In a neighborhood often associated with a younger generation of up-and-coming artists, Odetta gallery owner Ellen Hackl Fagan’s express interest is in exhibiting works by “mid-career artists who have honed their craft and their vision.” An accomplished artist and consummate music lover who named her small gallery after the legendary folk roots vocalist, Fagan’s broad curatorial vision, which she refers to as “Buddha Mind, Minimalism, playfulness and encyclopedic obsessiveness,” embraces contemporary painting, sculpture, installation, and photography. She also recognizes that even artists who have labored for many years still struggle to gain a foothold in the competitive gallery scene. In addition, Fagan seeks to create group shows where each artist’s work engages with the others, as well as with the audience.

Jo Yarrington’s “Ghost Girls” brings together photographically derived images with translucent materials, including glass wax surfaces, and found objects to explore, in her words, “our own sense of perception.”

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A group of 600 female artists convened on Sunday morning, October 23, in the Beaux-Arts Court of the Brooklyn Museum for “Now Be Here #2, NYC,” which the organizers have called the largest group portrait of female and female-identifying artists in New York. The project was conceived by artist Kim Schoenstadt, and was first put together in August, in Los Angeles at Hauser Wirth & Schimmel gallery, which drew 733 artists.

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UPON entering the Leir Atrium at the Aldrich Contemporary Art Museum, visitors will find themselves surrounded by images from inside an enormous human eye. The eye belongs to Jo Yarrington, an artist based in Norwalk and New York City who created the installation, which she calls “Ocular Visions,” using floor-to-ceiling color transparencies of photographs taken of the inside of her eye with sophisticated optometric equipment. Video animation of Ms. Yarrington’s eye captured by similar equipment is being projected in the Aldrich’s camera obscura.

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