Featured Events in New York in November 2024 (June Updated)

The exhibition, presented at CARVALHO PARK, showcases the work of New York artist and designer Liam Lee and Montreal-based ceramic and textile artist Elisabeth Perrault. The exhibition presents Perrault’s work through two architectural-scale installations, one of ceramic flowers that show their decaying beauty in a hanging state, and another of floral skins that undulate and unfold on the gallery wall. Lee explores the boundaries between textiles and sculpture through his largest wool tapestry to date.

Rachel Mica Weiss’ first solo exhibition at Carvalho Park Gallery, Cyclicalities, showcases her in-depth exploration of boundaries, limits, and autonomy. Through two large concrete sculptures with kinetic elements, the exhibition highlights the symbol of “chains” and discusses the tension between social regulations and personal freedom. The hand-carved blue alabaster and marble chains give the works visual weight and symbolic meaning, suggesting the invisible constraints and cycles in human life. Weiss’s work carefully explores the interaction between space and time, stimulating the audience to consider the complex relationship between identity and society.

From September 20 to November 2, the presentation at the gallery’s 540 West 25th Street flagship in New York will focus on Takamatsu’s Shadow and Perspective concepts—throughout his entire oeuvre, Takamatsu used the term “concept” to denote certain ideas or phenomena. Bringing together a selection of his paintings, drawings, and sculptural objects dating from 1966 to 1997, this exhibition will showcase his inventive, deeply philosophical practice and his important role in the development of Conceptual Art. A prolific artist who produced thousands of works over the course of his 40-year career, Takamatsu worked across painting, sculpture, drawing, photography, and performance, exploring questions about perception, space, existence, and absence. Early in his practice, during the 1960s, he staged performative interventions in public spaces around Tokyo as part of the artist collective Hi Red Center, liberating art from its traditional context and shaking the foundations of the Japanese art world at the time. Presenting politically minded actions in public spaces throughout postwar Tokyo, Hi Red Center sought to dissolve boundaries between art and life—producing what the group called a “descent into the everyday”—through experimental and unorthodox approaches to making. It was also during this decade, in 1968, that Takamatsu represented Japan at the 34th Venice Biennale, cementing his status as a key figure within the international avant-gard.

In 1933, newly elected President Roosevelt initiated what became known as the New Deal, a series of federal programs and agencies designed to spearhead economic recovery from the Great Depression through public services, regulation, and new jobs. Among the programs his administration created in 1935 was the Rural Electrification Administration (REA). Managed by the Department of Agriculture, the REA helped build energy infrastructure in areas where private companies refused to operate, extending electricity to remote areas with small populations. Lester Beall was hired to advertise the REA’s work, creating three series of posters over a five-year span. Knowing that Americans were generally distrustful of overly intellectual and visually obtuse European modernism, Beall deftly translated and advanced these artistic concepts to create a new kind of American art, one that distilled the heart of various avant-garde movements with the need for clear communication and the desire to sell. This exhibition highlights the groundbreaking work Beall produced for the REA, as well as the development of his contributions to American modernism up through World War II.

Over the last several decades, Gillian Wearing’s work has chronicled confessions, taboos, and voyeuristic inclinations. Her videos and photographs often confront separations between private and public realms. Shot in a southeast London shopping mall, Dancing in Peckham depicts the artist freely dancing alone, without headphones and unaccompanied by music. Wearing’s camera also positions passersby as unwitting participants in the performance.

For a handful of decades at the end of the last century, one of the most popular ways for a superstar professional athlete to cement their iconic status was to have their persona memorialized on a Nike poster. It became a right of passage, and the posters’ popularity peaked as the Nike brand ascended to the pinnacle of its industry. In an age where athletes’ images are much more accessible and down to earth, these posters may seem quaint—but they’re also larger-than-life and undeniably entertaining, just like the stars they depict.Chronicling the many professional sports promoted by Nike, from basketball and football to tennis and golf, as well as the myriad athletes who worked with the brand, this exhibition showcases how one company paved the way for modern sports advertising.

Schütte considers his subjects and selects his materials while contextualizing them in a time and place: Germany at the end of the 20th century and the start of the 21st. Since his student days at the Kunstakademie Düsseldorf, Schütte has approached art with a critical eye. Exploring, then rejecting, Minimal and Conceptual art, his work “brought the story in again.” These stories encompass the personal and the historical. Schütte’s work challenges established artistic norms by revitalizing genres rooted in past traditions and making them relevant in the present and for the future.

This groundbreaking exhibition explores the everyday clothing of ordinary women, from worn-out housecoats to psychedelic micro miniskirts and modern suits to the uniforms of fast-food workers. On view in the Joyce B. Cowin Women’s History Gallery and featuring objects from Smith College’s Historical Costume Collection on display for the first time in a museum, the exhibition traces how women’s roles have changed and evolved across race and class over the decades. Each garment holds a rich story about the women who wore it and made it, the materials used, and the context of place and time. Whether homemade or ready-made, many of the garments on display are modest and inexpensive, rarely preserved or displayed in a museum setting. Some are one-of-a-kind pieces; others are examples of clever makeshift pieces, and many were influenced by the popular styles and trends of their day. Visitors to Real Clothes, Real Lives will learn about the "real" women who worked and dressed in America for two centuries.

The Metropolitan Museum of Art has launched its first-ever major museum exhibition to examine the career of influential 20th-century architect Paul Rudolph, a second-generation Modernist architect who came to prominence in the 1950s and 1960s alongside peers such as Eero Saarinen and I.M. Pei. Materialized Space: The Architecture of Paul Rudolphexhibits the full breadth of Rudolph’s important contributions to architecture—from his early experimental houses in Florida to his civic commissions rendered in concrete, from his utopian visions of urban megastructures and mixed-use skyscrapers to his extraordinary immersive New York interiors. The exhibition offers visitors the opportunity to experience the evolution and diversity of Rudolph’s legacy and to better understand how his work continues to inspire ideas for urban renewal and reconstruction around the world. The exhibition features more than 80 artifacts of varying scales, ranging from small objects collected throughout his life to a wide range of materials produced in his office, including drawings, models, furniture, material samples, and photographs.

Two Drag Houses, both alike in indignity, vie for supremacy in a wig-snatching, diva-licious journey of fashion, family, and forgiveness. Leave the lip syncs at the door, darling. Get ready for Drag realness: REAL singing, in a REAL theater, with REAL DRAMA. After their bitter split, fishy queen Alexis Gilmore opened her club, The Fishtank, as glamourpuss Miss Kitty established The Cathouse. Heels click and tensions rise as old wounds are opened and the two clubs fight to survive.

For her first museum exhibition in New York City, Lebanese American artist Nour Mobarak presents a large-scale installation reinterpreting the first opera, Dafne, which was staged by Jacopo Peri and Ottavio Rinuccini in 1598 and inspired by Ovid’s myth of Apollo and Daphne. In Mobarak’s reimagining of Dafne, 15 singing sculptures—encasing a multichannel sound installation within mycelium structures—recount the tale in some of the world’s most phonetically complex languages. Building on histories of avant-garde sound, Mobarak’s most ambitious work to date draws on a longstanding interest in mechanized voice and memory across her practice, which ranges from sculpture to performance, moving image, poetry, and music. In Dafne Phono, Mobarak draws analogies between linguistic structure and the biological processes of mycelium, exploring how both are governed by systems of repetition, decomposition, and regeneration, and relate to wider forces of political power. Bringing new perspectives to a key antecedent in the history of performance, Dafne Phono joins nature and technology in an exploration of the voice’s ability to endure cycles of life and death, bridging histories both ancient and present.

Public Art Fund partnered with The Studio Museum in Harlem to advise Lincoln Center on the selection of artists for this first iteration of the art program. Two prominent sites were identified for the site-specific commissions: the 50-foot Hauser Digital Wall in the lobby, which Jacolby Satterwhite has animated with a richly layered and inclusive celebration of performance that brings into dialogue the past, present and future; and the Hall’s 65th Street façade, which Nina Chanel Abney has transformed into a captivating tribute to the vibrant history and culture of San Juan Hill. Both artists undertook extensive research to develop their works. They emerge as gifted visual storytellers, committed to a more inclusive understanding of the past while giving us all a sense of future potential at a moment of reopening and reinvention.

Abstract art has evolved significantly over the years. Since our inception in 1982, the Anita Shapolsky gallery has been dedicated to showcasing and supporting artists who work in abstraction. We are excited to present a compelling blend of historical and contemporary abstract art in our upcoming exhibition Abstract Art Yesterday and Today.

Mendes Wood DM presents As primeiras coisas [The earliest things], a painting exhibition by Paula Siebra. Siebra carves out primordial imagery from ubiquitous objects, signs, and emotions that invite the observer to immerse themselves in memorial contexts and lyrical reverberations. From an initial laconicism — reflected in the conciseness of the titles and the seeming synthesis of elements in the paintings — and with a devastating directness, each image is incisively delivered like dense crystals that may take ages to dissolve, memories in their quintessential stage. Siebra’s paintings reflect on collective memories, social relations, subjectivities, and human desires, embalmed by a metaphysical and nostalgic atmosphere.

This exhibition selects more than 200 artworks from KAWS's private collection, and is personally curated and designed by the artist. The exhibition explains KAWS's unique appreciation of art to the audience and reveals the inspiration for his public sculptures, multimedia art, commercial products and interactive exhibition projects. KAWS began to cultivate his hobby of collecting art in the mid-1990s, and has collected more than 3,000 works on paper from different artists around the world, most of which are cartoonists, graffiti painters and self-taught artists.

The first US survey of artist Sohrab Hura (Indian, b. 1981) showcases more than fifty works from the last two decades of his experimental practice. Sohrab Hura: Mother weaves together bodies of work across photography, film, sound, drawing, painting, and text that have never before been shown together. Renowned for capturing remarkable everyday moments that give form to systemic political forces, Hura brings into focus colonially imposed borders, the trauma of partition, and the changing ecosystem of the Indian subcontinent. This survey includes a selection of key works such as Pati (2010), a film that explores the rural Indian region of Madhya Pradesh and its role in the movement to pass the 2005 National Rural Employment Guarantee Act; The Coast (2019), a book project, series of photographs, and film that use India’s coastline as a lens to examine the nation’s changing politics; and a selection of pastel drawings and gouache paintings from Things Felt But Not Quite Expressed (2022–ongoing) and Ghosts in My Sleep (2023–ongoing), his new series depicting familial memories both experienced and imagined. Through cathartic strategies of personal and political introspection, the exhibition traces Hura’s shifting existential concerns around the ethics of image-making as a documentary act. Sohrab Hura is a photographer and filmmaker who lives and works in New Delhi, India. Recent solo and group exhibitions have been presented at Huis Marseille Museum for Photography, Amsterdam; Liverpool Biennial 2021; Kunstmuseum Bonn; The Museum of Modern Art, New York; Kettle’s Yard, Cambridge; and the Cincinnati Art Museum. His films have been shown in film festivals such as the Berlin International Film Festival and the 66th International Short Film Festival Oberhausen. Hura has self-published five books under the imprint Ugly Dog. His work is in the permanent collections of The Museum of Modern Art, New York; Ishara Art Foundation, Dubai; and the Cincinnati Art Museum, among others.

Sanxingdui is one of the greatest archaeological discoveries of mankind in the 20th century. The Sanxingdui site is a Bronze Age civilization of about 3,600 years ago. It was accidentally discovered by a farmer in Guanghan City, Sichuan Province, China in 1927 and is a treasure trove of cultural relics. With large-scale excavations in 1986 and 2021, more than 30,000 pieces of gold, jade, ivory, stone, pottery, and the most unique bronze objects have been unearthed so far. These mysteriously patterned bronze objects, including the 2.62-meter-high "Bronze Standing Man", the 1.38-meter-wide "Bronze Mask" and the 3.95-meter-high "Bronze Sacred Tree", are unprecedented and sublime masterpieces. "Sanxingdui Encounter: A 12K National Treasure Micro-Viewing Global Journey" is an immersive digital exhibition, the first of its kind produced in collaboration between the Sanxingdui Museum and the Memor Museum, which will open in October 2024 on Madison Avenue in Manhattan, New York. This exhibition, which has been shown in Beijing, Shenzhen, Paris and Doha, is now on display in New York for the first time, using one-to-one replicas of the Sanxingdui Museum's collections and ultra-high-definition technology to showcase precious artifacts unearthed from the Sanxingdui site. For the first time, through the immersive 12k digital hall, VR and AI interactive activities, you can experience Sanxingdui up close digitally and appreciate the mysterious ancient Shu civilization.

Siena: The Rise of Painting, 1300–1350 examines an exceptional moment at the dawn of the Italian Renaissance and the pivotal role of Sienese artists—including Duccio, Pietro and Ambrogio Lorenzetti, and Simone Martini—in defining Western painting. In the decades leading up to the catastrophic onset of the plague around 1350, Siena was the site of phenomenal artistic innovation and activity. While Florence is often positioned as the center of the Renaissance, this presentation offers a fresh perspective on the importance of Siena, from Duccio’s profound influence on a new generation of painters to the development of narrative altarpieces and the dissemination of artistic styles beyond Italy.

Harry Potter™: The Exhibition is a groundbreaking touring exhibition that celebrates the iconic moments, characters, settings, and beasts as seen in the Harry Potter™ film series and the Wizarding World through best-in-class immersive design and technology. Celebrate your favorite moments, props, costumes, characters, and locations from the Harry Potter film series, as well as experience the expanded Wizarding World including iconic moments, creatures, and stories from Fantastic Beasts™ and Harry Potter and The Cursed Child.

Lehmann Maupin is pleased to present Off the beaten track: the artistic meanderings of Sung Neung Kyung, the artist’s first solo exhibition outside of Korea. This exhibition comes on the heels of Only the Young: Experimental Art in Korea, 1960s–1970s, a monumental retrospective group exhibition surveying the Korean avant-garde. In 2023 and 2024, the exhibition traveled from the Museum of Modern and Contemporary Art in Seoul to the Solomon R. Guggenheim Museum in New York and the Hammer Museum in Los Angeles. Off the beaten track: the artistic meanderings of Sung Neung Kyung is a retrospective of the artist’s decades-long artistic career, featuring works from the 1970s to the present. Recognized as a pioneering figure in South Korean avant-garde art, Sung is known for his exploration of unconventional mediums including performance, photography, and archival methods to examine the construction of knowledge and power, often in response to sociopolitical friction. On Thursday, October 24 at 5 PM, Sung will stage performances in the gallery space featuring the artist’s ongoing series Fanning the fire of poetry and Drawing performance, followed by an opening reception.

Nara Roesler New York presents Exploded View, André Griffo's first solo show in the United States. With a critical essay by Lúcia Stumpf, the show brings together around 12 works by the artist developed over the last year specifically the exhibition.

Barbie®: A Cultural Icon charts the 65-year history of Barbie and the doll’s global impact on fashion and popular culture through an expansive display of more than 250 vintage dolls, life-size fashion designs, advertisements, and other ephemera, along with exclusive video interviews with the doll's designers. Visitors to the exhibition will trace the evolution of Barbie from a child’s toy to a global icon, exploring the style trends, careers, and identities that Barbie has embodied and popularized since her debut in 1959.

Yancey Richardson presents Oracles, Omar Barquet's first solo exhibition at the gallery. Barquet offers a lyrical exploration of time, juxtaposing ancient symbols with contemporary imagery in the latest chapter of his ongoing project, Ghost Variations.

Cecily Brown's figurative and abstract painting language, fusion of classical narratives, oversized works, and bold female perspective have given her a firm foothold in contemporary art history.

Yancey Richardson presents the first New York solo exhibition for Mexico City native Tania Franco Klein, Long Story Short.

Timothy Taylor is pleased to present Rude Awakening, a solo exhibition of new paintings, sculptures, and drawings by Alicia Adamerovich at the gallery’s New York location. The artist’s debut exhibition in the city and with the gallery, this presentation features enigmatic biomorphic abstractions that reflect on our moment’s uncertain relationship to truth and objective reality. Adamerovich uses paint, pumice, sand, and wood to process absurd or contradictory feelings and thoughts. Sparked by mundane encounters with an intriguing shape, phrase, or angle of light, she works intuitively, generating moody, shadowy landscapes in two and three dimensions. Raised in western Pennsylvania by her naturalist father and biologist mother, Adamerovich grew up contemplating and drawing the natural world as well as examining its minutiae through a microscope. The organic, geologic, and mathematical .

Stephen Friedman Gallery and Andrew Kreps Gallery present Two Islands, One World, a two-venue exhibition by Grenada-born, British artist Denzil Forrester. Curated by Sheena Wagstaff, Chair Emerita at The Metropolitan Museum of Art, and former Chief Curator of Tate Modern, the show brings together new and historical works spanning five decades of his career. This presentation follows institutional exhibitions in 2023 at the Kemper Museum of Contemporary Art, Kansas City and ICA Miami.

Sean Kelly presentss Artificialis, Laurent Grasso’s sixth solo exhibition with the gallery. Grasso’s oeuvre blurs the line between temporalities, combining historical references and futuristic anticipations to create new, ambiguous, realities. The exhibition features the US premiere of Grasso’s films, ARTIFICIALIS and Orchid Island, along with two groups of new paintings related to each film. One of the series draws inspiration from the prominent 19th century American artist Frederic Edwin Church’s evocative landscape paintings of the Hudson River Valley. The exhibition confronts the rapid changes and existential challenges of our world where human cultural impact on nature is now indelible; it places viewers in a realm where distinguishing between the real and the artificial is questioned.

Following a sell-out show in Milan in 2023, Robilant+Voena presents an exhibition of new paintings by Cuban-American artist Cesar Santos. This is the artist’s first solo exhibition in the United States since moving beyond figuration in 2022, and presents his unique and intuitive aesthetic approach to abstraction. In R+V’s new gallery space on East 66th Street, the exhibition features over twenty of the artist’s signature paintings that show his mastery of form, harmony and colour.