German collector Thomas Olbricht has been doing some housekeeping. After announcing the closure of his Berlin museum earlier this summer, the Essen-based scientist and doctor has announced plans to unload some 500 works of art this fall, including many pieces from his eccentric cabinet of curiosities.

Reflecting Olbricht’s eclectic taste, the sale titled “From a Universal Collector – The Olbricht Collection” will include contemporary works by Cindy Sherman and George Condo but also a rare Rhinoceros bone Chinese cup, and precious taxidermy birds and other fauna.

While this wide-ranging show is not a retrospective, Gerhard Richter has said that it is likely to be his last major museum exhibition and, at 88, he was not well enough to travel to its opening in early March. It was intended as the Met Breuer’s final big show before the Frick takes over the building, the culmination of an ambitious programme exploring the practice of contemporary artists. I saw it on 10 March, with the complete lockdown of New York only days away, and it was hard to shake off the sense of some greater closing down, the finality to which a last exhibition must speak.

If, like almost everyone, you missed “Painting After All,” Mr. Richter’s longtime dealer, Marian Goodman, is offering a noble mulligan in the form of a large showcase of recent works, which can be viewed by appointment at her midtown gallery or in a robust digital presentation. I saw it in person, yet even online you can get a partial taste of 22 new squeegeed abstractions, and examine their coursing surfaces and staccato progressions via close-up video footage. Several small oils on wood from 2016, freer and gloopier than Mr. Richter’s earlier abstractions, employ a shocking fluorescent green that disrupts scraped runs of red, orange and black.