Fall Preview

Given the examples of Rauschenberg (at the Guggenheim) and Diebenkom (at the Whitney), one can easily see how “abstraction” has become a catchall for everything from the nonobjective to the nearly recognizable. Even within those extremes, the variations are endless. In the former camp, for instance, are painters like Cora Cohen, who pours and brushes paint onto a stretched drop cloth, scrapes it away, then adds it again, a process that often produces inexplicably lateTumeresque colorations (Jason McCoy, 41 East 57th Street; September 10 to November 1)