🚨 Last Chance

In the Museums

An-My Lê: Between Two Rivers/Giữa hai giòng sông/Entre deaux rivières

📍 Museum of Modern Art

⏰ closing March 16

🗓️ contemporary photography

❓ poetic approach to depicting the impact of politics and war by Vietnamese-American artist

🔗 see exhibit details.

In the Galleries

Cindy Sherman

📍 Hauser & Wirth | Wooster St

⏰ closing March 16

❓ 30 new works exploring themes of identity and representation, incorporating digital manipulation to reflect fragmented sense of self in modern society

🔗 see exhibit details.

✚ some thoughts from us on the exhibit, in our Gallery Walk issue 

In addition:

• A Conference of Birds - Art Brut and More from Iran at Cavin-Morris, closing March 16

🎉 Just In

In the Museums

By Way of: Material and Motion in the Guggenheim Collection

📍 Guggenheim

⏰ opening March 15

🗓️ post-WWII onwards

❓ examining how contemporary artists pushed the boundaries of art-making and materials

🔗 see exhibit details. 

In addition:

• Joan Jonas: Good Night Good Morning at the MoMA, featuring multidisciplinary work, opening March 17

In the Galleries

Takesada Matsutani / Kate Van Houten: Paris Prints 1967 - 1978 (Part Two)

📍 Hauser & Wirth | 18th st

⏰ opening March 12

❓ hard-edge silkscreens in vibrant colors developed through the intimate creative process of two artists over half a century

🔗 see exhibit details.

Francesca Woodman

📍 Gagosian | 555 W 24th

⏰ opening March 13

❓ 50 prints from 1975-80, often exploring the human body’s sculptural qualities against ancient architecture or decaying interiors

🔗 see exhibit details.

✚ opening reception March 13, 6-8pm

Jamian Juliano-Villani: It

📍 Gagosian | 541 W 24th

⏰ opening March 16

❓ showcasing distorted iconography with themes of consumer culture and social taboo

🔗 see exhibit details.

✚ opening reception March 16, 6-8pm

Richard Hunt: Early Masterworks

📍 White Cube | 1002 Madison Ave

⏰ opening March 12

❓ hybrid sculptures characterized by dualities (natural/industrial, surreal/abstract, geometric/organic) from a leading 20th-century American sculptor

🔗 see exhibit details.

✚ opening reception March 12, 6-8pm

In addition:

• March 14:

  • Oliver Beer: Resonance Paintings — Cat Orchestra at Almine Rech (Tribeca), with an opening reception at 6-8pm

  • Rudolf Stingel at Gagosian (UES), with a reception at 6-8pm

  • Armaen Eloyan: Green Grass at Timothy Taylor (Tribeca), with a reception at 6-8pm

  • Soliloquies at Petzel (Chelsea)

• March 15: 

  • Victor Man at Gladstone (Chelsea), with a reception at 5-7pm

  • Mary Lovelace O’Neal: Hecho en México — a mano at Marianne Boesky Gallery (Chelsea)

  • Martin Wong and Paul P.: The Midnight Sea, A Little Dash of LSD at P.P.O.W. (Soho)

  • Giangiacomo Rossetti: Cabbage Field at Greene Neftali (Chelsea)

• March 16: 

  • Sarah Crowner: Hot Light, Hard Light at Luhring Augustine, with an opening reception at 11 am - 1 pm

📢 Editor’s Updates

The Met’s new exhibit, ‘The Harlem Renaissance and Transatlantic Modernism’, showcases a captivating collection of over 150 works from predominantly African American artists, vividly portraying modern life during the 1920s-40s. This exhibition marks a significant departure from the Met’s 1969 exhibit “Harlem on My Mind”, which notably lacked a single painting or sculpture by African American artists. The current display introduces attendees to influential Black artists who helped shape modernism.

Across the exhibit you’ll see a number of artists whose works are revisited throughout, such as William H. Johnson, Jacob Lawrence, and Archibald Motley Jr. A standout piece is Motley’s “Nightlife” (1929), capturing a moment of pleasure and community in a jazz club — an energetic scene with a vibrant hot-pink hue.

Notably, works were placed alongside celebrated modernists like Henri Matisse and Edvard Munch, highlighting the influence of Black artists on European modernism.

The exhibit doesn’t shy away from more challenging subjects. It includes boundary-pushing artists such as Laura Wheeler Waring, who painted the piece “Mother and Daughter” which acknowledges mixed-race families and colorism, and Roy Decarva, whose “Pickets” reflects on African American activism and the fight against racial oppression.

Despite these deeper themes, the primary focus of the exhibit is on the vibrancy and community of Harlem, rather than its dark history. As described by Hilton Als, “We cannot guess from this show how soul-crushing the nineteen-twenties were for the majority of Black folks, in Harlem and elsewhere, who were scrambling to survive racism, low-paying jobs, segregation, and more…” The exhibit perhaps leans towards celebrating the talent and influence of African American artists, potentially at the expense of fully confronting the stark realities of America’s past.

The exhibit will be on view until the end of July, offering the opportunity to explore the Harlem Renaissance and appreciate the contributions of Black artists to modernism.

Read more on the exhibit from the NYTimes.

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