm of contemporary art.

(Sara Greenberger Rafferty, Lucky Not Funny, 2006, C-print, 24 x 16 in. Courtesy: Sara Greenberger Rafferty.)

He/She Series - Sequel, paintings by Rachel Friedberg, is open through June 28th at Kouros Gallery.

(Rachel Friedberg, Kayla’s Skirt, 2008, encaustic on panel, 30 x 20 in. Courtesy: Kouros Gallery.)

Trappings: Stories of Women, Power and Clothing by Two Girls Working: Tiffany Ludwig and Renee Piechocki opens at 516 Arts on June 13th and remains open at Nicolaysen Art Museum through July 27th. Trappings, which now includes over 600 participants, is an ongoing documentary and oral history project that poses the question “What do you wear that makes you feel powerful?” to women across the country.

(Two Girls Working: Tiffany Ludwig and Renee Piechocki, Trappings, Stephanie Rivera, 2005, Santa Fe, New Mexico. Courtesy: Two Girls Working: Tiffany Ludwig and Renee Piechocki.)

Keith Haring’s Houston Street and Bowery Mural has been recreated through the collaborative effort of the Keith Haring Foundation, Goldman Properties, and Deitch Projects. Though Haring’s mural existed for only a few months in 1982, its recreation embodies the bold vitality of Haring’s oeuvre and echoes Haring’s interest in the public visibility of his art.

(Mural at Houston and Bowery Street by Keith Haring, ©1982 The Estate of Keith Haring. Photograph by Tseng Kwong Chi ©1982 Muna Tseng Dance Projects, Inc., New York. Courtesy: The Keith Haring Foundation and Deitch Projects.)