David Kramer is Brooklyn’s answer to Richard Prince. Both artists rely on text and appropriated images, but while Prince borrows from joke books, and his work might be criticized for its cold indifference, Kramer’s musings are for the most part autobiographical and sincere. His kinder, gentler approach comes out of his idealized expectations of life, and his frequent disappointment.

For “Snake Oil,” his current exhibition at Pierogi in Brooklyn, Kramer exhibits a series of framed works on paper and a large sculptural diptych, all of which were created during a recent residence at Yaddo. Included are text-only paintings featuring rainbow hues and blobs of color blocking out passages. In Untitled (Retrospective), Kramer cites a conversation he had with another artist about the 2007 Richard Serra retrospective at the Museum of Modern Art, without mentioning it by name. The other artist comes to the conclusion that with all of the power and influence a museum like MoMA has, it could do something more practical to help people than mount such grandiose exhibitions. Other works juxtapose personal anecdotes with imagery from magazine advertisements, seemingly anonymous and banal illustrations that could have been taken from 1970s greeting cards.

Carefully crafted to resemble a found object, his mixed-media sculpture Untitled (Snake Oil and Free Kool Aide) looks like two old-fashioned roadside signs you might see at the entrance to a gas station parking lot or outside a convenience store in small-town America. Each has bold letters and an arrow with blinking lights on the front side and hand-painted text on the reverse. One, peddling snake oil, features a stinging diatribe about a shady art dealer, while the other, promoting "free Kool Aide," boasts a rant about not wanting to pay for cable television.

Last year Kramer’s art was featured in an episode of Donald Trump’s reality show The Apprentice on NBC, although from what the artist says, the experience was not altogether positive. Maybe that’s lucky for him, though, as he’ll no doubt find a way to weave the ordeal into his self-deprecating, painfully truthful work.

“Snake Oil” is on view through February 1. Kramer suggests more art to see while in the borough:

“Here is a list of five shows that I would recommend if you are out and about this week in Brooklyn. Get up to the Gilbert and George show at the Brooklyn Museum before it closes this coming Sunday. The giant photo murals have the look of stained-glass windows, and the show is like walking through a cathedral, only the icons are funny and irreverent. Crazy old kooks. (through January 11)

Over the weekend, Emily Newman opens up at Klaus Von Nichtssagend Gallery on Union Avenue in Williamsburg. Her photos are great, and the gallery is totally underrated. (January 9 – February 15)

Ok, this show is in Manhattan, but it's a Brooklyn guy: Andrew Guenther has a great show up at Freight and Volume. His varieties of mediums and styles blend together to make for some excellent installations. The paintings are nice. (through January 10)

Also on the Brooklyn-meets-Manhattan theme, Brooklyn artist Laurie Hogin has some nice paintings at Schroeder Romero. I have no idea what they're really all about, but they're crazy well done. Unbelievable technique. (through January 10)

Finally, I can't help but recommend two other shows that have nothing to do with Brooklyn as far as I can see. Peter Sutherland at ATM is really great. He’s funny and has a great touch. The photos are really moving (through January 10). And I really suggest heading up to MoMA to see the Esquire covers by George Lois and Carl Fischer. They are so fantastic and funny, and I just love the idea of trying to remember what life was like before Photoshop.” (through March 30)