Thursday night sees a slew of openings in New York, but before you make the rounds this evening, check out these five stellar exhibitions currently on view, before it’s too late.

“Particular Pictures” at the Suzanne Geiss Company, through April 26

Artists Joshua Abelow and Emily Ludwig Shaffer co-curate a group show based around a quote from “Twin Peaks” about the sort of imagery we see in dreams, and the result is as weirdly surreal and refreshing as you might expect. “One of the things I love about ‘Twin Peaks’ is that the narrative is very specific, yet it is also abstract and not always clear,” Abelow said. “That’s what we were thinking about with this show: putting works together in a specific way, but leaving plenty of room for interpretation.” What does the artist/curator see when he’s sleeping, I wondered? “My own dreams aren’t terribly exciting,” Abelow admitted. “Sometimes I dream of very mundane things like eating a sandwich. One time I dreamt I was driving a car and I needed to honk the horn, but for some reason I couldn’t.” There are plenty of gems in “Particular Pictures”: Gregory Kalliche’s four-screen, wrap-around video installation that surrounds you with spinning globes bearing the word “Earthish”; awesomely precise paintings by Laeh Glenn; hats repurposed as wall sculptures using the Trivial Pursuit color palette (Anna-Sophie Berger); and a table that doubles as a sculptural notebook doodle page (Lukas Geronimas).

Ryan Schneider, “Ritual for Letting Go” at Two Rams, through April 28

A suite of large-scale works evinces a new direction for Schneider. He creates them by first laying down a wash of pigment and turpenoid, then crafting the basic forms by adding masses of Prussian blue pigment and literally scratching the composition into the surface. The end results are beautifully layered, mixing elements of painting and drawing and adding drama to deceptively simple scenes (birds alighting on a tree; a still life with an enormous vase). It’s been a while since Schneider has had a prominent solo exhibition in New York, and he’s a smart choice for the sophomore show at this recently opened L.E.S. space around the corner from the New Museum.

Lucas Foglia, “Frontcountry” at Fredericks & Freiser, through April 19

Photographs taken in Montana, Texas, and Wyoming, among other places, capture ordinary people in an extraordinary manner. An image of two girls near a Gatorade cooler becomes a study in conflicting geometries, thanks to a grid of shadow nearly obscuring them; elsewhere, photos of coal mines, rodeos, and the West’s breathtaking emptiness are equally arresting. The stand-out is “Soccer Practice, Star Valley Braves, Afton, Wyoming,” 2010, in which a cluster of teenage players are arranged with all the drama of the soldiers on the Iwo Jima memorial, vying for a high-altitude ball that is out of the frame. Behind them, the impossibly intense mountain backdrop looks almost implausible, as if Foglia has Photoshopped in the crisp peaks adorning a Coors Light bottle. The entire series is also collected in a just-published monograph from Nazraeli Press.

Kristen Morgin, “The Super Can Man And Other Illustrated Classics,” at Zach Feuer Gallery, through May 3

You’d be forgiven for walking into this show unimpressed with the arrangement of shabby toys, stacks of books, and other dusty oddities. On closer inspection, though, you’ll note that it’s all made out of painted, unfired clay. The craft-intensive verisimilitude brings to mind Chris Bradley’s painted-metal cardboard and potato chips, or the sculpture of Tom Friedman, and Morgin’s fixation on comic and junkshop culture shows an affinity with Mike Kelley. This is an exhibition to linger over, if only to ponder the obsessive process that made it possible.

Etel Adnan at Callicoon Fine Arts, through May 23

Born in 1925, Adnan is currently enjoying more buzz than many market-friendly painters in their 20s. She was featured in Documenta (13) and is included in this year’s Whitney Biennial. Callicoon’s show is spread across Callicoon’s Delancey Street and Forsythe Street spaces. At the former, a series of recent works and ones from the ’80s showcase her facility with pared-down, quasi-abstracted landscapes. They sing in their simplicity, primary-colored kindred spirits of the likes of Thomas Nozkowski or Andrew Massullo. At the Forsythe location, the focus is on a number of the artist’s books in vitrines — less immediately impressive, but a nice counterpoint to the paintings around the corner.

Also Worth a Visit:

Urs Fischer’s bank takeover at the Gagosian L.E.S. Pop-up, through May 23; Eva Berendes’s spare, inventive sculptures in “Spring/Summer” at CRG, through April 26; the actually-pretty-funny-James-Franco-film made by Carter, at Lisa Cooley Gallery, through April 27; librarian-artist Ben Gocker’s handmade assemblages and mixed-media works at P.P.O.W., through April 19.