Once again and in spite of winter storm Nemo, 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.)

Doug Aitken, “100 YRS” at 303 Gallery, 547 West 21st Street, through March 23

Doug Aitken's latest exhibition is almost Lynchian in its sleepless, otherworldly ennui — its centerpiece is a milky white pool carved into the floor that catches and lyrically amplifies the sound of water dripping from the ceiling — yet the hollow, hypnotic sensation that it transmits is so particular to this artist's work that it might now be dubbed “Aitkenian.” —Rachel Corbett

Darren Almond, “Hemispheres & Continents” at Matthew Marks Gallery, 522 West 22nd Street, through April 20

The nighttime landscapes in this selection from the Darren Almond’s 10-year “Fullmoon” photo series, as scenically beautiful as they are remote — ranging from glacial stretches of the Huangshan mountain range to more desolate, icy reaches of northern Russia — have a muted, melancholic stillness due to the phantasmal light captured by his 15 to 60 minute exposures. —Lori Fredrickson

McDermott & McGough, “Suspicious of rooms without music or atmosphere” at Cheim & Read, 547 West 25th Street, through February 23

The new photorealist paintings by artist duo McDermott & McGough, who deliberately go about their lives as if the last century of technological progress had not happened, juxtapose two different emotional moments from well-known old films, often a decade or two apart, creating entirely new storylines that challenge the viewer to rethink the tropes of Hollywood’s manufactured culture. —Shane Ferro

Jacolby Satterwhite, “The Matriarch’s Rhapsody” at Monya Rowe, 504 West 22nd Street, through February 16

Material sourced from drawings by his mother, who suffers from schizophrenia, is the foundation upon which Satterwhite creates digitally rendered videos that function at once as fantastical self-portraits and as a compelling homage to the disintegration of the boundary between fantasy and reality. —Sara Roffino

Marina Zurkow, “Necrocracy” at bitforms gallery, 529 West 20th Street, 2nd Floor, through February 16

In this rich and often-hilarious show of high-tech environmentalist art — including a mesmerizing, hand-drawn, randomly-generated 144-hour video of a pollution-spewing Texas sinkhole on an oil company’s property — and subversive branding, Marina Zurkow tackles our culture’s obsessive pursuit of clinical cleanliness in all walks of life, and the incredibly dirty products we consume in our self-defeating efforts to achieve it. —Benjamin Sutton