Museum and Gallery Listings for April 29-May 5

American Folk Art Museum: ‘Eugene Von Bruenchenhein: Freelance Artist — Poet and Sculptor — Inovator — Arrow maker and Plant man — Bone artifacts constructor — Photographer and Architect — Philosopher,’ through Oct. 9. Whether photographing his wife as a sweetly chaste pinup girl; fashioning plant forms from scrounged clay or little thrones from salvaged turkey bones; or making delicate ballpoint-pen drawings or hallucinatory paintings rife with intimations of exotic undersea or sci-fi worlds, this self-taught, self-proclaimed multitasker (as made clear in the show’s subtitle) never wavered in his sense of his own greatness. Mounted 27 years after his death, his first American museum survey doesn’t quite do him justice and especially shortchanges the paintings, but it presents the fruits of his ceaseless labors with a clarity that makes them feel of a piece, and like a gift.

Bronx Museum of the Arts: ‘Stargazers: Elizabeth Catlett in Conversation with 21 Contemporary Artists,’ through May 29. This celebration of the artist Elizabeth Catlett, 96, includes contributions by a stellar array of younger colleagues from two generations. But Ms. Catlett herself, with her formally assured and expressively commanding art, is the life of the party just by being the quietest, wisest voice in the room. (An exhibition titled “Digame: Elizabeth Catlett’s Forever Love” is on view in the Neil L. and Angelica Zander Rudenstine Gallery, W. E. B. Du Bois Institute for African and African-American Research at Harvard University, through May 26.)

Cooper-Hewitt, National Design Museum: ‘Color Moves: Art and Fashion by Sonia Delaunay,’ through June 19. Examining the more practical side of Delaunay’s pioneering achievement, this beautiful, enlightening exhibition offers some alluring artworks, garments and accessories, especially a passel of radiant scarves. But it bets most of the house on fabric swatches — Delaunay’s textile designs — and succeeds with a display of some 90 gouache studies for textiles and their equally vibrant commercial results: more than 120 hand-printed silks, velvets and cottons laid out in large vitrines. Patterns ranging from geometric to floral variously revisit, amplify and presage much of the history of modern painting and may even deserve a place in that history.