We Have Thoughts About the New Museum

A sneak peek and honest impressions of the newly expanded Lower East Side institution, an Iranian artist's view of the war from the diaspora, and Asia Week highlights.

The New Museum in Manhattan reopened for previews yesterday after a four-year expansion that doubled its exhibition space to the tune of $82 million. Maybe it's because the project has been so long in the making, or because we've always been sensitive about this contemporary sore thumb in the Lower East Side, but we have some serious feels about the museum's new building. Hyperallergic's editors gathered for a very candid dialogue about what worked, what didn't, and why we were all feeling a little less human after visiting New Humans: Memories of the Future, the inaugural exhibition. Read our roundtable and get a sneak peek of the (new) New Museum below.

Across the world, the horrors on our phone screens are a nightmarish reality. Bombs continue to drop on Iran and Lebanon, enveloping the beloved hometown of diasporic artist Leila Seyedzadeh in smoke. “My mind, as an immigrant, keeps flying back across oceans, circling the same sky over the Alborz Mountains where my body once belonged,” she writes in a moving piece today. “I do not know whether I am absent from the mountains, or whether the mountains are absent from my life here.”

— Valentina Di Liscia, senior editor


Installation view of the staircase in the New Museum (photo Lakshmi Rivera Amin/Hyperallergic)

What Do We Really Think of the New New Museum?

Hyperallergic’s editors sit down for an earnest conversation about the institution’s expanded building and inaugural exhibition. | Hrag Vartanian, Hakim Bishara, Lakshmi Rivera Amin, Lisa Yin Zhang, and Valentina Di Liscia


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Pratt’s 2026 Fine Arts MFA Thesis Exhibitions, on View This Spring

Pratt Fine Arts is delighted to invite visitors to a two-part show curated by Alessandra Gómez at Dock 72 in the Brooklyn Navy Yard.

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Opinion

Leila Seyedzadeh, “Selfportrait” (2024), color pencil, conte, fine liner color pen, paper, 11 x 8.5 inches (courtesy the artist)

Flying Back With the Birds to My Hometown of Tehran

Since the war began, I feel as if I am living inside a shadow. It has no physical form, yet it follows me everywhere. | Leila Seyedzadeh


News

Suspect Arrested for $240,000 Damage to Chihuly Glass Artworks
Damage at the Chihuly Garden and Glass exhibition (photo via Seattle Police Department)

Seattle police have arrested a man for allegedly shattering highly valuable glass sculptures at Chihuly Garden and Glass, causing $240,000 worth of damage and attempting to stab a security guard with a shard.


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Detroit Institute of Arts Reinstalls African American Galleries at the Heart of the Museum

African American art history has often been underrepresented. “Reimagine African American Art” invites visitors to discover transformative works across two centuries.

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Happening in NYC

Satish Gujral, “Untitled (Woman and Bird)“ (1970) (image courtesy Christie’s New York)

What to See During New York’s Asia Art Week

Across the city, exhibitions, auctions, and lectures converge to celebrate art history, material culture, and centuries-old traditions spanning from Persia to Japan. | Rhea Nayyar and Isa Farfan


In Memoriam

Éliane Radigue’s concert during the festival “Presences electronics” in 2011 (photo Aude Paget/INA via Getty Images)

Remembering Axel Burrough, Kazumasa Nagai, and Éliane Radigue

This week, we honor a pioneering composer, Indigenous muralist, and Upper East Side gallerist. | Lakshmi Rivera Amin


Member Comment

Sandy Sanders on Lisa Yin Zhang’s “The Tiny Brooklyn Project Space Resisting the Gallery Machine”:

Love it! It feels real and emits a relaxation that comes from seeing clearly what's happening to human society. The non-commercial is a clear antidote to what ails us at this time. Holding space now is a major hurdle, as is being visible to those who need to see it.

From the Archive

Judy Chicago, “Immolation” (1972), archival pigment print, 36 x 36 inches (© Judy Chicago/Artists Rights Society (ARS), New York; image courtesy the artist and the New Museum)

Judy Chicago’s Corporate Feminism

I came to Herstory hoping to see depth, guts, the ambition and potency of “The Dinner Party” and instead found nothing but surface. | Alice Procter