The uptown itinerary is an archaeology of the New York art world’s formation. The Ellison Collection at Schoelkopf captures a specific moment — 1960, the Downtown scene on the verge — when Abstract Expressionism’s first generation was aging and its students (Bob Thompson, Elaine de Kooning, Wolf Kahn) were working out what came next. These are painters who existed in the gap between the mythology of the New York School and the institutionalization that followed. Alpha 137’s Landscapes, Cityscapes survey covers sixty-three artists across five decades and functions as a kind of index of the same geography: how do artists see the city that made them? And Leslie Feely’s F O R M answers the question Greenberg posed: what happens when you strip painting down to its essential properties? Frankenthaler’s stained grounds, Stella’s geometric logic, Dzubas’s color fields — this is formalism at the moment of its greatest conviction. Taken together, these three shows trace a single arc: from the gesture to the concept to the question of what the concept missed.