Should You Sit Out the Armory Show?

One line on the blue-chip behemoth, Independent 20th Century highlights overlooked artists, and more.

Should You Sit Out the Armory Show?
Lucia Hierro’s Nuestra Silla (Our Chair) (2026) at the Armory Show (photo Hakim Bishara/Hyperallergic)

If you survived day one of the New York fair flurry, you have my respect — Editor-in-Chief Hakim Bishara has read his share of booth press releases over the past 24 hours, too, and offers a one-sentence dispatch on the best and worst of the Armory Show to spare your eyes. (See what I did there?)

Meanwhile, Senior Editor Valentina Di Liscia beholds the “monstrous mise en abyme” that is Independent 20th Century at the Breuer Building, where overlooked and marginalized artists get their due.

More must-reads below, including reviews from Venice of the Biennale’s Polish Pavilion and an exhibition on the handmade dolls repatriated to an Indigenous Australian community after a professor stole them over 70 years ago.

—Lakshmi Rivera Amin, associate editor


Independent 20th Century, the Mise en Abyme of Art Fairs

Independent 20th Century is an art fair within an auction house inside a building that used to be a museum, a monstrous mise en abyme that perfectly encapsulates the art world today.

The fifth edition of Independent’s dedicated modern art fair opened today, September 24, at the Breuer Building in Manhattan, a Brutalist landmark that was purchased by Sotheby’s in 2023. The cool, imposing structure served as the long-time home of the Whitney Museum of American Art from 1966 to 2014, and later briefly housed the Metropolitan Museum of Art’s contemporary galleries, followed by the Frick Collection, which used the space temporarily during renovations. If I were the Breuer Building, I’d need a vacation. | Valentina Di Liscia

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The Armory Show in One Sentence

This year’s edition seemed awfully quiet and downcast, making the financial sector trade show on the floor below seem like a riot in comparison. | Hakim Bishara

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Shimmer: Dreaming the Posthuman

This thought-provoking exhibition at the Frist Art Museum explores human interconnectedness with the more-than-human world.

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From Our Critics

What Happens After Repatriation?

“Tide of Returns” investigates the histories and futures of handmade dolls repatriated to an Indigenous Australian community. | Eurídice Arratia

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The Polish Pavilion Dissolves You in the Politics of Sound

At the Venice Biennale, whale songs become a means for communication, opening up a dialogue on accessibility. | Amanda Cachia

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Features

What Can Photographs Say in a World Full of Images?

An exhibition at the Wellin Museum of Art at Hamilton College examines how artists utilize serial configurations of pictures and text to prompt questions about seeing. | Monica Uszerowicz

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  • NYT Staff Photographer Damon Winter writes about seeing unexpected beauty in the decaying landscape of the NYC subway system.
  • A TikTok debate about Gen-Z job-seekers bringing iced coffee to interviews has spiraled into a conversation about the unspoken, arbitrary rules behind corporate culture, author Maya Watson explains in the Cut.

Member Comment

I completely agree with the structural issues outlined above. Understanding the value we artists have to the cultural continuum is equal to the challenge of how to participate in it. It would be great if we could understand the mechanisms of legacy throughout our careers rather than coming to it - if at all - in our 60s or 70s. Historically, we can barely find the means to create the work, let alone preserve it insuring that ‘second death’ among our relatives is very real. I applaud The Joan Mitchell Foundation for publishing ‘Creating Future Memory’ and add that the Center for the Preservation of Artist Legacies, here in NYC holds workshops for artists to begin that process.

—Valerie Hird on "An Unequal Artist Legacy Field Defines Who Gets to Be Remembered"

From the Archive

Science/Fiction Is a Botanical Daydream

This photo history of plants tackles the problem of how to pull ourselves out of the blind, anthropocentric march toward climate disaster. | Julia Curl

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