Jeff Perrotts new work at Morgan Lehman Gallery is enticing, clever, and looks like a cross between contemporary art and the latest Mac application. Using an inkjet printer, the Boston-based artist produces works comprising grids of dots that evoke the ghosts of Pointillism past, as well as Roy Lichtensteins famed comic-inspired works and the Benday dot printing technique on which he based them.

Perrott’s last show at Morgan Lehman Gallery, in 2006, played with the idea of renewal through destruction. Titled “La Vie Éternelle,” the exhibition presented among other works a video and sculpture installation that stood as a monument to a project called End, in which Perrott and collaborating artist Douglas Weathersby fed nearly a ton of Perrott’s early paintings and sculptures into an industrial chipper.

Picking up on this theme, the current show creates a new kind of “artmulch,” as the gallery literature calls it, this time offering renewal through interpretation. Manipulating with printer technology familiar images taken from Perrott’s life and art history, each work comprises grids of dots ranging in size from, say, that of a pencil eraser to that of an apricot, and containing no more than four colors. These severe elements stand out against the stark white canvas, and in order to fully experience the works, the viewer needs to take a few steps back. Just as Perrott removes himself from familiar imagery by way of pixilation and abstraction, he asks the viewer to physically distance himself from the work to restore it into a coherent representation.

Perrott addresses the nature of representation in Empty Canvas. Composed of row upon row of black dots in many sizes haloed in occasional color, the work invites the viewer to consider the age-old question of how an image and its title relate. The canvas is not, in fact, empty, but rather offers a representation, in the same Benday-inspired dots, of an empty canvas.

In Caravaggio I and Caravaggio II, Perrott looks at the gesturing hands of two holy men taken from the Italian master’s painting The Supper at Emmaus. Blown up and pixilated nearly to the point of abstraction, the work reminds us that technology has the power not only to clarify and simplify but also to obscure the world around us. Compared to these dots, it is Caravaggio’s startling realism that feels as if it was computer-aided.

The exhibition is thus a celebration of but also a warning against technology’s power. Perrott does just enough, however, to remind us of the old-fashioned qualities that draw so many to art, such as its personal touch. Each of his works has a distinct charm and leaves you with a smirk on your face.

Here, Perrott suggests what else to see in New York this weekend:

1. Whose Territorial Imperative? at the Guild Art Gallery, through May 4

"A ground-breaking show that obliterates the boundaries between studio and gallery, artistic and curatorial choice, and shared and private space. Emerging artists Sarah Hardesty, Alexandre Singh, and Fawad Khan have been making their work in the Guild space since March 21, according to a set of 'territorial' rules established by the curatorial staff. The result is part collaboration, part collision, and a continually changing experience that challenges comfortable notions of place and ownership."

2. Kenneth Anger at P.S.1, through September 14

"In discussions of historical avant-garde film, Kenneth Anger’s work is the uneasy postmodern stepchild to Stan Brakhages rough formalism. While both filmmakers helped create a vocabulary still in parlance in current video practice, the spectacle, transfiguration, and otherness of Anger’s films (produced between 1947 and 1970) challenged political, social, sexual, and film identity in ways that continue to feel absolutely vital."

3. Almost Baroque at Triple Candie, through April 12

"This show offers re-creations of baroque masterpieces by current Chinese masters, luckily discovered by Triple Candie’s wily curators at a local El Mundo department store. While Duchamp chuckles and Chelsea rolls its eyes, Triple Candie is pulling off another uptown challenge to the comfort of the downtown art-world elite. This is one of the most exciting art venues in New York."

4. Tony Oursler: Cell Phones Diagrams Cigarettes Searches and Scratch Cards at Metro Pictures, through April 11

"Oursler’s video projections on objects are still irresistible. And, while a few of the works on view here feel overly topical and reductive, many present new modes of understanding the anxiety of digitally dependent life. Oursler’s eight-foot-long, Lincoln-talking five-dollar bill is a hit, carrying the abject humor and creepiness — that deep gooseflesh of the soul — that mark the artist’s best works. And the snap, hiss, and crackle surrounding you as you walk through his Cigarette Forest is a real head rush."

5. Berlin 2000 at PaceWildenstein (22nd Street), through April 18

"As this show’s title suggests, the work was done circa 2000, but it feels surprisingly fresh. Here’s the reason: These Berlin artists were the progenitors of strategies and sensibilities now classicized by New York circa 2009. The original context was less polished than Pace’s clean white box, but the sprawling, crowded, unwieldy collection on view offers an exciting analogue to that time and place. Having been in Berlin recently, I can say there’s another wave on its way, and with it another thump on the head to Chelsea."