It’s no secret that New York’s dynamic art scene is what brings our city to life. Dozens of museums, hundreds of art galleries, countless nonprofit spaces and temporary venues, and of course public art everywhere all add color and vitality to this sprawling metropolis. Spring may be the time for flowers, but we believe the real beauty of New York lies in its inclusiveness. There is something for everyone here, so go out and see it all!

Take a walk through one of our many public parks and soak in the marvelous architecture, landscaping, and art projects, or check out the commercial art galleries of Lower Manhattan to see some work by emerging and established artists alike. Or better yet, make a day of it and go museum-hopping to see some of the best art the city has to offer.

This guide is focused on the art institutions that help make this city great, highlighting the breadth of venues throughout the boroughs as well as a few shows in the tri-state area for those who want to explore outside the city limits. Art in New York is unlike anything else in the world: Go make the most of it.

—Hrag Vartanian, Editor-in-Chief, Co-founder


I’m Bart Simpson, who the hell are you?

Katherine Bernhardt, “Hey guys, watch this” (2022), acrylic and spray paint on canvas, 48 inches × 60 inches (photo by Joe DeNardo, courtesy Canada, New York)

Katherine Bernhardt’s newest series of paintings place the image of Bart Simpson’s gleaming yellow butt, rendered in drips, pools, and stippled spraymarks, at the top of the late-20th-century pop-culture pyramid. Bernhardt continues to evoke a comedic if not uncomfortable sense of anxiety that the dizziness of freedom and rebellion belies.

Canada (
60 and 61 Lispenard Street Tribeca, Manhattan
Through Feb. 25

Susan Philipsz: Separate Strings

Susan Philipsz, “Study for Strings Sokol Terezín” (2023), two HD film and sound installation, duration: 14:35, edition of 3, 2AP (photo by Pierre Le Hors, courtesy the artist and Tanya Bonakdar Gallery, New York / Los Angeles)

In a continued exploration of Czech-Jewish composer Pavel Haas’s deep-seated influence on her practice, Susan Philipsz’s multi-room exhibition speaks to the immersive and introspective aspects of sound work, navigating feelings of grief and yearning. Philipsz’s show debuts a two-screen film, a 12-channel sound installation, and a polished steel barrel playing a new piece inspired by a Ben Johnson poem as well as the existential despair of Echo, the ancient Greek mountain nymph.

Tanya Bonakdar Gallery (
521 West 21st Street, Chelsea, Manhattan
Through Feb. 25

Ravi Jackson: Hardcore

Ravi Jackson, “Dick Gregory Needed” (2022), turned wood, hooks, door hinges, grommet, inkjet print, and acrylic, 32 inches × 20 inches (photo by Marten Elder, image courtesy the artist and David Lewis)

Ravi Jackson strips and reorients modern and contemporary notions of Black masculinity through a mixed-media approach. Haphazard paint strokes, found objects, and imagery of the broadly fetishized body, particularly those of Black men, meet sexualized images of Rihanna and Lil’ Kim, along with lyrics and other radical and explicit texts.

David Lewis Gallery (
57 Walker Street, Tribeca, Manhattan
Through Feb. 25

Felix Gonzalez-Torres

Installation view of Felix Gonzalez-Torres at David Zwirner (courtesy David Zwirner)

This exhibition includes two large-scale works by artist Félix González-Torres, whose overtly political practice was often rooted in conceptual and interactive approaches. One example of these strategies is on display here, on loan from the Guggenheim: the artist’s “Untitled (Public Opinion)” (1991), an installation composed of wrapped candies that changes form as visitors are invited to take pieces. González-Torres died in 1995 from AIDS-related complications, and the work is often interpreted as a meditation on the precarious nature of life.

David Zwirner (
519, 525, and 533 West 19th Street, Chelsea, Manhattan
Through Feb. 25

In Praise of Caves: Organic Architecture Projects from Mexico by Carlos Lazo, Mathias Goeritz, Juan O’Gorman, and Javier Senosiain

Detail of Senosiain Arquitectos, documentary model (2021–22) of the O’Gorman Cave-Studio House, 162 Avenue San Jerónimo (1948–54, partially destroyed c. 1969), stone, acrylic, styrene; coordinated by Enrique Cabrera Espinosa de los Monteros, collaborated on by Marilú Martínez Tepecila, Angélica Ortiz Guerrero, and María Fernanda Zarate Espinosa using plans from Dr. Iván Arellano’s thesis “Casa O’Gorman Habitando la Cueva” (courtesy Javier Senosiain)

A selection of projects that plumb the possibilities of subterranean living, conceived by four Mexican artist-architects, are interspersed among Japanese-American artist Isamu Noguchi’s biomorphic sculptures in this uniquely satisfying show. One particularly intriguing example is the long-lost “Casa Cueva” of Juan O’Gorman, legendary architect of Frida Kahlo and Diego Rivera’s studios, built on natural lava formations in Mexico City’s Pedregal neighborhood.

Noguchi Museum (
9-01 33rd Road, Astoria, Queens
Through Feb. 26

Labor of Love

Anya Kielar, “The Amazon” (2022), fabric, foam, aqua resin, wood, and Plexiglass, 67 inches × 42 inches × 83/4 inches (photo by Stan Narten, courtesy the artist and Rachel Uffner Gallery)

Contemporary art often privileges concept over technique, and the results can be uninspired. Labor of Love offers something refreshingly different: a tribute to delicate material, painstaking process, and meticulous detail. Textile works, trompe l’oeil painting, and darkroom sleight of hand all make an appearance in this much-needed show, which emphasizes the most tactile and sensual aspects of artmaking to rekindle your spark.

Rachel Uffner Gallery (
170 Suffolk Street, Lower East Side, Manhattan
Through March 4

Xaviera Simmons: Crisis Makes a Book Club

Xaviera Simmons, “Sundown (Number Five)” (2019), chromogenic color print (courtesy the artist and David Castillo Gallery)

Xaviera Simmons calls out the links between institutions, exploitative labor, and racial politics in this sprawling show, which spans the many mediums her practice encompasses. The exhibition’s centerpiece is “Align” (2022), a structure wrapped in text hand-painted by the artist. Like the exhibition’s title, the work hints at the harmful passivity and inaction of White liberal book clubs formed during Black Lives Matter protests, one of many ways in which anti-racism is performed but not enacted.

Queens Museum (
Grand Central Parkway and Van Wyck Expressway, Flushing Meadows–Corona Park, Queens
Through March 5

Renee Gladman: Narratives of Magnitude

Renee Gladman, “Slowly We Have the Feeling: Scores” (2019–22), pastel and pigment on paper (grid of nine), dimensions variable (photo by Filip Wolak, image courtesy Artists Space, New York)

For her first New York solo exhibition, poet and artist Renee Gladman shares a series of new and recent mixed-media drawings made from bright paints and pigments on mostly black paper. Gladman layers her interpretations of cosmic and architectural structures with illegible written words, granting the text a new life and meaning beyond its origins on the printed page.

Artists Space (
11 Cortlandt Alley, Tribeca, Manhattan
Through March 18

less: minimalism in the 1960s

While it seems that maximalism is currently enjoying the commercial limelight, Acquavella Galleries brings us back to the birth of Minimalist sculpture and installation during the 1960s with an exhibition that accentuates the stripped-down works of Sol LeWitt, Robert Smithson, Anne Truitt, Donald Judd, and myriad other historically significant contributors to the often-misunderstood movement.

Acquavella Galleries (
18 East 79th Street, Upper East Side, Manhattan
Through March 10

Yasunao Tone: Region of Paramedia

Yasunao Tone, instrument for “Aleitheia” (1987), piano and solenoids (photo by Filip Wolak, image courtesy Artists Space, New York)

Yasunao Tone’s first retrospective not only explores his six-decade-long career but also features live performances by the Japanese-American artist and musician himself at Artists Space. Tone’s avant-garde body of work is defined by manipulated digital technologies, which he used to pioneer the “glitch” electronic music genre and has repeatedly incorporated into his visual art practice.

Artists Space (
11 Cortlandt Alley, Tribeca, Manhattan
Through March 18

Craft & Conceptual Art: Reshaping the Legacy of Artists’ Books

Installation view of Craft & Conceptual Art: Reshaping The Legacy of Artists’ Books, left to right: John Eric Broaddus, Spin 1/2: Books, Paintings and Memorabilia (1990) (Broadside and book); Yoko Ono, Pennyviews (1995); Cecilia Vicuña, Palabra e hilo / Word & thread (1996); and Liliana Porter, New York 1972 (1972) (photo by Oswaldo García)

A thought-provoking selection of artists’ books developed from the mid-1960s onward questions viewers’ preconceived notions about the bifurcation of craftwork and conceptual art. Using the process of bookbinding as a thread to tie the two back together, curator Megan N. Liberty revitalizes the appreciation of materiality and intentional audience interaction inherent in book arts by highlighting the power of DIY zines, handmade single editions, and mass-printed photobooks.

Center for Book Arts (
28 West 27th Street, 3rd Floor, Flatiron, Manhattan
Through March 25 

Music as Image and Metaphor

(Right to left) Artworks by Keiko Hara, Molly Snyder-Fink, and Hannah Israel in Music as Image and Metaphor (2021) at the Bo Bartlett Center in Columbus, Georgia (courtesy Kentler International Drawing Space)

This multidisciplinary exhibition features 41 artworks by 28 artists, each accompanied by short musical scores created by composer and pianist Michael Kowalski and percussionist and composer Allen Otte. The etchings, drawings, paintings, and more also reflect on music — they were all inspired by sound or seek to directly depict it in visual form.

Kentler International (
353 Van Brunt Street, Red Hook, Brooklyn
Through March 26

Juan Francisco Elso: Por América

Detail from Juan Francisco Elso, “El Viajero [The Traveler]” (1986), carved wood, branches, ashes, and wax (courtesy Colección y Archivo de Fundación Televisa (Collection and Archive of Fundación Televisa))

Born in post-revolution Havana, Juan Francisco Elso was a pivotal figure in the city’s 1970s and ’80s art scene, when artists ushered in a new, experimental era of Cuban art. This show surveys Elso’s poignant practice, which was cut short by his untimely death at the age of 32. His sculptural works, constructed mostly with organic and found materials such as twigs, soil, and even his own blood, are set in poetic conversation with pieces by more than 30 artists, including Belkis Ayón, Ana Mendieta, and Lorraine O’Grady.

El Museo del Barrio (
1230 Fifth Avenue, East Harlem, Manhattan
Through March 26

Multiple and One

Stained glass and mosaics may not be the first things that come to mind when thinking of contemporary art. But consider Sebastian Duncan-Portuondo, a queer, Cuban-American artist based in Miami, whose installation “Club EXILE” incorporates glass, mosaic, neon lights, and found objects in an homage to the dance floor of a night club — hallowed ground for many in the queer community. The project, which the artist initially conceived of in the wake of the 2016 shooting at Pulse Nightclub in Orlando, is at the center of his UrbanGlass exhibition curated by Alpesh Kantilal Patel. In Duncan-Portuondo’s works, exile becomes a mappable space and a way to build community among marginalized peoples.

Agnes Varis Art Center at UrbanGlass (
647 Fulton Street, Fort Greene, Brooklyn
Through March 31

Gordon Matta-Clark & Pope.L: Impossible Failures

Pope.L studio, 2022 (© Pope.L; courtesy the artist and 52 Walker, New York)

Artist Gordon Matta-Clark is best known for his “anarchitecture” works, made by sawing, carving, and drilling holes into buildings. Here, his drawings and films are exhibited alongside those of contemporary multimedia and performance artist Pope.L, whose practice also examines the complexities of architecture, institutions, and value. The show also includes a site-specific installation by Pope.L.

52 Walker (
52 Walker Street, Tribeca, Manhattan
Through April 1

Every Ocean Hughes: Alive Side

Every Ocean Hughes, “The Piers Untitled” (2010–23), silver gelatin photograph (courtesy the artist)

One Big Bag by Every Ocean Hughes may catch you off guard with its emotional punch. The artist’s 2021 film follows the important work of a death doula in rendering the transition from life to death as peaceful as possible. The film is part of Alive Side and it conveys the combination of warmth, poignancy, and even humor that characterizes Hughes’s art and establishes her as one of the most poetic artistic voices of her generation. Accompanying the film are works that examine gender and queer identity with disarming intimacy.

Whitney Museum of American Art (
99 Gansevoort Street, Meatpacking District, Manhattan
Through April 2 

“I’ll Have What She’s Having”: The Jewish Deli

Postcard of Hester Street in the Lower East Side (c. 1900) (courtesy the Patricia D. Klingenstein Library, New-York Historical Society)

Explore the lives of Jewish-American immigrants through the creation of the Jewish delicatessen in this profoundly original show. Compiling objects ranging from menus to neon signs to workers’ uniforms, the exhibition considers the history of the beloved “deli” and the enormous role it has played in American culture.

New-York Historical Society (
170 Central Park West, Upper West Side, Manhattan
Through April 2 

Abigail DeVille: Bronx Heavens

Abigail DeVille, “Dark Matter, No Matter” (2020), shopping cart, dolly, rope, bungee cords, zip ties, aluminum foil, costume jewelry, glass TV monitor, antique glass bottles, dinner bell, record rack, deflated inner tubes, 1950s metal child space helmet, painted plastic helmet, light bulbs, mirror shards, deconstructed mannequin, and child’s mannequin head, 771/4 inches × 64 inches × 34 inches (courtesy The Bronx Museum)

For native New Yorker Abigail DeVille, the Bronx is more than just a borough; it’s a haven for immigrants and communities of color, one that has persevered in the face of New York City’s continuous gentrification. Using found materials and objects, the artist draws out “forgotten ancestral histories, both real and imagined” in order to lay bare questions of racism and oppression. At the heart of her practice is a commitment to humanity and the pursuit of a better life.

Bronx Museum of the Arts (
1040 Grand Concourse, Concourse Village, The Bronx
Through April 9

Alfatih: Day in the Life

Alfatih, “day in the life” (2022), digital image (courtesy the artist and Swiss Institute)

Swiss artist Alfatih’s 24-hour CGI animation of a “grown-up baby” going about mundane adult rituals such as sleeping, drinking coffee, and working on a laptop is the centerpiece of this existentially puzzling exhibition. The newly commissioned work forces viewers to face the reality of melancholy solitude and modern humans’ nagging need for perceived productivity.

Swiss Institute (
38 St. Marks Place, East Village, Manhattan
Through April 23

Fresh, Fly, and Fabulous: Fifty Years of Hip Hop Style

Jamel Shabazz, “Kisha” (2000), New York City (courtesy The Museum at FIT)

Reaching back to the origins of the cultural revolution pioneered by the Black and Brown working-
class youth from the Bronx in the ’70s, this show focuses on utility, individuality, and remixability in the evolution of streetwear, athleisure garments, and sneaker culture. The exhibition observes the regional trends, aspirational attitudes, and generational transformations that made hip hop style unique and widely sought after despite broad derision and dismissal due to institutionalized racism and classism.

The Museum at FIT (
227 West 27th Street, Chelsea, Manhattan
Through April 23

When I Am Empty Please Dispose of Me Properly

Catherine Opie, “Untitled 9 (Swamps)” (2019), pigment print, 40 inches × 60 inches, edition 3 of 5 with 2 AP (© Catherine Opie; courtesy Regen Projects, Los Angeles and Lehmann Maupin, New York, Hong Kong, Seoul, and London)

You gotta love the title of this group show at BRIC. Seven artists come together to dismantle prevalent myths about the so-called “American dream” in various mediums. They are Ayanna Dozier, Ilana Harris-Babou, Meena Hasan, Lucia Hierro, Catherine Opie, Chuck Ramirez, and Pacifico Silano. To borrow from the late comedian George Carlin, it’s called the “American dream” because you have to be asleep to believe in it.

Gallery at BRIC House (
647 Fulton Street, Fort Greene, Brooklyn
Through April 30

Hard Return: 9 Experiments for this Moment

Nao Bustamante, “Bustamante Bloom Speculum: Brugmansia Instructs” (2021) (courtesy the artist)

Nine performance artists engage with their viewers in expansive, five-day-long experiences that encompass interactivity, choreography, intimacy, science, and comedy, with the use of prop
work, experiments, improvisation, and cultural infusion, in order to see and understand community through a different lens.

Neuberger Museum of Art (
735 Anderson Hill Road, Purchase, New York
Through May 7

Bispo do Rosario: All Existing Materials on Earth

Bispo Do Rosario, “Untitled [Grande Veleiro (Big sailboat)]” (undated), wood, plastic, fabric, foam, metal, ink, graphite, paper, found materials, thread, fiber, and nylon, 461/2 inches × 621/4 inches × 251/2 inches (photo by Alex Mota, courtesy Museu Bispo do Rosario Arte Contemporânea)

The first US solo exhibition on Afro-Brazilian artist Bispo de Rosario, All Existing Materials on Earth looks at the life of the artist, who was diagnosed with schizophrenia and spent 50-plus years in an institution, through his prolific and singular artistic output. Among the embroidered textiles and mixed-media pieces in the show (of more than 1,000 the artist produced) is his best-known work, “Annunciation Garment.”

Americas Society (
680 Park Avenue, Upper East Side, Manhattan
Through May 20

Crafting Freedom: The Life and Legacy of Free Black Potter Thomas W. Commeraw

Thomas W. Commeraw, jar (c. 1797–1800) (photo by Richard Walker, courtesy the Feinmore Art Museum, Cooperstown, New York, gift of J. Holman Swinney)

This show will display a selection of over 20 stoneware jars and jugs from the pottery studio of Thomas W. Commeraw, who was born enslaved and became a successful entrepreneur in New York’s Lower East Side neighborhood in the late 1700s and early 1800s. It’s the first museum show to center Commeraw’s work and will also explore other aspects of the artist’s life, including his role in New York’s free Black community and his position as an important political figure.

New-York Historical Society (
170 Central Park West, Upper West Side, Manhattan
Through May 28

Nina Katchadourian, “Giant Redwood” (2012) from the project Seat Assignment (2010–ongoing) (© Nina Katchadourian)

Uncommon Denominator: Nina Katchadourian at the Morgan

For Uncommon Denominator, interdisciplinary artist Nina Katchadourian draws on the Morgan Library’s vaults and her own career and family artifacts to create a conversation among objects. Accompanying this is commentary from Morgan staff members about their favorite objects. The resulting exhibition and catalogue promise to be a clever and thought-provoking inquiry into the nature of things and their relationships.

The Morgan Library & Museum (
225 Madison Avenue, Murray Hill, Manhattan
Through May 28

Deconstructing Power: W. E. B. Du Bois at the 1900 World’s Fair

W. E. B. Du Bois and students of Atlanta University, “City and rural population. 1890.” data visualization (1900), ink and watercolor on board, 2715/16 inches × 221/16 inches (image courtesy the Library of Congress Prints and Photographs Division)

Deconstructing Power is not the first exploration of the scholar and activist’s data visualizations as aesthetic objects, but Cooper Hewitt adds a sociopolitical twist by putting them in dialogue with decorative arts by White, male 19th-century designers including Louis Comfort Tiffany, Henry van de Velde, and Adolf Loos, thus coaxing out the racial and class hierarchies embedded in design.

Cooper Hewitt, Smithsonian Design Museum (
2 East 91st Street, Upper East Side, Manhattan
Through May 29

Shahzia Sikander: Havah…to breathe, air, life

Shahzia Sikander, “NOW” (2023) on the Courthouse of the Appellate Division, First Department of the State of New York, in Havah…to breathe, air, life (photo Hrag Vartanian/Hyperallergic)

Newly installed atop the New York state courthouse in Flatiron is artist Shahzia Sikander’s golden figure of a woman donning Justice Ruth Bader Ginsburg’s lace collar and blooming from a lotus flower. The artwork, which marks the first time a female subject adorns one of the building’s 10 plinths, is beautifully incongruous with the stone statues of Confucius, Justinian, and other historical male figures surrounding her. Nearby at Madison Square Park, Sikander’s figure resurfaces in a ground-level sculpture titled “Witness” that visitors can admire up close.

Madison Square Park (
11 and 27 Madison Avenue, Flatiron, Manhattan
Through June 4 

Coyote Park: I Love You Like Mirrors Do

Coyote Park, “River, a Daydream” (2022), 50 inches × 33 inches, photograph (courtesy the artist)

Drawing on the museum’s collection as inspiration, photographer Coyote Park delves into the intimate relationships and friendships in their own life, both past and present. Expanding on queer visual histories, Park’s photographs will be exhibited alongside rarely shown works in the museum’s collection.

Leslie-Lohman Museum of Art (
26 Wooster Street, Soho, Manhattan
Through July 16

City of Faith: Religion, Activism, and Urban Space

DJ Rekha and Chiraag Bhakta, *Pardon My Hindi, “Bhangra Against Bush (poster for Basement Bhangra, club night)” (2004) (courtesy DJ Rekha and Chiraag Bhakta, *Pardon My Hindi)

What’s beneath the image of New York as a “secular” city, and who does this guise erase? South Asian American artists exploring faith, activism, and identity come together in an interrogation of this and other questions surrounding racialization projects in post-9/11 New York City. From intricate portraits of South Asian feminists by Jaishri Abichandani to Amit Amin and Naroop Jhooti’s photography of the Sikh diaspora, the show poses a vision of community and creativity as conduits for reclaiming public space.

Museum of the City of New York (
1220 Fifth Avenue, Upper East Side, Manhattan
Through Sept. 18 

Claude Gillot: Satire in the Age of Reason

Four costume studies for Pluto and Time for the ballet The Elements, presented in Paris in 1721 and in which the young Louis XV danced. 1718-20. Watercolor and gouache; 186 x 255mm. INV26763-recto. Photo: Michel Urtado.

At the turn of the 18th century, French artist Claude Gillot diverged from the artistic style of the Royal Academy to create witty and satirical works, ushering in a new generation of artists aligned with the dawning Age of Reason. Featuring more than 70 paintings, prints, and drawings, this exhibition contextualizes Gillot within the rapidly changing cultural world of early 18th-century Paris.

The Morgan Library & Museum (
225 Madison Avenue Murray Hill, Manhattan
Feb. 24–May 28

Kara Walker: Harper’s Pictorial History of the Civil War (Annotated)

Kara Walker, “Exodus of Confederates from Atlanta” from the portfolio Harper’s Pictorial History of the Civil War (Annotated) (2005), offset lithograph and screenprint on paper (© 2005 Kara Walker; courtesy the Smithsonian American Art Museum, Museum purchase through the Luisita L. and Franz H. Denghausen Endowment)

By now we all know that a silhouette is not just a silhouette in Kara Walker’s hands. Here, she makes visible, palpable even, the omission of African Americans from dominant historical narratives, specifically Harper’s 1866 two-volume Civil War anthology. By inserting her figures
into select oversized illustrations, Walker yet again asks viewers to confront a painful past — and its effects on contemporary culture — by way of racialized and gendered stereotypes.

New-York Historical Society (
170 Central Park West, Upper West Side, Manhattan
Feb. 24–June 11

Marcus Behmer

Marcus Behmer, “Melancholie!!” (undated, c. 1900), ink and colored pencil on paper, 10.63 inches × 7.56 inches (courtesy Galerie Buchholz)

Weimar-born Behmer was associated with the Vienna Secession before catching the attention of Harry Graf Kessler, the legendary art patron and chronicler of the Weimar Republic. Ever surprising with its historical deep dives, Galerie Buchholz centers this fascinating figure, a member in Berlin of the world’s first homosexual organization. While his fine-lined illustrations owe a debt to Aubrey Beardsley, his hybrid creatures and erotic drawings tread into the realms of the fantastical and grotesque. Don’t miss a rare chance to see them in person.

Galerie Buchholz (
17 East 82nd Street, Upper East Side, Manhattan
March 2–April 8

Wangechi Mutu: Intertwined

Wangechi Mutu, “Yo Mama” (2003), ink, mica flakes, acrylic, pressure- sensitive film, cut-and- pasted printed paper, and painted paper on paper, diptych, overall 591/8 inches × 85 inches (photo by Robert Edemeyer, courtesy the artist and Vielmetter Los Angeles; the Museum of Modern Art, New York, The Judith Rothschild Foundation Contemporary Drawings Collection Gift)

Ever prolific and visionary, Wangechi Mutu has been transforming visual media for more than 25 years. The New Museum brings together more than 100 works by the artist in a major solo exhibition that connects her current art to the fantastical depictions of contemporary realities and future possibilities she’s been creating for decades.

New Museum (
235 Bowery, Lower East Side, Manhattan
March 2–June 4

Chryssa & New York

Chryssa, “The Gates to Times Square” (1964–66) (© Estate of Chryssa; photo by Bill Jacobson Studio, New York, courtesy Dia Art Foundation)

We miss the ’80s, not least because that was the last time a major show of Chryssa’s art took place in North America. On track for a three-city tour across the country, Chryssa & New York debuts at Dia Chelsea, centering the artist’s formal sensibilities and indulging audiences with the elegance of industrial materials like neon and metal. Emphasizing the aesthetic qualities of these and other commercial elements, including signage, repetition, and additional forms of visual communication, Chryssa & New
is a love letter to the days when virtual reality was just a flimsy apparition.

Dia Chelsea (
537 West 22nd Street, Chelsea, Manhattan
March 2–July 23

A Movement in Every Direction: Legacies of the Great Migration

Detail of Robert Pruitt, “A Song for Travelers” (2022), charcoal, conté crayon, pastel on paper, mounted on four aluminum panels, 84 inches × 20 feet (courtesy the artist, image courtesy Adam Reich)

This multimedia exhibition centers 12 contemporary artists’ reflections on the Great Migration, when around six million Black individuals relocated from the rural South to northern and midwestern cities as a result of organized racial violence and poor social conditions. The show’s artists employ mediums ranging from textiles to film to examine the six-decade-long movement’s effects on their personal lives and on United States society and culture at large.

Brooklyn Museum (
200 Eastern Parkway, Prospect Park, Brooklyn
March 3–June 25

Of Mythic Worlds: Works from the Distant Past through the Present

Cameron, “Pluto Transitioning the Twelfth House” (1978–86), ink on paper, 12 inches × 9 inches (photo by Daniel Terna, courtesy Nicole Klagsbrun and The Cameron Parsons Foundation)

Of Mythic Worlds: Works from the Distant Past through the Present looks at how artists across cultures, generations, and disciplines use rituals, ideologies, beliefs, and traditions to pursue a deeper level of consciousness and understanding beyond a “worldly” experience. Highlights include rarely seen drawings by Roland Barthes and Georgia O’Keeffe, major works by Mel Chin, and new works from Duane Linklater (Omaskêko Ininiwak from Moose Cree First Nation), as well as Shaker artworks and prints from the Qing dynasty.

The Drawing Center (
35 Wooster Street, Soho, Manhattan
March 8–May 14

Images on which to build, 1970s–1990s

Morgan Gwenwald, “Working on the Keepin’ On exhibition. Pictured from left to right: Paula Grant, Jewelle Gomez, Georgia Brooks” (1991) (© the artist)

The Leslie-Lohman Museum of Art is the only dedicated LGBTQIA+ art museum in the world. This exhibition features a display of photographs that tell the rich story of the community’s activism, education, and media production from the last quarter of the 20th century.

Leslie-Lohman Museum of American Art (
26 Wooster Street, Soho, Manhattan
March 10–July 30

Rachel Whiteread

Rachel Whiteread, “Untitled (Green)” (2020 –2022), copper and patina (2 parts), 193/4 inches × 193/4 inches × 1 inch (© Rachel Whiteread; photo by Prudence Cummings Associates, courtesy the artist and Luhring Augustine, New York)

Rachel Whiteread has made a career of materializing the traces of life. Her casts of architectural negative space in industrial materials like resin and concrete are uncanny imprints of the spaces we take for granted. Her latest exhibition at Luhring Augustine focuses on smaller floor and wall sculptures and works on paper, complements to her massive structures that suspend the ephemeral.

Luhring Augustine (
17 White Street, Tribeca, Manhattan
March 10–April 22

What That Quilt Knows About Me

Mary K. Borkowski, “Patient Dismissed” (c. 1968), cotton and silk thread on polyester, 15 inches × 17 inches × 11/2 inches (photo courtesy the American Folk Art Museum, New York, gift of Jacqueline Loewe Fowler)

Showcasing around 40 individual quilts spanning the 19th through 21st centuries, this exhibition speaks to how quiltmakers embedded their collective and individual histories into every weave and stitch, characterizing their work as live documents that hold keys to the past and its secrets. The featured quiltworks also push the boundaries of material and technique, with some examples incorporating elements such as photographs and paintings.

American Folk Art Museum (
2 Lincoln Square, New York, Upper West Side, Manhattan
March 17–October 29

Death Is Not the End

“Lords of the Charnel Ground; Smashana Adipati” (18th century, Tibet), painted terracotta, 61/2 inches × 51/8 inches × 11/2 inches (photo by David De Armas, courtesy the Rubin Museum of Art)

From thangka paintings to illuminated manuscripts, this exhibition features 58 objects representing Tibetan Buddhist and Christian traditions that span 1,200 years. As its title suggests, the show explores the concepts of death and the possibility of an afterlife, pondering what the show’s curators suggest is the universal human condition of impermanence and tendency to embrace life.

Rubin Museum (
150 West 17th Street, Chelsea, Manhattan
March 17–Jan. 14, 2024

Sebastián Hidalgo: Encounters with Neptune

Sebastián Hidalgo, “Gigante de jade (Jade Giante)” (2022), oil on canvas, 551/8 inches × 431/4 inches (courtesy the artist and Fortnight Institute, New York)

Artist Sebastián Hidalgo’s work is difficult to classify. He has made elegant paintings on linen and soft, dreamlike portraits on craggy fragments of marble; immaculate figurations and mouthwatering abstractions. But all his visual worlds share an ineffable magnetism that makes us want to keep looking. The works in Encounters with Neptune are inspired by the two seemingly contradictory concepts of chaos and the structure of mandalas and the tension between them.

Fortnight Institute (
21 East 3rd Street, Bowery, Manhattan
March 23–April 22

Austin Lee: Double Rendering

Austin Lee, “Joy” (2022), acrylic on wood, 64 inches × 51 inches (courtesy the artist)

Austin Lee continues his exploration of digital graphic aesthetics by means of manual techniques through gawky MS Paint-esque characters and simplistic imagery with exaggerated textures and surfaces reminiscent of early computer animation. Lee’s new exhibition highlights the multiple stages of his full-circle process: creating and manipulating models through virtual reality, translating them into physical airbrushed paintings, realizing them dimensionally with a 3D printer, and simultaneously breathing life into them while sending them back to the digital realm through animated videos using motion capture technology.

Wallach Art Gallery (
615 West 129th Street, Upper West Side, Manhattan
March 25–April 9

Sung Tieu: Infra-Specter

Sung Tieu, from the series Exposure To Havana Syndrome, Brain Anatomy, Axil Plane (2023), laser engraving on stainless steel mirror, 173/4 inches × 113/4 inches × 1/4 inches, edition of 6 (courtesy the artist)

Sung Tieu’s first solo exhibition in the US promises to introduce audiences to the artist’s research on psychological and informational control asserted by private and governmental entities, efforts typically hidden from public view. Tieu plays with fact and fiction to challenge the idea of universal truth, looking instead to the powers of information — or lack thereof.

Amant (
315 Maujer Street and 932 Grand Street, Williamsburg, Brooklyn
March 30–Sept. 10

Nature, Crisis, Consequence

John James Audubon, “Great Blue Heron (Ardea herodias), Study for Havell pl. 211” (1821/1834), watercolor, oil, pastel, graphite, gouache, black ink, and collage on paper, laid on card (courtesy the New-York Historical Society, purchased for the Society by public subscription from Mrs. John J. Audubon)

There’s no shortage of warnings about environmental collapse these days, and no lack of information about the history of abuses that brought us to this point. Nature, Crisis, Consequence makes visible some of that US history and brings together works by a wide range of artists calling desperately for our attention, and action.

New-York Historical Society (
170 Central Park West, Upper West Side, Manhattan
March 31–July 16 

Sarah Sze: Timelapse

Work in progress by Sarah Sze (2022) (© Sarah Sze; courtesy Sarah Sze Studio)

Medium-bending assemblage artist Sarah Sze brings a distinctly contemplative spirit to an exhibition designed specifically for the museum’s structure. Considering how visitors might move through space, Sze pieces together a sensory installation, livestream projection of the moon, images on the building’s exterior, and interventions into the rotunda itself to encourage reflection on our relationship to time and memory.

Guggenheim Museum (
1071 Fifth Avenue, Upper East Side, Manhattan
March 31–Sept. 10

Gego: Measuring Infinity

Gego installing “Reticulárea” (1969) at Museo de Bellas Artes de Caracas (© Fundación Gego; photo by Juan Santana)

One of the most significant abstract artists in Latin America, yet still underrecognized in the US, German-Venezuelan artist Gego and her 40-year career are long overdue for some serious consideration. Gego: Measuring Infinity, her first major retrospective in the States in more than 15 years, highlights her interest in line and dimension through her sculptures, drawings, prints, textiles, and artist books. The show is posed as a “fully integrated view” of the artist’s individual, and continuously influential, non-objective explorations.

Guggenheim Museum (
1071 Fifth Avenue, Upper East Side, Manhattan
March 31–Sept. 10

Penguins! Past and Present

The blue feathers of little penguins contain miniscule β-keratin nanofibers only 1/5000th of a millimeter in diameter arranged in tiny parallel bundles. The bundles refract blue light, giving this pint-sized penguin its beautiful color. (photo by On Lee Lau, courtesy Otago Museum; description by Daniel Ksepka)

This multifaceted exhibition delves into the incredible resilience of 10 penguin species as they navigate survival through climate change and habitat loss in the already harsh conditions in which they’ve evolved to thrive. Curated by renowned penguin expert Daniel Ksepka, the science-heavy display showcases 60 million-year-old fossils, scaled dioramas, footage of penguins in their natural environments, and information about the ways penguins and humans have influenced each others’ histories. Opening in conjunction with Gallery A, this show also marks the museum’s expansion, doubling the institution’s size and adding dedicated spaces for exhibition, community, and education.

The Bruce Museum (
1 Museum Drive, Greenwich, Connecticut
April 2–Aug. 6

Juan de Pareja, Afro-Hispanic Painter

Juan de Pareja, “Portrait of the Architect José Ratés Dalmau” (1660s), oil on canvas, 46 inches × 381/2 inches (photo by Paco Alcántara Benavent, courtesy Museo de Bellas Artes de València)

You might recognize Juan de Pareja from a 1650 portrait of him by Diego Velázquez, now hanging at The Metropolitan Museum of Art. There’s a dark history behind his iconic portrait: The Afro-Hispanic painter was enslaved at Velázquez’s studio for 20 years before regaining his freedom and embarking on his own art career. The exhibition includes Pareja’s rarely-seen paintings and works by others that chart the history of forced artisanal labor in Spain’s “Golden Age” and beyond.

The Metropolitan Museum of Art (
1000 Fifth Avenue, Upper East Side, Manhattan
April 3–July 16

Cecily Brown: Death and the Maid

Cecily Brown, “Fair of Face, Full of Woe” (2008), oil on canvas, 17 inches × 397/8 inches (© Cecily Brown; courtesy the The Metropolitan Museum of Art, New York, Gift of Calvin Tomkins and Dodie Kazanjian)

All is vanity, as the saying goes. British artist Cecily Brown takes the sentiment to heart with each bold brushstroke, disrupting all manner of strict representation — whether of beauty or beast. Brown’s solo exhibition Death and the Maid at The Met highlights her influential position within contemporary painting’s recasting of art history’s grandiose themes.

The Metropolitan Museum of Art (
1000 Fifth Avenue, Upper East Side, Manhattan
April 4–Dec. 3

Jaune Quick-to-See Smith: Memory Map

Jaune Quick-to-See Smith, “War Horse in Babylon” (2005), oil and acrylic on canvas, two panels, 60 inches × 100 inches overall (photo courtesy the artist and Garth Greenan Gallery, New York; Forge Project Collection, traditional lands of the Muh-he-con-ne-ok)

Long overdue, this is the first New York retrospective of the celebrated 83-year-old Native American artist, spanning almost five decades of her career. Always rooted in ancestral knowledge and heritage, her work uses methods of appropriation to address issues of land, white supremacy, and cultural preservation and erasure in contemporary American society and history.

Whitney Museum of American Art (
99 Gansevoort Street, Meatpacking District, Manhattan
April 19–Aug. 13

Daniel Lind-Ramos: El Viejo Griot: Una historia de todos nosotros

Daniel Lind-Ramos, “Armario de la Memoria” (2012), assemblage, 108 inches × 65 inches × 36 inches (photo by Pierre Le Hors, courtesy MoMA PS1)

Artist Daniel Lind-Ramos meditates on Afro-Puerto Rican and Caribbean histories, practices, and traditions through innovative use of found objects, harnessing the power of the everyday. This exhibition, the most comprehensive museum show in his career, brings together large-scale works whose presence and detail address the impact in Puerto Rico of Hurricane María, COVID-19, and more.

MoMA PS1 (
22-25 Jackson Avenue, Long Island City, Queens
April 20–Sept. 4

Tracey Rose: Shooting Down Babylon

Tracey Rose, “San Pedro V ‘The Hope I hope’ The Wall” (2005), giclée print, 33.43 inches × 24.98 inches (courtesy the artist)

Understanding her own body as a site of resistance, Tracey Rose challenges the interlinked forces of racism, gender, and class through provocative works that echo the performance art of the 1960s and ’70s, yet are entirely her own. A selection of her pieces reflects her commitment to this experimental approach, in which she confronts systems of power, along with a newer exploration of ritual restoration and healing.

Queens Museum (
Grand Central Parkway and Van Wyck Expressway, Flushing Meadows–Corona Park, Queens
April 23–Sept. 10

The People’s Ball

The People’s Ball at the Brooklyn Public Library in 2022 (photo by Gregg Richards)

Held the night before the Met Gala in the lobby of Brooklyn’s Central Library, this fashion-forward ball is a refreshingly inclusive alternative to Anna Wintour’s celebrity-focused event. It’s free, and New Yorkers from all walks of life show up in their stylish or most creative outfits. Past years have included a red carpet, a runway, and an impressive lineup of performances.

Brooklyn Public Library (
10 Grand Army Plaza, Prospect Heights, Brooklyn
April 30

Karl Lagerfeld: A Line of Beauty

Karl Lagerfeld, sketch of Ensemble for House of CHANEL, spring/summer 2019 (courtesy CHANEL, image courtesy The Metropolitan Museum of Art)

Like him or not, Karl Lagerfeld’s influence on 20th-century fashion is immeasurable. From his tenure at Chloé, which paved the way for designers like Stella McCartney and Phoebe Philo, to his 36 years helming Chanel, until his death in 2019, Lagerfeld’s aesthetic is imprinted on the way we dress. This Costume Institute exhibition looks at his legacy through his creative process, including his clothing, sketches, and collaborations with his team.

The Metropolitan Museum of Art (
1000 Fifth Avenue, Upper East Side, Manhattan
May 5–July 16

Pola Sieverding

Pola Sieverding, “Duende 1” (2022), pigment print on paper, 66.14 inches × 44.1 inches (courtesy the artist and signs and symbols)

For her first US solo exhibition German artist Pola Sieverding brings together work from two photographic series, focused on oysters and bullfighting, in a site-specific installation. Exploring the body as a linguistic vehicle, her recent works center on the idea of sexual potency. Rather than relying on concepts alone, however, Sieverding imbues her images and films with a rich, complex visuality.

signs and symbols (
249 East Houston Street, Lower East Side, Manhattan
May 4–June 10

Shelley Niro: 500 Year Itch

Shelley Niro (Six Nations Kanyen’kehá:ka [Mohawk]), “The Rebel” (1987), hand-tinted gelatin silver print (courtesy the National Museum of the American Indian; collection of the artist)

Spanning beadwork, photography, painting, and sculpture, artist Shelley Niro’s decades-long practice defies categorization as it subverts historical tropes weaponized against Native peoples, particularly Native women. Her exhibition at the National Museum of the American Indian pairs references to these long-standing racist stereotypes with their antidote: healing lessons from and homages to her Six Nations Kanyen’kehá:ka (Mohawk) community.

The National Museum of the American Indian (
1 Bowling Green, Financial District, Manhattan
May 27–Jan. 1, 2024

Darrel Ellis: Regeneration

Darrel Ellis, “Untitled (Aunt Lena and Grandmother Lilian Ellis)” (1990) (© Darrel Ellis Estate and Candice Madey, New York)

More than 30 years after his death at 33, Darrel Ellis is finally regaining the art world’s attention. Ellis was an up-and-coming artist when he died of AIDS-related causes in 1992. While his personal narrative is compelling, it’s his haunting portraits of himself and his family, created by distorting and collaging photos he and his father took, that linger long after encountering them. Regeneration is the first museum survey of the artist’s work, and one that is long overdue.

Bronx Museum of the Arts (
1040 Grand Concourse, Concourse Village, The Bronx

Lost Island Concert Series

Lost Island concert series (photo by Tod Selie, courtesy the Tideland Institute)

Dedicated to connecting New Yorkers to the city’s waterways, the Tideland Institute offers an inventive take on this project by staging a concert series in the mouth of a sewer tunnel that empties into the East River. Sound intriguing? Expect the words “sewer tunnel” to be redefined by cool breezes, rock seating, and jazz and modern classical music. Details and tickets will be released to mailing list subscribers.

For event locations, visit