••• A slightly clearer look at what the four-story building under construction at 229 Hudson (south of the Arlo hotel).

••• Opening January 19 at the New York Academy of Art: “Piss and Vinegar: Two Generations of Provocateurs contrasts five men from the 60s and 70s (Robert Arneson, Robert Colescott, R. Crumb, Peter Saul, and Robert Williams) whose work incorporated satire, political and sexual provocation, gore, grotesquerie, and counter-culture themes, against five female artists working today (Nina Chanel Abney, Sue Coe, Nicole Eisenman, Natalie Frank, and Hilary Harkness), whose paintings embody the same subversive spirit. As part of the exhibition, on January 18, we’re hosting a discussion on Visual Art and Humor between art critic Ken Johnson and Robert Mankoff, the cartoons editor of The New Yorker and a panel discussion on January 25 with artists from the show. All are free and open to the public.” Below: Nicole Eisenman’s “Were Artist.”

••• Press release: “On January 29, the Museum of Jewish Heritage joins with the National Yiddish Theatre Folksbiene to honor the memory of Nobel Laureate Elie Wiesel, who died on July 2, 2016, by presenting a community reading of his landmark memoir Night, which tells of his experience in German concentration camps with his father during the Holocaust.” It’s a starry list of readers. The email says that “To reserve Tribute tickets, visit mjhnyc.org/tribute or call 646-437-4202,” but the website says, “A waiting list is available if you would like to attend the event in person. You will be contacted by email if tickets become available. Up to four tickets may be requested.” Either way: “The event will be live streamed on the Museum’s website at: mjhnyc.org/night.”

••• Opening January 19 at Apexart: “Animal Intent explores trends through the work of artists who partner with non-humans in the creation of unique aesthetic languages. Rather than merely representing animals, using them as surrogates, or politicizing their bodies as part of a broad social critique, these artists treat animal instinct as a form of stylistic invention in its own right. As such, their work questions the validity of anthropocentric theories of creative labor by emphasizing the aesthetic intention of animals. Animal Intent thus highlights the possibilities, limits, and ethics of collaborating with non-human others in the realization of artistic projects, while subtly questioning theories of the post-human and its contrary: the anthroposcene.”

••• Opening January 19 at Patrick Parrish: Heads, Arms, Forms, Holes, “a solo exhibition of new ceramic works by Brooklyn-based artist Guy C. Corriero. A longtime painter, Corriero made a fluke decision in 2011 to begin working with clay. His self-taught technique—making hand-formed, irregular vessel-objects with cascading glazes—developed in response to Bill Tucker’s heavy bronze boulders and Petah Coyne’s black sand cloud hearts, as well as the school projects his young daughter brought home to him.”