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Exceptional was “After Shelley Duvall ’72 (Frogs on the High Line),” organized by Bjarne Melgaard at Maccarone as a bookend to “Baton Sinister,” his obstreperous exhibition, with his students, at the Venice Biennale. At Maccarone, Mr. Melgaard’s collaborations continued, most impressively with Omar Harvey and Sverre Bjertnes, while several outsider artists were added to the mix. This furious, scenery-chewing conflagration of the political, the sexual and the formal pushed the curatorial envelope in all directions.

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