meet n fuck star mission parts brands

The year is 3050. The male population has decreased dramatically as a result of long, bloody, intergalactic wars. Now all men are property of the United Galactic Federation and are used only for reproduction purposes. In special cryogenic capsules, male individuals are shipped to different parts of the universe for the settlement of new planets. Our hero Chuck is one of those guys. After awaking from hyper sleep he decided that time of sexual revolution has come! Meet and Fuck several hot virgin babes, slut whores, and lovely little clits.

The year is 3050. The male population has decreased dramatically as a result of long, bloody, intergalactic wars. Now all men are property of the United Galactic Federation and are used only for reproduction purposes. In special cryogenic capsules, male individuals are shipped to different parts of the universe for the settlement of new planets. Our hero Chuck is one of those guys. After awaking from hypersleep he decided that time of sexual revolution has came!

SuedHaddock, It"s an issue with flash player and the game doesn"t run properly anymore; you can play it on newgrounds and install their newgrounds flash player

SuedHaddock, Ok ignore everything before hand I figured it out. You can right click the game window on this site and go to Ruffle, install the latest build under downloads and also download the .swf of Star Mission. Then find the .swf download and right click>open with>browse more apps and open it with Ruffle. Played through and I can get past the assistant now. You"re welcome :)

3. go back to captain"s bridge. tell prisc you fixed the engine. then ask her to bring you the rooms. i had some trouble here so here"s how. go on both the arms. then the lower shin. then stomach. all the way till you get to pull her nipples and play with her pussy then pump it!!

It is 3050. The male populace has diminished drastically because of long, ridiculous, intergalactic conflicts. Presently all men are property of the United Galactic Federation and are utilized uniquely for propagation purposes. In unique cryogenic cases, male people are delivered to various pieces of the universe for the settlement of new planets. Our saint Chuck is one of those folks. Subsequent to getting up from hyper rest he concluded that season of sexual unrest has come! Meet and Fuck a few hot virgin darlings, skank prostitutes, and flawless little clits.

Meet N Fuck Star Mission is a game from Popcap Games, where you play as either HIV infected nurse or other medical staff. This interactive adult game (still in alpha stage) revolves around the story of a young woman called "Samantha" who finds herself in the unenviable situation of having to care for her sick father while also trying to maintain her social life, going out with her friends and generally trying to make ends meet. When her HIV infected brother suddenly gets better, Samantha finds herself in the position of not only having to care for him but also of finding a way to support herself and keep up with her ever-increasing pile of debt.

You play as Samantha, who is shown through text messages and picture messages that your father is ill and is soon to have another operation. The first task that you are given is to find out whether there"s a way that you can pay for his operation so that he can be well enough to have more energy to work and can leave bed soon. You then enter a world that is set after the events of the last game you played, where people still blame you for not telling them about your brother"s condition, where money has become almost worthless because of inflation and everyone has lost their jobs. You are now tasked with finding a way to pay for the operation yourself and then arranging the finance to pay for it. Meet N Fuck Star Mission turns out to be more than just an ordinary text-based mission because it tells a story, involving a plot that builds up throughout the game and evolves as you struggle to complete your mission.

The writing style is light and witty, mixing humor with a touch of reality, which may make you laugh a lot or may make you feel tense. Popcap Games has managed to make this game very engrossing and interactive thanks to the writing style and the excellent graphics that accompany it. In fact, Meet N Fuck Star Mission looks really good in a flash and offers some pretty impressive effects that really bring life to the world that is presented on screen. The use of cut scenes and funny lines really helps to add some charm to the game and you"ll love all the jokes and animations that are present.

The story of the game takes place in 20th century America, where a group of homeless people are thrown into an amusement park. Once inside they quickly become the center of attraction and begin to attract crowds of people as they tell funny stories and perform tricks. One of them, named Marco, becomes the object of their affections. Their friendship soon blossoms and they start to share information about each other, along with secrets about their past and current circumstances.

The developers have done a great job of making this game seem real. You"ll find many little details in the game that will make you think that it is almost a sequel to Meet N Deal, only with a different story. The character poses and performs physical feats that are impossible and you"ll wonder how he did it, using such a strange power. The way the characters talk, use weapons and vehicles also give the illusion that they are not in the same world, adding some mystery to the game as well.

Overall Meet N Stand Stink Star is an enjoyable game that will keep you busy for quite some time. It"s full of jokes and will keep your attention span. The music fits the cartoon perfectly and if you like skateboarding it might even be a good fit for you. If you have never seen or played a Meet N Deal game it might be worth checking them out to see if you like them and can tolerate the graphics.

If you want to play more adult games with similar graphics, you can take a look at Gloryhole RPG Game & Pulling Some Fairy Tail Adult Game, they are both great games that you will love to play.

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The year is 3050. The male population has decreased dramatically as a result of long, bloody, intergalactic wars. Now all men are property of the United Galactic Federation and are used only for reproduction purposes. In special cryogenic capsules, male individuals are shipped to different parts of the universe for the settlement of new planets. Our hero Chuck is one of those guys. After awaking from hypersleep he decided that time of sexual revolution has came!

Why on earth would anyone need a walkthrough ? Seriously ? It is Impossible to fail: even if you are so fucking retarded that you would keep clicking the wrong answers, it makes you keep clicking until you hit the right answer, in fact even if you sat jerking during the meteorite storm you still get to the sex with the gunner. Jeez.

to dining area, get sandwich. Go to captain"s bridge, talk to everyone. Go to sick bay, say headache, get pills. Go to engine room and fix plasma (flip and drag items from top to bottom). Go to captains barge, talk to assistant. (Girl"s right arm, right thigh, left arm, left thigh, stomach, below breasts, pull tits, clit, vagina) Go to turret (play minigame, no need to win). Go to captains barge talk to captain. Go to captains barge, talk to navigator and give pills (Almost same above). Go to cargo bay, and give game and force yourself on her. Click behind and swipe card. I didnt get to do t....

o to dining area, get sandwich. Go to captain"s bridge, talk to everyone. Go to sick bay, say headache, get pills. Go to engine room and fix plasma (flip and drag items from top to bottom). Go to captains barge, talk to assistant. (Girl"s right arm, right thigh, left arm, left thigh, stomach, below breasts, pull tits, clit, vagina) Go to turret (play minigame, no need to win). Go to captains barge talk to captain. Go to captains barge, talk to navigator and give pills (Almost same above). Go to cargo bay, and give game and force yourself on her. Click behind and swipe card. I didnt get to do t...

eing that the crib is the center point of the nursery, parents must determine the best size crib for the room, or more importantly, how big a crib the room can accommodate. Always bear in mind that the bedroom is an expression of your child"s personality and interest. Cotton will be the most well-liked option, mainly simply because it is breathable and soft; but in the event you handle to seek out a materials that is a lot softer than cotton, then by all means, purchase it. Plus, cotton is a extremely durable and your little guy will not wear them out. Are you looking for a great selection of ...

if you cant figure out the engine part then u stupid as hell. and btw we need more of these kinds of m"n"fs YOU HEAR ME GAMES OF DESIRE!?!? MAKE MORE LIKE THESE NOT THOSE SHIT DEMOS!

i"m stuck on the navigator. i took off her top, rubbed each tit then both, then rubbed her clit outside the panties but nothing else moves up the meter. heeeeeeelp.

the game is fucking awsome like hell. o yeh shut the fuck up 14 an under ages shit u kids r fuking annoying no hot chick will fuk u kids . wtf u kids doing on 17 up adult site anyway horny gremlin fags

the game is fucking awsome like hell. o yeh shut the fuck up 14 an under ages shit u kids r fuking annoying no hot chick will fuk u kids . wtf u kids doing on 17 up adult site anyway horny gremlin fags

someone hit me up,this made me so damn horny. my hot pussy is dripping wet, I came so much. Mmm Id like to suck on some hard cock before getting pounced and pounded from every hole!

Making the plasma battery is easy: The Bunny eared thing goes on top, glass cylinder under it, small metal cylinder goes inside the glass cylinder and then the rod goes inside the metal cylinder. For the cook, you don"t actually get a blender, you use the vibrator. To get the alcohol for Kora, just fuck the cook.

This is such an awesome game. Love the Meet "N" Fuck games. Quick question though but does anyone recognize the song in the sex scenes? I know I know the song, but I just can"t think of it.

plasma pump: top make the two "supports" face up same with the glass cylinder, now make the metal cylinder have the hallow end face down, now make the end of the rod with the bulge face up and put it into the hallow end of the metal cylinder

But, still, it was pretty good. I didn"t like the audio, and some of the girls seemed to be staring off at the wall or something, but it was stiff one of the best.

If you honestly do let your underaged son (assuming he"s underaged as he seemingly needs your permission to play), then avatars featuring dicks and the likes are the least of your problems in more ways than one.

HEY!!! TO ALL MOTHERFUCKERS WHO KEEP POSTING THEIR PICTURES OF DICKS, PLEASE MOTHERFUCKING STOP!!! I LET MY SON PLAY MEET N FUCK SO MOTHERFUCKING SHIT, PLEASE STOP POSTING PICTURES OF DICKS AND GIRLS BOUNCING UP AND DOWN!!!

ONLY PERVERTED, PEDO, RAPIST "MEN" POST PICTURES OF DICKS. NO MATTER WHAT, IF YOU SEE A FREAKING PENIS, IT"S NO DIFFERENT FROM SPAM!!! GET THIS SHIT OFF THE WEBSITE BEFORE I FREAKING PUKE!!!!!!!!!!

Also, van. SUCK MY DICK. If you know how to do it, TELL ME! Prove just how easy it is; otherwise SHUT THE HELL UP DUMBASS -_-" If you can"t prove it"s easy, like you SAY it is, then KEEP YOUR DIRTY LITTLE HOLE SHUT--and NO I don"t mean your fucking vagina

Think of the plasma engine as the cylinder in a car. The mickey-mouse hat plugs in to the two holes at the top, the clear cylinder mounts to the two green mounting brackets. The purple cylinder goes inside the clear cylinder flat side up, and the notched end of the piston rod attaches to the base of the purple cylinder.

Any walkthroughs? I can"t seem to get anywhere no matter what I do. Can"t find the alcohol, so I can"t get with the nurse; Can"t use turret to get rid of asteroids to fuck the captain or assistant--or the navigator for that matter... All three of them are SMOKIN SEXEH

The trick to the plasma pump is to place the rod, forked side up, carefully at the base of the piston. You may have to try it several times to get it lined up just right. Now does anyone know where I can DOWNLOAD these games and have them on my hard drive? My ssytem is a bit slow and it takes a long time to upload them.

Seems like the better the game is the more FAGS are on here posting cock pics that probably arent even theirs. STOP posting pics of dicks ya stupid faggots! Do you really think that you are actually gonna hook up with a girl on here?? Get real!

the plasma pump was easy, it goes the helmet up top, long tube in gap, small in long and then the rod goes screw driver end up top in bottom of small cylinder.

put the metal cylinder in the empty clear cylinder about half way up, then put the rod with the tweezer shaped side up into the hole on the bottom of the metal cylinder

lol the puzzle was a BREEZE, any videogame kid can solve it without help ^^ the ONLY chalenge in this game is to get to the ending, past all those waiting gauges, without cuming ^^ (the turret girl was my fave, really worth the effort of beating the shoot-n-up game with a broken mouse) 10 / 10!

you guys stuck on the plasma pump roucd top part horn thingies up, glass thingy side pegs on top the thing with the hole in the middle of the tube open down the rod with the big part just in the tube thingy......bad explanation should be fine......easy btw

Quite funny but if I can give some advices to gameofdesire team : please, make the girls more aged, they always look as teenies in your game, no pubies, damned !

find the moaning was from a cheap porno movie. Try getting them from an HD porn site like ztod or something else. The audio was killing me. Also the moaning shouldn"t be too exaggerated and repetitive. But nice one guys. This is the best one. Nice animation, cool story, repeatable too. You one of my fav CG hentai galleries into a full game. Also try adding the squishy squish sounds but don"t make them loud and obnoxious like "Famous Toon Facials" crap. This is the best one from all the meet n fuck games. Seriously it is. Greatly improved animation and audio. Now just improve the audio a bit m...

Metal cylinder goes on the inside middle of glass cylinder,and metal rod goes on the inside of metal cylinder,tip only,resting on inside of metal cylinder.

yo for those with the plasma problems. the little round metal piece make sure the little dent is facin down and it goes in the glass in da middle then rod goes ito it ok?

some one make a walkthrough. i fucked the captin"s assistant but then i go to her again and the plasma engine is broken again and i have to get the sand wich and all that shit all over again. wtf. where do i go

where can i find a vibrator for the cook of this game? i"m also stuck with the pump puzzle in the engineer..i gave that girl in engine room & i was right in the pump puzzle...so can someone please tell me specifically simple and clear explanation of the pump puzzle. also where can i get all the items of this game? i"m lost in dis game.. can someone tell me where i could get all the items of dis game? oh & finally an actual game not like those demos stuff..

Great ending. And for those who need help. the round part goes inside the glass with the hole on the top. then the rod goes in the bottom with the head up

For plasma pump you put the pump piece with the hole pointing down then point the bigger end of the rod in that my favorite part thats problably pretty funny is the fact the cook will use a vibrator for a potato masher

it goes inside the glass holy shit thank you that is such astonishing advice. No shit it goes inside the glass cylinder, where, it doesn"t work regardless of angle

The only thing I dont like about the MNF games is that they assume that all women shave their pussy and like it in the ass. In real life women like that are few and far between.

love the game but he should stick to his story better i mean if they needed more kids then he could have made a "fuck anything that moves" kinda game and not like this when the dude mostly shotes anal or fascicle. but still great game ;)

Ocean Cruise: Nick Sanders is a beginner photographer from Springfield. Today he"s got a really hot job. Playdude is going to send him to the ocean cruise where he will have to take 12 pictures for an annual Playdude"s calendar. It would be not so easy, because the girls on the ship are not professional models. Nick has to seduce each one of them before he could make their naked photos.

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Jackass Forever (stylized as jackass fore♥er) is a 2022 American stunt comedy film directed and produced by Jeff Tremaine, along with producers Spike Jonze and Johnny Knoxville, and was released by Paramount Pictures. It is the fourth main installment in the Jackass film series, following Jackass members Knoxville, Steve-O, Dave England, Wee Man, Danger Ehren, Chris Pontius, Preston Lacy, newcomers to the Jackass crew, and celebrity guests. This is the first Jackass film not to feature Ryan Dunn since his death in 2011 and the first without Bam Margera being a primary cast member as he was fired during production, appearing briefly in one skit.

Jackass Forever is a compilation of stunts, skits and pranks intercut with on-set talking heads with its cast. The film begins with a tribute to Chris Pontius" penis painted green over a small set of a city intercut with the cast members running through a life-size set of the same city. The intro ends with the "monster" bitten by a snapping turtle and Johnny Knoxville"s intro, "Hello, I"m Johnny Knoxville! Welcome to Jackass!"

Stunts and pranks with the main cast include Knoxville facing a bull resulting in dangerous consequences, Steve-O having his penis used as a beehive, Dave England getting pig semen dumped on him, a vulture eating pieces of meat off Wee Man"s body, Ehren McGhehey being subjected to painful tests with an athletic cup, Pontius" penis being used as the paddle for paddle ball, and Preston Lacy"s testicles being used as a human punching bag. The newcomers are also featured in many of the stunts and pranks, including Poopies fighting off a Texas Ratsnake, Zach Holmes gliding down into a bed of cactuses, Jasper Dolphin being shot off a ramp by large industrial fans while he"s holding a parachute, Eric Manaka riding a bicycle full speed into a false wall, and Rachel Wolfson having a scorpion sting her lips.

The final stunt, Vomitron, features Zach, Dave, Eric, Poopies, Steve-O and Jasper drinking milk while strapped to a high-speed carousel. As they start vomiting, Knoxville and the rest of the cast initiate an attack involving paintball guns, a tennis machine and multiple explosions. After assuring the stunt is over, one big explosion is set off, surprising the victims of the stunt.

Cameos in the intro sequence include Arthur H. Spiegel III, Errol Chatham, Alia Shawkat, Jalen Ramsey, Otmara Marrero, DJ Paul, Sean Malto, Mike Carroll, Breana Geering, Rick Howard, Compston "Dark Shark" Wilson, Tyler, the Creator, Lionel Boyce, Travis "Taco" Bennett, Louie Anderson, Syd tha Kyd, Vincent Alvarez, and Tony Hawk.

In 2018, Johnny Knoxville said that he was open to making a fourth Jackass film that may feature some new cast members, "just to bring in some fresh blood into it".green-light. In July 2019, former cast member Chris Raab said that he had interviewed the Jackass crew on his Bathroom Break podcast and noted that everyone was still open to a fourth film should Knoxville, Jeff Tremaine, and Spike Jonze agree.Jackass film. They agreed to film for two days with the entire cast to determine "if it still feels right" to make Jackass 4. "Honestly, after just five minutes of filming, we were ready to commit to making a movie", Tremaine said.Steve-O had said he was surprised the film "even came to fruition".

In May 2021, Knoxville stated the film would be his final contribution to the Jackass franchise. "You can only take so many chances before something irreversible happens," Knoxville said. "I feel like I"ve been extremely lucky to take the chances I"ve taken and still be walking around."

In January 2021, Bam Margera indicated that Paramount Pictures regards him as a liability, owing to his behavior over the last few years. He indicated that Tremaine had fought with the studio to keep Margera in the film, but Margera was uncertain that Paramount was going to allow him to partake in filming.Instagram account, in which he admitted to breaking his sobriety and claimed that he had been officially fired from the filming of Jackass 4.Oceanside, California. Margera alleged that Paramount had been forcing him to take antidepressants, submit to random urine tests, and to check in to two rehabilitation facilities using his own money. He also expressed disdain for Tremaine, Knoxville, and Jonze before asking his fans to boycott the film. He then solicited his followers to send him money in order to film his own movie to compete with Jackass Forever. The videos were removed from Margera"s Instagram account soon after being posted.restraining order against Margera due to Margera"s harassment of Tremaine and Knoxville via Instagram.lawsuit against Knoxville, Jonze, and Tremaine, as well as against Paramount Pictures, MTV, Dickhouse Entertainment, and Gorilla Flicks, alleging that he was wrongfully fired from the film"s production.Jackass Forever by attending a Zoom meeting with Knoxville, Spike, and Tremaine. However, Margera did not attend this meeting.

Wee Man stated that they originally planned to film in different locations around the world, which was ultimately thwarted by the COVID-19 pandemic. He also claimed that Paramount Pictures used Jackass Forever to see how film studios could potentially resume filming during the pandemic.sic) one million dollars".

Test filming began on December 10, 2019.Aaron "Jaws" Homoki broke his hand, and got a concussion.Principal photography started on March 3, 2020. On the first day of filming, the cast threw snakes on Bam Margera in the dark in order to induce his fear of snakes.green-light, Steve-O and Johnny Knoxville were hospitalized.COVID-19 pandemic, and resumed seven months later on October 19, 2020,

Wee Man said that out of all Jackass films, "this one hurt the most".Jackass 4.5.Ehren McGhehey ruptured his right testicle after one of the "Cup Tests".Dave England also burnt his right hand during the opening sequence. Zach Holmes got an infection after he glided into the cactus patch.

On December 19, 2019, Paramount Pictures scheduled the film for release on March 5, 2021.COVID-19 pandemic.Chinese Theatre in Hollywood, California, on February 1, 2022, and was released theatrically by Paramount Pictures on February 4, 2022.

In the United States and Canada, Jackass Forever was released alongside winter storm impacting most of the Midwestern United States. Jackass Forever went on to debut with $23.2 million.Jackass over 22 years". Box office analytics firm EntTelligence also noted the film"s runtime of 96 minutes for increasing the number of showtimes in theaters. TikTok as other contributing factors.

Outside the U.S. and Canada, the film grossed $5.2 million from nine markets, including $2.8 million in the U.K. and $1.8 million from Australia, the latter opening in first place at the box office while the film finished second in the U.K., Norway, and New Zealand.

On the review aggregator website Rotten Tomatoes, 85% of 168 critics" reviews are positive, with an average rating of 7/10. The website"s consensus reads, "A gleefully gonzo franchise revival, Jackass Forever will make you worry more than ever for the cast"s health and safety – but not enough to hold back the laughter."Metacritic, which uses a weighted average, assigned the film a score of 74 out of 100, based on 40 critics, indicating "generally favorable reviews".Jackass film on both websites.CinemaScore gave the film an average grade of "B+" on an A+ to F scale, while those at PostTrak gave it an 86% positive score, with 67% saying they would definitely recommend it.

In a 2021 interview on The Film Stage, director and producer Jeff Tremaine was asked if Eric André would make an appearance in Jackass Forever after collaborating on Jackass 4.5," Tremaine said.Ehren McGhehey said they had filmed so much for Jackass Forever and ended up with two films worth of footage. He also said that Jackass 4.5 would be similar to behind-the-scenes, unused footage, outtakes, and interviews with the cast and crew members.Chris Pontius stated that Jackass 4.5 would be released on Netflix,Johnny Knoxville later confirmed.Preston Lacy and Steve-O said that it will be available on Netflix until 2024, and will move exclusively to Paramount+ afterwards.

It’s rare to see a show as well balanced as “Nicole Eisenman: Prince,” a retrospective of more than a decade of the artist’s collaborations with the New York publishers Harlan & Weaver, Jungle Press Editions and 10 Grand Press. Like her drawings and paintings, Eisenman’s prints teem with ideas and art-historical allusions. Sometimes her sense of humor gets the upper hand, as in the lithograph “Man Holding His Shadow,” which shows a retired boxer in a windowpane-pattern suit and matching cap mournfully cradling what looks like a deflated inner tube. Sometimes it’s her tenderness, as in “Portrait of Evan,” a sensitive, impromptu portrait of an assistant at Jungle Press.

Most of the time, though, a Nicole Eisenman print is a riot of competing impulses, so it’s especially welcome to see so many of them so judiciously edited and lucidly arranged. The show also amounts to a primer on the extensive possibilities of the medium: There are little copper plate etchings made with matchsticks and string; a jigsaw woodcut monoprint, displayed alongside the printing blocks; cardboard collagraphs; a figure drawn on plywood in wax, cast in aqua resin, and printed from the cast; and seven in-progress proofs of “Watermark,” an etching and aquatint, displayed along with the final version. This last is a primer in itself, because what begins as a mysterious, mostly shadowy scene slowly becomes a highly detailed view of the artist’s children and their grandparents, complete with patterned wallpaper, trees out the windows, and tiny book titles on the shelves. WILL HEINRICH

One of Dave Schubert’s more well-known photographs, from 2003, is a seven-person street melee outside a dive bar, comical in its complexity — a suite of limbs and bicycle parts so balletically torqued it’s impossible to untangle the conflict — the kind of beautiful-absurd composition that gets mistaken for a Renaissance painting.

Much of Schubert’s work was like this, locating beauty where it would otherwise go unnoticed. Beginning in the 1990s he documented the skaters in and around Washington, D.C., where he grew up, and later, while living in San Francisco, the grimy hedonism of that city’s Mission District and Tenderloin neighborhoods. He shot graffiti writers and artists, people living on the street and the Beat poets left behind by their waning acid-soaked bohemia, capturing them with the glittering naturalism of a Weegee shot or the grainy humanism of a Robert Frank. His pictures evince a mutual respect between subject and archivist because he was one of them. (For the most part. Others took exception to the presence of his camera, which he memorialized too, in a recurring series of bloodied self-portraits.)

Schubert, who died last month, at 49, was prolific, and this show is a quickly assembled glimpse of his vision: collages of freight train burners, black-and-white near-abstractions, peeled-off snapshots of friends and associates hanging out, tagging box trucks, or ingesting drugs. Not everything is artful, but neither is everything in life, and Schubert didn’t elide reality to create something prettier. As in his portrait of a small boy, his right eye swollen shut, cradling a kitten, Schubert’s ability was to present the gruesome and the tender, often within the same frame. MAX LAKIN

ImageBernadette Corporation, “Diagram (World’s End, Erasable),” from 2023, a mural-size painting made on erasable board.Credit...via Greene Naftali, New York; Photo by Zeshan Ahmed

In the 1990s, an age of anti-globalization protests, Bernadette Corporation emerged as a collective with a series of projects that critiqued capitalism while adopting its strategies: mounting fashion shows, using branding and employing celebrities. The current show at Greene Naftali is austere by comparison, but it succinctly addresses two contemporary ideas: value and erasure.

Throughout the gallery are minimalist pedestals covered with white erasable surfaces. Pennies are stacked on the pedestals, which also include doodles, text, and rough equations taken from the notebooks of Leonardo da Vinci, drawn with dry-erase marker. Mounted on the walls are mural-size paintings — if you can even call them paintings — like “Diagram (World’s End Erasable)” (2023), which are made on erasable board and refer to visionary artists and satirists like William Blake and William Hogarth.

Stark and nostalgic, the show reminds us that most things eventually lose value and suffer erasure, from pennies to paintings, which have been marketed in recent decades as durable financial instruments. In a corner of the show, however, is a burst of the old, cheeky Bernadette: an iridescent “Untitled” (2023) basketball made in collaboration with the fashion brand Supreme. Here’s the ironic nihilism of the ’90s: If artists can’t bring down capitalism, at least they can slam it from the inside with a shiny object that splits the difference between design fetish and mass-produced readymade. With value and erasure shifting at accelerating speeds, though, that Bernadette basketball is likely worth more than those crypto shares you bought last year. MARTHA SCHWENDENER

The title of Ayanna Dozier’s debut New York solo show, “This Country Makes It Hard to Fuck,” reads like a rallying cry or lament (and comes from a song by the musician Fever Ray). The exhibition feels more like a meditation — on pleasure, bodies and how our culture mediates our relationships to both.

The heart of the show is a trilogy of 16-millimeter videos collectively titled “Close, but No Cigar.” Each stars Dozier — who, in addition to being an artist, is an incisive writer — as a different Black female character, each one sexualized and seeming to crash, emotionally, into the limits or expectations imposed on her by society. In “lovertits” (2022), she sits in a heart-shaped bathtub wearing a frilly bikini, unable to relax. “A Picture for Parco” (2022) is a re-creation of a commercial starring Faye Dunaway; it features Dozier eating a hard-boiled egg while her hypnotic face runs through a gamut of emotions, from seductive to sweet to annoyed to desperate and back in under three minutes.

In the trilogy, desire is fraught; across the gallery, in the silent video “Let’s Make Love and Listen to Death From Above” (2022), it’s liberated, as two men make out with abandon on city streets. In between hang platinum prints of still-life compositions — featuring a teacup, condoms and gynecological tools, among other things — that refer with quotidian intimacy to Dozier’s experiences.

The body is ever-present here, either visible or implied. And whether it’s immersed in pleasure or pain (or both), the takeaway is that it needs tending. JILLIAN STEINHAUER

ImageStill from Eve Fowler’s “Florence Derive” (2023), a film portrait of the French transgender painter and designer.Credit...via Gordon Robichaux NY and Morán Morán, Los Angeles; Photo by Greg Carideo

“The difference is spreading,” Gertrude Stein let us know in her language-bending, logic-bombing 1914 book “Tender Buttons.” The contemporary Los Angeles-based artist and writer Eve Fowler has been broadcasting this message for years in Stein-quoting paintings and prints, and in two videos, scored to Stein’s words, documenting the creative lives of generations of female and nonbinary artists.

To her first solo show at Gordon Robichaux, Fowler brings a suite of bright-colored text collages based on her own elliptical writings. And she has produced another invaluable video compendium, this one titled “Labor” and composed of three-minute clips of a multigenerational group of female artists, with the camera focused on their hands as they work.

The show’s highlight, though, is an 11-minute film devoted to a single artist, the French trans painter and designer Florence Derive. A familiar presence in Parisian art and fashion circles, she tells the story of her early life of gender difference: nurtured by her family as a child, then rejected by a succession of male authority figures before finally finding acceptance in the art world. It’s a stirring narrative, made all the more so by the way Fowler has filmed it. As we hear a soundtrack recording of Derive telling her story, we see her sitting silently, facing into the camera and listening to the words just as we are, her face flickering with reactions but maintaining a self-compassionate cool. HOLLAND COTTER

Each artist in “Labor of Love,” an unusually cheerful group show of labor-intensive paintings, sculptures and photographs at Rachel Uffner Gallery, presents the eye with just a little more than it can take in. Arcmanoro Niles, in his oil and acrylic portraits of Black life, leans on dense, unexpected colors, like glittering, hot-pink hair, while Hilary Pecis’s “Yellow Still Life” has an equally saturated but lighter palette. Bold and graphic as a wallpaper pattern, it’s crowded with finely observed details that seem to jostle one another for the viewer’s attention. Anya Kielar constructs flat, heroic figures from upholstered wood and foam, setting up an interesting visual clash with the beige and gray pattern of the fabric that she uses, and a sweet little mixed-media crocodile by Sacha Ingber looks like an ottoman come mischievously to life.

But the artists who really stood out to me — or, to put it another way, whose work looks best against the background of the others — were Talia Levitt and Dietmar Busse. Levitt’s colorful trompe l’oeil quilts, actually acrylics on canvas, radiate warmth and generosity. Busse, a German-born, New York-based former fashion photographer, uses darkroom chemicals like paint to make busy, naïve images on glossy black photo paper. Five oversize faces festooned with flower petals, thousands of white dots, and extra eyes, look neither psychedelic nor obsessive, though they brush against both qualities. Instead they read as a kind of self-portrait, a strangely innocent exposure of the artist as he communes with his materials and imagination. WILL HEINRICH

ImageFrom left: Thomas Struth, “The von Aretin Family, Berlin,” 2020; Thomas Struth, “The Charles Family, Berlin,” 2021; Thomas Ruff, “Portrait (F. Simon),” 1998.Credit...Struth: via Thomas Struth and Marian Goodman Gallery; Ruff: Artists Rights Society (ARS), New York/VG Bild-Kunst, Bonn; via UBS Art Collection

The history of photography over the last century, as presented in a neo-Georgian mansion that was once home to the son of the Gilded Age industrialist Henry Clay Frick, is as idiosyncratic as its venue. There is something refreshing about that.

Converted into the Nassau County Museum of Art after Childs Frick’s death in 1965, the building mostly retains its original layout. “The Big Picture: Photography’s Moment” opens in the wood-paneled and red-walled library with a selection of portraits by Man Ray, including well-known images of Coco Chanel holding a cigarette between her teeth and Elsa Schiaparelli darkly outlined in what Man Ray called a solarized portrait. There are also far more obscure Parisians, as well as a bad copy print of one of Man Ray’s greatest photographs, “Noire et Blanche,” and a fascinating shot of Lee Miller’s legs held by two circus-performing dwarfs.

Governed by what loans were available to a small institution, the show includes classics taken by Walker Evans in the South and by Dorothea Lange in California; four photos by Berenice Abbott (although none of her architectural shots of New York); many portraits of artists shot on Long Island by less prominent photographers; and a room of large prints by the German contemporary artists Thomas Struth, Candida Höfer and Thomas Ruff. The dinnerware cabinet is filled with vintage photographic apparatus, and a second-floor corridor displays anonymous photos of African Americans posing with their cars.

ImageVisitors walking through Lea Lublin’s immersive installation “Fluvio Subtunal” (Subtunnel Flow), 1969, which offered participants a series of sensuously stimulating environments.Credit...Lea Lublin; via Nicolas Lublin/1 Mira Madrid gallery

The Institute for Studies on Latin American Art (ISLAA) consistently gives us exhibitions modest in size — they might get lost in the crowd of a big museum — but weighty in names and ideas. Its current show is a prime example of the type. The four artists featured are among the leading Latin American Conceptualists of the 1960s and ’70s. And they each approach an elastic theme — in this case, mapmaking — in distinctively imaginative ways.

For the Brazilian artist Anna Bella Geiger, traditional cartography was an instrument of colonialist consumption. In a 1978 photographic piece, she cuts the shapes of Brazil and South America out of slices of bread and eats them. Margarita Paksa (1933-2020) evokes political violence in her homeland, Argentina, in a meticulously drawn 1975 map fragment pinpointing sites of revolutionary activity, overlaying the image with the bannerlike phrase “Libres o Muertos” (Free or Dead).

In 1969, the French-Argentine artist Lea Lublin (1929-1999) took topography in a different liberatory direction in a blueprint sketch (seen at ISLAA in facsimile) for a mazelike immersive installation called “Fluvio Subtunal” (Subtunnel Flow) that led participants through a series of sensuously stimulating environments. By contrast, the geography that interested the Mexican artist Magali Lara is an inward one: a landscape of personal histories and emotions, animated by 1970s feminism that she navigates in delicate, color-coded abstract watercolors.

The ideas of all four artists can be explored in a takeaway brochure (ingeniously designed by Ramón Tejada) with a probing essay by the curator Cecilia Fajardo-Hill. Altogether, some kind of perfect package. HOLLAND COTTER

In “If 6 Was 9,” Jimi Hendrix sings, “Now if a 6 turned out to be 9 / I don’t mind … / ’Cause I got my own world to live through / And I ain’t going to copy you.” The artist Renée Stout refers to this song in her 2018 painting “When 6 IS 9 (for Jimi Hendrix)” — aptly so, since those lyrics describe her practice well. The painting depicts objects that appear set up for some kind of ceremony, with a human brain floating above. The work suggests that the world has turned upside down, but Stout continues to forge her way through.

For decades, Stout has immersed herself in hoodoo, voodoo and other African diasporic spiritual traditions. She’s taken on the guises of alter egos who heal and tell fortunes, sculpted objects that double as occult devices, and painted meticulous renderings of herbs, roots, and ingredient lists for spells. Her work is figurative, often photorealisticyet hermetic, knowing but mysterious, authentic while embracing the pleasures of artifice.

In her current show, “Navigating the Abyss,” Stout takes up the idea of a parallel universe to which she’s plotting her escape. Some paintings are more abstract, with fiery reds and star-speckled expanses of black representing the inchoate imagery of a cosmic crisis. In the titular piece, from 2022, she overlays a rusty, almost bloody-looking landscape with numbers and dashboard instruments. Although not readily deciphered, the painting is, like all her work, a guide — an invitation to take up her tools or find our own. JILLIAN STEINHAUER

ImageKatherine Bernhardt’s “I can’t promise I’ll try, but I’ll try to try,” 2022.Credit...via Katherine Bernhardt and Canada, New York; Photo by Joe DeNardo

This really shouldn’t work at all. I found myself muttering this phrase while laughing before Katherine Bernhardt’s latest paintings. I wasn’t laughing because the paintings are funny, though they take the derrière of a cartoon character as their unlikely common theme. The laughter was closer to elation and the sort of relief that comes from watching a daredevil flirt with disaster and walk away from a stunt unscathed. The paintings in “I’m Bart Simpson, Who the Hell Are You,” are as anarchic as they are glorious. “I can’t promise I’ll try, but I’ll try to try”(2022), the centerpiece of the show, pushes past 20 feet in width, while crowding together pop icons from a 1980s childhood: Bart, Garfield, E.T. and mushrooms that conjure psychedelia more than Super Mario Bros.

Bernhardt, who has moved her studio from Brooklyn to her native St. Louis in recent years, is now represented by both Canada and the mega-gallery David Zwirner. Her work calls to mind Laura Owens’s and Chris Martin’s ability to make great paintings out of subject matter associated with kitsch or childhood nostalgia, like inspirational graphic posters (Owens) or glitter-adorned canvases featuring solar-system planets (Martin). But Bernhardt is less of a technician than Owens and more wildly expressive than Martin. Her pigments pool, dye and blissfully wallow across her surfaces; her drips and sprayed lines record a loose ecstasy of color, saturation and improvisatory mark making. Like feats of cerebral abstraction from the previous century, but with added lulz. JOHN VINCLER

Fatebe, the fleshy, deathless doodle that Ebecho Muslimova created over a decade ago, is often referred to as the artist’s alter ego, though that’s not quite right. Fatebe is pure id, perpetually nude, hypersexed and overserved, her ample folds flapping unshyly and her orifices consuming or extruding wonder and horror in equal measure. A flat, fluid line drawing whose urges know no refusal, she’s almost elegant, if you squint, like an Al Hirschfeld caricature on a bender. She exists somewhere between Cronenbergian body horror and complete liberation.

She returns here, in eight large-scale scenes on Dibond aluminum panels that read like history paintings or a hallucinatory Tintin adventure: Our heroine, rendered in jittering oil-slick strokes on sumptuously chromatic fields, is yoked to a stagecoach, vaults over a churning whirlpool and is plunged into a mammoth aspic kholodets swelling with cold meat. Her body remains endlessly elastic, able to gleefully disgorge a ghastly mountain of plastic e-waste or spit out its own skeleton.

These images are comically surreal but also inescapably dark: psychic pain worked out into the shape of a gag. Fatebe’s death drive never stalls; she peers into the void or inflicts self-harm. Yet her flirtation with her own demise never comes to an unhappy end. Despite the increasingly baroque states of humiliation and Tex Avery-style violence Muslimova creates, Fatebe resists abjection. What she endures is no more absurd than what the rest of us must. The difference is she’s found a way to laugh. MAX LAKIN

It’s a testament to the Neo-Conceptualist SoiL Thornton’s mercurial range that the pictures you first encounter at Maxwell Graham, a charismatic survey of silver gelatin photographs by the Vienna Secessionist Cora Pongracz, provoke a double take: Is SoiL making photos now? A green tint radiating from the back-room office, cleared out for the occasion, draws the eye to Thornton’s actual show, consisting of a succinct three paintings and a sculpture. A brilliant chroma-key abstraction hits first through the doorway. Its wily title, “A highlight hiding in A projection (eyes closed arm yoga for duration of Mohammed Wardi’s track, Al Mursal ~The Messenger~, and plastic suffocation, kindly),” implies that Thornton painted it blindly, spraying noxious green while Wardi’s music played, as if the work were a byproduct of meditation.

Compare that highlighter hue with the hunter green required of all construction fencing in New York City. For “Splintered bouquet of each year of me as you,” Thornton applied a piney municipal shade to a pile of long wooden strips, then nailed a numbered, grass-green livestock tag to one tip of each. The tags are a little brutal, inspiring misplaced sympathy for the wood, so that the sculpture embodies the show’s ambiguous taste for pain. In the nearby “Slave > Salve,” Thornton burned the titular phrase into a wooden panel among blow-torched stripes. “Self flagellation” wears bands of Tropicália colors like a graffiti mural by Marc Jacobs. The sticks lie there on the ground like a bouquet of used-up lines, and the green painting glows like it’s watching. TRAVIS DIEHL

ImageLeonor Fini’s “Masque Végétal” (1960), made out of dried wheat, flowers, fruit and rocks on felt.Credit...via Galerie Minsky and Kasmin, New York

Surrealism is one of the dominant strains in art right now, but it is often presented in a watered-down, dreamlike, zany-cutesy way, unlike the original movement of the 1920s and 1930s, which emerged from the destruction of World War I and borrowed heavily from Sigmund Freud’s psychosexual oeuvre. An example of genuine Surrealism can be seen at Kasmin in the show “Metamorphosis,” which spans the career of the Argentine-Italian artist Leonor Fini (1907-1996).

Drawings of human and partly human figures, handmade masks, diminutive paintings and flowing silk costumes show how Fini approached love, death and relationships. A watercolor of the radical author Jean Genet is mounted near drawings of bodies hanging from nooses. Elaborate masks used for performances or parties are here, including one crafted from dried wheat, flowers, fruit and rocks — it looks like an Arcimboldo painting — and a “Black Pseudo-Primitive Surrealist Mask” (circa 1960) made with fabric and beads.

Fini is part of a wave of female Surrealists slowly gaining more attention: Meret Oppenheim, Leonora Carrington, Dora Maar, Remedios Varo, Frida Kahlo and others. A large Fini exhibition was shown at the Museum of Sex from 2018 to 2019, and her work appeared in the 59th Venice Biennale last year. In retrospect, these women, often objectified or treated as mere accessories to the original movement, are becoming central to the story of 20th-century Surrealism. They understood, it seems, the twisted tenets of Surrealism, with its focus on sex, death and power, better than many of their male counterparts. MARTHA SCHWENDENER

ImageEsteban Jefferson’s “November 11, 2020,” from 2022, oil and graphite on linen.Credit...via Esteban Jefferson and 303 Gallery, New York; Photo by Dario Lasagni

The title of Esteban Jefferson’s exhibition at 303 Gallery, “May 25, 2020,” marks the murder of George Floyd. Rather than the hot rage of the protests that followed, Jefferson’s six oil and pencil works here cast a cool, almost academic gaze on some of the movement’s touchstones. A pair of canvases fix Brooklyn’s Continental Army Plaza equestrian bronze of George Washington from the same angle on two different days. “November 11, 2020” shows the statue in an aftermath, its pedestal crowded with traffic cones and graffiti. Sketches of police barricades hem in the base — as is Jefferson’s style, the canvas roils but only the statue is fully rendered, a heavy weight. The other painting revisits the scene roughly a year later: A pair of shoes garlands the horse’s bridle and an expressionistic beige patchwork of anti-graffiti paint covers the plinth. In the foreground, the ghost of a raised fist.

In the Washington paintings, as well as in two canvases featuring the African American, Puerto Rican, and Pan-African flags, a pastel mistiness buffers the intensity at the pictures’ center. This is probably less to emphasize overburdened symbols than to dramatize the way such burdens suck the color from the surrounding world. A last, looser pair of paintings captures the contested equestrian statue of Theodore Roosevelt, attended by Black and Indigenous stereotypes, that once introduced the American Museum of Natural History. The solidity of the bronze figures, even in disgrace, contrasts with the hollowness of the burly workers laboring to hoist them away. TRAVIS DIEHL

ImageAndrea Fraser, in one frame from her 2021 video installation titled “This meeting is being recorded.”Credit...via Andrea Fraser and Marian Goodman Gallery

Fraser’s first show at Goodman surveys her approach. In a 1991 video, Fraser hosts a fictional docent’s tour around the Wadsworth Atheneum, targeting the Connecticut museum’s elite origins. A video from 1998 pokes at the São Paulo biennial and its roots in colonialism.

But the show’s highlight is a new video installation, “This meeting is being recorded,” that leaves the art world behind. After inviting six other white women to join her in discussions about racial privilege, Fraser turned transcripts of the conversations into a bravura performance in which she plays all seven women. Alone onscreen for 99 minutes, she manages to recreate each speaker’s gestures and mannerisms; we realize that, since she participated in the discussions, sometimes she must be “playing” herself.

Here’s a typical passage from the script: “I was doing some work with a, [cross arms at shoulders] with a [gesture to camera/D] psychoanalyst, who’s a Black woman, and she helped me identify my terrifying maternal superego [raise eyebrows, nodding] that I project onto Black women.”

There’s no obvious “critique” on view. We just witness some real-world conversation. But for all the apparent accuracy of Fraser’s depiction, we know a creator’s eye lurks behind it — and it’s the eye of a white artist who is looking at herself as much as at others.

Impersonation, however straight-faced, always hints at satire; here, as often, Fraser’s work gains power from a light, almost comic touch. BLAKE GOPNIK