Maybe it is because of the much-awaited Philip Guston drawing survey at the Morgan Library & Museum this spring, but there seems to be revived interest this season in Abstract Expressionism: A cluster of gallery shows coming up take a fresh look at canonical and fringe members of that movement, with Adolph Gottlieb at PaceWildenstein’s uptown gallery (opens May 2), Hans Hofmann at Ameringer & Yohe (April 10), and Conrad Marca-Relli at Washburn Gallery (April 24), which will present an exhibition focused on the Italian-born artist’s collages and drawings.

Each of those galleries has a longstanding relationship with the estates of the respective artists; Cheim & Read, meanwhile, has just taken on the estate of Milton Resnick, who died in 2004, and is to present its first show of his work, opening May 1. Resnick’s intensely worked abstraction, sometimes intimating elements of landscape or figuration, could veer from the lyrical to the hermetic, adopting a rich, organic palette, or it could eschew color in favor of a forbidding, tar-like surface that only gradually unveils the nuances of hue that lie beneath.

Resnick’s alien yet compelling textures come to mind in the work of a young experimental printmaker, Kia Pedersen, who will be the subject of a week-long show of new work at the KPF Gallery at Kohn Pedersen Fox Architects on 57th Street, opening March 25.

Closely associated as he was with the first, heroic generation of the New York School, Resnick actually relates as much to a strain of neo-romanticism in American painting as he does to the Modernist cause. Two painters showing new work that relates to Resnick and will perhaps thus give Resnick contemporary relevance are Jake Berthot, whose anachronistically Victorian-seeming landscapes actually grew out of — or radically departed from — an earlier practice of abstraction (opening at Betty Cuningham April 10), and Hunt Slonem, whose latest show opens at Marlborough Chelsea May 22. As for the legacy of New York School abstraction, several of its strongest exponents have new work on show. Thomas Nozkowski and James Siena, meanwhile, will have solo shows in the two Chelsea spaces of PaceWildenstein through May 3. This will be Mr. Nozkowski’s first show with his new dealer, and it overlaps (just) with a superbly mounted display of early works at the Fisher Landau Center for Art in Long Island City. Helen Miranda Wilson, who recently joined the abstract camp with a distinguished track record as a landscape painter, is to have her second show of geometric strip paintings at DC Moore, opening March 26.

Abstract Expressionism tends to be associated exclusively with painting; David Smith is erroneously thought of as the solitary AbExer in the third dimension, if we discount Willem de Kooning’s late foray into sculpture. In fact, there was a rich vein of American sculptors who experimented with free forms, agitated surfaces, and emotionally complex structures, as a welcome show of Seymour Lipton pieces at Michael Rosenfeld promises to demonstrate when it opens next week.

It is a good season for contemporary adventures in sculpture. Natalie Charkow Hollander, whose deep bas-reliefs quirkily transcribe Old Master paintings to three dimensions, is sharing a show with the wonderful painter Ruth Miller at Lohin Geduld. Rachel Feinstein, opening at Marianne Boesky April 24, has in the past pursued playful riffs on traditional figuration through an inventive use of free-floating planes. Jeanne Silverthorne shares Ms. Hollander’s predilection for bas-relief, often working in strange, gooey synthetic materials that ooze out of gaudy frames. She is at McKee, opening May 8. Like Ms. Silverthorne, Saint Clair Cemin, opening the same night at Sikkema Jenkins, often blurs boundaries between sculpture and painting, not to mention tradition and iconoclasm.

Gedi Sibony is a sculptor whose casual-seeming interventions and nonchalantly slight materials belie their poetic intensity. His work was featured in the 2006 Whitney Biennial and is part of the current, inaugural exhibition at the new New Museum, “Unmonumental.” He is to be featured in a solo exhibition at Greene-Naftali, opening April 24. A co-exhibitor in the 2006 Biennial, Paul Chan, will exhibit his series, “The 7 Lights,” at the New Museum, opening April 9. Other artists who recently featured in museum shows and have commercial gallery shows this season include Zhang Huan, who was at the Asia Society earlier this year and will be at PaceWildenstein’s two Chelsea galleries on 22nd and 25th streets, and Yinka Shonibare, who curated a display at the Cooper-Hewitt last year and shows at James Cohan, opening April 17. Marlborough will honor the late R.B. Kitaj in April. The American-born painter spent much of his life in London and played a seminal role in the re-emergence of figuration in the 1970s. His art was rich in personal allusions, eroticism, and themes of Jewish history and identity.

Meanwhile, in their Chelsea space, the same gallery shows the London-based Portuguese artist, Paula Rego, who shares with Kitaj a penchant for pastel, robust figuration, and elaborate allegory. In fact, it is a strong season for raunchy figuration from female hands: Hilary Harkness, whose massed scenes of Barbie-doll-like women in orgies of violence are alluring in both skill and intensity, opens at Mary Boone May 1. Dawn Mellor has a show titled “A Curse on Your Walls” at Team (June 19). And Sallie Benton will show a series of amorous scenes at First Street Galleries (April 29).

Strong photography shows coming up include Gregory Crewdson, known for his elaborately constructed, cinematic set-ups, at Luhring Augustine, and a focus on Peter Hujar’s elegiac depiction of Second Avenue at Matthew Marks, which represents the artist’s estate.

Other shows to watch out for include Ashley Bickerton at Lehmann Maupin, Alexander Ross at Marianne Boesky, Daniel Richter at David Zwirner, Alison Elizabeth Taylor at James Cohan, and Gary Panter at Clementine.