Sept. 24\u2013Jan. 4, 2027<\/p>\n
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Film still of Arthur Jafa, “Love is the Message, The Message is Death” (2016), video, color, sound, duration: 7:25 minutes (\u00a9 Arthur Jafa; image courtesy the artist and Gladstone)<\/p>\n
I Am Tony, the largest survey of artist and filmmaker Arthur Jafa\u2019s four-decade career, examines the tension between Black American culture\u2019s social and artistic ascent and the racial injustice and institutional violence Black people face. “Love is the Message, The Message is Death” (2016) and the Golden Lion-acclaimed “The White Album” (2018) are among Jafa\u2019s celebrated works featured in this monumental exhibition. <\/p>\n
Taryn Simon: Father Country I Do Love You<\/p>\n
Solomon R. Guggenheim Museum<\/a>, 1071 Fifth Avenue, Upper East Side, Manhattan In this sprawling exhibition, encompassing 42 artworks installed across the Guggenheim\u2019s rotunda, Taryn Simon follows an unidentified federal agent through both consequential and seemingly trivial moments of life and duty. A meditation on the unseen forces that determine justice and punishment, this show marks the first monographic presentation by a photo-based artist in the museum\u2019s iconic spiral space.<\/p>\n Krasner and Pollock: Past Continuous<\/p>\n The Metropolitan Museum of Art<\/a>, 1000 Fifth Avenue, Upper East Side, Manhattan One of the most iconic duos in American art history is the subject of this blockbuster exhibition at The Met: Lee Krasner and Jackson Pollock. Between their first meeting in 1941 and the latter\u2019s untimely death in 1956, the two artists\u2019 practices were mutually inspirational, not to mention influential. From Krasner\u2019s explorations of nature and color to Pollock\u2019s drip technique, this show maps the arc of their careers in tandem. <\/p>\n Roy Lichtenstein: Like New<\/p>\n Whitney Museum of American Art<\/a>, 99 Gansevoort Street, West Village, Manhattan The Pop-art icon Roy Lichtenstein lands at the Whitney this fall with his irrevocable images drawn from American mass culture \u2014\u00a0comics, advertising, commercial printing, and more. Bringing together almost 150 works from the 1940s to the \u201990s, this exhibition will trace the path of an artist who forever changed the way we look at the imagery around us. <\/p>\n Brancusi: The Artist and His Studio<\/p>\n Museum of Modern Art<\/a>, 11 West 53rd Street, Midtown, Manhattan Left: Constantin Brancusi, “Sleeping Muse” (1910), polished bronze ( \u00a9 Succession Brancusi \u2013 All rights reserved (Adagp); photo Philippe Migeat); right: Constantin Brancusi, “Portrait of Nancy Cunard (Jeune fille sophistiqu\u00e9e)” (1928), patinated plaster (\u00a9 CNAC\/MNAM, Dist. RMN-Grand Palais \/ Art Resource, NY; \u00a9 Succession Brancusi \u2013 All rights reserved (Adagp); photo Adam Rzepka, courtesy the Museum of Modern Art)<\/p>\n While the Brancusi Atelier in Paris will remain closed until 2030 as part of the renovations at Centre Pompidou, some of the late Romanian-born Modernist\u2019s works have come out to play. This exhibition brings together sculptures, photographic ephemera, films, and bespoke furniture and tools, as well as selections from MoMA\u2019s strong Brancusi collection, which includes the law-defying \u201cBird in Space\u201d (1928).<\/p>\n Sonia Boyce: Demonstrate<\/p>\n Queens Museum<\/a>, Flushing Meadows\u2013Corona Park, Corona, Queens Freedom, imagination, and improvisation become art in their own right in this newly commissioned body of social practice work. Boyce documented the creative collaboration between attendees of multiple onsite events at the museum \u2014 interactive experimental performances, art-making workshops, and a procession by the Resistance Revival Chorus \u2014 and emphasizes their reverberations by converting what she captured into multi-channel videos, sculptural installations, and kaleidoscopic wallpaper prints. <\/p>\n Teresa Margolles: En el lugar de los hechos (At the Scene)<\/p>\n MoMA PS1<\/a>, 22-25 Jackson Avenue, Long Island City, Queens Over the past three decades, Mexican conceptual artist and trained pathologist Teresa Margolles has turned viewers’ attention to political violence that they might otherwise ignore. A barrier made from the remnants of an abandoned home near the border in northern Mexico and an installation containing water collected from homicide sites make up part of this poignant exhibition.<\/p>\n Kent Monkman: Officer and Laughing Girl<\/p>\n The Frick Collection<\/a>, 1 East 70th Street, Upper East Side, Manhattan A new suite of paintings at the Frick by Cree interdisciplinary artist Kent Monkman takes Dutch painter Johannes Vermeer\u2019s \u201cOfficer and Laughing Girl\u201d (circa 1657) as its subject matter. Employing his time-traveling, morphing artist persona, Miss Chief<\/a>, Monkman excavates the pervasive colonial narratives found throughout Western art history \u2014\u00a0all the way down to the beaver pelt hat that adorns the cavalier in Vermeer\u2019s painting.<\/p>\n by Alison Knowles: A Retrospective (1960\u20132022)<\/p>\n Grey Art Museum at New York University<\/a>, 18 Cooper Square, Greenwich Village, Manhattan Alison Knowles is often discussed in the context of the experimental 1960s group Fluxus, of which she was the only woman founding member, but she produced an expansive body of work that traversed genres, movements, and materials. This survey spotlights the artist’s individual practice, emphasizing her innovative approaches to painting, performance, books, and more.<\/p>\n Johanna Hedva: Gravity, My \/ Favorite Enemy<\/p>\n Center for Art, Research and Alliances<\/a>, 225 West 13th Street, Chelsea, Manhattan Don\u2019t let the exhibition title fool you: The star of Korean-American artist Johanna Hedva\u2019s show is not gravity, but time itself, made tangible by dripping goo and tangled ribbon. Known for their chimeric practice of music, sculpture, performance, and poetry, Hedva invites us to surrender to the forces that tug on our attention and sink into the slow, meditative world of the artist’s own making.<\/p>\n Stephanie Dinkins: Anchoring Home<\/p>\n Staten Island Museum<\/a>, 1000 Richmond Terrace, Building A, New Brighton, Staten Island Who gets to shape the future? How might we insist upon the presence of not only humans, but humanity? Stephanie Dinkins explores the interactions \u2014\u00a0and conflicts \u2014\u00a0between humans, technology, and the natural world, landing in her home borough of Staten Island with this major solo exhibition. <\/p>\n Teddy Sandoval and the Butch Gardens School of Art<\/p>\n El Museo del Barrio<\/a>, 1230 Fifth Avenue, East Harlem, Manhattan A key figure of Los Angeles\u2019s queer and Chicanx art scene from the 1970s to the \u201990s, Teddy Sandoval created a cross-disciplinary visual oeuvre spanning prints, drawings, and photography, as well as ephemeral modes like performance and mail art. His clever, conceptual approach and defiance of official channels are embodied by Butch Gardens, a fictional \u201cschool\u201d named after an LA gay bar he frequented, referenced in this traveling retrospective\u2019s title.<\/p>\n Hard Art<\/p>\n MoMA PS1<\/a>, 22-25 Jackson Avenue, Long Island City, Queens The influence of 20th-century Black abstract painters is brought into direct conversation with the present in this group show, comprising over 40 artists working from 1969 through today. Featuring painters like Frank Bowling and Mark Bradford and conceptual artists such as Aria Dean and SoiL Thornton, this medium-spanning, intergenerational exhibition shows us that the legacy of abstraction is more urgent than one might think. <\/p>\n Coumba Samba: Stars and Stripes<\/p>\n Whitney Museum of American Art<\/a>, 99 Gansevoort Street, Meatpacking District, Manhattan Stripping down American imperialism to its irreducible signs and symbols, Coumba Samba sharpens abstract art into a formidable political tool. For her first solo museum exhibition in the Whitney\u2019s first-floor gallery, she uses this visual language to critique nuclear warfare and the violent industries it draws from across Africa, shrewdly repurposing the very geometry of military-industrial design.<\/p>\n The Lost World: The Art of Minnie Evans<\/p>\n Whitney Museum of American Art<\/a>, 99 Gansevoort Street, Meatpacking District, Manhattan Minnie Evans\u2019s work has been described as psychedelic, but to her, it sprang from a deeper well. Born in North Carolina, the artist, who was born to Trinidadian-American farmers, remained steadfast to the \u201clost world\u201d predating the biblical Great Flood that was revealed to her in dreams. She spent decades capturing it through drawings, collages, and paintings. This traveling exhibition brings that resulting mythological, syncretic world to life.<\/p>\n Elaine de Kooning<\/p>\n Berry Campbell<\/a>, 524 West 26th Street, Chelsea, Manhattan In 1962, Abstract Expressionist painter Elaine de Kooning began preparatory sketches for a monumental commission: a portrait of President John F. Kennedy. In the year leading up to his assassination, she observed the president in his natural habitat and drafted psychological, impressionistic studies in her signature gestural style. Now, you can examine the historic series alongside other works in de Kooning\u2019s groundbreaking oeuvre, some of which are on view for the first time since her death.<\/p>\n Diego Marcon: Arrivederci, Piggies!<\/p>\n New Museum<\/a>, 235 Bowery, Lower East Side, Manhattan Italian video artist Diego Marcon\u2019s moving-image practice gets its first solo museum presentation in New York, featuring three recent films and “Krapfen” (2025), a newly co-commissioned work by the New Museum and several other institutions. Marcon\u2019s cinematic approach experiments with the mechanics and conventions of film, blending CGI, animatronics, and prosthetics in genre-bending productions that explore cruelty without moral judgment and hover between morbid curiosity and eerie discomfort.<\/p>\n Locating Girlhood: Place and Identity in Early American \u201cSchoolgirl\u201d Art<\/p>\n American Folk Art Museum<\/a>, 2 Lincoln Square, Upper West Side, Manhattan Girlhood, that euphoric, fraught, and oft-dismissed stage of life, gets the serious consideration it deserves in this reclamation of so-called \u201cschoolgirl art\u201d in 18th- and 19th-century America. Over 100 works across embroidery, watercolor, and oil painting demonstrate the rigor and breadth of the long-scorned genre, offering a glimpse into the ways young women crafted selfhood in relation to landscape and the natural world long before the male-dominated art sphere caught up.<\/p>\n Masao Gozu: Windows and Bars<\/p>\n MoMA PS1<\/a>, 22-25 Jackson Avenue, Long Island City, Queens After moving to the city in 1970, Japanese artist Masao Gozu began photographing New Yorkers through their apartment windows. On view in his inaugural museum exhibition in the United States, the series documents a city which, despite all its changes, still has inhabitants whose lives are reflected simply in the way they look out of their windows. <\/p>\n Hujar:Contact<\/p>\n The Morgan Library and Museum<\/a>, 225 Madison Avenue, Midtown, Manhattan For every iconic photograph, there are other, nearly identical ones relegated to the dustbin of history. This exhibition resurfaces over 110 contact sheets from the late East Village photographer Peter Hujar, granting viewers the opportunity to see the marks he made to indicate touch-ups \u2014\u00a0not to mention Candy Darling laughing just a couple of shutters away from what would become the canonical image of her on her deathbed.\u00a0<\/p>\n Read Julia Curl\u2019s review<\/a><\/p>\n Rembrandt’s Lions: Art and Exile in the Dutch Republic<\/p>\n The Morgan Library and Museum<\/a>, 225 Madison Avenue, Midtown, Manhattan Just months after a Rembrandt drawing of a lion sold for nearly $18 million, with proceeds going to wildcat conservation, the Morgan opened an exhibition named after the lions in the Dutch artist\u2019s oeuvre. The lion is but one of many symbols that appear in the drawings, etchings, and paintings in this exhibition dedicated to the foundational role that globalization, immigration, and refugees played in Rembrandt\u2019s worldview.<\/p>\n PROPS: Eikoh Hosoe and Jason Wee<\/p>\n Leslie-Lohman Museum of Art<\/a>, 26 Wooster Street, Soho, Manhattan Japanese photographer and filmmaker Eikoh Hosoe and the interdisciplinary Singaporean artist Jason Wee join forces in this exhibition at the Leslie-Lohman Museum of Art, the world\u2019s only museum dedicated to LGBTQ+ art. Here, Hosoe\u2019s psychologically charged, high-contrast photos meet Wee\u2019s explorations of polyphony and difference. <\/p>\n Modernity and Opulence: Women of the Wiener Werkst\u00e4tte<\/p>\n Jewish Museum<\/a>, 1109 5th Avenue and East 92nd Street, Upper East Side, Manhattan The Wiener Werkst\u00e4tte, a multidisciplinary art collective and manufacturer based in Vienna in the early 20th century, was hugely influential on Modernist aesthetics. But did you know that Jewish women played a major part in developing that iconic visual language? This exhibition features 200 objects by 30 women artists \u2014\u00a0the first in-depth survey of its kind. <\/p>\n Octopus & Others: Acts of Collaboration & Poetics<\/p>\n El Museo del Barrio<\/a>, 1230 Fifth Avenue, East Harlem, Manhattan In 1982, the Puerto Rican artist Papo Colo installed a massive accordion-style book in El Museo del Barrio’s outdoor courtyard. Colo, a co-founder of New York\u2019s alternative art center Exit Art, had invited local artists and poets to contribute eight-foot-tall plywood \u201cpages\u201d created onsite. Parts of that project, titled Octopus: An Act of Sculpture, are now shown at El Museo again for the first time in over four decades, alongside archival materials and other works that speak to its nurturing, collective spirit.<\/p>\n Jessica Lichtenstein: Rewilding<\/p>\n Museum of Arts and Design<\/a>, 2 Columbus Circle, Midtown, Manhattan Jessica Lichtenstein\u2019s first solo museum exhibition converts MAD’s third floor into a physical manifestation of her lush, imagined worlds populated by cheeky nude tree nymphs. Influenced by feminist theory, art history, and the natural world, Lichtenstein\u2019s layered, multimedia landscapes of forests and flowers reclaim the relationship between women\u2019s autonomy and ecological restoration.<\/p>\n Na Mira: No Smoking at MoMA<\/p>\n Museum of Modern Art<\/a>, 11 West 53rd Street, Midtown, Manhattan Na Mira works with radio transmitters, holographic screens, infrared heat, and other technologies that blur boundaries, destabilize vision, and eradicate our sense of distance. Inspired by shamanist practices, the limits of form, and diasporic experiences, the Korean-American artist\u2019s new installation merges footage from autobiographical sites and historical locales into a projective experience that resides somewhere between a diary, a history, and an ethnography.<\/p>\n Iris van Herpen: Sculpting the Senses<\/p>\n Brooklyn Museum<\/a>, 200 Eastern Parkway, Prospect Heights, Brooklyn What happens when an artist turns a show into a studio? Fashion designer Iris van Herpen\u2019s answer comes in the form of this remarkable exhibition, where visitors help her craft a garment alongside displays of her biomorphic, prodigious body of work. \u201cI want to share the most beautiful part of my work \u2014 the craftsmanship \u2014 in a really intimate setting,\u201d she recently told Hyperallergic. \u201cMy atelier is my most sacred space.\u201d<\/p>\n Read Livia Caligor’s feature<\/a><\/p>\n Orientalism: Between Fact and Fantasy<\/p>\n The Metropolitan Museum of Art<\/a>, 1000 Fifth Avenue, Upper East Side, Manhattan Edward Said\u2019s Orientalism<\/a> (1978) forever changed the way we think about cultural exchange between the so-called \u201cEast\u201d and \u201cWest.\u201d This exhibition tells the story of those encounters, starting at the end of the 18th century, when Napoleon entered Egypt, and continuing through to the work of painters like Jean-Auguste-Dominique Ingres, Eug\u00e8ne Delacroix, and Jean-L\u00e9on G\u00e9r\u00f4me.<\/p>\n Allan Sekula: Fish Story<\/p>\n Wallach Art Gallery<\/a>, 615 West 129th Street, Morningside Heights, Manhattan The late writer, thinker, and photographer Allan Sekula explored the relationship between capitalism, labor, and Marxism through works like Fish Story (1995), one of the most influential research projects from the last century. Rarely exhibited in its entirety \u2014\u00a0it consists of more than 100 photographs, two slide projections, and 26 accompanying texts \u2014\u00a0the series expanded the boundaries of documentary photography and artistic notions of the sea, drawing upon photographic labor history and the maritime industry.\u00a0<\/p>\n Architects of Liberation: Modernism in Western Africa<\/p>\n Museum of Modern Art<\/a>, 11 West 53rd Street, Midtown, Manhattan Modernist architecture sprang up in a range of polyphonic forms across post-independence Western Africa. Through architectural models, blueprints, archival photographs, and commissioned works, this exhibition attends to the politically inspired modernisms that emerged in the built environments of Senegal, C\u00f4te d\u2019Ivoire, Ghana, Togo, Benin, Nigeria, and Cameroon from the late 1950s onward.<\/p>\n Gordon Parks: Voices in the Mirror<\/p>\n Jack Shainman Gallery<\/a>, 46 Lafayette Street, Tribeca, Manhattan Gordon Parks was one of the most influential photographers of Black American life in the 20th century \u2014 but don\u2019t take our word for it. An exhibition at Jack Shainman Gallery pairs his work with written reflections by the people and communities he depicted,\u00a0including, for the very first time, the families of Muhammad Ali and Malcolm X.\u00a0<\/p>\n Sentient Earth<\/p>\n Amant<\/a>, 932 Grand, 315 Maujer, and 306 Maujer, Williamsburg, Brooklyn In an age of technocracy and greed, artists are the ones who remind us that the earth is not an infinite resource to be mined. This group show places artists like Cauleen Smith, Nohem\u00ed P\u00e9rez, and Bernd and Hilla Becher in conversation for a multidisciplinary, rigorous indictment of the extractive industries that deplete the natural world \u2014 opening up paths for action and repair in the process.<\/p>\n Hopi Kachina Dolls: Blessings for a Balanced World<\/p>\n Brooklyn Museum<\/a>, 200 Eastern Parkway, Prospect Heights, Brooklyn Left: Unrecorded artist, Palhikwmana Tihu (Water Maiden Kachina Doll) (c. late 19th century), cottonwood and pigment; right: Unrecorded artist, “Hahay\u2019iw\u00f9uti Tihu (Grandmother Kachina Doll)” (c. late 19th century), cottonwood and pigment (photos courtesy the Brooklyn Museum)<\/p>\n Step into the exquisite world of Kachina dolls, or tithu \u2014 hand-carved, painted representations of spiritual beings that hold sacred significance for the Hopi people. Uniting 53 dolls from the museum’s collection, this show sets the figures among baskets, ceramics, jewelry, and other meticulously crafted works, uplifting the Katsinam tradition and the creative role of women in Hopi society.<\/p>\n Aziz Hazara: Coming Home<\/p>\n SculptureCenter<\/a>, 44-19 Purves Street, Long Island City, Queens Process documentation from Aziz Hazara, “Coming Home” (2026) (photos courtesy the artist)<\/p>\n When the US military abruptly withdrew from Afghanistan following a two-decade war in 2021, it left behind detritus from kneepads to exercise equipment to infrastructure. Navigating bureaucracy, political instability, and surveillance, Hazara collected and catalogued these fragments; for the first time, his collection will be shown in its entirety \u2014\u00a0an archaeology of war\u2019s aftermath.\u00a0 <\/p>\n Mighty Miniatures<\/p>\n National Museum of the American Indian<\/a>, 1 Bowling Green, Financial District, Manhattan Crafted by Indigenous artists across the Americas and Hawai\u2018i, over 300 miniature marvels from the museum\u2019s collection come together in this captivating exhibition. Spanning toys and souvenirs to vessels for passing down traditional knowledge, Mighty Miniatures celebrates the intricate craftsmanship and economic ingenuity of this delight-inducing art form through an Indigenous lens. \u00a0 <\/p>\n Natalia Lassalle-Morillo: En Par\u00e1bola\/Conversations on Tragedy<\/p>\n Abrons Arts Center<\/a>, 466 Grand Street, Lower East Side, Manhattan Greek tragedy meets the Puerto Rican independence struggle in this show by Natalia Lassalle-Morillo, a resident at Abrons and San Juan\u2019s P\u00fablica Espacio Cultural. The exhibition includes a film installation and footage of the artist\u2019s Antigone-inspired performance, cast with nontraditional actors from Puerto Rico.<\/p>\n Yining Fei: Feral Sediment<\/p>\n SculptureCenter<\/a>, 44-19 Purves Street, Long Island City, Queens The milu, a Chinese deer, was protected within imperial grounds during the Qing dynasty, exported to European zoos, and hunted to near-extinction. Now, artist Yining Fei takes the species as a point of departure for a series of ceramics, mapping its interior organ system as a world unto itself.<\/p>\n Art of Manga<\/p>\n Brooklyn Museum<\/a>, 200 Eastern Parkway, Prospect Heights, Brooklyn Surprisingly, given manga\u2019s outsized influence on visual art and popular culture, this is the first major exhibition in the Americas dedicated to the beloved Japanese graphic novel and animation phenomenon. Among the more than 600 works on view, expect to see rare examples like original drawings from Takahashi Rumiko\u2019s Inuyasha and art by Tagame Gengoroh, who pioneered the gay manga genre. <\/p>\n Saya Woolfalk: The WoodsWoman Method<\/p>\n Bronx Museum<\/a>, 1040 Grand Concourse, Concourse, The Bronx Saya Woolfalk has a way of thinning the veil between humanity and nature, this dimension and the next. At the Bronx Museum, she turns her attention to the institution\u2019s own collection, reinterpreting it through her interest in science fiction and drawing from its depths to inform her upcoming commission for the museum lobby.<\/p>\n Halumii Ktapihna: Lenape Legacies and Futures<\/p>\n Museum of the City of New York<\/a>, 1220 Fifth Avenue, East Harlem, Manhattan Produced in dialogue with the \u00c9enda-L\u016dnaapeew\u00e1hkiing (Land of the Lenape) Collective and Lun\u00e1apeew community members, this group exhibition bypasses the 400th anniversary of New Amsterdam by spotlighting Indigenous culture and stewardship across the millennia. Works by contemporary artists inform a section on cultural survivance, while archival documents flesh out details of traditional Len\u00e1apeew land stewardship, societal structure, and colonial dispossession. <\/p>\n Raise Your Voice: New York Activism<\/p>\n Museum of the City of New York<\/a>, 1220 Fifth Avenue, East Harlem, Manhattan Examining over 250 years of activism in the city, Raise Your Voice investigates the lasting impacts of four primary mobilizing tactics: demonstrations, organizing, arts and media, and direct action. The “Demonstrations” section analyzes 20 historic movements from the Civil War draft riots to the first Pride March, while the “Organizing” component acknowledges the unseen strategic labor behind activism. <\/p>\n Doll Dressing<\/p>\n The Museum at FIT<\/a>, 227 West 27th Street, Chelsea, Manhattan Left: Twiggy London Girl, printed synthetic jersey dress (1966) on a Twiggy mannequin by Rootstein (1966\/2025); right: Moschino by Jeremy Scott, jacket and skirt with trompe l\u2019oeil print and \u201cpaper doll\u201d tabs, spring 2017 (photos courtesy the Museum at FIT)<\/p>\n The Barbie movie may be old news at this point, but dolls are forever \u2014 and so is their fashion. This show features more than 170 objects from this century and the last: a little cow-print handbag, miniature couture, a tiny Twiggy, you name it. Dolls aren\u2019t just toys, it shows us. They\u2019re inspirations.\u00a0<\/p>\n Ancestral Ecologies<\/p>\n Brooklyn Botanic Garden<\/a>, 990 Washington Avenue, Prospect Heights, Brooklyn For 125 years now, the Brooklyn Botanic Garden has served as a haven for artists, poets, children, and everyday city dwellers in search of peace and quiet. With the help of architecture firm AD\u2013WO, Olalekan Jeyifous transforms the garden through four interactive artworks that channel Indigenous, Latinx, and Black diasporic relationships to ecology, land, and our collective responsibility to the environment.<\/p>\n ART\/WORK: The Practice and Politics of CETA and the Arts, 1974\u20131981<\/p>\n James Gallery at CUNY Graduate Center<\/a>, 365 Fifth Avenue, Midtown, Manhattan You know about the WPA, but have you heard of the CETA? The Comprehensive Employment and Training Act, a lesser-known federal assistance program, offered jobs to over 30,000 artists and arts workers between 1974 and \u201981. It\u2019s little more than a footnote in the history books, but the initiative had a profound influence on the nation\u2019s arts landscape, and \u2014 as this exhibition argues \u2014 may still have something to teach us about art funding today.<\/p>\n Gen\u2019ichir\u014d Inokuma\u2019s NYC Salon<\/p>\n Japan Society<\/a>, 333 East 47th Street, Turtle Bay, Manhattan Born in Japan in 1902 and active during World War II as a war record painter, Gen\u2019ichir\u014d Inokuma was one of seven painters who co-founded Shinseisaku Ky\u014dkai, an independent artists’ organization that defied state-run exhibitions. For two decades starting in the 1950s, the artist and his wife Fumiko lived in New York City, where they forged ties with figures such as Jasper Johns, Yoko Ono, and Isamu Noguchi and where Inokuma created his signature, abstract bird’s-eye views of the metropolis. This exhibition stakes a claim for the artist within the legacy of NYC\u2019s avant-garde, and American art history at large.<\/p>\n Busy, Busy Towns: Moving Images of a Changing Asia<\/p>\n Asia Society<\/a>, 725 Park Avenue, Upper East Side, Manhattan The bustling cityscapes of China, Indonesia, and Taiwan are refracted through this group show, featuring moving images by Song Dong, Chen Shaoxiong, Tromarama, and Chen Chieh-jen. From animated woodcut prints to embroidery stop-motion, Busy, Busy Towns mines the layered histories of gentrification, commercialism, and environmental decay across Asia’s urban landscapes.<\/p>\n Paper Cuts<\/p>\n Center for Book Arts<\/a>, 28 West 27th Street, 3rd Floor, Nomad, Manhattan With a disarmingly cheeky title, this exhibition plumbs the legacy of one of the most radical, subversive spaces in contemporary art: independent publishing. Over 600 works amassed by artist and George Mason University School of Art professor Christopher Kardambikis trace the 25-year history of a hyper-local, experimental, and deeply political practice.<\/p>\n Dots and Loops: Jen Chen-su Huang, Rita Maas, and Audra Wolowiec<\/p>\n Wave Hill Public Garden and Cultural Center<\/a>, 4900 Independence Avenue, Riverdale, The Bronx Multidisciplinary artists Jen Chen-su Huang, Rita Maas, and Audra Wolowiec take up the form of the musical score in their site-specific exhibition at Wave Hill. Chen-su Huang recasts weaving patterns from the American colonial era as playable musical notations; Maas creates drawings inspired by deep-listening practices, taking on themes of silence and chance; and Wolowiec explores language\u2019s watery nature.<\/p>\n Fantasy and Reality: The Art of Johan Tobias Sergel<\/p>\n The Morgan Library and Museum<\/a>, 225 Madison Avenue, Midtown, Manhattan Traveling to the Morgan Library from Stockholm\u2019s Nationalmuseum, Swedish draftsman and sculptor Johan Tobias Sergel\u2019s Neoclassical work takes the spotlight outside of Europe for the first time. In addition to a wide-ranging selection of his figurative drawings and sculptures made from marble, plaster, and terracotta, Fantasy and Reality also explores Sergel’s personal and professional life through surviving ephemera that document his relationships with royalty and court officials, as well as with his common-law wife, Anna Rella Hellstr\u00f6m. <\/p>\n The Bowery: Devil\u2019s Mile<\/p>\n New Museum<\/a>, 235 Bowery, Lower East Side, Manhattan What do Jacob Riis, colonial Dutchmen, and vaudeville performances have in common? They all played critical roles in the history of Manhattan\u2019s iconic, centuries-old Bowery \u2014 duh! The New Museum assembles period relics, including dime-museum attractions and hand-pump fire engines, Riis\u2019s groundbreaking photojournalism, artwork by influential artists like Mark Rothko, and other archival objects representing over 400 years of social and economic evolution along the Bowery, from its heyday to its downfall and resurgence. <\/p>\n I’m So Happy You Are Here: Japanese Women Photographers from the 1950s to Now<\/a> and Laia Abril: On Rape and Institutional Failure<\/a><\/p>\n International Center of Photography, Lower East Side, Manhattan The International Center of Photography is giving women the full run of its exhibition space this fall. I\u2019m So Happy You Are Here is dedicated to nearly 30 Japanese women photographers working from the second half of the last century through today, showcasing everything from snapshots of everyday life to experiments that push the boundaries of the medium. Meanwhile, Catalan artist Laia Abril\u2019s concurrent show examines the history of violence against women through image, testimony, sound, video, and more.<\/p>\n Read Lauren Moya Ford’s review of the accompanying publication for I’m So Happy You Are Here<\/a><\/p>\n Andrea Modica: Italian Story<\/p>\n Alice Austen House<\/a>, 2 Hylan Boulevard, Rosebank, Staten Island Using an 8-by-10-inch, large-format camera and Kodak Tri-X film, American photographer Andrea Modica\u2019s black-and-white photos capture everyday people and drift into abstraction. This exhibition at the historic Alice Austen House<\/a> furthers Modica\u2019s explorations of memory, the passage of time, and what it means to be human. <\/p>\n Art of the Street: Selections from the Elie and Sarah Hirschfeld Collection<\/p>\n New York Historical<\/a>, 170 Central Park West, Upper West Side, Manhattan A love letter to humanity\u2019s mark on the city’s streets takes shape at the New-York Historical Society through highlights from Elie and Sarah Hirschfeld’s collection, along with their recent acquisitions. From Jean-Michel Basquiat and Keith Haring to Karel Appel and Red Grooms, Art of the Street celebrates the artists who capture the culture of defiant, public creativity crisscrossing the city over the decades. <\/p>\n Krist Lee: The In-Between<\/p>\n UrbanGlass<\/a>, 647 Fulton Street, Fort Greene, Brooklyn This multisensory exhibition, spanning ceramics, scents, and maps, explores the feeling of being in-between. Lee was born in Hong Kong and moved to Los Angeles at age 19; his works, alternatively ghostly and playful, draw on personal experience and familiar places, meditating on memory, migration, and identity.\u00a0<\/p>\n Designed to be Red: Native American & Indigenous Poster Works<\/p>\n Poster House<\/a>, 119 West 23rd Street, Chelsea, Manhattan This rich exploration of Native graphic arts discards the reductive, harmful, and dehumanizing iconography that Western design has long imposed on Indigenous peoples. Representing over 60 tribes and nations across two centuries, this assembly of posters and graphic art maps the evolution of Native design and its use in historical documentation, storytelling, and anticolonial protest. <\/p>\n Sarah Sense: Land, Line, Blood, Memory<\/p>\n Bruce Silverstein Gallery<\/a>, 529 West 20th Street (4th Floor), Chelsea, Manhattan Chitimacha\/Choctaw artist Sarah Sense\u2019s latest series frames traditional rivercane basket weaving as a restorative practice, one that reconnects her with her ancestry and cultural traditions while creating a tangible heirloom for future generations. Singular in her technique and artistic vision, Sense weaves landscape photographs printed on rice and bamboo paper together with documents such as maps and treaties as a deliberate reversal of colonial erasure and dispossession. <\/p>\n Like everything alive that we try to hold forever<\/p>\n \u200b\u200bPratt Manhattan Gallery<\/a>, 144 West 14th Street, West Village, Manhattan We humans have always defined ourselves in relation to our objects, whether it be the handbags we flaunt or the pottery we throw. The seven artists in this show \u2014\u00a0including Larry Achiampong, Stephanie Dinkins, and Sondra Perry \u2014\u00a0explore the ways technology, museums, and science act upon us, and what that means for the future of our species.\u00a0<\/p>\n Parasol Press: Breaking New Ground<\/p>\n Print Center New York<\/a>, 535 West 24th Street, Chelsea, Manhattan The Minimalism and innovation that defined Parasol Press, founded by the late master printer Robert Feldman, come to the fore in this pared-down presentation of a show on the publishing house\u2019s first decade, first exhibited at the Addison Gallery of American Art earlier this year. This iteration zeroes in on Parasol Press’s early years through a thoughtful display of 1970s-era editions of work by Minimalist and Conceptual artists, including Agnes Martin, Mel Bochner, Sol LeWitt, and Dorothea Rockburne. <\/p>\n Arakawa and Madeline Gins: The Poetic Jump<\/p>\n American Academy of Arts and Letters<\/a>, 633 West 155th Street, Audubon Terrace, Washington Heights Over 50 years before vampyric tech billionaires ventured into biohacking, the artist-architect duo of Arakawa and Madeline Gins began experimenting with extending life harmoniously through architecture. In this exhibition, timed to the reopening of their ever-playful Bioscleave House in East Hampton, “Ubiquitous Site X\u201d (1987\u201391) is on view alongside other signature works from their prolific, genre-bending practice.<\/p>\n Siena: The Art of Bronze, 1450\u20131500<\/p>\n The Frick Collection<\/a>, 1 East 70th Street, Upper East Side, Manhattan Attributed to Francesco di Giorgio, “David with the Head of Goliath” (c. 1480), bronze (left) (image courtesy Museo Nazionale di Capodimonte, Naples); and “Ambrogio Spannocchi de\u2019 Piccolomini” (obverse) and “Mercury (reverse)” (c. 1459), cast, low-tin bronze, highly leaded (right) (image courtesy Staatliche Museen zu Berlin, M\u00fcnzkabinett)<\/p>\n Though best known as a flourishing center of Renaissance painting, the Italian city of Siena is finally recognized for its bronze sculpture production of the same era. Conceptually bookended by Donatello\u2019s four-year residency in Siena and a Sienese lord\u2019s choice to move a bronze tabernacle by Vecchietta to the Siena Cathedral in 1506, the landmark show brings together nearly 40 bronze statues, reliefs, candelabra, and medals from some of Italy\u2019s canonical artists. <\/p>\n Telenovela<\/p>\n Americas Society<\/a>, 680 Park Avenue, Upper East Side, Manhattan The telenovela is rarely explored as an art form in its own right, and this exhibition amends that oversight. With more than 50 works produced in the past half-century, including a commission by artist Pablo Helguera<\/a>, Telenovela dissects how the campy, iconic genre has both shaped and subverted standards of gender, class, and taste across visual culture in the Americas.\u00a0 <\/p>\n Roberto Lugo: Alfarero del Barrio (Village Potter)<\/p>\n Madison Square Park Conservancy<\/a>, 11 Madison Avenue, Nomad, Manhattan Madison Square Park is currently home to a towering urn and orange fire hydrant sculptures by Philadelphia-based artist, ceramicist, and activist Roberto Lugo. Painted portraits of pillars of the Puerto Rican community, including Lugo\u2019s parents, Gilberto and Maribel, and icons such as Bad Bunny and Sonia Sotomayor, circle an archway in “Capic\u00fa de Cari\u00f1o,” inviting visitors at the historic park to reflect on the monumentality of Puerto Rican heritage.\u00a0<\/p>\n Read Isa Farfan\u2019s feature<\/a><\/p>\n Mari Nagem: The Tropics, The Moon, and Mars<\/p>\n CUE Art Foundation<\/a>, 137 West 25th Street, Chelsea, Manhattan In her first solo exhibition in New York, Brazilian artist Mari Nagem constructs what CUE Art Foundation calls a “post-natural” natural environment \u2014\u00a0think climate as light, sound, digital experiments, and more. Humans have long dreamt of living on other planets, Nagem argues, but look how we fail to live harmoniously on our own. <\/p>\n Thucydides Fever Dream<\/p>\n Hill Art Foundation<\/a>, 239 Tenth Avenue (Third Floor), Chelsea, Manhattan The power of curation comes to the fore in this show, in which a portrait of Vladimir Lenin by Andy Warhol meets an impasto landscape by Li Songsong. That\u2019s one of several provocative encounters staged by curator Xin Wang, who brings the Hill Art Foundation collection into dialogue with work by contemporary artists, including Zhao Yao and Lu Yang, for a richer view of Chinese art through global, technological, and geopolitical lenses.<\/p>\n How We Work: Smack Mellon at 30<\/p>\n Smack Mellon<\/a>, 92 Plymouth Street, Dumbo, Brooklyn Smack Mellon is throwing its 30th birthday party! This exhibition reprises the nonprofit\u2019s greatest hits, featuring the work of the painting collective the Barnstormers, performance artist and filmmaker Patty Chang, and multi-media artist Pat Oleszko, who\u2019s having a moment \u2014\u00a0she recently closed out a solo exhibition at SculptureCenter and won the coveted Bucksbaum Award<\/a> for her contribution to this year\u2019s Whitney Biennial. <\/p>\n Goddesses in the Machine: Fashion in American Silent Film<\/p>\n Bard Graduate Center<\/a>, 18 West 86th Street, Upper West Side, Manhattan Hollywood wasn\u2019t always the machine it is today \u2014\u00a0during the early years of film, the idea of a \u201ccostume designer\u201d hadn\u2019t yet emerged. This is the first major exhibition dedicated to fashion in the American silent film industry, bringing together surviving objects, posters, film stills, sketches, photographs, and more. <\/p>\n Lisa Sanditz: Missing Mountain<\/p>\n Alexandre<\/a>, 25 East 73rd Street (Second & Third Floors, Buzzer 3), Upper East Side, Manhattan An artist-in-residence at Bard College since 2008, Lisa Sanditz presents a suite of new paintings and works on paper rendering the landscape of the Hudson Valley in acid hues. Many works in this exhibition \u2014\u00a0as its title might suggest \u2014\u00a0depict the Catskills Mountain range, hidden in the haze of wildfires. Missing Mountain is a love letter to a place, an environmental plea, and a sight for sore eyes.\u00a0<\/p>\n Geometries<\/p>\n Studio Museum of Harlem<\/a>, 144 West 125th Street, Harlem, Manhattan If there\u2019s a connecting thread running through the tapestry of art history, it might just be this exhibition\u2019s subject matter: line, shapes, spaces. This group show, featuring artists including Sonia Boyce, Jennie C. Jones, Jack Whitten, and many others, highlights the ways Black artists have engaged with global geometric forms, spanning everything from city maps to sonic vibrations to West African textiles. <\/p>\n Afterlives: Contemporary Art in the Byzantine Crypt<\/p>\n The Metropolitan Museum of Art<\/a>, 1000 Fifth Avenue, Upper East Side, Manhattan There\u2019s no better place to ponder our mortality than in a Byzantine crypt at The Met, or the Gothic chapel at its Cloisters annex. This exhibition takes a broader view of death and how we live in relation to it, pairing religious and secular jewelry, objects, and sculpture with contemporary works \u2014\u00a0including Adrian Piper\u2019s \u201cEverything #4\u201d (2004), an oval mirror that doubles as a memento mori, and a 1981 work from Ana Mendieta’s Amategram series. <\/p>\n Angel Nevarez & Valerie Tevere: As far as the ear can hear<\/p>\n Wave Hill Public Garden and Cultural Center<\/a>, 4900 Independence Avenue, Riverdale, The Bronx Through video, photography, music, installation, performance, and more, Angel Nevarez and Valerie Tevere weave sonic landscapes that draw upon the environments of the Bronx, New Orleans, and the deserts of Sonora. This exhibition includes a piece the pair conceived during their residency at Wave Hill this past winter about the acclaimed composer Arturo Toscanini, who lived in the neighborhood during World War II. <\/p>\n Take One Action<\/p>\n Art at a Time Like This<\/a>, various sites around Lower Manhattan and online We live in a time of a wrecked economy, loss of faith in institutions, massive inequality \u2014\u00a0need we go on? Take One Action, a digital project and campaign of wheatpaste posters around the Lower East Side by artists like Robert Longo, Sasha Styles, and Shawn Leonardo, is a call to action to support democratic freedoms and combat widespread fascism, one step at a time. <\/p>\n Donald Moffett: IMPEACH<\/p>\n Brooklyn Museum<\/a>, 200 Eastern Parkway, Prospect Heights, Brooklyn\u00a0 The year is 1998. The US House of Representatives is debating whether or not to impeach President Bill Clinton, and Congressman John Lewis is delivering a heartfelt speech about what it means to be a nation. Moffett transforms that moment into an immersive sound installation that considers the survival of a country on its 250th anniversary. <\/p>\n The Nature of Building: Artist’s Books<\/p>\n
Sept. 18\u2013March 14, 2027<\/p>\n![\"\"](\"https:\/\/www.newsbeep.com\/ie\/wp-content\/uploads\/2026\/08\/FCIDLY_2026_One-little-room-on-fire_60854.jpeg\")
Detail of Taryn Simon, “One little room on fire” (2026), archival inkjet print and two text panels in acrylic frames (\u00a9 2026 Taryn Simon; image courtesy Guggenheim Museum)<\/p>\n
Oct. 4\u2013Jan. 31, 2027<\/p>\n![\"\"](\"https:\/\/www.newsbeep.com\/ie\/wp-content\/uploads\/2026\/08\/Krasner_Combat_1965.jpg\")
Lee Krasner, “Combat 1922” (1965), oil on canvas (\u00a9 2026 Pollock-Krasner Foundation \/ Artists Rights Society (ARS), New York; image courtesy the Metropolitan Museum of Art)<\/p>\n
Opening Oct. 11<\/p>\n![\"\"](\"https:\/\/www.newsbeep.com\/ie\/wp-content\/uploads\/2026\/08\/1787879772_20_image-34.png\")
Roy Lichtenstein, “Crying Girl” (1963), offset lithograph (\u00a9 Estate of Roy Lichtenstein\/DACS 2026; image courtesy the Whitney Museum of American Art)<\/p>\n
Oct. 25\u2013Feb. 27, 2027<\/p>\n![\"\"](\"https:\/\/www.newsbeep.com\/ie\/wp-content\/uploads\/2026\/08\/Brancusi_AM-818-S_Sleeping-Muse_rs.jpg\")
![\"\"](\"https:\/\/www.newsbeep.com\/ie\/wp-content\/uploads\/2026\/08\/Brancusi_Inv.-AM-4002-72_Nancy-Cunard_rs.jpg\")
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Through Jan. 27, 2027<\/p>\n
Opening Sept. 24<\/p>\n![\"\"](\"https:\/\/www.newsbeep.com\/ie\/wp-content\/uploads\/2026\/08\/3.-TM_Irrigacion_2010-2000x1328.jpg\")
Teresa Margolles, “Irrigaci\u00f3n (Irrigation)” (2010), single-channel video, color, sound (\u00a9 2026 Teresa Margolles; image courtesy the artist and mor charpentier, Paris)<\/p>\n
Nov. 12\u2013Feb. 22, 2027<\/p>\n
Sept. 9\u2013Jan. 30, 2027<\/p>\n![\"\"](\"https:\/\/www.newsbeep.com\/ie\/wp-content\/uploads\/2026\/08\/Alison-Knowles_Geo-Brecht_Rob-Watts_BLINK_1963.jpeg\")
Alison Knowles, George Brecht, and Robert Watts (collaboration as Sissor Bros. Warehouse), “BLINK” (1963), screen print and synthetic polymer on canvas (photo courtesy Grey Art Museum at New York University)<\/p>\n
Sept. 19\u2013Dec. 13<\/p>\n![\"\"](\"https:\/\/www.newsbeep.com\/ie\/wp-content\/uploads\/2026\/08\/1_JOAN-Johanna-Hedva_2172.jpeg\")
Johanna Hedva, \u201cThe Clock Is Always Wrong (Other Mouth)\u201d (2023), installed at JOAN Los Angeles (photo courtesy the Center for Art, Research and Alliances)<\/p>\n
Opening Nov. 14<\/p>\n![\"\"](\"https:\/\/www.newsbeep.com\/ie\/wp-content\/uploads\/2026\/08\/Dinkins-Data-Trust-IMG_0318-credit-Liz-Thomas-.jpg\")
Installation view of work by Stephanie Dinkins (photo Liz Thomas, courtesy the Staten Island Museum)<\/p>\n
Sept. 10\u2013Jan. 10, 2027<\/p>\n![\"\"](\"https:\/\/www.newsbeep.com\/ie\/wp-content\/uploads\/2026\/08\/Sandoval_004.jpeg\")
Teddy Sandoval, “Las Locas” (c. 1980), acrylic and mixed media on unstretched canvas (photo Fredrik Nilsen, courtesy El Museo del Barrio)<\/p>\n
Opening Nov. 5<\/p>\n![\"\"](\"https:\/\/www.newsbeep.com\/ie\/wp-content\/uploads\/2026\/08\/Bradley_Peter_CircleofFifths_1973.jpg\")
Peter Bradley, “Circle of Fifths” (1973), acrylic on canvas (\u00a9 Peter Bradley; image courtesy the artist and Karma)<\/p>\n
Sept. 19\u2013Jan. 18, 2027<\/p>\n
Through Jan. 10, 2027<\/p>\n![\"\"](\"https:\/\/www.newsbeep.com\/ie\/wp-content\/uploads\/2026\/08\/WMAA186103_EXME072-Evans_web.jpg\")
Minnie Evans, “Untitled (Face with Crown and Angels)” (1968), oil, ink, gold paint, and pencil on paper (\u00a9 The Estate of Minnie Evans; photo Christopher Burke, courtesy Whitney Museum of American Art)<\/p>\n
Oct. 29\u2013Dec. 19 <\/p>\n
Sept. 24\u2013Jan. 31, 2027<\/p>\n![\"\"](\"https:\/\/www.newsbeep.com\/ie\/wp-content\/uploads\/2026\/08\/Marcon-3.jpeg\")
Still from Diego Marcon, “The Parents\u2019 Room” (2021), digital video transferred from 35mm film, CGI animation, color, sound; duration: 6:23 min (loop) (\u00a9 Diego Marcon; image courtesy the artist and Fondazione Donnaregina per le arti contemporanee, Naples)<\/p>\n
Oct. 9\u2013Feb. 28, 2027<\/p>\n![\"\"](\"https:\/\/www.newsbeep.com\/ie\/wp-content\/uploads\/2026\/08\/Mary-Antrim_Needlework-Picture.jpeg\")
Mary Antrim, “Needlework Picture Burlington County, New Jersey” (1807), silk on linen and ink on paper (photo courtesy the American Folk Art Museum)<\/p>\n
Nov. 5\u2013March 15, 2027<\/p>\n![\"\"](\"https:\/\/www.newsbeep.com\/ie\/wp-content\/uploads\/2026\/08\/Masao-Gozu_v2-1-2000x1445.jpg\")
Left: Masao Gozu, “Mott St., Chinatown, May 1972” (1972), gelatin silver print; right: Masao Gozu, “Mott St., Chinatown, March 2025” (2025), digital photograph (photos courtesy the artist)<\/p>\n
Through Oct. 25<\/p>\n![\"\"](\"https:\/\/www.newsbeep.com\/ie\/wp-content\/uploads\/2026\/08\/image-32.png\")
Peter Hujar, \u201cThe Cockettes at 10 East 23rd Street, 1971, job 519\u201d (\u00a9 The Peter Hujar Archive \/ Artists Rights Society (ARS); image courtesy Fraenkel Gallery, San Francisco and Ortuzar, New York)<\/p>\n
Oct. 23\u2013Jan. 31, 2027<\/p>\n![\"\"](\"https:\/\/www.newsbeep.com\/ie\/wp-content\/uploads\/2026\/08\/L2026_122_4_RP-T-1901-A-4524_35MB.jpeg\")
Rembrandt van Rijn, “Recumbent Lion” (1660), reed pen, brown ink, and brown wash on paper (photo courtesy the Morgan Library & Museum)<\/p>\n
Nov. 6\u2013March 14, 2027<\/p>\n
Through Nov. 15<\/p>\n![\"\"](\"https:\/\/www.newsbeep.com\/ie\/wp-content\/uploads\/2026\/08\/1929.681-Press-Image---3000px-W--300dpi--jpg.jpeg\")
Kitty Rix, “Boy on a Horse” (c. 1920s), hand-modeled ceramic, glazed (photo courtesy the Jewish Museum)<\/p>\n
Through Nov. 15<\/p>\n![\"\"](\"https:\/\/www.newsbeep.com\/ie\/wp-content\/uploads\/2026\/08\/Marta-Sanchez_Norma-Cantu_Prelude_TTY_El-Museo-del-Barrio.jpeg\")
Marta S\u00e1nchez and Norma E. Cant\u00fa, “Prelude” (2003) (image courtesy El Museo del Barrio)<\/p>\n
Through April 18, 2027<\/p>\n![\"\"](\"https:\/\/www.newsbeep.com\/ie\/wp-content\/uploads\/2026\/08\/6.-Lichtenstein-Installation-052826_Bascom_DSCF9434-1.jpg\")
Detail of Jessica Lichtenstein, “Gush” (2025), concrete, plaster, and engraved lockets and watches on wood panel (photo Jenna Bascom, courtesy the Museum of Arts and Design)<\/p>\n
Nov. 14\u2013Feb. 15, 2027<\/p>\n![\"\"](\"https:\/\/www.newsbeep.com\/ie\/wp-content\/uploads\/2026\/08\/Na-Mira-2000x1094-1.jpg\")
Work in progress of Na Mira, “Infrared HD video” (2025) (image courtesy the artist and Paul Soto Gallery)<\/p>\n
Through Dec. 6<\/p>\n![\"\"](\"https:\/\/www.newsbeep.com\/ie\/wp-content\/uploads\/2026\/08\/image-33.png\")
Installation view of Iris van Herpen: Sculpting the Senses (photo On White Wall\/Paula Abreu Pita, courtesy the Brooklyn Museum)<\/p>\n
Through Feb. 28, 2027<\/p>\n![\"\"](\"https:\/\/www.newsbeep.com\/ie\/wp-content\/uploads\/2026\/08\/Osman-Hamdi-Bey_Young-Woman-Reading.jpg\")
Osman Hamdi Bey, “Young Woman Reading” (1880), oil on canvas (image Islamic Arts Museum Malaysia, courtesy the Metropolitan Museum of Art)<\/p>\n
Oct. 2\u2013Dec. 20<\/p>\n![\"\"](\"https:\/\/www.newsbeep.com\/ie\/wp-content\/uploads\/2026\/08\/51_Finishing-propeller-shaft.jpeg\")
Allan Sekula, “Finishing propeller shaft” (1988\u201395) (image courtesy Allan Sekula Studios and Wallach Art Gallery)<\/p>\n
Through Jan. 2, 2027<\/p>\n![\"\"](\"https:\/\/www.newsbeep.com\/ie\/wp-content\/uploads\/2026\/08\/Michel-Fegyveres_CICES-1--1-.jpg\")
Centre International du Commerce Ext\u00e9rieur du S\u00e9n\u00e9gal (CICES), Dakar, Senegal (1971\u201374), in 1974, designed by Jean-Fran\u00e7ois Lamoureux and Jean Louis Marin (photo Michel Fegyveres, courtesy the Museum of Modern Art)<\/p>\n
Sept. 18\u2013Nov. 6, 2026<\/p>\n![\"\"](\"https:\/\/www.newsbeep.com\/ie\/wp-content\/uploads\/2026\/08\/44.001.jpeg\")
Gordon Parks, “Boy with June Bug, Fort Scott, Kansas” (1963), archival pigment print (\u00a9 The Gordon Parks Foundation; image courtesy the Gordon Parks Foundation and Jack Shainman Gallery, New York)<\/p>\n
Sept. 17\u2013Feb. 14, 2027<\/p>\n![\"\"](\"https:\/\/www.newsbeep.com\/ie\/wp-content\/uploads\/2026\/08\/IDSID_33.jpeg\")
Installation view of Marina Xenofontos, “Copy of a Dream” (2020) (photo Mirka Koutsouri, courtesy the artist)<\/p>\n
Oct. 2\u2013June 27, 2027<\/p>\n![\"\"](\"https:\/\/www.newsbeep.com\/ie\/wp-content\/uploads\/2026\/08\/04.297.5531_front_PS22.jpeg\")
![\"\"](\"https:\/\/www.newsbeep.com\/ie\/wp-content\/uploads\/2026\/08\/04.297.5570_front_PS22.jpeg\")
<\/p>\n
Sept. 19\u2013Dec. 28<\/p>\n![\"\"](\"https:\/\/www.newsbeep.com\/ie\/wp-content\/uploads\/2026\/08\/Aziz_PressIMG-1.jpeg\")
![\"\"](\"https:\/\/www.newsbeep.com\/ie\/wp-content\/uploads\/2026\/08\/Aziz_PressIMG-3.jpeg\")
<\/p>\n
Nov. 21\u2013Aug. 20, 2027<\/p>\n
Nov. 5\u2013Dec. 20<\/p>\n![\"\"](\"https:\/\/www.newsbeep.com\/ie\/wp-content\/uploads\/2026\/08\/EP_6.jpg\")
Still from Natalia Lassalle-Morillo, “En Par\u00e1bola\/Conversations on Tragedy | Part I & Part II” (2024\u201326), 3-channel video installation with sound 4k video, 16mm film, 8mm film, hand-developed 16mm film, duration: 180 minutes (image courtesy Natalia Lassalle-Morillo)<\/p>\n
Sept. 19\u2013Dec. 28<\/p>\n![\"\"](\"https:\/\/www.newsbeep.com\/ie\/wp-content\/uploads\/2026\/08\/Yining-Fei_Lead-Image.jpeg\")
Studio image of “Yining Fei, Feral Sediment” (2026) (photo courtesy the artist)<\/p>\n
Oct. 3\u2013Jan. 31, 2027<\/p>\n![\"\"](\"https:\/\/www.newsbeep.com\/ie\/wp-content\/uploads\/2026\/08\/14---309377_20250612.jpeg\")
Oda Eiichiro, drawing for “ONE PIECE” (undated), hand drawing, pen on paper (\u00a9 Eiichiro Oda\/Shueisha; image courtesy Brooklyn Museum)<\/p>\n
Opening Oct. 9<\/p>\n![\"\"](\"https:\/\/www.newsbeep.com\/ie\/wp-content\/uploads\/2026\/08\/Saya-Woolfalk--Birthing-a-New-Sky--Starships-and-Cosmic-Tethers-.jpeg\")
Saya Woolfalk, “Birthing a New Sky (Starships and Cosmic Tethers)” (undated) (image courtesy the Bronx Museum)<\/p>\n
Opening Sept. 25<\/p>\n![\"\"](\"https:\/\/www.newsbeep.com\/ie\/wp-content\/uploads\/2026\/08\/Bloodline-Portrait-of-Community_Holly-Wilson_2022.jpeg\")
Holly Wilson, “Bloodline, Portrait of Community” (2022) (image courtesy the artist)<\/p>\n
Opening Sept. 25<\/p>\n![\"\"](\"https:\/\/www.newsbeep.com\/ie\/wp-content\/uploads\/2026\/08\/Triangle-Fire.jpeg\")
Victor Joseph Gatto, “Triangle Fire, March 25, 1911” (1944\u201345) (image courtesy the Museum of the City of New York)<\/p>\n
Sept. 16\u2013Jan. 3, 2027<\/p>\n![\"\"](\"https:\/\/www.newsbeep.com\/ie\/wp-content\/uploads\/2026\/08\/2017.20.1_20250911_01.jpeg\")
![\"\"](\"https:\/\/www.newsbeep.com\/ie\/wp-content\/uploads\/2026\/08\/2025.9.1_2025.9.2_20250723_01.jpeg\")
<\/p>\n
Through Oct. 25<\/p>\n![\"\"](\"https:\/\/www.newsbeep.com\/ie\/wp-content\/uploads\/2026\/08\/55281492815_Animist_Capsules_1._Photo_by_Jeremy_Weine_..jpeg\")
Installation view of Ancestral Ecologies (photo Jeremy Weine, courtesy Brooklyn Botanic Garden)<\/p>\n
Through Dec. 12<\/p>\n
Oct. 6\u2013Jan. 10, 2027<\/p>\n![\"\"](\"https:\/\/www.newsbeep.com\/ie\/wp-content\/uploads\/2026\/08\/Untitled_Sound.jpeg\")
Gen\u2019ichir\u014d Inokuma, “Untitled (‘Sound’)” (1959), watercolor on paper (photo Go Sugimoto, courtesy Japan Society)<\/p>\n
Through Jan. 3, 2027<\/p>\n![\"\"](\"https:\/\/www.newsbeep.com\/ie\/wp-content\/uploads\/2026\/08\/01-Factory-50cm_Still_MAIN.jpeg\")
Film still of Song Dong, “Burning Mirror” (2001), single-channel video (image courtesy Asia Society, New York)<\/p>\n
Sept. 10\u2013Dec. 12<\/p>\n
Through Jan. 3, 2027<\/p>\n![\"\"](\"https:\/\/www.newsbeep.com\/ie\/wp-content\/uploads\/2026\/08\/Dots-and-Loops_01.jpeg\")
Detail of Audra Wolowiec, “(and,\u202fwaves)” (2026), dye sublimation prints on fabric (photo Stefan Hagen, courtesy the artist and Wave Hill)<\/p>\n
Oct. 30\u2013Jan. 31, 2027<\/p>\n![\"\"](\"https:\/\/www.newsbeep.com\/ie\/wp-content\/uploads\/2026\/08\/Sergel_theFaun.jpg\")
Johan Tobias Sergel, “The Faun” (1794) marble (image courtesy Nationalmuseum, Stockholm)<\/p>\n
Sept. 24\u2013Jan. 31, 2027<\/p>\n![\"\"](\"https:\/\/www.newsbeep.com\/ie\/wp-content\/uploads\/2026\/08\/Bowery_9.jpeg\")
William Louis Sonntag, Jr., “Bowery at Night” (c. 1895) (photo courtesy the New Museum)<\/p>\n
Oct. 15\u2013Jan. 11, 2027, and Oct. 15\u2013Jan. 4, 2027, respectively<\/p>\n![\"\"](\"https:\/\/www.newsbeep.com\/ie\/wp-content\/uploads\/2026\/08\/narahashi-kawaguchikko-half-awake-half-asleep.jpeg\")
Narahashi Asako, “Kawaguchiko” (2003) (image courtesy Osiris, Tokyo, and Aperture)<\/p>\n
Sept. 12\u2013Feb. 20, 2027<\/p>\n![\"\"](\"https:\/\/www.newsbeep.com\/ie\/wp-content\/uploads\/2026\/08\/089.jpeg\")
Untitled photo by Andrea Modica (image courtesy Alice Austen House)<\/p>\n
Aug. 28\u2013Jan. 17, 2027<\/p>\n![\"\"](\"https:\/\/www.newsbeep.com\/ie\/wp-content\/uploads\/2026\/08\/Karel-Appel--West-Village--1984.jpeg\")
Karel Appel, “West Village” (1984) (\u00a9 2026 Karel Appel Foundation \/ Artists Rights Society (ARS), New York \/ c\/o Pictoright Amsterdam; image courtesy the New York Historical)<\/p>\n
Sept. 9\u2013Nov. 1<\/p>\n
Sept. 25\u2013Feb. 21, 2027<\/p>\n![\"\"](\"https:\/\/www.newsbeep.com\/ie\/wp-content\/uploads\/2026\/08\/IND_056.jpeg\")
Akwesasne Notes (Mohawk Nation at Akwesasne), “I Must Continue to Lead My People” (c. 1980) (image courtesy Poster House)<\/p>\n
Sept. 17\u2013Nov. 7<\/p>\n![\"\"](\"https:\/\/www.newsbeep.com\/ie\/wp-content\/uploads\/2026\/08\/SSE-00135-SP_Broken-Plait-Trees_White-Background.jpg\")
Sarah Sense, “Broken Plait Trees” (2025), woven archival inkjet prints on Hahnemuhle bamboo paper and Hahnemuhle rice paper, beeswax, Arches watercolor paper, cotton thread, artist tape (photo courtesy Bruce Silverstein Gallery)<\/p>\n
Sept. 25\u2013Dec. 19<\/p>\n
Sept. 17\u2013Dec. 19<\/p>\n![\"\"](\"https:\/\/www.newsbeep.com\/ie\/wp-content\/uploads\/2026\/08\/1.2026.85.jpg\")
Robert Mangold, “C Yellow, Three Aquatints” (1979), aquatint and etching printed from six plates on Rives BFK (image courtesy the artist)<\/p>\n
Sept. 26\u2013Feb. 7, 2027<\/p>\n![\"\"](\"https:\/\/www.newsbeep.com\/ie\/wp-content\/uploads\/2026\/08\/Ubiquitous-Site-X--3-.jpeg\")
Arakawa and Madeline Gins, “Ubiquitous Site X” (1987\u201391), mixed media (photo courtesy the Reversible Destiny Foundation, New York)<\/p>\n
Oct. 15\u2013Jan. 18, 2027<\/p>\n![\"\"](\"https:\/\/www.newsbeep.com\/ie\/wp-content\/uploads\/2026\/08\/Attributed-to-Francesco-di-Giorgio--David-with-the-Head-of-Goliath.jpeg\")
![\"\"](\"https:\/\/www.newsbeep.com\/ie\/wp-content\/uploads\/2026\/08\/Attributed-to-Francesco-di-Giorgio--Ambrogio-Spannocchi-de----Piccolomini--obverse---Mercury--revers.jpeg\")
<\/p>\n
Sept. 9\u2013March 27, 2027<\/p>\n![\"\"](\"https:\/\/www.newsbeep.com\/ie\/wp-content\/uploads\/2026\/08\/TEL_003-LR.jpg\")
Still from H\u00e9lio Oiticica, “Agrippina \u00e9 a Roma-Manhattan” (1972), Super 8 film, duration: 15 minutes (photo courtesy the artist’s estate)<\/p>\n
Through Dec. 6<\/p>\n![\"\"](\"https:\/\/www.newsbeep.com\/ie\/wp-content\/uploads\/2026\/08\/image-31.png\")
Roberto Lugo, \u201cCapic\u00fa de Cari\u00f1o (I Heard It Both Ways)\u201d in Madison Square Park (photo Isa Farfan\/Hyperallergic)<\/p>\n
Through Sept. 26<\/p>\n![\"\"](\"https:\/\/www.newsbeep.com\/ie\/wp-content\/uploads\/2026\/08\/01.-Mari-Nagem.jpeg\")
Mari Nagem, “tropics | moon | mars | ES” (2026), acrylic, latex, enamel on canvas (photo Leo Ng, courtesy CUE Art) <\/p>\n
Sept. 16\u2013Dec. 19<\/p>\n![\"\"](\"https:\/\/www.newsbeep.com\/ie\/wp-content\/uploads\/2026\/08\/1993--------Heavy-Rain143x183cm---------------1---2-.jpg\")
Liu Xiaodong, “Heavy Rain” (1993), oil on canvas (\u00a9 Liu Xiaodong; image courtesy the artist)<\/p>\n
Sept. 19\u2013Nov. 22<\/p>\n![\"\"](\"https:\/\/www.newsbeep.com\/ie\/wp-content\/uploads\/2026\/08\/Reissig--Lucia--Todo-estaba-sucio-2022.jpeg\")
Lucia Reissig, “Todo estaba sucio (Everything was dirty)” (2022), five-year hand-sewn archive of rags used in domestic work (image courtesy the artist)<\/p>\n
Sept. 18\u2013Jan. 3, 2027<\/p>\n![\"\"](\"https:\/\/www.newsbeep.com\/ie\/wp-content\/uploads\/2026\/08\/Brauner_Portrait_Johnson-Museum.jpg\")
Olaf M. Brauner, “Portrait of Irene Castle” (1922), oil on canvas (image courtesy the Johnson Museum)<\/p>\n
Sept. 18\u2013Nov. 7<\/p>\n
Sept. 10\u2013Jan. 31, 2027<\/p>\n![\"\"](\"https:\/\/www.newsbeep.com\/ie\/wp-content\/uploads\/2026\/08\/DanielLaRueJohnson_Nations_1976.jpeg\")
Daniel LaRue Johnson, “Nations” (1976), acrylic on canvas (photo John Berens, courtesy Studio Museum of Harlem)<\/p>\n
Oct 4.\u2013Jan. 10, 2027<\/p>\n![\"\"](\"https:\/\/www.newsbeep.com\/ie\/wp-content\/uploads\/2026\/08\/DP-32618-042-JPG-Original-300dpi.jpg\")
Installation view of Afterlives: Contemporary Art in the Byzantine Crypt (photo courtesy Metropolitan Museum of Art)<\/p>\n
Aug. 29\u2013Nov. 29<\/p>\n![\"\"](\"https:\/\/www.newsbeep.com\/ie\/wp-content\/uploads\/2026\/08\/TheSlowDrop-still1---NevarezTevere.jpg\")
Still from Angel Nevarez and Valerie Tevere, “The Slow Drop” (2026), three-channel HD video, three-channel stereo sound, photographs, duration: 14 minutes, 6 seconds (photo courtesy the artists and Wave Hill) <\/p>\n
September\u2013October (physical), ongoing (online)<\/p>\n![\"\"](\"https:\/\/www.newsbeep.com\/ie\/wp-content\/uploads\/2026\/08\/Minter-After-Guston--29.jpeg\")
Marilyn Minter, “After Guston, #29 (Car)” (2025) (photo courtesy Art at a Time Like This)<\/p>\n
Through April 11, 2027<\/p>\n
![\"\"](\"https:\/\/www.newsbeep.com\/ie\/wp-content\/uploads\/2026\/08\/4.-MRosenberg_The-Screening-Room_open.jpg\")
Maddy Rosenberg, “The Screening Room Edition” (2024), artist\u2019s book, hand-drawn, cut and assembled, digitally printed, in paper box (photo courtesy Kentler International)<\/p>\n![\"\"](\"https:\/\/www.newsbeep.com\/ie\/wp-content\/uploads\/2026\/08\/2015.56.7_PS22.jpeg\")
Kara Walker, “Freedom, A Fable” (1997), pop-up bound book (\u00a9 Kara Walker; photo courtesy Brooklyn Museum)<\/p>\n