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?"

3. The Good Life at Yancey Richardson, through August 22

“I am not a good party person and definitely not a pool party person. This show is like going to one of those sorts of social events, maybe at a friend or colleague of your spouse’s, so you don’t even know anyone. I walk in and see tan people tanning in bathing suits and having a good time, and I freak. ‘Uh, gotta get going — yeah, sorry, can’t stay... wish I could... lots of work to do.’ I gravitated toward the Arbuses and then to the Mitch Epstein and the one of Larry Sultan’s parents — the Jewish corner.”

4. I Won't Grow Up at Cheim & Read, through August 29

“First of all, I am very happy to see Steve Gianakos in anything! The show is a lot more mature than it probably wants to be. You can’t go wrong with naïve elegance. Rob Wynne is cool and silly. Jon Pylypchuk is very Turner-esque (I am using this reference a lot). And god bless Kiki Smith... she is the mother of us all. I think of her as like the Dalai Lama, and very grown-up (in a good way). And the early Louise Bourgeois gives all us 'mid-career' artists hope (ha ha ha ha ha ha ha ha ha ha).”

5. Totally Rad: New York in the '80s at Paul Kasmin, through 9/6

“I'm still not sure what I think about ‘Totally Rad.’ Ahhh, the ’80s… I was young and wanted more more more. I didn’t have the confidence to be content with my 'unimportantness'; I wanted to make important art like important artists make art: BIG BIGGER BEST. It’s fun to see how classic and smart the Annette Lemieux looks and how banal (in a good way) Allan McCollum’s 'Perfect Vehicles' are. Haim Steinbach feels so much like ‘our’ mystic sage... come light a candle (lamp) for Mister Duchamp. It makes me feel good (and alive) to see the David Wojnarowicz — it’s not soooo big and not soooo perfect... but it feels perfect in all its homemade glory. It’s funny that the Frank Stella feels so out of place — not sure if it’s too early or too late — but it’s just not a part of the ’80s. I guess I can say that about the Warhol too, but I won’t.”