Barnaby Furnas’s latest paintings, which deconstruct American myths and symbols, were made with unusual studio assistants.
The shadowy artist collective Indecline converted a room at the Trump International Hotel & Tower in Manhattan into a solo jail cell for a man playing President Trump.
Tom Finkelpearl, Jeanne van Heeswijk, and Laura Raicovich discussed cultural institutions’ responsibilities to the most vulnerable members of their communities during a conversation at the New School.
A two-part exhibition at Jack Shainman Gallery sheds light on relatively obscure works by the master photographer, from colorful fashion imagery to portraits of Muhammad Ali, Helen Frankenthaler, and others.
A pair of exhibitions at Pioneer Works showcases Kathleen White’s commemorative artworks incorporating the hair of deceased friends and Nan Goldin’s photographs of White, who died in 2014.
At BRIC House, Public Access/Open Networks will feed your nostalgia for channel-surfing.
Whose Streets? Our Streets! New York City: 1980–2000, now on view at the Bronx Documentary Center, collects 20 years of protest photography in New York City.
Artists and activists involved in the Decolonize This Place residency at Artists Space reflect on its successes and how they can be models for future actions.
During the panel discussion “Chinatown Is Not For Sale,” members of the Chinatown Art Brigade presented an eight-point pledge of resistance for artists and gallery owners.
Artist and activist Federico Hewson has spent a decade advocating for better conditions on flower farms, and now he’s created a gentle tool to raise awareness of the often harsh labor conditions and environmental impacts behind the inexpensive blooms we so enjoy: the paper they’re wrapped in.
On a three-block stretch of 21st Street in Long Island City, New York City’s economic and artistic evolution plays out in miniature.