Through April 12\u00a0<\/p>\n
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Molly Crabapple, “Utopia in Our Time” (2012) (image courtesy Poster House)<\/p>\n
Illustrator and author Molly Crabapple tackles various social inequities and immortalizes forms of resistance across the globe in a series of vibrant posters. In her signature style, figurative surrealism intersects with tight draftsmanship.<\/p>\n
Caravaggio\u2019s \u201cBoy with a Basket of Fruit\u201d in Focus\t\t<\/p>\n
Morgan Library & Museum<\/a>, 225 Madison Avenue, Murray Hill, Manhattan While he\u2019s often viewed as a painter of darkness, \u201cBoy with a Basket of Fruit\u201d (1595) shows a different side of Caravaggio. With its jewel-like colors and sultry atmosphere, the stunning painting is a master class in naturalism and light. Accompanying it are precedents by Annibale Carracci and others, as well as later works by figures such as Bernini that show Caravaggio\u2019s massive influence on Roman art.<\/p>\n Read Lisa Yin Zhang\u2019s interview with the curator<\/a><\/p>\n Pat Oleszko: Fool Disclosure<\/p>\n SculptureCenter<\/a>, 44-19 Purves Street, Long Island City, Queens In her first New York City solo presentation in 35 years, Pat Oleszko flouts propriety as she fills SculptureCenter to the brim with her irreverent art. The visual cacophony of her cheeky inflatables might instantly grab the viewer\u2019s attention, but a selection of her filmed public performances, or disruptions, handcrafted character costumes, and associated archival media further emphasize that this is Pat\u2019s world \u2014 we\u2019re just living in it.<\/p>\n Ceija Stojka: Making Visible\t<\/p>\n Drawing Center<\/a>, 35 Wooster Street, Soho, Manhattan\t The Austria-born Roma creator Ceija Stojka translated her most hellish life experiences \u2014 including surviving the Holocaust \u2014 into artworks that are both beautiful and disturbing. This retrospective honors her life and creative practice as an artist, musician, writer, and activist with more than 60 works, along with sketchbooks and archival materials. It promises to be a stunner. <\/p>\n Carol Bove\t<\/p>\n Solomon R. Guggenheim Museum<\/a>, 1071 Fifth Avenue, Upper East Side, Manhattan For a quarter-century, Carol Bove has explored the relationship between objects and their environment through her evolving oeuvre \u2014\u00a0which makes the Guggenheim\u2019s rotunda an ideal site to experience her work. This career-spanning show presents the full range of her sculptural practice, from early assemblages to recent steel sculptures \u2014 brightly colored and twisted forms that seem almost alive. <\/p>\n Whitney Biennial 2026<\/p>\n Whitney Museum of American Art<\/a>, 99 Gansevoort Street, West Village, Manhattan This year, the Whitney Biennial turns its attention to the relationships and shared histories that preoccupy its 56 artists, which include Palestinian painter Samia Halaby, Din\u00e9 artist Nani Chacon, and performance artist Andrea Fraser. Co-curated by Marcela Guerrero and Drew Sawyer, the 82nd edition of this long-running survey offers a bird\u2019s-eye view of the expansive landscape of American art today.<\/p>\n Paul Klee: Other Possible Worlds<\/p>\n Jewish Museum<\/a>, 1109 Fifth Avenue, Upper East Side, Manhattan Targeted by the Nazi party for making \u201cdegenerate\u201d art, living in exile, and suffering chronic pain from a terminal auto-immune disease, Klee pushed forward with his practice in his later years. This exhibition homes in on his final decade, juxtaposing the one-time Bauhaus professor\u2019s ultimate works with earlier career-defining pieces, including the celebrated \u201cAngelus Novus,\u201d to address his dramatic shift in color theory and style.<\/p>\n Frida and Diego: The Last Dream<\/p>\n Museum of Modern Art<\/a>, 11 West 53rd Street, Midtown, Manhattan The tumultuous relationship between these two celebrated Mexican artists has long been the stuff of art historical myth. In a novel twist, the Museum of Modern Art is timing a show about their enduring impact on generations of artists with the Metropolitan Opera\u2019s production of El \u00daltimo Sue\u00f1o de Frida y Diego<\/a>, whose costume and set artist will also design the exhibition.<\/p>\n New Humans: Memories of the Future<\/p>\n New Museum<\/a>, 235 Bowery, Lower East Side, Manhattan Following a two-year closure for a major expansion, the New Museum will open its galleries to the public this March with an exhibition featuring 150 artists. The show examines the conveniences, anxieties, consequences, and futurity of being a human hurtling through a seemingly endless expanse of technological growth and overreach. Utopian architects, sci-fi filmmakers, and technological theorists coalesce in a visual snapshot of our projected future.<\/p>\n Raphael: Sublime Poetry<\/p>\n Metropolitan Museum of Art<\/a>, 1000 Fifth Avenue, Upper East Side, Manhattan What’s left to say about one of art history’s most consecrated names? In the United States, at least, a ton. The first comprehensive stateside exhibition on Raphael includes gems of international loans, such as preparatory drawings from the Louvre, Galleria Borghese, and Albertina. It traces his arc from the hillsides of Urbino to the Renaissance powerhouse of Florence to his time in the papal court of Rome.\u00a0<\/p>\n Marcel Duchamp<\/p>\n Museum of Modern Art<\/a>, 11 West 53rd Street, Midtown, Manhattan The first Duchamp retrospective in the US in over 50 years gathers decades\u2019 worth of the revolutionary French artist\u2019s oeuvre for a comprehensive look at the breadth of his practice, from his signature \u201creadymade\u201d art to miniature models and paintings on glass. Come for the urinal, stay for the 300 other works of art.<\/p>\n SurveysIrri\u1e6fitja Kuwarri Tjungu<\/p>\n Grey Art Museum at New York University<\/a>, 18 Cooper Square, East Village, Manhattan More than half a century ago, the first Aboriginal-owned art cooperative in Australia broke barriers and established a hub for First Nations painters. Now, nearly 120 works by the Papunya Tula Artists group \u2014 imbued with living traditions of design, experiments in line and color, and ancestral stories \u2014 are assembled in this gem of a show, whose Pintupi title translates to Past and Present Together.<\/p>\n Amazonia A\u00e7u\t\u00a0<\/p>\n Americas Society<\/a>, 680 Park Avenue, Upper East Side, Manhattan Featuring over 50 works by 34 artists and collectives based in the Amazonia region of South America, this expansive exhibition captures the breadth of creative perspectives and production across the geographic area. Works on view range from traditional weaving and pottery to contemporary painting and drawing to conceptual projects \u2014 all both eye-opening and visually arresting.\u00a0<\/p>\n Gabriele M\u00fcnter: Contours of a World<\/p>\n Solomon R. Guggenheim Museum<\/a>, 1071 Fifth Avenue, Upper East Side, Manhattan Fans of bold colors and intrepid brushwork, don\u2019t miss out on the first US retrospective of German Expressionist painter Gabriele M\u00fcnter, who captured the changing landscape of European and American society until her death in 1962. From jewel-toned mountain landscapes to indelible portraits and fiery sunset scenes, her paintings brim with the energy of an artist who reveled in the wonder of everyday life.<\/p>\n The Seventh AIM Biennial: Forms of Connection<\/p>\n The Bronx Museum<\/a>, 1040 Grand Concourse, Concourse Village, Bronx Despite it being the birthplace of hip hop and a graffiti hotbed \u2014 two major American cultural exports \u2014 the art world largely overlooks the Bronx. This biennial survey, presenting the work of the Bronx Museum\u2019s Artist in Marketplace (AIM) fellows, redresses this erasure, granting the borough its rightful place within both the New York and national arts landscapes. \u00a0 <\/p>\n Read Seph Rodney’s review<\/a><\/p>\n From Now: A Collection in Context \/ Opening Exhibitions<\/p>\n Studio Museum in Harlem<\/a>, 144 West 125th Street, Harlem, Manhattan From Jean-Michel Basquiat and Emma Amos to Isaac Julien and Simone Leigh, the Studio Museum in Harlem is home to work by over 800 artists from across the Black diaspora. This rotating exhibition showcases a sample of their extensive collection, bringing different pieces and artistic voices into conversation, often for the first time.<\/p>\n Greater New York 2026<\/p>\n MoMA PS1<\/a>, 22-25 Jackson Avenue, Long Island City, Queens Returning for its sixth edition, just in time for MoMA PS1\u2019s 50th anniversary, this beloved exhibition highlights artists who live and work right here in our city. Experience newly commissioned performances alongside artworks by Nickola Pottinger, Tiffany Sia, Farah Al Qasimi, and others who engage with the economic and technological forces that scaffold everyday life in New York City.<\/p>\n Here You Are: Staten Island Triennial<\/p>\n Staten Island Museum at Snug Harbor Cultural Center & Botanical Garden<\/a>, 1000 Richmond Terrace, Building A, St. George, Staten Island If you haven\u2019t yet visited the Staten Island Museum, now is the time. For its second triennial, the oft-neglected borough\u2019s phenomenal cultural institution gathers work by seven artists who call the island home, focusing on sites that evoke submerged, spectral, and layered histories.<\/p>\n Solo ShowsHortensia Mi Kafchin: Through Different Eyes<\/p>\n Leslie-Lohman Museum of Art<\/a>, 26 Wooster Street, Soho, Manhattan Eyes are the window to the soul \u2014 or, in this case, the portals to other worlds. Hortensia Mi Kafchin invites us to see anew with this three-channel film installation that cycles through images of human, cyborg, animal, and even planetary \u201ceyes,\u201d investigating fundamental questions of consciousness and perception that transcend the human experience.<\/p>\n Deborah Roberts: Consequences of being<\/p>\n FLAG Art Foundation<\/a>, 545 West 25th Street, 9th Floor, Chelsea, Manhattan Through large-scale mixed-media collages that subvert stereotypes of Black identity, Deborah Roberts traces the reverberations of colonialism and other forms of global oppression. Noteworthy in this exhibition is the inclusion of \u201cZuri\u201d (2025), a new ceramic bust of a young girl that marks Roberts’s recent foray into the medium.<\/p>\n Claes Oldenburg: Drawn from Life\t<\/p>\n Whitney Museum of American Art<\/a>, 99 Gansevoort Street, West Village, Manhattan\t While Claes Oldenburg\u2019s most celebrated works are his large-scale, soft sculptures of everyday items, drawings were central to his practice, as seen in this exhibition of charming works from the 1960s. Along with colorful sketches of items that became giant sculptures, the show presents some series that inspired important projects like \u201cThe Store\u201d (1961\u201364), as well as monuments he never ended up creating. <\/p>\n Claudio Perna: Idea como Arte\u00a0<\/p>\n Institute for Studies on Latin American Art<\/a>, 142 Franklin Street, Tribeca, Manhattan The late Venezuelan conceptual artist\u2019s first solo presentation in New York brings together more than 40 works that trace key themes in his art. Photography, photocopies, maps, and more convey Perna\u2019s interest in national identity, authorship, and knowledge circulation. Trained as a geographer, maps are central to his practice, as is his guiding principle of the \u201cidea as art.\u201d<\/p>\n Kawai Kanjir\u014d: House to House<\/p>\n Japan Society<\/a>, 333 East 47th Street, Midtown, Manhattan\u00a0 A trove of exquisite works by the late Kawai Kanjir\u014d, co-founder of Japan\u2019s folk art movement, arrives at Japan Society for his first solo US exhibition. House to House promises the rare gift of exploring the artist’s creative universe, from poetry to ceramics to woodworking, that still brims with life six decades after his death.<\/p>\n Kim Gordon: Count Your Chickens\u202f<\/p>\n Amant<\/a>, 315 Maujer Street, East Williamsburg, Brooklyn This survey of Sonic Youth bassist and co-founder Kim Gordon\u2019s art practice includes ceramics, paintings, readymades, and drawings, plus a newly commissioned film she scored about the guitar as an instrument of seduction. With work spanning 2007 to the present, some of her favored materials and themes appear again and again in different forms: for instance, cocktail tables covered with spandex, faux hedges, and built environments.\u00a0<\/p>\n David Lamelas: The Machine<\/p>\n Dia Chelsea<\/a>, 537 West 22nd Street, Chelsea, Manhattan This career-spanning survey \u2014 Dia Chelsea\u2019s first retrospective devoted to a Latin American artist \u2014\u00a0positions the Argentine-born polymath David Lamelas as a major figure of the late-20th-century avant-garde. Accompanied by a performance and a film program, it will trace Lamelas’s contributions to Pop, Minimalism, and Conceptualism, including pivotal works that question the limits of perception, time, and space.<\/p>\n Thematic ExhibitionsKate Teale: Vanishing Points and Golnar Adili: To Measure the Emotions of Others<\/p>\n Smack<\/a> Mellon<\/a>, 92 Plymouth Street, Dumbo, Brooklyn Handwriting takes on a life of its own in the work of Golnar Adili, who transforms letters written by her parents into vessels for displacement, familial memory, and the legacy of Iranian political persecution. Meanwhile, drawings by Kate Teale reimagine the art nonprofit\u2019s back gallery as a meeting space of local history where Dumbo\u2019s periods of industrialization and rapid gentrification collide.<\/p>\n The Mad MAD World of Jonathan Adler<\/p>\n Museum of Arts and Design<\/a>, 2 Columbus Circle, Columbus Circle, Manhattan Enter the exuberant world of Jonathan Adler. The famed potter and interior designer pairs more than 60 items from the museum\u2019s collection with his own creations, interweaving themes and categories such as mid-century modern ceramics, satirical and subversive objects, and even erotic items. Taken together, it\u2019s a celebration of design\u2019s full range and potential. <\/p>\n RugLife<\/p>\n Pratt Manhattan Gallery<\/a>, 144 West 14th Street, West Village, Manhattan This group exhibition presents 14 artists who utilize the rug in its functional, historical, and material capacities to consider questions of culture, history, migration, faith, justice, and ecology. Featuring work from Ali Cha\u2019aban, Ai Weiwei, Nicholas Galanin, Sonya Clark, and Stephanie Saad\u00e9, among others, RugLife is sure to warp common conceptions of the object\u2019s purpose, makeup, and boundaries. <\/p>\n Clearly Indigenous: Native Visions Reimagined in Glass\t<\/p>\n National Museum of the American Indian<\/a>, One Bowling Green, Financial District, Manhattan\t This exhibition looks at the vast range of glassworks by Indigenous artists across 45 years. A stained glass portrait by Angela Babby (Oglala Lakota) and the icy \u201cKiller Whale Totem\u201d (2018) by Preston Singletary (Tlingit) are just two of the many standout works. Clearly Indigenous also pays tribute to legendary glass artist Dale Chihuly. Though not Indigenous, he established the first glass program at Santa Fe\u2019s Institute of American Indian Arts.<\/p>\n Tromarama: Upon a Machine<\/p>\n The Kitchen<\/a>, Westbeth Artists Housing, 163B Bank Street, 4th Floor Loft, West Village, Manhattan Tromarama\u2019s first institutional exhibition in the US continues the Indonesian collective\u2019s investigation into the gray area between leisure and labor using artificial intelligence. It may sound high-concept, but they keep things interesting by anchoring the installation with unexpected references that combine pop culture and Marxism.<\/p>\n Photography & VideoRobert Rauschenberg\u2019s New York: Pictures from the Real World<\/p>\n Museum of the City of New York<\/a>, 1220 Fifth Avenue, East Harlem, Manhattan In celebration of the 100th anniversary of Rauschenberg\u2019s birth, this exhibition focuses on photography, which was fundamental to his work in the form of collaged integrations, and as a separate practice that ran parallel to, and even influenced, his more famous assemblages. One of the show\u2019s main takeaways is how much this important postwar American artist\u2019s loved the real world, from portraits of people to his fascination with New York City\u2019s signage. <\/p>\n HARD COPY NEW YORK<\/p>\n International Center of Photography<\/a>, 84 Ludlow Street, Lower East Side, Manhattan Yes, photocopies are works of art, and Aaron Stern\u2019s ongoing project is all the proof you need (pun intended). Alongside co-curator David Campany, Stern welcomes the 15 artists in this show to expand upon his long-running exploration of the democratic, radical nature of photocopied imagery in an era of digital overwhelm and surveillance.<\/p>\n Eug\u00e8ne Atget: The Making of a Reputation <\/p>\n International Center of Photography<\/a>, 84 Ludlow Street, Lower East Side, Manhattan Journey through a bygone Paris via the atmospheric photographs of Eug\u00e8ne Atget, who documented the city’s evolution from the late 19th century to the First World War and its aftermath. Much of his legacy, however, owes to his fellow photographer Berenice Abbott. Her dedication to preserving, archiving, and honoring his body of work finally gets its due in The Making of a Reputation.<\/p>\n Read Julia Curl’s review<\/a><\/p>\n BRIClab Video Art: 2024\u201325\t<\/p>\n BRIC<\/a>, 647 Fulton Street, Fort Greene, Brooklyn This exhibition of films presents works-in-progress by seven artists who took part in the 2024\u201325 BRIClab Video Art Residency. While these films highlight the artists\u2019 individual voices, they also speak to the range of creative possibilities the medium offers and the roles of mentorship and community in art making.<\/p>\n Ideas of Africa: Portraiture and Political Imagination<\/p>\n Museum of Modern Art<\/a>, 11 West 53rd Street, Midtown, Manhattan Photography has long been a powerful tool for building political consciousness, especially during the Pan-African solidarity movement in the mid-20th century. This invigorating exhibition maps these enduring artistic pathways and exchanges through works by contemporary artists, such as Njideka Akunyili Crosby, as well as giants of African and Black diasporic photography, including Seydou Ke\u00efta and Kwame Brathwaite.<\/p>\n Sophie Rivera: Double Exposures<\/p>\n El Museo del Barrio<\/a>, 1230 Fifth Avenue, East Harlem, Manhattan This is (somehow) the first museum survey of the late Nuyorican photographer Sophie Rivera, active in New York from the 1970s through the \u201990s. She had a deep connection to this museum \u2014\u00a0it hosted her first solo exhibition four decades ago, and others that she curated. Double Exposures spans her practice, from formally experimental portraits to documentary images of the city\u2019s graffiti and subway scenes. <\/p>\n Made in America: The Industrial Photography of Christopher Payne<\/p>\n Cooper Hewitt, Smithsonian Design Museum<\/a>, 2 East 91st Street, Upper East Side, Manhattan For 10 years, Christopher Payne meticulously photographed the manufacture of pinball machines, airplanes, instruments, and other objects we might not associate with capital-A \u201cArt,\u201d which is precisely the point. Challenging notions of craft versus fine art, along with skill and design, this show interweaves the underacknowledged labor of artisanal makers with Payne\u2019s own incisive photography.<\/p>\n Hujar: Contact<\/p>\n Morgan Library & Museum<\/a>, 225 Madison Avenue, Midtown, Manhattan Drawing our attention to the contact sheets from which Peter Hujar ultimately chose his enlargements, this show brings us into the mind of the seminal photographer and the processes behind his iconic images. These thumbnail images from 110 sheets (out of 5,700-plus from the Morgan\u2019s collection) offer a novel, intimate narration of Hujar\u2019s growth and evolution, from his role in the gay liberation movement to the many writers, artists, and performers in his community.<\/p>\n About Us: The American Imaginary \t<\/p>\n Queens Museum<\/a>, Flushing Meadows, Corona Park, Queens\t What does \u201cAmerican\u201d mean, and who gets to claim it? Three Terra Foundation Fellows and Queens residents tackle this question in this thoughtful exhibition. Each curated a collection of photographs that reflect their lived experiences, scholarly research into the museum\u2019s collection, and community conversations. Taken together, these images paint a nuanced portrait of American life.<\/p>\n FashionThe Endless Garment: Atlantic Basin<\/p>\n Pioneer Works<\/a>, 159 Pioneer Street, Red Hook, Brooklyn This show exploring how Asian fashion is produced, represented, and interwoven with global issues takes the Atlantic Basin as its central nexus \u2014 fitting, given Red Hook’s history as a major port with deep ties to the international textile trade. Curated by intrepid fashion writer Jeppe Ugelvig, it counts among its artists the \u201cvaguely Asian\u201d collective CFGNY and Taiwanese artist Serena Chang, who looks at the production of hosiery.<\/p>\n Art X Fashion\t<\/p>\n Museum at FIT<\/a>, 227 West 27th Street, Chelsea, Manhattan Left: Comme des Gar\u00e7ons, patchwork bodysuit with extended and exaggerated sleeves (spring 2018); right: Issey Miyake for Pleats Please and Yasumasa Morimura, Guest Artists Series No. 1 printed polyester dress (1996) (both \u00a9 The Museum at FIT; courtesy The Museum at FIT)<\/p>\n Art X Fashion looks at the long-standing relationship between fashion and fine arts. Along with visual art, it includes wearable collaborations between artists and fashion designers, such as Kerry James Marshall and Grace Wales Bonner, as well as iconic garments like Yves Saint Laurent\u2019s 1965 \u201cMondrian\u201d dress. Also featured are designers who bridge the two worlds, like Martin Margiela and Hussein Chalayan.\t<\/p>\n Gainsborough: The Fashion of Portraiture <\/p>\n Frick Collection<\/a>, 1 East 70th Street, Upper East Side, Manhattan There\u2019s perhaps no better way to explore 18th-century fashion than through the paintings of Thomas Gainsborough. Contextualizing his portraits of aristocratic families and figures in all their finery, this show unravels the threads of class, gender, and labor that shaped the fashion industry and English society writ large.<\/p>\n CFGNY: Puddles into Pond<\/p>\n Amant<\/a>, 315 Maujer Street, East Williamsburg, Brooklyn The artist collective CFGNY is having a big spring \u2014\u00a0on top of this solo presentation at Amant, the group is also in a show at Pioneer Works and in the Whitney Biennial. In its decade of existence, it has developed an aesthetic that spans fashion, ceramics, photography, installation, and more. But its true medium might be something more abstract: the circuits of production lines, knock-offs, and transcontinental exchange.<\/p>\n Costume Art\t\t<\/p>\n Metropolitan Museum of Art<\/a>, 1000 Fifth Avenue, Upper East Side, Manhattan Left: Renata Buzzo, \u201cCorset Anatomia\u201d (2025) (photo \u00a9 The Metropolitan Museum of Art; courtesy Renata Buzzo); right: Riccardo Tisci for House of Givenchy, “Ensemble” (2010\u201311) (photo \u00a9 The Metropolitan Museum of Art; courtesy Givenchy)<\/p>\n It\u2019s easy to have doubts about an exhibition addressing \u201cthe inherent relationship between clothing and the body\u201d \u2014 especially when it\u2019s underwritten by Jeff and Lauren S\u00e1nchez Bezos. Still, The Met\u2019s Costume Institute has quite a collection, so there\u2019s bound to be some eye candy in the pairings of garments and artworks on view. Bring on the historical bling.<\/p>\n Read Lisa Yin Zhang’s opinion piece<\/a><\/p>\n HistoryMapping Otherwise<\/p>\n Wallach Art Gallery at Columbia University<\/a>, 615 West 129th Street, 6th Floor, Harlem, Manhattan Partition carved a violent map into South Asia that remains an open wound. In this quietly rebellious show, Indian artist Zarina Hashmi and Pakistani artist Naiza Khan address it by challenging official maps and proposing new forms of cartography that defy nationalistic rhetoric, an especially urgent act as right-wing political forces gain momentum in India.<\/p>\n Running Through Heaven: Visions of Jack Kerouac\u00a0<\/p>\n Grolier Club<\/a>, 47 East 60th Street, Upper East Side, Manhattan Beat icon Jack Kerouac gets the exhibition treatment in this assembly of drawings, objects, books, letters, and more, drawn from the collection of Jacob Loewentheil. Here, you\u2019ll find the drawing he made to accompany his poem about voices he heard through the window of his Lower East Side tenement, along with other jewels from the life of this master of American poetry and prose. <\/p>\n Goya and the Age of Revolution <\/p>\n Hispanic Society Museum & Library<\/a>, 3741 Broadway, Washington Heights, Manhattan Goya is nearly synonymous with depictions of war and revolution, including his 82 prints chronicling Napoleon\u2019s 1808 invasion of Spain, the ensuing war, and the famine that followed. This exhibition links his work with other revolutions of the 18th century \u2014 those in the United States and France \u2014 to underscore the rebellious spirit that guided his practice.<\/p>\n Revolution!<\/p>\n Metropolitan Museum of Art<\/a>, 1000 Fifth Avenue, Upper East Side, Manhattan Marking the 250th anniversary of the Declaration of Independence, this exhibition examines how this nation came to be through artworks and documents drawn from The Met\u2019s expansive collection. Among the highlights are rare examples from the country\u2019s early print culture that illuminate the international circulation of news about American independence. Also included are portraits of important figures at the time, including Wampanoag chief Metacomet \u2014 acknowledging what it meant to establish a new nation in an already long-inhabited land.<\/p>\n Old Masters, New Amsterdam<\/p>\n New York Historical<\/a>, 170 Central Park West, Upper West Side, Manhattan The nation’s 250th anniversary is getting a lot of attention of late, but another milestone passed more quietly \u2014\u00a0the Dutch established the southern tip of Manhattan as the seat of their colonial government just around 400 years ago. A new exhibition at the New York Historical will be using paintings by Old Masters \u2014\u00a0Rembrandt, Frans Hals, and Jan Steen, among others, to offer a glimpse into what life might’ve looked like on the settlement. <\/p>\n Liberty & Legacy<\/p>\n Newark Museum of Art<\/a>, 49 Washington Street, Newark, New Jersey Commemorating the 250th anniversary of the United States might seem like an irredeemably nationalistic task. However, across the two floors of Liberty & Legacy, artists tell its story instead, critiquing the country\u2019s past and present. Indelible works include the Tewa\/Hopi sculptor Arlo Namingha\u2019s homage to his grandmother, Jacob Lawrence\u2019s tableau of the Great Migration, and Alejandro Macias\u2019s haunting painting of a Mexican-American Border Patrol agent.<\/p>\n EcologySaodat Ismailova: Amanat<\/p>\n Swiss Institute<\/a>, 38 Saint Marks Place, East Village, Manhattan According to local legend, the walnut forests of Arslanbob sprang from a single date seed an elder gave to a young boy. This presentation of films and sound works by the Uzbek artist \u2014\u00a0her first US solo show \u2014\u00a0transports visitors to the psychospatial terrain of Central Asia. Foregrounding the senses, it immerses them in a space where spiritual life, geopolitics, and dream logic meld. <\/p>\n Sujin Lim: Memories in Red<\/p>\n Wave Hill<\/a>, 4900 Independence Avenue, Riverdale, Bronx Lim\u2019s takeover of one of Wave Hill\u2019s sun-soaked galleries is a ruddy, dreamy vision that blends the lush gardens outside with the one depicted on the walls, and even one taking shape in your mind. The show\u2019s defining red pigment was extracted from a particular rose whose journey mirrors that of the artist\u2019s family, traveling from the shorelines of Yeongheung Island in South Korea, where her father was born, to the Hudson River, where this work unfolds. <\/p>\n DevotionalPamela Sneed and Carlos Martiel: Sacred and Profane<\/p>\n Leslie-Lohman Museum of Art<\/a>, 26 Wooster Street, Soho, Manhattan Black lesbian artist and writer Pamela Sneed\u2019s research-based work sheds light on Fire Island\u2019s role in harboring free Black northerners who were kidnapped and resold to Southern states, as well as \u201cfresh stock<\/a>\u201d trafficked from the West Indies and West Africa<\/a>, throughout the Transatlantic Slave Trade. Alongside Sneed, Carlos Martiel, a queer Black-Cuban endurance performer, presents previous works and a new performance with his mother centering grief and powerlessness among mothers who have lost children to police brutality.<\/p>\n Buddha and Shiva, Lotus and Dragon: Celebrating 70 Years of Asia Society and the Rockefeller Legacy\t<\/p>\n Asia Society and Museum<\/a>, 725 Park Avenue, Upper East Side, Manhattan This is a rare opportunity to see 70 works from the Asia Society\u2019s illustrious collection. Be prepared to be impressed by a trove of priceless ceramics, bronzes, and metalwork, including a limestone Buddha from Thailand circa the 7th or 8th century, the \u201cShiva as Vinadhara (Player of the Vina)\u201d from 10th-century India, and an ornate bronze vessel from China circa the 6th century BCE.<\/p>\n Unrolling Eternity: The Brooklyn Books of the Dead<\/p>\n Brooklyn Museum<\/a>, 200 Eastern Parkway, Prospect Heights, Brooklyn After three years of restoration, the 21-foot-long Books of the Dead unscrolls in all its splendor at the Brooklyn Museum\u2019s refreshed Egyptian wing. The only complete surviving gilded papyrus of its kind contains ink drawings and 162 spells to guide a man named Ankhmerwer through the afterlife. It is on view alongside reed pens, gold amulets, and wall reliefs that shed light on Ancient Egyptian funerary traditions.<\/p>\n The BodySpectrum of Desire: Love, Sex, and Gender in the Middle Ages<\/p>\n Met Cloisters<\/a>, 99 Margaret Corbin Drive, Inwood, Manhattan The Cloisters might not be the first place you\u2019d expect to see a woman pulling a man\u2019s hair and riding him like a horse, but that\u2019s just what makes this show so special. It’s exploration of desire in medieval times illustrates how multifaceted it could be \u2014 leading to ecstasy or suffering; both aligning with and departing very much from the Church\u2019s ideals.\u00a0<\/p>\n Read Emma Cieslik\u2019s review<\/a><\/p>\n Skins, Not Our Own<\/p>\n Wallach Art Gallery<\/a>, 615 West 129th Street, West Harlem, Manhattan Heidi Bucher, Rebecca Horn, and Kimsooja come together to take on the porous place where inside meets out \u2014\u00a0skin. Each artist approaches this task in her own way, exploring the bodily, tactile, and political potential of the epidermis. Together, they assume the mantle of scholar Luce Irigaray\u2019s injunction that women must invent a language that properly fits our skin: fluid, meandering, elliptical. <\/p>\n Joan Semmel: In the Flesh<\/p>\n Jewish Museum<\/a>, 1109 Fifth Avenue, Upper East Side, Manhattan Joan Semmel, who turned 93 last October, paired 16 of her hypnotic paintings with dozens of artworks in the Jewish Museum\u2019s collection. The result is a fleshy, liberating exhibition that gives us a glimpse into the constellation of artists whose work dialogues with her own, as well as the themes of bodily autonomy and feminist self-determination that guide her brush.<\/p>\n Read Lisa Yin Zhang’s review<\/a><\/p>\n Overexposed: Art, Technology, and the Body<\/p>\n Museum of the Moving Image<\/a>, 36-01 35 Avenue, Astoria, Queens This group exhibition considers 134 years of technological advancements in viewing and documenting the inside of the human body. Educational and research-based films about improved internal imaging tools sit alongside works by 16 contemporary artists who contemplate the scientific and sociopolitical impacts of new imaging technology and the evolving medical industry. <\/p>\n Public ArtTiffany Baker: Lighted House Sculpture, The Dear Neighbor Project<\/p>\n Boerum Playground (Van Alen Institute)<\/a>, 364 Warren Street, Boerum Hill, Brooklyn If you wander through Brooklyn\u2019s Gowanus neighborhood, tender artworks and powerful testimonials light up your path like unmistakable will-o’-the-wisps, part of artist Tiffany Baker\u2019s Dear Neighbor Project<\/a>. Its newest addition is a glowing yellow-and-blue sculpture bearing laser-cut quotes from Gowanus community members, illuminating their stories and serving as a monument to local history.<\/p>\n The Socrates Annual 2025: Up\/Rooted<\/p>\n Socrates Sculpture Park<\/a>, 32-01 Vernon Boulevard, Astoria, Queens Socrates Sculpture Park is a Queens gem where you can spend a perfect afternoon with friends or family \u2014\u00a0it pulsates with community and the art that sustains it. The five artists and collectives in this edition of the annual event take on ideas of adaptation, regeneration, and resilience. Don\u2019t forget to say hi to the swans swimming up and down the East River. \u00a0 <\/p>\n Kinfolk: Portals of Remembrance<\/p>\n New York City AIDS Memorial<\/a>, 76 Greenwich Avenue, West Village, Manhattan The NYC AIDS Memorial and its adjacent park honor the victims of the epidemic and the activists who fought against prejudice and inaction. This site of tribute and quiet reflection is also often activated through contemporary art commissions, most recently three \u201cvirtual monuments\u201d by artists Derek Fordjour, Egyptt LaBeija & Tourmaline, and Jacolby Satterwhite, all centering Black and Brown figures and history. Download Kinfolk’s free augmented reality (AR) app to see them come to life onsite.<\/p>\n Molly Gochman\u2019s Monuments to Motherhood<\/p>\n Prospect Park Alliance<\/a>, Grand Army Plaza entrance, Prospect Park, Brooklyn Molly Gochman\u2019s enormous bronze sculpture of intertwining forms reimagines a medium often associated with historical monuments and evokes an embrace \u2014 an abstract representation of maternal labor and caregiving. Visitors are encouraged to immerse themselves in the negative space and interact with the sculpture.<\/p>\n Read Rhea Nayyar’s report<\/a><\/p>\n Monira Al Qadiri: First Sun<\/p>\n Public Art Fund<\/a>, Doris C. Freedman Plaza, Central Park, Upper East Side, Manhattan Kuwaiti artist Monira Al Qadiri\u2019s monumental, iridescent sculpture invokes the form of Khepri, the scarab-faced ancient Egyptian god of the morning sun, who is also associated with creation and rebirth. Installed at the southeast entrance to Central Park, \u201cFirst Sun\u201d challenges people to consider, and even move toward, a world in which humans and animals \u2014 including insects \u2014 can achieve a balanced coexistence.\u00a0 <\/p>\n Graciela Cassel: Nature Through Kaleidoscopes<\/p>\n Bartow-Pell Mansion Museum<\/a>, 895 Shore Road, Pelham Bay, Bronx At this historic 19th-century manor house, two sculptures refract the landscape and craft it anew through steel, mirrors, and the visitor\u2019s own gaze. Argentina-born artist Graciela Cassel offers these monumental kaleidoscopes as lenses through which we might refocus our perception of the natural world as it changes over the course of the show\u2019s yearlong installation.<\/p>\n Works in Public 2025<\/p>\n Art Students League of New York<\/a>, Riverside Park South at 61st Street, Upper West Side, and Riverside Park North at 145th Street, Hamilton Heights, Manhattan Four thought-provoking, site-specific sculptures by artists Jason McCormack, Montana Simone, Kenneth Doherty, and Aseel Sawalha rise from the grassy landscape of the Riverside Park waterfront. One especially timely work is Doherty’s “The Raft” (2025) at 145th Street, composed of concrete figures huddled as though shielding themselves from the rising tides of climate change.<\/p>\n Woody De Othello<\/p>\n
Through April 19<\/p>\n![\"\"](\"https:\/\/www.newsbeep.com\/au\/wp-content\/uploads\/2026\/03\/L2026_1_1_Caravaggio_Boy_with_Basket_Borghese_Full-image-0136_046835.jpg\")
Caravaggio (Michelangelo Merisi), “Boy with a Basket of Fruit” (1595), oil on canvas (\u00a9 Galleria Borghese; photo by Mauro Coen, courtesy Morgan Library & Museum)<\/p>\n
Through April 27<\/p>\n![\"\"](\"https:\/\/www.newsbeep.com\/au\/wp-content\/uploads\/2026\/03\/PO170_Pat10.jpeg\")
Pat Oleszko with “Three Bozos” (1985) in 2026, nylon and blower (photo Charles Benton, courtesy the artist; SculptureCenter, New York; and David Peter Francis, New York)<\/p>\n
Through June 7<\/p>\n![\"\"](\"https:\/\/www.newsbeep.com\/au\/wp-content\/uploads\/2026\/03\/CS060.jpeg\")
Ceija Stojka, “The Carpet Market” (1993), oil on cardboard (\u00a9 2026 Artists Rights Society (ARS), New York \/ Bildrecht, Vienna; photo Wien Museum, courtesy the Wien Museum)<\/p>\n
March 5\u2013Aug. 2<\/p>\n![\"\"](\"https:\/\/www.newsbeep.com\/au\/wp-content\/uploads\/2026\/03\/2021-023.jpeg\")
Carol Bove, “Vase Face I \/ The Ascent to Heaven on a Dentist\u2019s Chair” (2022), stainless steel and laminated glass with heat-fused ink (\u00a9 Carol Bove Studio LLC; photo by Maris Hutchinson, courtesy Solomon R. Guggenheim Museum)<\/p>\n
March 8\u2013Aug. 23<\/p>\n![\"\"](\"https:\/\/www.newsbeep.com\/au\/wp-content\/uploads\/2026\/03\/image-66.png\")
Ignacio Gatica, still from “Sanhattan” (2025), digital video, color, and sound (courtesy the artist)<\/p>\n
March 20\u2014July 26<\/p>\n![\"\"](\"https:\/\/www.newsbeep.com\/au\/wp-content\/uploads\/2026\/03\/23_FireatFullMoon-Resize-to_-Press-Image---3000px-W--300dpi--jpg-1.jpeg\")
Paul Klee, “Fire at Full Moon (Feuer bei Vollmond)” (1933), mixed media on canvas (\u00a9 2026 Artists Rights Society (ARS), New York; photo courtesy Jewish Museum)<\/p>\n
March 21\u2013Dec. 30<\/p>\n![\"\"](\"https:\/\/www.newsbeep.com\/au\/wp-content\/uploads\/2026\/03\/102_1976_CCCR-Press.jpg\")
Frida Kahlo, “My Grandparents, My Parents, and I” (1936), oil and tempera on zinc (\u00a9 2025 Banco de M\u00e9xico Diego Rivera Frida Kahlo Museums Trust, Mexico, D.F. \/ Artists Rights Society (ARS), New York; photo by Jonathan Muzikar, courtesy Museum of Modern Art)<\/p>\n
Opens March 21<\/p>\n![\"\"](\"https:\/\/www.newsbeep.com\/au\/wp-content\/uploads\/2026\/03\/Daria-Martin.jpeg\")
Film still of Daria Martin,\u00a0“Soft Materials” (2004) (\u00a9 Daria Martin; courtesy the artist)<\/p>\n
March 29\u2013June 28<\/p>\n![\"\"](\"https:\/\/www.newsbeep.com\/au\/wp-content\/uploads\/2026\/03\/The-Virgin-and-Child-with-Infant-Saint-John-the-Baptist-in-a-Landscape--The-Alba-Madonna-_ca-1509-11.jpeg\")
Raphael (Raffaello di Giovanni Santi), “The Virgin and Child with Infant Saint John the Baptist in a Landscape (The Alba Madonna)” (c. 1509\u201311), oil on canvas (transferred from wood) (photo courtesy National Gallery of Art, Washington, DC)<\/p>\n
April 12\u2013Aug. 22<\/p>\n![\"\"](\"https:\/\/www.newsbeep.com\/au\/wp-content\/uploads\/2026\/03\/1921_Why-Not-Sneeze-Rose-Se--lavy.jpg\")
Marcel Duchamp, “Why Not Sneeze, Rose S\u00e9lavy?” (1921), painted metal birdcage, wood, marble cubes, a pair of white glass dishes, thermometer, cuttlebone (photo courtesy Museum of Modern Art) <\/p>\n
Through April 11<\/p>\n![\"\"](\"https:\/\/www.newsbeep.com\/au\/wp-content\/uploads\/2026\/03\/03_MichaelNelson_Jagamara_1984.jpeg\")
Michael Jagamara Nelson, “Five Stories” (1984), acrylic on canvas (\u00a9 Estate of the artist, Licensed by Aboriginal Artists Agency Ltd; photo Tom Cogill, courtesy the Parker Foundation)<\/p>\n
Through April 18<\/p>\n![\"\"](\"https:\/\/www.newsbeep.com\/au\/wp-content\/uploads\/2026\/03\/art6145_Detail.jpg\")
Claudia Opim\u00ed Vaca, “Bajo el toborochi (Under the toborochi)” (2025), cogon fabric embroidered using an appliqu\u00e9 technique from the Tajibo community of the Bolivian Amazon (photo courtesy the artist)<\/p>\n
Through April 26<\/p>\n![\"\"](\"https:\/\/www.newsbeep.com\/au\/wp-content\/uploads\/2026\/03\/1968.63_frontcrop.jpg\")
Gabriele M\u00fcnter, “Snow and Sun (Schnee und Sonne)” (1911), oil on board (\u00a9 Artists Rights Society (ARS), New York \/ VG Bild-Kunst, Bonn; photo courtesy UI Stanley Museum of Art, Solomon R. Guggenheim Museum)<\/p>\n
Through June 29<\/p>\n![\"\"](\"https:\/\/www.newsbeep.com\/au\/wp-content\/uploads\/2026\/03\/_OTP3844.jpg\")
Piero Penizzotto, “Kings of Comedy (Chris, Imani, Bernard, Calvin, D\u2019re)” (2024), papier-m\u00e2ch\u00e9, foam, and acrylic (photo Oriol Tarridas, courtesy the Artist & Primary Gallery)<\/p>\n
Through Aug. 16<\/p>\n![\"\"](\"https:\/\/www.newsbeep.com\/au\/wp-content\/uploads\/2026\/03\/KerryJamesMarshall_SilenceisGolden_1986.jpg\")
Kerry James Marshall, “Silence is Golden” (1986), acrylic on panel (photo by Marc Bernier courtesy Studio Museum in Harlem)<\/p>\n
April 16\u2013Aug. 17<\/p>\n![\"\"](\"https:\/\/www.newsbeep.com\/au\/wp-content\/uploads\/2026\/03\/Farah-Al-Qasimi-3.jpeg\")
Farah Al Qasimi, “Kabob House” (2026), photograph (courtesy the artist and Fran\u00e7ois Ghebaly, New York and Los Angeles)<\/p>\n
Ongoing<\/p>\n![\"\"](\"https:\/\/www.newsbeep.com\/au\/wp-content\/uploads\/2026\/03\/Here-You-Are-Gallery-Shot---Work-by-Lenore-Routte-and-Arjuna-Routte-Prieur.jpeg\")
Installation view of Here You Are: Staten Island Triennial, featuring work by Lenore Routte and Arjuna Routte-Prieur (courtesy Staten Island Museum)<\/p>\n
Through Sept. 20<\/p>\n![\"\"](\"https:\/\/www.newsbeep.com\/au\/wp-content\/uploads\/2026\/03\/IMG_4559.jpeg\")
Film still of Hortensia Mi Kafchin, “Through Different Eyes” (2026), digital rendering and video, color, with production support by George Cr\u00eenga\u0219u (image courtesy the artist)<\/p>\n
Through April 25<\/p>\n![\"\"](\"https:\/\/www.newsbeep.com\/au\/wp-content\/uploads\/2026\/03\/Deborah-Roberts--Untitled--2025.1--1-.jpeg\")
Deborah Roberts, “Market value” (2025), mixed media and collage on canvas (\u00a9 Deborah Roberts; photo Paul Bardajgy, courtesy the artist and Stephen Friedman Gallery)<\/p>\n
Through April 27<\/p>\n![\"\"](\"https:\/\/www.newsbeep.com\/au\/wp-content\/uploads\/2026\/03\/image-71.png\")
Claes Oldenburg, “Store Window\u2014Yellow Shirt, Red Bow Tie” (1961), wax crayon and watercolor on paper (\u00a9 Claes Oldenburg; courtesy Whitney Museum of American Art)<\/p>\n
Through May 2<\/p>\n![\"\"](\"https:\/\/www.newsbeep.com\/au\/wp-content\/uploads\/2026\/03\/02_ISLAA_Claudio-Perna_Press-Image.jpg\")
Claudio Perna, “Venezuela” (undated) (\u00a9 the artist; courtesy Institute for Studies on Latin American Art)<\/p>\n
March 10\u2013May 10<\/p>\n![\"\"](\"https:\/\/www.newsbeep.com\/au\/wp-content\/uploads\/2026\/03\/Kawai-Kanjiro--_Brass-pipes_1950.jpg\")
Kawai Kanjir\u014d, “Brass pipes” (1950) (photo courtesy the Kawai Kanjir\u014d House)<\/p>\n
March 19\u2013Aug. 16<\/p>\n![\"\"](\"https:\/\/www.newsbeep.com\/au\/wp-content\/uploads\/2026\/03\/KG-585_5K.jpeg\")
Kim Gordon, “The Bonfire 21” (2019), glazed ceramic (photo John Berens, courtesy the artist)<\/p>\n
March 6\u2013Jan. 16, 2027<\/p>\n![\"\"](\"https:\/\/www.newsbeep.com\/au\/wp-content\/uploads\/2026\/03\/Lamelas_Untitled_Falling-Wall--1-.jpeg\")
Installation view of David Lamelas, “Untitled (Falling Wall)” (1993) at Spr\u00fcth Magers, Berlin, in 2016 (\u00a9 David Lamelas; photo by Timo Ohler; courtesy the artist, Spr\u00fcth Magers, and Jan Mot)<\/p>\n
Through March 29<\/p>\n![\"\"](\"https:\/\/www.newsbeep.com\/au\/wp-content\/uploads\/2026\/03\/01-SM-Teale-KTdrawingHiRes.jpg\")
Kate Teale, “Vanishing Point” (2025) (photo by Mary Whalen, courtesy Smack Mellon)<\/p>\n
Through April 19<\/p>\n![\"\"](\"https:\/\/www.newsbeep.com\/au\/wp-content\/uploads\/2026\/03\/11.-060225_Bascom_DSCF3533-1.jpeg\")
Installation view of The Mad MAD World of Jonathan Adler with David Gilhooly’s “Bread Frog as Coffee Break” (1981\u201382) in the foreground (photo Jenna Bascom, courtesy Museum of Arts and Design)<\/p>\n
Through May 23<\/p>\n![\"\"](\"https:\/\/www.newsbeep.com\/au\/wp-content\/uploads\/2026\/03\/RugLife_LeadImage_Cobelens--2-.jpeg\")
Liselot Cobelens, “California Drought” (2024), wool (courtesy the artist)<\/p>\n
Through May 29<\/p>\n![\"\"](\"https:\/\/www.newsbeep.com\/au\/wp-content\/uploads\/2026\/03\/image-74.png\")
Angela Babby, \u201cMelt: Prayers for the People and the Planet\u201d (2019) (photo Lisa Yin Zhang\/Hyperallergic)<\/p>\n
April 23\u2013June 13<\/p>\n![\"\"](\"https:\/\/www.newsbeep.com\/au\/wp-content\/uploads\/2026\/03\/UPON-A-MACHINE---STILL-4.jpg\")
Tromarama, “Upon a Machine” (2026), soprano recorder, melodica, bar chimes, used goods, DC fan, monitor, magic arm, hose, hose clamp, custom computer program, variable dimension (photo Ruddy Hatumena, courtesy the Kitchen)<\/p>\n
Through April 19<\/p>\n![\"\"](\"https:\/\/www.newsbeep.com\/au\/wp-content\/uploads\/2026\/03\/Rauschenberg-0016-New_York_City-Flag.jpeg\")
Robert Rauschenberg, “New York City” (1980), gelatin silver print (courtesy Robert Rauschenberg Foundation)<\/p>\n
Through May 4<\/p>\n![\"\"](\"https:\/\/www.newsbeep.com\/au\/wp-content\/uploads\/2026\/03\/06.-Ryan-McGinley.jpeg\")
Ryan McGinley, “Untitled” (2013\/25)(\u00a9 Ryan McGinley Studios; photocopy by Aaron Stern, courtesy International Center of Photography)<\/p>\n
Through May 4<\/p>\n![\"\"](\"https:\/\/www.newsbeep.com\/au\/wp-content\/uploads\/2026\/03\/06-Atget_The-Making-of-a-Reputation.jpeg\")
Eug\u00e8ne Atget, “Pontoise, Place du Grand Martroy” (1902\/19\u201327) (photo courtesy International Center of Photography)<\/p>\n
Through May 16<\/p>\n![\"\"](\"https:\/\/www.newsbeep.com\/au\/wp-content\/uploads\/2026\/03\/1.jpeg\")
Film still of Chuck Moss, “Shadows Unleashed” (c. 2024\u201325) (image courtesy BRIC)<\/p>\n
Through July 25<\/p>\n![\"\"](\"https:\/\/www.newsbeep.com\/au\/wp-content\/uploads\/2026\/03\/05_Kwame-Brathwaite_Untitled-Sikolo-with-Carolee-Prince-Designs-_1964-68-2000x1996.jpg\")
Kwame Brathwaite, “Untitled (Sikolo with Carolee Prince Designs)” (1964\u201368\/2018), inkjet print (\u00a9 2025 Kwame Brathwaite; courtesy Museum of Modern Art)<\/p>\n
April 23\u2013Aug. 2<\/p>\n![\"\"](\"https:\/\/www.newsbeep.com\/au\/wp-content\/uploads\/2026\/03\/250630_EmDB_Sophie-Rivera_Individual-Works_Cataract-9-CROP.jpg\")
Sophie Rivera, “Untitled” (c. mid-1980s), color photograph (photo courtesy estate of Martin Hurwitz)<\/p>\n
Through Sep. 27<\/p>\n![\"\"](\"https:\/\/www.newsbeep.com\/au\/wp-content\/uploads\/2026\/03\/299117_01.jpg\")
Christopher Payne, “Wool carders” (2012) (\u00a9Christopher Payne\/Esto; image courtesy the artist)<\/p>\n
May 22\u2013Oct. 25<\/p>\n![\"\"](\"https:\/\/www.newsbeep.com\/au\/wp-content\/uploads\/2026\/03\/Contact-sheet_-Susan-Sontag.-Peter-Hujar.jpeg\")
Peter Hujar, “Contact sheet: Susan Sontag” (undated) (\u00a9 The Peter Hujar Archive \/ Artists Rights Society (ARS); photo courtesy The Morgan Library & Museum) <\/p>\n
Through Dec. 6<\/p>\n![\"\"](\"https:\/\/www.newsbeep.com\/au\/wp-content\/uploads\/2026\/03\/2006.14.79-recto-About-Us-The-American-Imaginary_hero-img.jpeg\")
Unknown artist, Massive deck girder leaving U.S. Steel’s Gary, Indiana plant (c. 1940s) (photo courtesy the Queens Museum)<\/p>\n
Through April 12<\/p>\n![\"\"](\"https:\/\/www.newsbeep.com\/au\/wp-content\/uploads\/2026\/03\/EndlessGarment_SerenaChang_6.jpeg\")
Serena Chang, “Sweet Water” (2024\u201325), hosiery, steel, PETG plastic, dimensions variable (photo courtesy Pioneer Works)<\/p>\n
Through April 19<\/p>\n![\"\"](\"https:\/\/www.newsbeep.com\/au\/wp-content\/uploads\/2026\/03\/Comme-des-Garc--ons--patchwork-bodysuit-with-extended-and-exaggerated-sleeves--spring-2018--Japan---.jpeg\")
![\"\"](\"https:\/\/www.newsbeep.com\/au\/wp-content\/uploads\/2026\/03\/image-75.png\")
<\/p>\n
Through May 25<\/p>\n![\"\"](\"https:\/\/www.newsbeep.com\/au\/wp-content\/uploads\/2026\/03\/2---National-Gallery-London.jpeg\")
Thomas Gainsborough, “Mr. and Mrs. Andrews” (c. 1750), oil on canvas (\u00a9 National Gallery, London; courtesy the Frick Collection)<\/p>\n
March 19\u2013Aug. 16<\/p>\n![\"\"](\"https:\/\/www.newsbeep.com\/au\/wp-content\/uploads\/2026\/03\/CFGNY-Amant-Banner-Image.jpeg\")
CFGNY, Banner image for Puddles into Pond (image courtesy the artists)<\/p>\n
May 10\u2013Jan. 10, 2027\t<\/p>\n![\"\"](\"https:\/\/www.newsbeep.com\/au\/wp-content\/uploads\/2026\/03\/15.-RenataBuzzonspring025.jpeg\")
![\"\"](\"https:\/\/www.newsbeep.com\/au\/wp-content\/uploads\/2026\/03\/17.-Givenchyfall2010hautecouture.jpeg\")
<\/p>\n
March 28\u2013April 12<\/p>\n![\"\"](\"https:\/\/www.newsbeep.com\/au\/wp-content\/uploads\/2026\/03\/Kahn_MappingWater_2023_still-1.jpeg\")
Film still of Naiza Khan, “Mapping Water” (2023), single-channel video with sound (\u00a9 Naiza Khan; courtesy Naiza Khan Studio)<\/p>\n
March 5\u2013May 16<\/p>\n![\"\"](\"https:\/\/www.newsbeep.com\/au\/wp-content\/uploads\/2026\/03\/GC-Kerouac3.jpeg\")
Jack Kerouac, \u201cAngel Midnight\u201d (c. 1950s), artwork in ink and pastel on board, framed with titled and signed wax sleeve (photo courtesy Grolier Club)<\/p>\n
Through June 28<\/p>\n![\"\"](\"https:\/\/www.newsbeep.com\/au\/wp-content\/uploads\/2026\/03\/image-76.png\")
Francisco Goya, \u201cTristes presentimientos de lo que ha de acontecer\u201d (Sad premonitions of what is to come, c. 1812\u201320, published 1863), etching (photo Lisa Yin Zhang\/Hyperallergic)<\/p>\n
Through Aug. 2<\/p>\n![\"\"](\"https:\/\/www.newsbeep.com\/au\/wp-content\/uploads\/2026\/03\/DP-21493-001-JPG-Original-300dpi.jpeg\")
Unknown artist after Franz Xavier Habermann, “The Destruction of the Royal Statue at New York on July 9, 1776 after July 1776” (c. 1700s), hand-colored etching and engraving (photo courtesy the Metropolitan Museum of Art)<\/p>\n
May 1\u2013Aug. 30<\/p>\n![\"\"](\"https:\/\/www.newsbeep.com\/au\/wp-content\/uploads\/2026\/03\/Herring-Seller-and-Boy.jpg\")
Gerrit Dou, “Herring Seller and Boy” (1664), oil on panel (photo courtesy the Leiden Collection, New York)<\/p>\n
Through March 7, 2027<\/p>\n
Through April 12<\/p>\n![\"\"](\"https:\/\/www.newsbeep.com\/au\/wp-content\/uploads\/2026\/03\/Amanat_050.jpg\")
Film still of Saodat Ismailova, “Amanat” (2026) (image courtesy the artist)<\/p>\n
May 1\u2013June 15<\/p>\n![\"\"](\"https:\/\/www.newsbeep.com\/au\/wp-content\/uploads\/2026\/03\/SujinLim_Concept-Rendering02--1-.jpeg\")
Sujin Lim, rendering for “Memories in Red” (2026) (image courtesy the artist and Wave Hill, Bronx, New York)<\/p>\n
Through April 12<\/p>\n![\"\"](\"https:\/\/www.newsbeep.com\/au\/wp-content\/uploads\/2026\/03\/Carlos_Jungle_hero.jpeg\")
Performance documentation of Carlos Martiel, “Jungle” (2024) (photo Gili Benita, courtesy Leslie-Lohman Museum of Art)<\/p>\n
March 18\u2013Jan. 3, 2027<\/p>\n![\"\"](\"https:\/\/www.newsbeep.com\/au\/wp-content\/uploads\/2026\/03\/1979.024-View-A.jpeg\")
Unknown maker, “Saint Sambandar (Dancing Shaivite Saint)” (c. 1100s), copper alloy (\u00a9 Asia Society; photo Synthescape)<\/p>\n
Ongoing<\/p>\n![\"\"](\"https:\/\/www.newsbeep.com\/au\/wp-content\/uploads\/2026\/03\/37.129E_overall02_PS22-General-Use-JPEG.jpeg\")
Unknown maker, Shabty of Iuy (c. 1539\u20131400 BCE), limestone and pigment (photo courtesy Brooklyn Museum)<\/p>\n
Through March 29<\/p>\n![\"\"](\"https:\/\/www.newsbeep.com\/au\/wp-content\/uploads\/2026\/03\/Aquamanile-in-the-Form-of-Aristotle-and-Phyllis_1975.1.1416.jpeg\")
Unknown maker, Aquamanile (water pitcher) in the form of Aristotle and Phyllis (c. late 14th or early 15th century), copper alloy (photo courtesy Met Cloisters)<\/p>\n
March 28\u2013April 12<\/p>\n![\"\"](\"https:\/\/www.newsbeep.com\/au\/wp-content\/uploads\/2026\/03\/Bucher_Bodyshells-Venice-Beach_1972-still.jpeg\")
Heidi Bucher, “Untitled” (1979), latex, textile, and mother of pearl (\u00a9 The Estate of Heidi Bucher; photo courtesy Mendes Wood DM, S\u00e3o Paulo, Brussels, Paris, New York)<\/p>\n
Through May 31<\/p>\n![\"\"](\"https:\/\/www.newsbeep.com\/au\/wp-content\/uploads\/2026\/03\/Semmel_Mythologies_and_Me_1976-Resize-to_-Press-Image---3000px-W--300dpi--jpg.jpeg\")
Joan Semmel, “Mythologies and Me” (1976), oil and collage on canvas (\u00a9 2025 Joan Semmel \/ Artists Rights Society (ARS), New York, courtesy Jewish Museum)<\/p>\n
March 14\u2014Jan. 3, 2027<\/p>\n![\"\"](\"https:\/\/www.newsbeep.com\/au\/wp-content\/uploads\/2026\/03\/12_ZuzaBanasin--ska_GRANDMAMAUNTSISTERCAT_STILL_5.jpeg\")
Film still of Zuza Banasi\u0144ska, “Grandmamauntsistercat” (2024), digital video (image courtesy the artist)<\/p>\n
Through April 5<\/p>\n![\"\"](\"https:\/\/www.newsbeep.com\/au\/wp-content\/uploads\/2026\/03\/250714_DearNeighbor_TiffanyBaker01.jpeg\")
Installation view of Tiffany Baker, “Lighted House Sculpture” (2025) (photo Alisha Kim Levin, courtesy Van Alen Institute)<\/p>\n
Through April 6<\/p>\n![\"\"](\"https:\/\/www.newsbeep.com\/au\/wp-content\/uploads\/2026\/03\/03_Guadalupe-Maravilla_Disease-Throwers-13_14_Kyle-Petreycik.jpg\")
Installation view of Guadalupe Maravilla, “Disease Throwers (#13, #14)” (2021) (photo Kyle Petreycik, courtesy Socrates Sculpture Park)<\/p>\n
Through April 30<\/p>\n![\"\"](\"https:\/\/www.newsbeep.com\/au\/wp-content\/uploads\/2026\/03\/1D7A0616.jpeg\")
A visitor viewing Kinfolk: Portals of Remembrance (photo Sam Clarke, courtesy the New York City AIDS Memorial)<\/p>\n
Through May 1<\/p>\n![\"\"](\"https:\/\/www.newsbeep.com\/au\/wp-content\/uploads\/2026\/03\/gochman-1.jpeg\")
A view of Grand Army Plaza through Molly Gochman\u2019s latest addition to her ongoing, cast-bronze\u00a0Monuments to Motherhood\u00a0(2025\u2013) sculpture series (photo Rhea Nayyar\/Hyperallergic)<\/p>\n
Through Aug. 2<\/p>\n![\"\"](\"https:\/\/www.newsbeep.com\/au\/wp-content\/uploads\/2026\/03\/MoniraAlQadiri-6173v2.jpeg\")
Monira Al Qadiri, “First Sun” (2025), cast aluminum, steel, automotive paint; patinated brass pedestal (photo Nicholas Knight, courtesy the artist and Public Art Fund, NY)<\/p>\n
Through Sep. 26<\/p>\n![\"\"](\"https:\/\/www.newsbeep.com\/au\/wp-content\/uploads\/2026\/03\/Outlook-0gefamov.jpeg\")
Installation view of Graciela Cassel, Nature Through Kaleidoscopes (photo by and courtesy Susan M. Chesloff)<\/p>\n
Through Sept. 30<\/p>\n![\"\"](\"https:\/\/www.newsbeep.com\/au\/wp-content\/uploads\/2026\/03\/RsideNorth-2.jpeg\")
Kenneth Doherty, “The Raft” (2025) at Riverside Park North (photo courtesy Art Students League)<\/p>\n
![\"\"](\"https:\/\/www.newsbeep.com\/au\/wp-content\/uploads\/2026\/03\/image-77.png\")
Rendering of Tuan Andrew Nguyen, “The Light That Shines Through the Universe” (2026) (image courtesy the artist and the High Line)<\/p>\n