We are waiting for spectacle and when the quotidian, yet incongruous actions occur I wonder whether there is any real payoff coming.
Artist Reggie Black is projecting a message about the history of slavery in New York City on the façade of the Dyckman Farmhouse Museum in Manhattan, where six people were enslaved.
Like a hybrid of a Where’s Waldo puzzle and Hieronymus Bosch painting, Chris Santa Maria’s collage culls from the unsettlingly familiar visual torrent of Trump’s administration.
For nearly two decades, the Clemente Center has been divided about control over the building’s 42 subsidized artist studios, four theaters, and two galleries.
In New York City, thousands are calling for the removal of Christopher Columbus statues, which can be found in Manhattan, Queens, the Bronx, and Brooklyn.
Some community members have opposed the Children’s Museum of Manhattan plans to relocate to a former church on the Upper West Side.
A cohort of artists and collectives will have “full transparency into the organization’s inner workings” and control of its annual production budget to pay their own wages and develop programs.
The International Studio and Curatorial Program hosts a two-day symposium on contemporary art and cultural exchange featuring a keynote address by Holland Cotter.
From Bangkok to New York City, Cindy Trinh’s documentary photography series No Boundaries captures Asian and Asian-American experiences through food, labor, and culture.
Works by Franklin Williams, Curtis Talwst Santiago, and Marcus Amm caught my eye for their innovative use of color and diverse materials.
An immersive audio experience transports listeners four centuries into the past, when New York was undeveloped and ecologically diverse.
The central space of the Stephen A. Schwarzman Building had been closed for repairs after one of the plaster rosettes on its ceiling plummeted to the ground in May 2014.