NEW YORK—Admitting you’re a fan of gay icon Fran Drescher could elicit a chuckle, hearty agreement, or outright revulsion, depending on whose company you’re in. Creating a painting and a pom-pom ski hat about her is something else. Welcome to the world of New York–based artist Cary Leibowitz, whose self-effacing, Borscht Belt humor has dominated a performative practice that still has legs 20 years in. Like bad boy artist Sean Landers, best known for self-referential word paintings and his tell-all diary, titled [Sic], Leibowitz creates comically self-effacing text-based works, but with a decidedly gay and often Jewish perspective. Leibowitz, who also uses the tag Candyass (and is a print specialist at Phillips de Pury & Co. auction house), has shown extensively since the 1980s, and an important part of his output has been multiples — everything from prints and clothing to buttons, pennants, teddy bears, and Frisbees. Through September 6, the indispensable Printed Matter in New York has a wide selection of these works on display at their chockablock space in Chelsea. (Many of these same pieces were also seen at Leibowitz’s 2007 solo show at Alexander Gray Associates in New York, titled “I Love Warhol Piss Paintings,” where multiples and original artworks received equal billing in a rainbow coalition of unity.)

Ostensibly a one-liner, a multiple like the silkscreen I Slept with Martin Kippenberger (1993) not only brings a smile to your face, but also works on both formal and conceptual levels, with its gothic font hinting at both the late artist’s German upbringing and Leibowitz’s sexual orientation. Other faves include GAIN! WAIT! NOW! (2001), a trash can/umbrella stand featuring an awkward Bar Mitzvah–era Leibowitz that at one point actually cost a few dollars less if purchased as a garbage can. The car sunshade Please, Don’t Steal My Radio, I’m Queer! (1991) is the perfect accessory for your windshield; it’s both fashionable and functional.

Cary sounds off on five shows to see this summer in New York:

1. intransit at Moti Hasson, through August 30

“My visit to Moti Hasson felt like arriving at a party I was looking forward to. There is good karma filling the space, and the work is intriguing enough to make me imagine that I know the artists and would like them as friends and co-workers. Group shows are difficult because I hate to judge a room full of different art by different people on my aesthetic judgment alone, but in this show it all feels so earnest that it’s easy to enjoy being there.”

2. Pretty Ugly, curated by Alison Gingeras, at Gavin Brown’s enterprise and Maccarone, through August 29

“‘Pretty Ugly’ is a pretty humbling experience. It reminds me of a friend who once said tattoos are like permanent bell-bottoms. There are some nice works and objects to covet. I think the stuff is uglier at Maccarone, because the space is rawer (not as tasteful). The stuff at Gavin Brown’s enterprise looks much less ugly, because the space is so pure-white-box — the hanging makes all the art look smart and elegant. Maybe the show made me sad because it reminds me too much of the way I live... I always prided myself on never being a follower of good taste. Sadly nothing remains ugly forever.

"Notes to self:

— HOW THE EFF did Bernard Buffet become the star of a show at Gavin Brown’s enterprise? Both paintings look so kitsch that the sarcasm of using them is really impressive (at Maccarone it’s not as bad — or is it worse???).
— Maybe it was the dowdy 1940s frame, but I never saw a Marsden Hartley look so ugly (ugly-ugly, not good-ugly). As a devotee I insist it’s the context and not the painting.
— Warhol ALWAYS looks good (AMEN).
— I’ve said it before and I’ll say it again, Karen Kilimnik is the Twombly of my generation. (Nothing is ever wrong with her work. It is always perfect.)
— Hannah Wilke knew how to push everyone’s buttons.
— Bruce LaBruce is very painterly — practically Turner-esque.
— I still really love old Sue Williams paintings.
— And finally, why is Takashi Murakami in every show?"