Featured Events in New York in June 2025 (June Updated)

How do we make sense, or poetry, out of the system of images we face today? This is one of the questions taken up by CAMP, a collaborative artists’ studio in Mumbai, India, that draws on widely available technologies, including CCTV and cell phone cameras as well as the internet, “to think and to build what is possible, what is equitable, and what is interesting, for the future.” The group’s projects rethink our relationship with the technologies that constantly capture us. Founded in 2007 by Shaina Anand, Ashok Sukumaran, and Sanjay Bhangar, this shapeshifting group runs a rooftop cinema, cohosts online video archives, and uses moving images, radio broadcasts, lecture performances, and interventions in public spaces to examine the political and socioeconomic conditions of contemporary life. This exhibition includes three works that trace the arc of CAMP’s output over nearly two decades. Each redefines relationships between video’s producers, distributors, and spectators: a participatory television network in a dense New Delhi neighborhood; a film made from cell phone footage and music in collaboration with sailors navigating trade routes across the Indian Ocean; and a dramatic, multi-channel video panorama of Mumbai filmed by pushing a single surveillance camera to its limits. CAMP’s practice reorients communication devices, transport infrastructures, and surveillance equipment to transform entrenched systems into new opportunities for hope, longing, desire, and collective action.

Two days before the outbreak of World War II, a scientific paper was published explaining the theoretical process of nuclear fission in which the controlled splitting of an atomic nucleus releases a vast amount of energy. Over the next decade, scientists around the world would perfect the process of harnessing that energy, developing two of the most impactful inventions of the modern era: the nuclear bomb and the nuclear power station. This exhibition chronicles the global development of the nuclear industry, for peaceful and offensive means, examining posters that both promoted and protested its use throughout the second half of the 20th century. It features the entire General Dynamics series, long heralded as one of the finest examples of corporate propaganda ever created, as well as over 60 other posters criticizing the proliferation of nuclear technology. Tim Medland is an independent curator who focuses on the history of visual and material culture. He holds an MA in Museum Studies from the University of Leicester, with a concentration in socially engaged practice. His research interests include environmental activism and sustainability, and the histories of transport, propaganda, colonialism, and migration.

This artwork is featured on the building facade on Gansevoort Street across from the Whitney and the High Line. Four Ways of Being is a newly commissioned work by Amy Sherald (b. 1973, Columbus, Georgia; lives and works in the New York City area). The artwork is comprised of four portraits by the artist—some never before seen in New York—and explores the intersection of past, present, and future. Each painting captures a distinct way of existing in the world. Here, she reimagines her subjects from diverse backgrounds and generations coexisting in a shared moment, inviting the viewer to contemplate the fluidity of time and the complex ways our histories shape our understanding of ourselves.

This spring, MoMA PS1 presents a retrospective of artist, activist, and musician Alanis Obomsawin (Abenaki, b. 1932), one of Canada’s most renowned filmmakers. Opening March 27, the exhibition spans six decades of her multidisciplinary practice, bringing together a selection of films, sculptures, and sound, as well as rarely seen ephemera that sheds light on their production. Tracing her lasting contributions to social change, The Children Have to Hear Another Story brings Obomsawin’s innovative model of Indigenous cinema into focus.

The first US solo museum exhibition of New York City-based artist Julien Ceccaldi (French/Canadian, b. 1987) features a newly commissioned large-scale painting that transforms the first-floor MoMA PS1 galleries at an architectural scale, casting visitors into a distorted episode drawn from the experience of everyday digital subjugation and hyperconsumerism. Ceccaldi exploits techniques common to both the animation studio and the Italian Renaissance, including trompe l’oeil, overlay, and freeze frame.

It’s the summer of 1987, and Ana García dreamsof flying away from East Los Angeles.But when her family’s garment business receives a make-or-break order for 200 dresses, Ana finds herself juggling her own ambitions, her mother’s expectations, and a community of women all trying to make it work against the odds. Based on the play by Josefina López that inspired the iconic hit film, the show features songs by Grammy Award–winning songwriter Joy Huerta (Jesse & Joy) and Benjamin Velez (Kiss My Aztec), a book by Lisa Loomer (Girl, Interrupted) with Nell Benjamin (Mean Girls), music supervision by Nadia DiGiallonardo (Waitress), and choreography and direction by Tony® winner Sergio Trujillo (Ain’t Too Proud).

“The full-of-riches new musical brings the classic record to life.” – The New York Times Step into the heart of Cuba, beyond the glitz of the Tropicana, to a place where blazing trumpets and sizzling guitars set the dance floor on fire. Here, the real sound of Havana is born—and one woman discovers the music that will change her life forever. Inspired by true events, the new Broadway musical Buena Vista Social Club ™ brings the Grammy® Award-winning album to thrilling life—and tells the story of the legends who lived it. A world-class Afro-Cuban band joins a sensational cast of musicians, actors, and dancers from around the world for an authentic experience unlike any you’ve seen or heard before. Don’t miss this unforgettable tale of big dreams, second chances, and the power of art to help us survive. “Give yourself over to Buena Vista Social Club .”

A Beautiful Noise: The Neil Diamond Musical is a stage show celebrating the life and music of the legendary singer-songwriter Neil Diamond. The musical takes the audience on a journey through Diamond's life, from his early days as a struggling songwriter to his rise to fame in the 1960s and beyond. Along the way, the show explores the stories behind some of Diamond's most beloved songs and the moments that inspired them.

Mary Heilmann (b. 1940; San Francisco) once said that "museums are places to hang out," and this exhibition embodies that spirit, inviting social connection and engagement with the Whitney's architecture, the Hudson River, and the surrounding cityscape. The immersive environment includes a hand-painted enlargement of Heilmann's 2020 painting Long Line, as well as a variety of sculptural chairs related to furniture she has displayed in galleries and homes. The influence of 1960s counterculture and geometric Minimalism are reflected in Heilmann's decades-long approach to abstraction, one centered on exuberant color and unorthodox form. Long Line was influenced by the artist's experience watching waves off the coasts of Long Island and California—here it creates a visual rhyme with the Hudson River

"I see New York City as a great big sculpture," Louise Nevelson once remarked. Born in Pereiaslav, Ukraine, Nevelson (1899–1988) lived and worked in Manhattan from the 1920s through the 1980s. Known for her bold monochrome assemblages of stacked and composed found objects, Nevelson was captivated by the city's ever-changing skyline and saw creative potential in discarded materials that she scavenged throughout its streets at night. By painting these sculptures a single color (black), she cloaked the specific, identifying details of disparate objects such as duck decoys, lettuce crates, and pieces of rebar, transforming them into abstract shapes. Collection View: Louise Nevelson reimagines the relationship between Nevelson's work and New York, highlighting the dynamic interplay she sought to suggest in her work between motion and stillness, light and shadow, dawn and dusk.

A dazzling showcase of more than 60 jewelry creations that celebrates our enduring fascination with the cosmos. For millennia, people have been moved by the grandeur of space to explore the workings of our universe—and to create captivating works of art. From the early astronomical observations of Galileo to iconic space missions such as Apollo 11, along with new findings made possible by cutting-edge tools like the James Webb Space Telescope, discoveries about the universe have influenced and inspired artistic expression. A stunning assemblage of astronomically inspired jewelry is the focus of the new exhibition Cosmic Splendor: Jewelry from the Collections of Van Cleef & Arpels.

Gagosian presents Willem de Kooning: Endless Painting, organized with the support of The Willem de Kooning Foundation and curated by Cecilia Alemani, director and chief curator of High Line Art. It comprises paintings dating from 1944 through 1986 and two sculptures: Clamdigger (1972), and the monumental Standing Figure (1969–84). This is the first presentation at the newly renovated Chelsea gallery and follows Willem de Kooning and Italy, a significant presentation of paintings, sculptures, and drawings at the Gallerie dell’Accademia in Venice last summer.

Anita Shapolsky Gallery, renowned for its dedication to Abstract Expressionism, presents “A Dialogue Between Ernest Briggs and Peter Bonner.” This exhibition brings together two generations of abstraction, juxtaposing the bold, gestural work of Ernest Briggs with the introspective, process-driven paintings of Peter Bonner. A key figure in the second generation of Abstract Expressionism, Briggs embodied the movement’s raw energy and spontaneity, using vigorous brushwork to express emotion and the rugged intensity of human nature. In contrast, Bonner explores perception, identity, and memory through layered compositions that invite contemplation beyond the surface.

The Interborough Rapid Transit Company (IRT) opened New York City’s original underground subway line in October 1904. While the city was one of the most diverse in the country, before the introduction of the subway, most New Yorkers were not in regular contact with people outside their own neighborhoods. Initially extending from the Bronx to Lower Manhattan (with service to Brooklyn beginning in 1908) and forming part of the wider transit system, the convenient and affordable IRT encouraged riders to travel beyond their communities for both work and leisure. In order to entice people to regularly use the subway, the IRT printed two in-car poster campaigns, The Elevated Express and The Subway Sun, that highlighted each borough’s unique attractions. Of these, The Subway Sun was especially successful.

This spring, the presentation of late works by French avant-garde artist Francis Picabia (1879 – 1953) travels from Hauser & Wirth’s Paris gallery to 22nd Street in New York. Organized in collaboration with Comité Picabia, and co-curated by its President, Beverley Calté, and art historian Arnauld Pierre, ‘Eternal Beginning’ is the first major exhibition to focus on Picabia’s compelling final period. It features close to 30 paintings created by Picabia between 1945—when he returned to Paris from the South of France—and 1952, the penultimate year of his life. As a complement to the exhibition, Hauser & Wirth Publishers has released a catalogue with fresh scholarship in both English and French on Picabia’s late work.

Nicola Vassell presents Where The I Settles, an exhibition of new and recent work by Che Lovelace, the artist’s second solo exhibition with the gallery. Across a group of multi-paneled paintings, the exhibition radically expands his exploration into the relationship between nature and society in his native Trinidad. Lovelace attends to the many ways that these worlds contrast with one another before eventually reaching a state of unity, which he expresses above all through the act of painting itself.

Lincoln Glenn Gallery presents Herself: American Artists of the 20th Century. This eclectic grouping of 24 artists shares a kaleidoscope of influence that unites them across nearly 100 years of artistic production. The women represented in Herself had varying degrees of commercial success, some achieving major museum shows and earning a place on the rosters of well-known galleries, while others are still seeking institutional recognition. Regardless of their notoriety, each of these artists had a hand in the greater cultural development of visual art in 20th century America. Enterprising and bold, they made strides not only for women artists to have a seat at the table, but for women to be respected for their contributions in any field.

Carpenters Workshop Gallery New York presents a display of works by Aki+Arnaud Cooren, the multidisciplinary design studio known for serene, dreamy, creations that evoke poignant and harmonious confluences with the natural world. The exhibition features new pieces that add to the duo’s acclaimed Ishigaki Lamp series, which won a Créateurs Design Award in 2025 and is inspired by freediving experiences off the coast of Ishigaki island, southern Japan.

In a celebration of modern and contemporary Italian design, Forma & Estetica at Carpenters Workshop Gallery brings together leading figures in the field, exploring how beauty and function intersect in a world shaped by industry, urbanisation and cultural tradition. The exhibition features contemporary artists Vincenzo De Cotiis and Giacomo Ravagli alongside iconic 20th-century designers such as Gio Ponti, Gabriella Crespi, Emilio Lancia, Cesare Leonardi, Franca Stagi, Mario Gottardi, Studio BBPR, and Ico and Luisa Parisi.

D’Lan Contemporary presents the tenth anniversary edition, and the first international edition of SIGNIFICANT, the flagship exhibition which presents the finest works of art by Australia’s preeminent First Nations artists to market every year. SIGNIFICANT 2025 takes place across all three D’Lan Contemporary galleries - Melbourne, Sydney, and New York - in a pivotal new format that will provide collectors a unique opportunity to view and acquire a diverse selection of exceptional works of art on the market in person, and online.

TEMPLON New York presents its first exhibition by American painter Will Cotton. In this new body of work, Between Instinct and Reason, the artist continues to reflect on pop culture and a new American mythology. In Cotton’s world of sugary treats, pink unicorns, and hypermasculine cowboys, he is now introducing a new player: the mermaid.

Lévy Gorvy Dayan presents Half Way Home by Los-Angeles based artist Austyn Weiner. Weiner’s debut solo exhibition with the gallery comprises three monumental paintings that form an immersive installation, representing the emotional, physical, and spiritual odyssey she traversed over the past year.

Michael Werner Gallery, New York presents Scarecrow, an exhibition of new works by Sanya Kantarovsky (b. 1982 in Moscow).“The painter is condemned to please. By no means can he transform a painting into an object of aversion. The purpose of a scarecrow is to frighten birds from the field where it is planted, but the most terrifying painting is there to attract visitors. Actual torture can also be interesting, but in general that can’t be considered its purpose.”

Nohra Haime Gallery presents ATLAS TO THE SELF, a group exhibition exploring the ways in which identity is constructed, performed, and resisted through the interplay of memory, landscape, language, and the body. Featuring works by Hugo Bastidas, Lesley Dill, Ruby Rumié, Pedro Ruiz, Gregg Louis, Carol K. Brown, Adam Straus, and Julie Hedrick, the exhibition brings together photography, drawing, painting, and text to chart an intimate and political topography of the self—where each artist acts as both cartographer and witness.

Michael Rosenfeld Gallery presents Bienvenue: African American Artists in France, a historical survey of seventeen Black American artists who lived and worked in France from the late nineteenth century through the present.

The Coney Island History Project will open for the season on May 24th with new exhibits by Charles Denson and Amanda Deutch. Coney Island Streets: 1965–1975 and Brooklyn Wilds combine street photography, cyanotypes, native plants, and poetry to explore the natural and urban sides of Coney Island that are not well known. Through the medium of photography, both shows complement each other by exploring the complexity of this New York City neighborhood. With this exhibit, we are introducing our new Wonder Gallery, a collaboration between Charles Denson and Amanda Deutch. More info on our website. Link in bio.

Yancey Richardson presents Self-Portraits While Buried, an exhibition featuring works from Jenny Calivas’ titular series and the artist’s debut with the gallery. Combining photography and performance, Calivas produces her photographs using analog processes and experimental darkroom techniques, prioritizing embodied ways of thinking and making. In photographs which show her partially or almost completely submerged in the landscape, Calivas explores the relationship between the female body and a feminized understanding of the Earth, while also reflecting on the power of looking and the vulnerability of being looked at.

Stephen Friedman Gallery, New York presents Uncommon Sight, an exhibition of new paintings by Korean artist Yooyun Yang. This is the artist’s first solo exhibition in New York, following her ambitious US debut in the 58th Carnegie International in 2022.

Yancey Richardson presents Conjurer, an exhibition by Greek artist Maria Antelman, her first with the gallery. Bringing together work made over the past five years, the exhibition highlights Antelman’s unique approach to photography in which her lyrical and experimental approach to imagery and montage is combined with a sculptural sensibility and attention to the photograph as an object in three dimensions. Through her merging and splicing together of images—those from the body and from nature—Antelman endeavors to re-mystify our understanding of the natural world.

“Into the Dimensional Corridor” is a phrase borrowed from a first season episode of the Star Trek series and refers to a magnetic corridor that allows travel between parallel universes, one of matter and one of anti-matter. In the years leading up to the first installation of “Into the Dimensional Corridor”, Lutz Bacher slowly amassed sheets of Plexiglas from salvage stores throughout Brooklyn and Queens. As the number of sheets grew, she wrote in her notes: “So there was a sense that [this] was something to ‘follow’– wherever it might lead me – ”. As was often the trajectory of her later installations, she did not know where the path would lead or what other objects might finally come together.