whitney museum of american art

Here Are the 14 U.S. Museum Shows That Matter This Fall, From a Survey of 21st-Century Feminisms in Berkeley to a Radical Art Rediscovery in Atlanta

As museums begin to reopen in the United States, we cast an eye over upcoming exhibitions for those that promise the most urgent and notable art of our time. The resulting list contains a diverse roster of 14 shows—by solo practitioners and groups chosen by keen-eyed curators—coming to museums from coast to coast.

Some exhibitions will introduce you to artists you may not know, like Bani Abidi at the MCA Chicago, Michaela Eichwald at the Walker Art Center, and Nellie Mae Rowe at the High Museum. Others will offer new insight into artists or eras of artistic production you thought you knew, from a spotlight on Georgia O’Keeffe’s photography in Houston to a sweeping feminist art survey in Berkeley. 

Regardless of what city you’re in, this fall’s season of museum programming is bound to open both eyes and minds.


New Time: Art and Feminisms in the 21st Century
Berkeley Art Museum and Pacific Film Archive (BAMPFA)
August 28, 2021–January 30, 2022

Farah Al Qasimi, It’s Not Easy Being Seen 3 (2016). Courtesy the artist; The Third Line, Dubai; and Helena Anrather.

With 140 works by 76 artists and collectives, this exhibition at the U.C. Berkeley Art Museum and Pacific Film Archive is one of the largest to date on contemporary feminist art, and will coincide with a year of public programming focused on feminist theory. Works by the likes of Laura Aguilar, Christina Quarles, Zanele Muholi, Wu Tsang, and Francesca Woodman are included, tackling such topics as the fragmented body, domesticity, female anger, and feminist utopias. 


Raúl de Nieves: The Treasure House of Memory
Institute of Contemporary Art, Boston
September 1, 2021–July 24, 2022

Raúl de Nieves, The Fable, which is composed of wonders, moves the more (2021). © Raúl de Nieves.

Multidisciplinary artist Raúl de Nieves is adored for his exuberant works that blend queer club culture, religious iconography, and folklore traditions from his native Mexico. Here, the artist continues his ongoing exploration of his culture and its traditions through a new body of work, created especially for the ICA, that looks at memory and personal transformation.

Really Free: The Radical Art of Nellie Mae Rowe
High Museum of Art, Atlanta
September 3, 2021–January 9, 2022 

Nellie Mae Rowe, This World is Not My Home (1979). Photo courtesy of the High Museum of Art, Atlanta.

Born in Georgia in 1900, the daughter of a formerly enslaved man, Rowe achieved fame as a self-taught folk artist. The first major exhibition devoted to Rowe in more than 20 years celebrates the late artist’s notable drawing career, which was only fostered later in her life, after the deaths of her husband and employer, in the 1960s. The museum bills the show as the first to position Rowe’s creative pursuit as a “radical act of self-expression and liberation in the post-civil rights-era South.”


Joan Mitchell
San Francisco Museum of Modern Art
September 4, 2021–January 17, 2022

Joan Mitchell, Untitled (1992). Courtesy of Cheim & Read, New York.

This highly anticipated retrospective devoted to the queen of gestural abstraction contains over 80 works, encompassing everything from early paintings and drawings, sketchbooks, letters, and photographs to the large, color-drenched, multi-panel works that defined her later output.  


Selena Forever/Siempre Selena
Crystal Bridges Museum of American Art, Bentonville, Arkansas
September 4, 2021–January 10, 2022

John Dyer, Selena (1992). Courtesy of the artist.

At the height of the beloved Tejano singer’s fame, it was photographer John Dyer whom she entrusted to produce the images of her that were seared into the American pop-culture consciousness. Over the course of two collaborative photoshoots, in 1992 and ‘94, Dyer captured the legendary Selena Quintanilla-Pérez in her signature gemmed bustier and red lip, pictures that became immortal after her tragic death in 1995.


Bani Abidi: The Man Who Talked Until He Disappeared
Museum of Contemporary Art, Chicago
September 4, 2021–June 5, 2022

Bani Abidi, An Unforeseen Situation 4. Courtesy of the Museum of Contemporary Art, Chicago.

Bani Abidi’s work infuses deadly serious subjects like militarism, nationalism, and memory with humor, holding up a mirror to power structures. The Pakistani artist, who lives in Karachi and Berlin, gets the survey treatment at the MCA, co-organized with the Sharjah Art Foundation, in a show that looks at over 20 years of her career and features new work alongside existing video, photography, and sound installations. 


Adam Pendleton: Who Is Queen?
Museum of Modern Art, New York
September 18, 2021–January 30, 2022

Adam Pendleton, Untitled (WE ARE NOT) (2021). Image courtesy of the artist.

Pendleton, who has put forth a “Black Dada” framework inspired by Amiri Baraka, ambitiously takes over MoMA’s Marron Atrium with an immersive floor-to-ceiling installation described as a “spatial collage” containing text, image, and sound. All together, the show’s paintings, drawings, textiles, sculptures, and moving images seek to disrupt the 1:1 relationship of words and images, allowing a complex new vision of Blackness to emerge in abstraction.

The Art Institute of Chicago
September 19, 2021–January 24, 2022

Barbara Kruger’s Untitled (Your Body is a Battleground) (1989), at the Los Angeles County Museum of Art in 2013. Photo by Susan Broman via Flickr.

The prolific Pictures Generation artist has collaborated with the Art Institute to map out a survey of her entire career that takes up the whole of the museum’s 18,000-square-foot gallery space. It’s all here, and squirm-inducingly relevant: her trademark “pasteups,” works on vinyl, animations, and video installations, plus a new site-specific work in the adjoining atrium. On top of this, Kruger has created work for the city at large, making billboards and designs for the Chicago Transit Authority, among other organizations.


Naudline Pierre: What Could Be Has Not Yet Appeared
Dallas Museum of Art
September 26, 2021–May 15, 2022

Naudline Pierre, Lest You Fall (2019). Courtesy of the Dallas Museum of Art.

Pierre is known for her colorful canvases that depict ethereal beings and explore power struggles in intimate relationships. The Brooklyn-based painter’s first solo museum exhibition will consist of existing works—one of which was recently acquired by the DMA—as well as new creations, with five major paintings making their debut. 


Greater New York
MoMA PS1, New York
October 7, 2021–April 18, 2022

Robin Graubard, selection from “Peripheral Vision” (1979–2021). Image courtesy the artist and Office Baroque, Antwerp.

One of the hottest survey exhibitions of new art from across New York’s five boroughs is back for its fifth iteration. This latest edition, curated by Ruba Katrib with Serubiri Moses, Kate Fowle, and Inés Katzenstein, was delayed by a year due to the pandemic, but still promises to showcase the best of artists and collectives currently working in the Big Apple, including Carolyn Lazard, Alan Michelson, and BlackMass publishing.

Georgia O’Keeffe, Photographer
Museum of Fine Arts, Houston
October 17, 2021–January 17, 2022

Georgia O’Keeffe, Jimsonweed (Datura stramonium) (1964–68). © Georgia O’Keeffe Museum, Santa Fe.

The artist best known for her paintings of flowers and Southwestern landscapes is recast here in the first exhibition to focus entirely on her photography, with nearly 100 prints from a newly examined archive to go on view. Described as a “Modernist approach” to the art form, O’Keeffe’s pictures document family members, fellow artists, and her travels. 


Soft Water Hard Stone
The New Museum, New York
October 28, 2021–January 23, 2022

Amalie Smith, Clay Theory (2019) (still). Courtesy of the artist.

The latest triennial from the downtown institution draws its title from a Brazilian proverb: “Água mole em pedra dura, tanto bate até que fura,” meaning “soft water on hard stone hits until it bores a hole.” Curators Margot Norton and Jamillah James have translated this idea into an exhibition of 41 international artists focused on how systems we once considered infallible have been, in fact, proven fragile by recent global crises. 


My Barbarian
Whitney Museum of American Art, New York
October 29, 2021–February 27, 2022

My Barbarian, Broke People’s Baroque Peoples’ Theater, 2011–15. Studio photograph, courtesy of the artists.

For the occasion of the performance trio’s 20th anniversary, the Whitney has commissioned a new filmic piece, Rose Bird, about California’s first female chief Supreme Court justice, to accompany this two-part survey of My Barbarian’s work. A series of live events—including a play, a festival, a cabaret-style concert, and a “rehearsal-as-performance”―will be enacted alongside an exhibition containing footage of previous performances, in addition to sculptures, paintings, drawings, masks, and puppets.

Michaela Eichwald
Walker Art Center, Minneapolis
November 14, 2020–May 16, 2021

Michaela Eichwald, Die Unsrigen sind fortgezogen (The Ours Have Moved Away) (2014). Collection Brian Pietsch and Christopher Hermann.

The Berlin-based artist and writer, who is primarily a painter, marks her first solo exhibition in the United States with a presentation looking back at the past ten years of her career. Her palimpsest-like paintings, sculptures, and collages contain surprising materials like candy and chicken bones, and often allude to her interests in philosophy and literature.

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Ballet Dancer-Turned-Artist Madeline Hollander Sees Choreography Where Others See Chaos. She’ll Help You See It, Too

Flatwing, the new film from Madeline Hollander on view now at the Whitney Museum of American Art, is ostensibly about dance. But technically, there is no dance in it.

This is often the case for the 35-year-old professional dancer-turned-artist. Where you and I see chaos, Hollander sees choreography: New York City traffic, flood mitigation systems, environmental change. The product of extensive research, her work transmutes the abstract patterns that govern our daily lives into elegant dance performances, heady gallery installations—and now, for the first time, film.

The 16-minute video at the Whitney documents Hollander’s search to find flatwings, a new breed of Polynesian field cricket that, due to genetic mutation, has lost the ability to chirp. For the insects, it’s both a gift and a curse: They are now essentially invisible to their predators—an acoustically oriented parasitic fly that once threatened to wipe out their entire population—but also invisible to their potential mates. The crickets’ ability to adapt is likely, ironically, to lead also to their extinction. 

Film still from Madeline Hollander's <i>Flatwing</i> (2019), Whitney Museum of American Art, New York. © Madeline Hollander.

Film still from Madeline Hollander’s Flatwing (2019), Whitney Museum of American Art, New York. © Madeline Hollander.

Meanwhile, they continue their mating dance in the dark, silent, essentially hoping—by the grace of God or good luck—to crash into a partner.

In December 2018, Hollander more or less attempted to do the same thing. Wanting to study the crickets’ vestigial dance for a piece of choreography she was working on (more on that later), she trekked out to a rainforest on the Hawaiian island of Kauai for five nights with an infrared lamp soldered to a car battery and a camera strapped to her head, hoping to capture the little creatures in action.

What came out of the pilgrimage was hours and hours of shaky, Blair Witch-style footage— forest flora, random animals, the vacuous night sky. But no crickets.

The mission was, ultimately, a failure. 


The artist did not set out to make an artwork in Kauai. She was conducting research—a meticulous behind-the-scenes process that constitutes an increasingly significant part of her practice. 

Specifically, she was looking into crickets for New Max, her 2018 piece at New York’s Artist’s Institute in which a quartet of dancers performed a series of scripted movements until they raised the temperature in the room enough to activate four air conditioning units, at which point they’d stop moving. Once the A.C. went off, they’d begin again—and so on and so on. 

Pondering heat and movement, the artist recalled a fun fact from her childhood in L.A.: that you can tell the temperature outside by counting the number of times a cricket chirps in 14 seconds, then adding 40. A few Googles later, she came across several articles about how Kauai’s nightscape had gone silent thanks to the rapid mutation of the chirping crickets, a process that took an alarmingly short amount of time—just 10 years, compared to normal evolutionary timelines that exist over centuries.

Madeline Hollander, <i>New Max</i> (2018), The Artist’s Institute, New York. Photo: Christopher Aque.

Madeline Hollander, New Max (2018), The Artist’s Institute, New York. Photo: Christopher Aque.

“This really struck me,” Hollander told me over video chat this month, tuning in from her home in L.A. “It felt like an alarm had gone off. Trying to imagine what a nightscape would feel like without that rhythm felt very ominous.”

That Hollander would be interested in the crickets makes sense. This biological anomaly at the margins of its own ecosystem, a harbinger of environmental calamity dancing in the dark: the creature symbolizes the intersection of micro-movement and macro systems at the heart of most of her work. She quickly became obsessed.

“If this evolutionary phenomenon could happen in 10 years, then perhaps this could be the only chance I would ever have to witness the evolution of a mating dance to unfold in my lifetime,” she said. “That stuck in my head.” 


Some artists are bad at school because they’re good at art. Hollander excelled at both—and she’s well practiced in juggling the two. 

Born and raised in L.A., the daughter of an artist (her mother) and a Hollywood visual effects supervisor (father), Hollander began dancing competitively at a young age, studying with the famed ballerina Yvonne Mounsey. Virtually every minute of her life when she wasn’t at school, including weekday lunches, she was at the dance studio.  

After College at Barnard in New York, where she split time studying anthropology and dance, she was invited to join a Madrid company’s touring production of Swan Lake. For two years, she traveled around the globe performing the show. It was a dancer’s dream, but not a polymath’s: for Hollander, the 24/7 grind was frustrating.  

Madeline Hollander, New Max (2018), The Artist’s Institute, New York. Photo: Christopher Aque.

“I had always split my life in two—there was the brain side and body side,” she said. “Being on tour for two years felt—it was an incredible experience, I just wasn’t as creatively [fulfilled]. I was filling up notebooks of ideas, things I wanted to do, and just wasn’t executing them.”

She returned to New York, hoping to dance part-time while pursuing other creative outlets. This was a “big turning point,” she said. “I knew I needed to begin fusing these two passions together.” 

It didn’t go as planned. During the last performance of the Swan Lake tour, it turns out, Hollander had broken her foot onstage. She found out weeks later after an MRI in New York. “I went dancing into the MRI and [came] out with a cast,” she recalled. 


After reading about the crickets in 2018, Hollander’s next step was a phone call with evolutionary biologist Marlene Zuk, the leading expert on flatwings. A recording of their chat is the soundtrack to the Whitney film. 

The conversation is as funny as it is awkward: the artist posits a poetic interpretation of the cricket’s ritual and the biologist counters matter-of-factly with research to debunk it. Over and over again, artsy whataboutism rams up against scientific reason. It’s as if they’re having two separate conversations. 

If research makes up nearly half of Hollander’s practice, then this part is the other component: arguing with people outside her field to convince them to help her. 

“That’s a very typical conversation that I face,” Hollander said of her chat with Zuk. “There’s these two worlds and two vocabularies and two very different processes clashing with each other continuously because we have different goals. One’s a business and I’m an artist, or one’s a scientist and I’m a choreographer. I’m really fascinated by the different architectures of those dynamics.”

MadelineHollander, <i>Heads/Tails</i> (2020), Bortolami Gallery, New York. Photo: Kristian Laudrup.

MadelineHollander, Heads/Tails (2020), Bortolami Gallery, New York. Photo: Kristian Laudrup.

Prior to her 2020 show at Bortolami, the artist spent two years going back and forth with the New York Department of Transportation trying to acquire data about local traffic patterns and drivers’ habits. She used it to sync hundreds of used car head- and tail-lights installed on the gallery walls with a nearby traffic light. When cars would slow to a stop before a red outside, the exhibition space inside would begin to glow. 

It was a simple and elegant execution of a process that, to hear Hollander tell it, was anything but. 

“What becomes absurd for one person becomes very reasonable for the other,” she said of the frustrating conversations behind that work. “More and more, I feel that those limits, they’re not arbitrary; they’re very instilled in our culture. And when you can break through, all of a sudden the piece becomes bigger than the sum of its parts.”


Although Hollander didn’t know it at the time, the foot injury essentially ended her professional dancing career. When she finally healed months later, she was offered roles in other companies, but by that point, her life as an artist was percolating. Around 2012, she had begun choreographing her own pieces. But unlike most choreographers, who draw from a time-tested inventory of movements, Hollander pulled from a library of her own making. 

The gesture archive, as she referred to it, was a collection of short videos documenting everyday micro-movements, many necessitated by new technology—the wheeling thumbs of a Blackberry user, for example, or the knuckle-crack that comes after long spells of keyboard typing. “I was very interested in how technology was trying to accommodate the kinetics of the body,” she explained. 

Madeline Hollander at the Whitney Museum of American Art, 2021. Courtesy of Bortolami Gallery. Photo: Nicholas Calcott.

Madeline Hollander at the Whitney Museum of American Art, 2021. Courtesy of Bortolami Gallery. Photo: Nicholas Calcott.

Hollander’s gestures don’t look like the stuff of dance. But when strung together, they become poetic.

It didn’t take long after she began to pursue choreography for her career in the art world to evolve rapidly. She earned a place in the prestigious Skowhegan residency, then got her MFA at Bard. Now, with several gallery shows, a Whitney Biennial project, and a solo museum show under her belt, she’s as in demand as an artist of her ilk can be. And not just in the art world—she also worked as a choreography consultant on Jordan Peele’s 2019 film Us and Christopher Nolan’s 2020 movie Tenet, with more film projects in the works.

Hollander still dances almost every day. “It’s really a part of my practice,” she said. “All of my ideas come from that morning ritual.”


Despite her best efforts, Hollander never found the Kauai crickets, never witnessed their dance. 

It’s not hard to see why. An artist traipsing through a dark rainforest with some jury-rigged equipment to locate a tiny creature that is notoriously hard it is to locate, even for scientists—the whole exercise reads, in retrospect, as absurd.

But then again, that may have been the point. As Whitney curator Chrissie Iles, who co-organized the show, noted, “The absurdity of that search tells us something about [what it means to be] human—thrashing around in the dark to find meaning and a solution to something very existential.”

Film still from Madeline Hollander's Flatwing (2019), Whitney Museum of American Art, New York. © Madeline Hollander.

Film still from Madeline Hollander’s Flatwing (2019), Whitney Museum of American Art, New York. © Madeline Hollander.

Hollander didn’t look at the footage for a long time after she got home. “I was so disappointed,” she recalled, still a little heartbroken. When she finally did press play, some six months later, she came to a conclusion similar to Iles’s. She realized that, in missing the insects, she had managed to document something more elusive—something personal. 

Indeed, Flatwing is unlike any other piece in Hollander’s still-young career. But it is perhaps the most revealing of the way she thinks. 

“For me, this piece really functions as—not a self-portrait of me personally, but of my practice,” the artist said. “This same type of path of me searching in a futile, stubborn, desperate, hopeful blindness, stumbling around—that’s just what I do before I actually hit the idea that eventually gets distilled into a performance or an installation.”


Madeline Hollander: Flatwing” is on view at the Whitney Museum of American Art through August 8, 2021.

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11 Events for Your Art Calendar This Week, From Julie Mehretu at the Whitney to Alteronce Gumby in Two Boroughs

Each week, we search for the most exciting and thought-provoking shows, screenings, and events. In light of the global health crisis, we are currently highlighting events in person and digitally, as well as in-person exhibitions open in the New York area. See our picks from around the world below. (Times are all EST unless otherwise noted.)


Tuesday, March 23

"Women, Power & Promise: A Convening" at the Newark Museum of Art, featuring the Guerrilla Girls and Bobbi Brown.

“Women, Power & Promise: A Convening” at the Newark Museum of Art, featuring the Guerrilla Girls and Bobbi Brown.

1. “Women, Power, and Promise” at the Newark Museum of Art

The Newark Museum has put together a slate of programs for this Women’s History Month event, with a keynote address by cosmetics mogul Bobbi Brown, an art performance by the Guerrilla Girls, and closing remarks from Lisa Kaplowitz, executive director of the Center for Women in Business at Rutgers Business School.

Price: $50 general admission
Time: 3 p.m.–5 p.m.

—Sarah Cascone


Dawoud Bey, <em>Taylor Falls and Deborah Hackworth</em> from “The Birmingham Project” (2012). Photo courtesy of the artist and Stephen Daiter Gallery.

Dawoud Bey, Taylor Falls and Deborah Hackworth from “The Birmingham Project” (2012). Photo courtesy of the artist and Stephen Daiter Gallery.

2. “Dawoud Bey in Conversation With Gary Carrion-Murayari” at the New Museum, New York

As part of a conversation series held in conjunction with the museum’s new exhibition, “Grief and Grievance: Art and Mourning in America” (through June 6), artist Dawoud Bey will speak with curator Gary Carrion-Murayari. His work in the show, The Birmingham Project (2012), memorializes the six young African Americans killed in the September 15, 1963, 16th Street Baptist Church bombing in Birmingham, Alabama.

Price: Free with registration
Time: 4 p.m.

—Sarah Cascone


Wednesday, March 24

Ronnie Goodman, <em>San Quentin Arts in Corrections Art Studio</em> (2008), detail. Collection of Prison Arts Project, William James Association.

Ronnie Goodman, San Quentin Arts in Corrections Art Studio (2008), detail. Collection of Prison Arts Project, William James Association.

3. “Honoring Ronnie Goodman” at MoMA PS1, Queens

As the museum winds down “Marking Time: Art in the Age of Mass Incarceration” (through April 5), MoMA PS1 pays tribute to Ronnie Goodman, who died last year. A self-taught artist, Goodman rediscovered his talents as a painter through the Arts in Corrections Program at San Quentin State Prison, making work that critiqued mass incarceration even after his release from jail. The virtual program will feature a new short film with rare footage of the artist and a talk by Nicole Fleetwood about his life and career.

Price: Free with RSVP
Time: 6:30 p.m.–8 p.m.

—Sarah Cascone


Wednesday, March 24–Saturday, May 1

Roxanne Jackson, <em>Black Flame</em> 2019). Photo courtesy of Dinner Gallery.

Roxanne Jackson, Black Flame 2019). Photo courtesy of Dinner Gallery.

4. “Magic Touch” at Dinner Gallery, New York

Jen Dwyer, who had an excellent showing of her feminist ceramic sculptures at Spring/Break New York just over a year ago, takes a turn as guest curator for this group show with an exciting line-up of artists including Faith Ringgold, Aminah Robinson, and Sophia Narrett, among others. The exhibition’s title is a reference to the handmade qualities of the works on view, inspired by the tactile experience of pushing and pulling clay in  Dwyer’s own practice, as well as the desire for physical connection after a year of isolation.

Location: Dinner Gallery, 242 West 22nd Street, New York
Price: Free
Time: By appointment

—Sarah Cascone


Thursday, March 25

The passage of a cruise ship in the St. Mark’s Basin in Venice, Italy. (2014). Photo by: Delfino Sisto Legnani/World Monuments Fund Image courtesy Fondazione Venezia 2000

The passage of a cruise ship in the St. Mark’s Basin in Venice, Italy. Photo by: Delfino Sisto Legnani/World Monuments Fund Image courtesy Fondazione Venezia 2000

5. “When Will We Return to Venice and Should We?” Hosted by World Monuments Fund

When the pandemic brought tourism in Venice to a halt last year, it dealt a serious blow to the city’s economy but simultaneously provided a respite from the year-round throng of visitors and tourists. In this virtual discussion, WMF President and CEO Bénédicte de Montlaur will be joined by guest speakers Jane da Mosto (environmental scientist and founding president of We are here Venice) and visual artists Tomás Saraceno and David Landau to discuss these issues and others.

Price: Free with RSVP
Time: 12 p.m.

—Eileen Kinsella


Thursday, March 25–Sunday, August 8

Julie Mehretu,<eM> Conjured Parts (eye). Ferguson, 2016</em>. Photo by Cathy Carver, courtesy of the Broad Art Foundation, Los Angeles, ©Julie Mehretu.

Julie Mehretu, Conjured Parts (eye). Ferguson, 2016. Photo by Cathy Carver, courtesy of the Broad Art Foundation, Los Angeles, ©Julie Mehretu.

6. “Julie Mehretu” at the Whitney Museum of American Art, New York

This mid-career survey of Julie Mehretu originated at the Los Angeles County Museum of Art, which co-organized the show with the Whitney. It features some 30 paintings—some mammoth-sized—as well as works of paper, and showcases the artist’s ability to speak to such fraught issues as history, colonialism, capitalism, geopolitics, and war in largely abstract works.

Location: Whitney Museum of American Art, 99 Gansevoort Street
 $25 general admission
Time: Monday, 10:30 a.m.–5 p.m.; Thursday and Friday, 10:30 a.m.–6 p.m.; Saturday and Sunday 11:30 a.m.–6 p.m.

—Sarah Cascone


Through Wednesday, March 31

Suejin Jo, <em>Prayer Rock<em> (2020). Photo courtesy of the New York Society of Women Artists.

Suejin Jo, Prayer Rock (2020). Photo courtesy of the New York Society of Women Artists.

7. “Women on the Edge of of Time” at Taller Boricua Gallery, New York

The New York Society of Women Artists, founded in 1925, is marking Women’s History Month with a virtual exhibition that considers its nearly century-long history, and the ways in which its founding concerns remain at the fore to this day. The 36 participating artists in this show also address pressing social issues such as immigration and LGTBQ rights. See the artworks and read the artist statements on the gallery’s virtual viewing room, and watch YouTube videos from each women about their work on the society’s website.

Price: Free
Time: On view daily at all times

—Nan Stewert


Through Sunday, April 11

Destiny Belgrave, Blooming Sprout, 2021 Courtesy of Deanna Evans Projects

8. “Destiny Belgrave: Birthright” at Deanna Evans Projects, Brooklyn

Deanna Evans Projects presents a solo show by Brooklyn-based artist Destiny Belgrave as its second exhibition. The show consists entirely of works on paper and highlights the importance of matriarchs in the artist’s life through paper cutouts, floral imagery, and poetry. The figures are women in Belgrave’s life, including her mother, sister, and herself and the show is a deeply personal exploration of the themes of youth, birth, and bonding.

Location: Deanna Evans Projects, 1329 Willoughby Avenue, #171 E, Brooklyn
Time: By appointment only

—Neha Jambhekar



Through Sunday, April 25 

Installation view "Somewhere Under the Rainbow / The Sky is Blue and What am I Glass am I" (2021). Courtesy of False Flag.

Installation view “Somewhere Under the Rainbow / The Sky is Blue and What am I Glass am I” (2021). Courtesy of False Flag.

9.”Alteronce Gumby: Somewhere Under the Rainbow/The Sky is Blue and What am I Glass am I” at Charles Moffett and False Flag

Sixteen of Alteronce Gumby’s new color-centric abstractions are currently on view in a two-part exhibition split between Charles Moffett in Manhattan and False Flag in Long Island City. At Charles Moffett, visitors will find a selection of Gumby’s visually dazzling gemstone-filled works on panel—lapis lazuli, ruby, amethyst, rose quartz, lemon quartz, fluorite, black tourmaline, and citrine are integrated into his painted glass panels and sealed with acrylic. The exhibition at False Flag, meanwhile, is anchored by a 24-foot-long, six-panel canvas work that, in various shades of blue, considers our relationship to the sky. While rooted in this history of Abstract Expressionism, Gumby’s abstractions, with their seemingly infinite variations of color, consider how light, physics, and natural materials can be contextualized into conversations about race and spirituality. 

Location:  Charles Moffett, 511 Canal Street #200/Buzzer 3; False Flag, 11-22 44th Road Long Island City
Price: Free
Time: Charles Moffett is open by appointment, Thursday–Sunday; False Flag is open by appointment, Friday–Sunday

—Katie White


Through Wednesday, September 1

Chris Bogia, The Sun, The City, 2021. Courtesy the artist and Mrs. Photo by Marcie Revens.

Chris Bogia, The Sun, The City, 2021. Courtesy the artist and Mrs. Photo by Marcie Revens.

10. “Chris Bogia: The Sun, the City” and “Jade Yumang: Open House Spatter” from Time Equities Inc. and Art-in-Buildings

A new installation in Lower Manhattan provides a safe, socially distanced way to see art… and one that suggests a day when we will no longer have to socially distance, no less. New York artist Chris Bogia’s The Sun, The City (2021) consists of a radiant, 15-foot-wide mandala hanging on the wall of the lobby at 125 Maiden Lane, shining down on a geometric cityscape. The artist describes the work as having “nostalgic references to groovier times,” and the work is visible from the street, if you don’t want to venture indoors. If you do, though, you’ll also get to experience Jade Yumang’s Open House Spatter (2021), in which he investigates queer histories through design metaphors.

Location: 125 Maiden Lane, New York
Time: On view daily at all times

—Brian Boucher


Through Sunday, September 26

Artist: Collective Magpie; Courtesy of El Museo del Barrio

11. “Estamos Bien: La Trienal 20/21” at El Museo del Barrio, New York

Currently in Harlem’s El Museo del Barrio is a survey of more than 40 established and emerging Latinx contemporary artists from across the diaspora of the United States and Puerto Rico. The exhibition includes a diverse range of subject matters and meda media, resonating with the complexities of identity in the Latinx community. Exhibited artists include Francis Almendárez, Luis Flores, Manuela González, xime izquierdo ugaz, Poncili Creación, Yelaine Rodriguez, and Raelis Vasquez, among others.

Location: El Museo del Barrio, 1230 5th Avenue, New York
 Suggested admission $9
Time: Saturday and Sunday, 12 p.m.–5 p.m.

—Cristina Cruz

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