Once again, ARTINFO has sent its intrepid staff into the streets of New York, charged with reviewing the art they saw in a single (sometimes run-on) sentence. (To see our One-Line Reviews as an illustrated slideshow, click here.)

* El Anatsui, “Broken Bridge II,” the High Line at 21st Street, through December 2013

Like the High Line itself, the Ghanaian artist's largest work to date — a 157-foot-wide tapestry made from mirrors and corrugated metal panels that clings to the wall of a park-adjacent building like a winter blanket — recycles something forgotten and creates a monument to ingenuity in the process. —Julia Halperin

* Trisha Baga, “The Biggest Circle,” Greene Naftali, 526 West 26th Street, 8th floor, through January 12, 2013

At times Trisha Baga's multi-sensory, three-dimensional video and sculptural installations incorporate the viewer as participant, while at other times the viewer is witness to an immersive, ethereal stream of consciousness unfolding in the gallery, enabling her to be simultaneously over-stimulated and fixated on small details of the constantly shifting colors, sounds, lights, and soundtrack. —Sara Roffino

* Amelia Biewald, “Werther Effects,” Magnan Metz Gallery, 521 West 26th Street, through January 12, 2013

Taking visual cues from Elizabethan England, particularly the period's uncomfortable fashions and the widespread popularity of “The Sorrows of Young Werther” by Johann Wolfgang von Goethe — which inspired readers to mimic the main character's style and sadness — Amelia Biewald has created works of high drama including sculptures that are undeniably eye-catching, but it's in two dimensions that the historical period is most elegantly explored. —Allison Meier

* “Eight Sculptors,” Paula Cooper Gallery, 521 West 21st Street, through December 22

The stand-out of this mini-survey of contemporary sculpture — which includes Whiteread-ian household objects reproduced in translucent materials and an indecipherable, Urs Fischer-esque installation with rotting food — is Liz Glynn's interactive installation “Anonymous Needs and Desires (Gaza/Giza)” (2012), where she invites viewers to discover the cast lead objects in a giant set of color-coded drawers, each corresponding to a type of item frequently smuggled across the Egypt-Palestine border in the last five years, an engaging and weighty rumination on the shifting values and fluid distribution of everyday objects. —Benjamin Sutton

* Keltie Ferris, Mitchell-Innes & Nash, 534 West 26th Street, through January 12, 2013

If you could yank a Pink Floyd video from the screen and throw it against a wall, the dripping pixels and psychedelic splatter might look like a duller version of a Keltie Ferris painting, which ushers in a kind of neon-Impressionism for the digital age. —Rachel Corbett

* Peter Rogiers, Galerie Richard, 514 West 24th Street, through February 2, 2013

Belgian sculptor Rogiers claims to take as much inspiration from comic books and B-movies as he does from high art, and the steel and cast-aluminum sculptures in his New York solo debut — particularly the torqued and razor-edged palm tree “Zilver Fruit,” and the cyan carapace of his “Bootsmann” — would be equally at home on the set of “Blade Runner” as they are here in Chelsea. —Lori Fredrickson