You know that really amazing exhibit? The one by the artist you love so much you once tried to hide in their bushes as a "conceptual piece?" The show you've read five articles on and that you've told everyone you know to go see? The one that you, um, missed? Yeah...

Gothamist feels your pain, having screamed in rage in a number of similar situations. So, in an effort to forestall any sort of recurrence, here's the rundown of a number of great exhibits in their final days.

First up is MOMA's exhibition of the conceptual photographs of Thomas Demand, which closes May 30th. Demand, who started as a sculptor, chooses a media image and then creates a detail model of it. He then photographs the facsimile, creating highly constructed image three times removed from its original context.

arbus2.bmpAlso closing on the 30th is, the Met's retrospective of the iconic and disturbing photographs of Diane Arbus. A favorite of angst-ridden art students everywhere, Arbus' work is nothing if not weirdly fascinating and it's the first time in thirty years that it has been brought together on this kind of major scale. If you don't make it this week for Arbus though, you can comfort yourself by knowing that you'll still have plenty of time to catch the excellent retrospective of Surrealist artist Max Ernst, which will be open until July 10th.

You'd better hurry to Tim Hawkinson's exhibition at the Whitney, however, as it will be closing earlier than all the rest on May 29th. The show at the Whitney, which consists of twenty years of sculpture, drawings, prints, and photographs, is joined by a large-scale installation at the Sculpture Garden (590 Madison). The installation is rather hard to describe, so here's the Whitney's take on it: "Uberorgan, created from multiple bus-size biomorphic balloons, each with its horns tuned to a different note in an octave, is a gargantuan self-playing organ. Its musical score consists of a 200-foot-long scroll of dots and dashes encoding old hymns, pop classics, and improvisational ditties. Tim Hawkinson explains: “The score is deciphered by the organ’s brain—a bank of light-sensitive switches—and then reinterpreted by a series of switches and relays that translate the original patterns into non-repeating variations of the score.”

Last, but not least, is the IPC's exhibition of the controversial work of filmmaker and photographer Larry Clark. This first-ever retrospective of Clark's often infamous work includes over 200 photographs, as well as collage, video, bookmaking, and film work and will be on display though June 5th.