Sixties Surreal at Whitney Museum of American Art, September 24, 2025–January 19, 2026 

“This fall, the Whitney Museum of American Art presents Sixties Surreal, a sweeping, ambitious, revisionist look at American art from 1958 to 1972 through the lens of the ‘surreal,’ both inherited and reinvented. Opening on September 24, the exhibition features the work of 111 artists who embraced the psychosexual, fantastical, and revolutionary energy of an era shaped by civil unrest, cultural upheaval, and boundless experimentation. 

Rather than adhering to familiar movements of the 1960s like Pop Art, Conceptualism, or Minimalism, Sixties Surreal uncovers alternate histories and recontextualizes some of the decade’s best-known figures alongside those only recently rediscovered. The exhibition considers how artists turned to Surrealism, not as a European import, but as a way to navigate the strange, turbulent realities of American life. Featuring iconic works by Diane Arbus, Yayoi Kusama, Romare Bearden, Judy Chicago, Nancy Grossman, Christina Ramberg, David Hammons, Louise Bourgeois, Jasper Johns, Fritz Scholder, Peter Saul, Marisol, Robert Crumb, Faith Ringgold, H.C. Westermann, Jack Whitten, and many others, the exhibition brings new visibility to a generation of artists who challenged mainstream narratives in pursuit of radical freedom.” — Whitney Museum of American Art

Installation view of Sixties Surreal (Whitney Museum of American Art, New York, September 24, 2025–Jan 19, 2026). From left to right: Miyoko Ito, Untitled, 1970; Jeremy Anderson, Riverrun, 1965; Hannah Wilke, Teasel Cushion, 1967; Deborah Remington, Haddonfield, 1965; Yayoi Kusama, Accumulation, c. 1963; Louise Bourgeois, Fée Couturière, 1963; Judy Chicago, In My Mother’s House, c. 1962-64; Franklin Williams, Untitled, 1967; Eva Hesse, C-Clamp Blues, 1965. Photograph by Quadir Moore/BFA.com. © BFA 2025
Installation view of Sixties Surreal (Whitney Museum of American Art, New York, September 24, 2025–Jan 19, 2026). From left to right: Robert Crumb, Head #1, 1967; Robert Crumb, Burned Out, cover for The East Village Other 5, no. 10, 1970; Mike Henderson, Dufus, 1970; Ming Smith, Kites Inside, Columbus, Ohio, c. 1972; Shawn Walker, Man with Bubble, Central Park (near Bandshell), c. 1960–79; Romare Bearden, Pittsburg Memory 2/6, 1964; Diane Arbus, Five members of the Monster Fan Club, N.Y.C. 1961, 1961; Adger Cowans, Shadows, 1966; Paul Thek, Untitled (from the series Television Analyzations), 1963. Photograph by Quadir Moore/BFA.com. © BFA 2025
Installation view of Sixties Surreal (Whitney Museum of American Art, New York, September 24, 2025–Jan 19, 2026). From left to right: Raymond Saunders, Untitled, 1968; H.C. Westermann, The Plush, 1963-64; William T. Wiley, Shark’s Dream, 1967; David Hammons, Untitled, 1969; Bruce Nauman, Mold for a Modernized Slant Step, 1966; Franklin Williams, Untitled III, 1966; Barbara Chase-Riboud, Confessions for Myself, 1972; Jeremy Anderson, Riverrun, 1965; Hannah Wilke, Teasel Cushion, 1967; Yayoi Kusama, Accumulation, c. 1963; Louise Bourgeois, Fée Couturière, 1963; Deborah Remington, Haddonfield, 1965; Judy Chicago, In My Mother’s House, c. 1962-64; Deborah Remington, Haddonfield, 1965; Franklin Williams, Untitled, 1967; Eva Hesse, C-Clamp Blues, 1965; Lee Bontecou, Untitled, 1961, 1961. Photograph by Quadir Moore/BFA.com. © BFA 2025
Installation view of Sixties Surreal (Whitney Museum of American Art, New York, September 24, 2025–Jan 19, 2026). From left to right: Peter Saul, Saigon, 1967; Daniel LaRue Johnson, Freedom Now, Number 1, August 13, 1963 – January 14, 1964, 1964; Benny Andrews, No More Games, 1970; Timothy Washington, TK (Viet Nam), 1970; Jasper Johns, Flags, 1965; Harold Stevenson, The New Adam, 1962; Ralph Arnold, Collage, 1968; Mel Casas, Humanscape #56 (San Antonio Circus), 1969; T.C. Cannon, Andrew Myrick – Let Em Eat Grass, 1970; Luis Jimenez, Man on Fire, 1969; Fritz Scholder, Indian and Rhinoceros, 1968; Judith Bernstein, Vietnam Garden, 1967; Barbara Jones-Hogu, Mother of Man, 1968. Photograph by Quadir Moore/BFA.com. © BFA 2025
Installation view of Sixties Surreal (Whitney Museum of American Art, New York, September 24, 2025–Jan 19, 2026). From left to right: Diane Arbus, Bela Lugosi as Dracula on Television, 1958; Shawn Walker, Tiffany’s Window on 57th Street, NYC, c. 1968–72; Diane Arbus, Clouds on screen at a drive-in movie, N.J., 1961; Luis Jimenez, Blonde TV Image, 1967; Lee Friedlander, Nashville, 1963; Lee Friedlander, Galax, Virginia, 1962; Lee Friedlander, Florida, 1963; Carlos Villa, My Roots, 1970-71; Edward Owens, Private Imaginings and Narrative Facts, 1966. Photograph by Quadir Moore/BFA.com. © BFA 2025
Installation view of Sixties Surreal (Whitney Museum of American Art, New York, September 24, 2025–Jan 19, 2026). From left to right: H.C. Westermann, Memorial to the Idea of Man If He Was an Idea, 1958; Rupert Garcia, Unfinished Man, 1968; Luis Jimenez, Man on Fire, 1969; Ralph Arnold, Unfinished Collage, 1968; Daniel LaRue Johnson, Freedom Now, Number 1, August 13, 1963 – January 14, 1964, 1964; Benny Andrews, No More Games, 1970; Timothy Washington, TK (Viet Nam), 1970. Photograph by Quadir Moore/BFA.com. © BFA 2025
Installation view of Sixties Surreal (Whitney Museum of American Art, New York, September 24, 2025–Jan 19, 2026). From left to right: Carolee Schneemann, Body Collage, 1967; Joan Semmel, Untitled, 1971; Niki De Saint Phalle, Vivian, 1965; Christina Ramberg, Shadow Panel, 1972; Martha Edelheit, Flesh Wall with Table, 1965. Photograph by Quadir Moore/BFA.com. © BFA 2025
Installation view of Sixties Surreal (Whitney Museum of American Art, New York, September 24, 2025–Jan 19, 2026). From left to right: Lynn Hershman Leeson, Giggling Machine, Self Portrait as Blonde, 1968; Christina Ramberg, Shadow Panel, 1972; Nancy Graves, Camel VI, Camel VII and Camel VIII, 1968–1969; Marisol, Women and Dog, 1963-64; Luchita Hurtado, Untitled, 1971. Photograph by Quadir Moore/BFA.com. © BFA 2025
Installation view of Sixties Surreal (Whitney Museum of American Art, New York, September 24, 2025–Jan 19, 2026). From left to right: Shigeko Kubota, Self-Portrait, c. 1970–71.; Jae Jarrell, Ebony Family, ca. 1968; Linda Lomahaftewa, Untitled Woman’s Faces, 1960s; Kiki Kogelnik, Gee Baby – I’m Sorry, 1965. Photograph by Quadir Moore/BFA.com. © BFA 2025
Installation view of Sixties Surreal (Whitney Museum of American Art, New York, September 24, 2025–Jan 19, 2026). From left to right: Robert Smithson, Green Chimera with Stigmata, 1961; Ching Ho Cheng, Sun Drawing, 1967; Barbara Rossi, Male of Sorrows #5, 1970; Wally Hedrick, HERMETIC IMAGE, 1961; Betye Saar, Ten Mojo Secrets, 1972; Eduardo Carrillo, Testament of the Holy Spirit, 1971; Jack Whitten, Christ, 1964. Photograph by Quadir Moore/BFA.com. © BFA 2025
Installation view of Sixties Surreal (Whitney Museum of American Art, New York, September 24, 2025–Jan 19, 2026). From left to right: Carlos Villa, My Roots, 1970-71; Nancy Grossman, Head 1968, 1968; Anita Steckel, The Big Rip-Up, 1964; Suellen Rocca, Foot Smells, c. 1966; Suzanne Jackson, We Were Waiting, n.d.; Barbara Hammer, Tee Corinne Sleeping, 1972; Barbara Hammer, Tee Corinne Sleeping, 1972; Lynn Hershman Leeson, Giggling Machine, Self Portrait as Blonde, 1968; Jay DeFeo, The Eyes, 1958; Robert Smithson, Green Chimera with Stigmata, 1961; Ching Ho Cheng, Sun Drawing, 1967; Barbara Rossi, Male of Sorrows #5, 1970. Photograph by Quadir Moore/BFA.com. © BFA 2025
Installation view of Sixties Surreal (Whitney Museum of American Art, New York, September 24, 2025–Jan 19, 2026). From left to right: Nancy Graves, Camel VI, Camel VII and Camel VIII, 1968–1969; Jean Conner, Are You a Springmaid? II, 1960; Jean Conner, Are You a Springmaid?, 1960; Paul Thek, Untitled from the series Technological Reliquaries, 1966; Jim Nutt, Running Wild, 1969-1970; Claes Oldenburg, Soft Toilet, 1966; Lee Lozano, No Title, 1964. Photograph by Quadir Moore/BFA.com © BFA 2025

“Sixties Surreal has been nearly three decades in the making, dating to my time as a Whitney intern and subsequent college thesis. Through intense collaboration with curatorial colleagues Dan Nadel, Laura Phipps, and Elisabeth Sussman, the project has grown into a sweeping reexamination of a turbulent and transformative chapter in American life and art,” said Scott Rothkopf, the Alice Pratt Brown Director of the Whitney. “Sixties Surreal reveals how artists across the country embraced and reinvented surreal tendencies to challenge conventions and mirror the strangeness of a time marked by radical political, social, and cultural change. By bringing their visionary contributions into fuller view, this exhibition helps to reshape how we understand the art and spirit of the 1960s, as well as our own roiling moment.” 

Sixties Surreal is organized by Dan Nadel, Steven and Ann Ames Curator of Drawings and Prints; Laura Phipps, Associate Curator; Scott Rothkopf, Alice Pratt Brown Director; and Elisabeth Sussman, Curator; with Kelly Long, Senior Curatorial Assistant, and Rowan Diaz-Toth, Curatorial Project Assistant, at the Whitney Museum of American Art.

Title image: Linda Lomahaftewa, Untitled Woman’s Faces, 1960s. Oil on canvas, 36 × 48 in. (91.4 × 121.9 cm). Heard Museum, Phoenix; Gift of the artist. © Linda Lomahaftewa.

Images courtesy Whitney Museum of American Art.

  

Witnessing Humanity: The Art of John Wilson at The Metropolitan Museum of Art, September 20, 2025 – February 8, 2026

 “This fall, The Metropolitan Museum of Art presents Witnessing Humanity: The Art of John Wilson, the largest exhibition of this artist’s work and his first solo museum show in New York. For over six decades, American artist John Wilson (1922–2015) made powerful and poetic works that reflected his life as a Black American artist and his ongoing quest for racial, social, and economic justice. His art responded to the turbulent times in which he lived, with a focus on such subjects as racial violence, labor, the writings of Richard Wright, the Civil Rights Movement, and street scenes, and also captured intimate images of family life, with a particular focus on fatherhood. Drawing from the collections of The Met, the Museum of Fine Arts, Boston, and a dozen other lenders, this exhibition features over 100 artworks made over the course of Wilson’s career, including paintings, prints, drawings, and sculpture, as well as illustrations for children’s books and archival material; many of the works have not been shown before.” — The Metropolitan Museum of Art 

“While the powerful impact of John Wilson’s art and the enduring relevance of the themes he explored are undeniable, he has not yet received the recognition his work so deeply deserves,” said Max Hollein, Marina Kellen French Director and Chief Executive Officer of The Met. “This landmark exhibition honors Wilson’s extraordinary artistic achievements—illuminating the incredible range of work he produced over five decades— and affirms his place in art history as one of the foremost artists devoted to social justice and portraying the experiences of Black Americans.”

Installation views of Witnessing Humanity: The Art of John Wilson, on view September 20, 2025–February 8, 2026 at The Metropolitan Museum of Art. Photos by Hyla Skopitz, Courtesy of The Met.

Jennifer Farrell, exhibition co-curator and Jordan Schnitzer Curator in the Department of Drawings and Prints at The Met, said, “Wilson’s art is imbued with compassion and empathy while conveying his anger and distress at the wrenching effects of disenfranchisement, racism, and economic inequality. Challenging deep-seated prejudices and omissions within our national history, Wilson centered the experiences of Black Americans to create images that convey strength, resilience, and humanity. Deeply personal yet widely resonant, his work continues to offer a powerful lens through which to consider today’s urgent dialogues about race, equality, and representation.” 

Leslie King Hammond, exhibition co-curator and art historian, professor emerita, and founding director of the Center for Race and Culture at Maryland Institute College of Art, said, “John Wilson was an artist of profound resilience and passion for the innate essence of dignity, beauty, and humanity of Black Americans, which he witnessed in families, community, and all humankind. He was intentional and relentless throughout his life to create imagery that demanded respect for the Black body in an America struggling with its contested legacy of slavery.”

Witnessing Humanity: The Art of John Wilson is co-curated by Jennifer Farrell, Jordan Schnitzer Curator, Department of Drawings and Prints at The Met; Leslie King Hammond, art historian, professor emerita, and founding director of the Center for Race and Culture at Maryland Institute College of Art; Patrick Murphy, the MFA’s Lia and William Poorvu Curator of Prints and Drawings; and Edward Saywell, the MFA’s Chair of Prints and Drawings.

Title image: John Wilson (American, 1922–2015). My Brother, 1942. Oil on panel. 12 x 10 5/8 in. (30.48 x 26.9875 cm). Smith College Museum of Art, Purchased (SC 1943.4.1). Courtesy of the Estate of John Wilson.

Sing a New Song: The Psalms in Medieval Art and Life at The Morgan Library & Museum, September 12, 2025 – January 4, 2026

“The Morgan Library & Museum presents Sing a New Song: The Psalms in Medieval Art and Life, the first exhibition of its kind devoted to the importance of the Psalms throughout medieval art, prayer, and everyday life. On view from September 12, 2025, through January 4, 2026, Sing a New Song traces the impact of the Psalms on people in medieval Europe from the sixth to the sixteenth century, encompassing daily practices and performance, as well as the creation and illumination of Psalters (Books of Psalms). Drawing on five years of scholarly research, the exhibition and accompanying publication take the Psalms out of their established place in religious texts and paint a vibrant picture of the people who used them—men, women, and children—both religious and lay.” — The Morgan Library & Museum“

The Morgan is very pleased to present this comprehensive, interdisciplinary exhibition, which draws on years of research into a topic that is largely unknown to the general public,” said Colin B. Bailey, Katharine J. Rayner Director of the Morgan Library & Museum. “It continues a now well- established tradition at the Morgan of organizing ambitious medieval projects that reflect the strength of our holdings and our commitment to making the latest scholarship available to as wide an audience as possible.”

Winchester Bible Leaf. David and Goliath. England, Winchester, ca.. 1160–1180. Morgan MS M.619v. Single Leaf. 580 x 390 mm. The Morgan Library & Museum, Photography by Graham S. Haber.
David Slays Goliath. Crusader Bible. Paris, France, ca. 1244-1254. Morgan MS M.638, fol. 28v. Single Leaf. 390 x 300 mm. David. The Morgan Library & Museum, MS M.638, fol. 28v. Photography by Graham S. Haber.
Books of Truth (Sefrei Emet). Written by Isaac ben Ovadiah for Jacob, son of. Rabbi Benjamin of Montalcino. Illuminated by Mariano del Buono. Italy, 1467. New Haven, Beinecke MS 409, fol 3r. Codex. 111 x 80 mm. Beinecke Rare Book and Manuscript Library, Yale University.
Ingeborg Psalter Workshop. God Commanding Adam and River of Paradise. Psalms in Latin with interlinear French translation and French commentary of Simon de Tournai. Belgium, Tournai, ca. 1200. Morgan MS M.338, fol. 42r. (detail). Codex. 335 x 238 mm. The Morgan Library & Museum, Photography by Janny Chiu.
Attavante degli Attavanti. Pope Leo X Vesting; Leo X Praying. Praeparatio ad missam of Leo X. Italy, Rome, 1520. Morgan MS H.6, fols. 1v-2r. Codex 396 x 266 mm. The Morgan Library & Museum, MS H.6 fols. 1v-2r. Photography by Janny Chiu.
Silvestro dei Gherarducci. Ascension. Gradual of San Michele a Murano. Italy, Florence, ca. 1392–1399. Morgan MS M.653.3. Single Leaf. 590 x 400 mm. The Morgan Library & Museum, Photography by Graham S. Haber.
Giulio Clovio. Death of Uriah and David in Penance. Farnese Hours. Italy, Rome, 1546. Morgan MS M.69, fols. 63v-64r. Codex (only, no binding). 173 x 110 mm. The Morgan Library & Museum, Photography by Janny Chiu.

This exhibition and the accompanying publication really do ‘sing a new song’ as they explore, in a manner that has not been done before, how life and art in the Middle Ages and Renaissance were permeated by psalms,” said Roger S. Wieck, Melvin R. Seiden Curator and Department Head of Medieval and Renaissance Manuscripts at the Morgan Library & Museum. “Along with my colleagues Deirdre Jackson, Assistant Curator of Medieval and Renaissance Manuscripts; Joshua O’Driscoll, Associate Curator of Medieval and Renaissance Manuscripts; and Frederica Law-Turner, Contributing Guest Curator, all of whom helped to shape and broaden the exhibition, I am grateful that the Morgan is able to present an exhibition and handbook as a frame of reference for understanding the role of the Psalms in medieval life.”

Title image: Chanting Clerics, from the Windmill Psalter, England, London, late thirteenth century. The Morgan Library & Museum, MS M.102, fol. 100r (detail). Photography by Carmen González Fraile.

Images courtesy The Morgan Library & Mueum.

Piero Manzoni: Total Space and Yoichi Ohira: Japan in Murano, September 8, 2025-March 23, 2026 at Magazzino Italian Art

“Magazzino Italian Art announced that through the extraordinary generosity of Fondazione Piero Manzoni in Milan and Hauser & Wirth, it has received the gift of two room-size immersive environments conceived by Manzoni in 1961, at a date when conceptualism and installation art were only starting to appear on the art world’s horizon. Magazzino unveiled these exceptional gifts, accompanied by a contextual selection of works by Manzoni on loan from American collections, in the exhibition Piero Manzoni: Total Space, opening to the public on Monday, September 8, 2025.” — Magazzino Italian Art

Nancy Olnick and Giorgio Spanu, co-founders of Magazzino, said, “We are grateful to the Fondazione Manzoni and Hauser & Wirth for entrusting these major gifts to Magazzino, where they can now be seen in the company of the museum’s extensive collection of Arte Povera. Through their generosity, the donors have recognized Magazzino as the primary institution in North America for collecting, exhibiting, and studying the cutting-edge Italian art of the postwar era.”

Rosalia Pasqualino di Marineo, Director of Fondazione Piero Manzoni, said, “These visionary projects by Manzoni have only recently made the transition from pure idea to physical reality. Now that they have been achieved with the assistance of Hauser & Wirth, more than half a century after they were imagined, we are happy that the ideal permanent home for them is Magazzino Italian Art.”

Adam Sheffer, Director of Magazzino, said, “Despite his brief career, Piero Manzoni was among the most innovative, ironic and restlessly inventive young artists in Italy, if not the world. We are proud to exhibit the wonderful gift of these two environments in tandem with several of the Achrome works that preceded them, in which Manzoni broke with the tradition of painting in favor of an art of ‘total space’, where materials, form, and presence eclipse the superficial and open new conceptual dimensions.”

Installation view of Piero Manzoni: Total Space. Photo: Alexa Hoyer
Installation view of Piero Manzoni: Total Space. Photo: Alexa Hoyer
Installation view of Piero Manzoni: Total Space. Photo: Alexa Hoyer
Installation view of Piero Manzoni: Total Space. Photo: Alexa Hoyer
Installation view of Piero Manzoni: Total Space. Photo: Alexa Hoyer

Yoichi Ohira: Japan in Murano, a retrospective of the Japanese-born, Venice-based glass artist’s work in the United States. Curated by Nicola Lucchi, Magazzino’s Director of Research and Education, the exhibition traces the full scope of Yoichi Ohira’s (1946–2022) career in Murano, which spanned nearly 40 years, from his formative experiences at the Fucina degli Angeli glassworks, to his appointment as Artistic Director of the De Majo glassworks, and finally to his work as an independent artist and central figure in contemporary glass art.” — Magazzino Italian Art

Nancy Olnick and Giorgio Spanu, co-founders of Magazzino Italian Art, said, “This rare presentation of Yoichi Ohira’s work will reaffirm his position as one of the preeminent artists of his generation. As a Japanese-born artist in Venice, Ohira brought a fresh perspective to the heritage of glassmaking in Murano, breathing new life into a venerable artform.”

Nicola Lucchi, Director of Research and Education, Magazzino Italian Art, said, “Yoichi Ohira’s work was marked by a particular sensitivity to the history of glassmaking in Murano. Of particular interest in this exhibition are studies on paper that Ohira shared with master glassmakers, illustrating the characteristics he sought to achieve in his work. These documents of thought and invention provide a rare opportunity to delve into the artistic process at the heart of Murano glassmaking.”

Adam Sheffer, Director of Magazzino Italian Art, said, “Yoichi Ohira: Japan in Murano is a testament to the broad scope of Magazzino Italian Art as the only institution in the United States dedicated to the art and culture of post-war Italy. On view concurrently with Piero Manzoni: Total Space, this presentation brings to our audiences a wide perspective on the rich history of this era and its artists.”

Photograph by Marco Anelli/Tommaso Sacconi © @marco_anelli_studio @tommasosacconi
Photograph by Marco Anelli/Tommaso Sacconi © @marco_anelli_studio @tommasosacconi
Photograph by Marco Anelli/Tommaso Sacconi © @marco_anelli_studio @tommasosacconi
Photograph by Marco Anelli/Tommaso Sacconi © @marco_anelli_studio @tommasosacconi
Photograph by Marco Anelli/Tommaso Sacconi © @marco_anelli_studio @tommasosacconi

Title image: Photo by William Mulvihill. Courtesy Magazzino Italian Art.

Hope and Reverence: Cristina Mittermeier and Paul Nicklen, September 15-September 28, 2025 at C. Parker Gallery, New York

“Cristina Mittermeier and Paul Nicklen are internationally celebrated visual storytellers. These fine art photographers and conservation champions have created some of the world’s most iconic images. Both artists are recognized for the power of their images, inspiring global change via their 12 million followers worldwide,” says Tiffany Benincasa, the Proprietor of C. Parker Gallery and Curator of the exhibition.

“The gallery show features more than 40 works. Several will be exhibited for the first time, including new works from their most recent expedition to Africa. Mittermeier has been invited to speak at the World Economic Forum (WEF) Cultural Roundtable event during Climate Week NYC ‒ following her presentation earlier this year in Davos for the WEF’s flagship annual gathering. While in New York this month, the artists have been invited to be part of the Atmos Blue Renaissance event at The Frick Collection, on solutions for a living ocean. That same evening, the artists will represent their SeaLegacy.org foundation at President Emmanuel Macron’s event to announce major new developments on the High Seas Treaty’s mission to establish marine protected areas worldwide.” — C. Parker Gallery 

Wild Flowers in My Hair, by Cristina Mittermeier (2023). Suri people, Omo Valley, Ethiopia. Courtesy of C. Parker Gallery. 
Flight at Dawn, by Cristina Mittermeier (2018) Adams River, British Columbia, Canada. Courtesy of C. Parker Gallery. 
Big Eyes, by Cristina Mittermeier (2023) French Polynesia. Courtesy of C. Parker Gallery. 
 ‘Fire and Ice’ Tabular II, by Paul Nicklen (2022) Antarctic. Courtesy of C. Parker Gallery.
Legend, by Paul Nicklen (2025) Kenya. Courtesy of C. Parker Gallery.
Master of the Mara, by Paul Nicklen (2017) Kenya. Courtesy of C. Parker Gallery.

“Our work has always been about connecting people to the beauty — and fragility — of the natural world, and there is no better moment to ignite that conversation than now,” says Paul Nicklen. “We are grateful to C. Parker Gallery for once again giving us the space to bring art and advocacy together in such a meaningful way.” 

Hope and Reverence are, at their heart, a celebration of the natural world. This exhibition is an invitation to pause, to feel, and to see the planet with fresh eyes,” says Cristina Mittermeier. “Through art, we can remind ourselves of all that is still beautiful and worth protecting. I look forward to sharing that experience with New York during Climate Week,” adds Mittermeier.

Man Ray: When Objects Dream at The Met Fifth Avenue, September 14, 2025–February 1, 2026

Man Ray: When Objects Dream at The Metropolitan Museum of Art is the first major exhibition to examine the media-crossing, radical experimentation of American artist Man Ray (1890–1976) through one of his most significant bodies of work, the rayograph. Man Ray coined the term rayograph to name his version of the 19th-century technique of making photographs without a camera. He created them by placing objects on or near a sheet of light-sensitive paper, which he then exposed to light and developed. These photograms—as they are also called—appear as reversed silhouettes, or negative versions, of their subjects. They often feature recognizable items that become wonderfully mysterious in the artist’s hands. Their transformative nature led the Dada poet Tristan Tzara to describe rayographs as capturing the moments ‘when objects dream.’ While Man Ray acknowledged the photographic origins of his new works, he did not think of them as strictly bound by medium. Taking Man Ray’s lead, this presentation will be the first—more than a century since he introduced the rayograph—to situate this signature accomplishment in relation to his larger artistic output.” — The Metropolitan Museum of Art

“Before my eyes an image began to form, not quite a simple silhouette of the objects as in a straight photograph, but distorted and refracted … In the morning I examined the results, pinning a couple of the Rayographs—as I decided to call them—on the wall. They looked startlingly new and mysterious.” — Man Ray

Installation views of Man Ray: When Objects Dream, on view September 14, 2025–February 1, 2026 at The Metropolitan Museum of Art. Photos by Anna- Marie Kellen, Courtesy of The Met.

As one of the most fascinating and multi-faceted artists in the avant-garde movements of the early 20th century, Man Ray challenged traditional narratives of modernism through his daring experimentation with diverse artistic mediums,” said Max Hollein, The Met’s Marina Kellen French Director and Chief Executive Officer. “Anchored by Man Ray’s innovative and mesmerizing rayographs along with new research and discoveries, this exhibition invites visitors to explore his ground-breaking manipulation of objects, light, and media, which profoundly reframed his artistic practice and impacted countless other artists.”

Title image:  Man Ray (American, 1890–1976). Rayograph 1922. Gelatin silver print. 9 1/2 × 7 in. (24.1 × 17.8 cm). The Metropolitan Museum of Art, New York, Bluff Collection, Promised Gift of John A. Pritzker. Photo by Ben Blackwell © Man Ray 2015 Trust / Artists Rights Society (ARS), NY / ADAGP, Paris 2025. Image courtesy The Metropolitan Museum of Art.

Installations by Claes Oldenburg and Alex Da Corte at Fondazione Prada, September 18, 2025 

“Fondazione Prada will present Claes Oldenburg’s Mouse Museum (1965-1977) and Alex Da Corte’s Mouse Museum (Van Gogh Ear) (2022) to the public from 18 September 2025 (Press Preview on 17 September), on the eighth floor of the Torre, within its Milan venue, as part of the exhibition project ‘Atlas.’ For the first time, the audience will have the opportunity to experience these two installations, strictly connected visually and conceptually, in the same space. Viewing the two ‘Mouse Museums’ together offers a chance to reflect on the importance of both collecting and museum displays, artmaking and the self, while marveling at mass production, thus confronting different approaches to consumer culture. 

Through solo presentations or unexpected comparisons between works created by international artists between 1967 and 2022, ‘Atlas’ embodies a possible mapping of the ideas and visions that have contributed to the development of Fondazione Prada’s activities from 1993 to the present day. The project was conceived to evolve, one floor at a time, as part of an ongoing process, yet ready to incorporate new contributions from other artists or institutions. Its dynamic and evolving nature reflects Fondazione Prada’s desire to actively investigate how an exhibition space can be programmed and the role of a permanent project in a campus dedicated to contemporary culture.” — Fondazione Prada

Claes Oldenburg. Mouse Museum, 1965 – 1977. Wood, corrugated aluminum, 385 objects in display cases, acrylic glass, sound. 263 x 960 x 1007 cm, Inv.Nr. ÖL-Stg 258/1. Photo © mumok – Museum moderner Kunst Stiftung Ludwig Wien, On loan from the Austrian Ludwig Foundation
Claes Oldenburg. Mouse Museum, 1965 – 1977. Wood, corrugated aluminum, 385 objects in display cases, acrylic glass, sound. 263 x 960 x 1007 cm, Inv.Nr. ÖL-Stg 258/1. Photo © mumok – Museum moderner Kunst Stiftung Ludwig Wien, On loan from the Austrian Ludwig Foundation
Alex Da Corte. Mouse Museum (Van Gogh Ear), 2022. Wood, corrugated aluminum, and Plexiglas, display case with 121 objects. Photo: Malle Madsen. Courtesy Alex Da Corte studio.
Alex Da Corte. Mouse Museum (Van Gogh Ear), 2022. Wood, corrugated aluminum, and Plexiglas, display case with 121 objects. Photo: Malle Madsen. Courtesy Alex Da Corte studio.

Title image:  Torre – Fondazione Prada, Milan. Photo: t-spacestudio 

Images courtesy Fondazione Prada. 

The Frick Collection presents Flora Yukhnovich’s Four Seasons, September 3, 2025, through March 9, 2026

“The Frick Collection is pleased to present a new site-specific installation by artist Flora Yukhnovich (b. United Kingdom, 1990), in dialogue with François Boucher’s series The Four Seasons, from the museum’s permanent collection. Her mural covers the walls of the Frick’s Cabinet Gallery, a reimagined space dedicated to the presentation of small-scale displays and contemporary interventions. Yukhnovich responds to Boucher’s work in her characteristic painting style, a blend of representation and abstraction which draws from art historical traditions while boldly reinterpreting them. Her immersive, energetic works—inspired by the French Rococo, Italian Baroque, and Abstract Expressionist movements—are both modern and timeless, reflecting a rigorous engagement with the legacies of Western painting.” — The Frick Collection

“Flora’s clear admiration for the work of Boucher—an artist who is well represented in our collection—makes her a natural fit for this project. We are excited to have her fill the walls of our new Cabinet Gallery, which was previously home to the Boucher Room, recently reinstalled on the museum’s second floor,” stated Xavier F. Salomon, the Frick’s Deputy Director and Peter Jay Sharp Chief Curator, who initiated the collaboration.

Commented Yukhnovich, “Painting this mural for the Frick has felt like stepping through one of Boucher’s portals into a world that’s both imagined and eerily familiar. I wanted to create a continuous landscape that blurs the boundaries between past and present—a space where ornamentation, fantasy, and reality collide. It’s been thrilling to explore how the language of the Rococo can speak so powerfully to our own curated, hyper-visual world.”

Installation view of Flora Yukhnovich’s Four Seasons in The Frick Collection’s Cabinet Gallery, showing Spring and Summer. Photo: Joseph Coscia Jr. Courtesy The Frick Collection.
Installation view of Flora Yukhnovich’s Four Seasons in The Frick Collection’s Cabinet Gallery, showing Autumn and Winter. Photo: Joseph Coscia Jr. Courtesy The Frick Collection.
Flora Yukhnovich (b. England, 1990). Four Seasons: Summer, 2025. Oil on mural cloth. 103.94 × 239.37 in. (264 × 607.5 cm) © Flora Yukhnovich. Courtesy the artist, Hauser & Wirth, and Victoria Miro. Photo: Joseph Coscia Jr. Courtesy The Frick Collection.
Flora Yukhnovich (b. England, 1990). Four Seasons: Winter, 2025. Oil on mural cloth. 100 × 96.14 in. (254 × 244.2 cm) © Flora Yukhnovich. Courtesy the artist, Hauser & Wirth, and Victoria Miro. Photo: Joseph Coscia Jr. Courtesy The Frick Collection.
François Boucher’s Four Seasons installed in the West Vestibule, The Frick Collection, New York. Photo: Joseph Coscia Jr. Courtesy The Frick Collection.

Title image: Flora Yukhnovich (b. England, 1990). Four Seasons: Summer (detail), 2025. Oil on mural cloth. 103.94 × 239.37 in. (264 × 607.5 cm) © Flora Yukhnovich. Courtesy the artist, Hauser & Wirth, and Victoria Miro. Photo: Joseph Coscia Jr. Courtesy The Frick Collection.

Hong Kong Ballet: NYC Premiere of The Butterfly Lovers at the David H. Koch Theater at Lincoln Center, August 22-24, 2025

“An eternal love that defies all expectations. Reimagined by an international team of creative minds together with Hong Kong Ballet’s Choreographer-in-Residence HU Song Wei Ricky and MAI Jingwen, The Butterfly Lovers is a legendary Chinese folktale about humble scholar Liang Shanbo and aristocratic heiress Zhu Yingtai, who disguises herself as a boy in order to study at a prestigious academy. From innocently meeting as students and forging a strong, immediate bond to dangerously rebelling against centuries-old forces that threaten to keep them apart, the lovers face unexpected challenges at every turn, as secrets are revealed and a shocking family betrayal ultimately seals their fate.

With a sweeping original score by acclaimed Chinese composer TIAN Mi with New York City Ballet Orchestra under the baton of LIO Kuokman, this powerful tale of forbidden love and filial duty features Academy Award winner Tim YIP’s visually stunning sets and costumes that bring to life a world with traditional and modern elements. Transcendent and uplifting, The Butterfly Lovers is a glorious fusion of inspiring dance, contemporary Chinese aesthetics and eternal hope.” — Lincoln Center for the Performing Arts

Dancers (from left) Ma Renjie, Xuan Cheng. Honorary Photographer: Tony Luk. Courtesy of Hong Kong Ballet.
Dancer (middle) Xuan Cheng. Honorary Photographer: Tony Luk. Courtesy of Hong Kong Ballet
Dancers (Top, from left). Xuan Cheng, Ma Renjie. Honorary Photographer: Tony Luk. Courtesy of Hong Kong Ballet
The Butterfly Lovers. Dancers (from left) Yonen Takano, Zhang Xuening; Creative Design Army; Photography. Dean Alexander; Courtesy of Hong Kong Ballet
Hong Kong Ballet Dancers. Honorary Photographer: Tony Luk. Courtesy of Hong Kong Ballet
Dancers (from top) Xuan Cheng, Ma Renjie. Photography: Conrad Dy-Liacco. Courtesy of Hong Kong Ballet

This production has won SIX major awards at the 26th Hong Kong Dance Awards in 2025 – Outstanding Choreography, Outstanding Large Venue Production, Outstanding Performance by a Female Dancer (CHENG Xuan as Zhu Yingtai), Outstanding Ensemble Performance, Outstanding Set and Costume Design (Tim YIP) and Outstanding Music Composition (TIAN Mi).

Title image: The Butterfly Lovers. Dancer: Zhang Xuening. Creative Design Army. Photography: Dean Alexander. Courtesy of Hong Kong Ballet.

Open Call: Portals at The Shed, through August 24, 2025

“Twelve early-career, NYC-based artists and collectives present new works in Open Call: Portals, a free group exhibition in The Shed’s Level 2 Gallery and on the outdoor Plaza from June 27 to August 24.  Open Call: Portals features new works ranging from painting and film to sculpture and performance by Zain Alam, AYDO, Mel Corchado, Marwa Eltahir, Patricia Encarnación, Laurena Finéus, Lily Honglei, Tyson Houseman, Jarrett Key, Chelsea Odufu, Victor ‘Marka27’ Quiñonez, and Yelaine Rodriguez and Luis Vasquez La Roche, each exploring forces shaping our world, including colonialism, migration, and environmental crisis.

In this group exhibition, the artists explore personal stories and ancestral global history to open portals for passage, transformation, and resistance, forging profound connections between the past and present, memory and material, and displacement and belonging. They search for healing out of historical trauma, investigate the ties between political borders and identity, and embrace the enduring power of generational spirituality in our everyday lives.” — The Shed 

Zain Alam. Meter & Light: Night. A three-channel audiovisual installation enacting the interlocking rhythms of time in Muslim life after sunset. Photo: Adam Reich.
AYDO. Border Ecologies. A video and ceramic installation exploring on-site documentation of the Korean Demilitarized Zone and the United States–Mexico borderland through sociopolitical, cultural, and environmental perspectives. Photo: Adam Reich.
Mel Corchado. $TICKY $IN$. A collection of sugar garments exploring sugar’s history and its ties to identity, fashion, and the exploitation of land and labor. Photo: Adam Reich.
Marwa Eltahir. 99 Names: My Liberation Is Tied to Yours. An immersive, audiovisual performance examining themes of loss, grief, and connection using imagery from the Afro-Arab diaspora. Photo: Adam Reich.
Patricia Encarnación. Tropical Limerence. An installation of video, performance, and ceramics that examines how love, exotification, and power imbalances influence relationships between the Global majority and the Global North. Photo: Adam Reich.
Laurena Finéus. Together, we could have made mountains. A collaborative textile and painting installation showcasing Brooklyn’s Haitian migrant stories and exploring dreams, sacrifices, misconceptions, and collective scars. Photo. Adam Reich.
Lily Honglei. KITES: Poems by an Immigrant. A painting series inspired by traditional Chinese kites that depicts Asian immigration stories reflecting the artist’s family saga and community life. Photo: Adam Reich.
Tyson Houseman. The Six Seasons. A live, operatic video performance and installation featuring soundscapes and lyrics sung in nēhiyawēwin (Plains Cree). Photo: Adam Reich.
Jarrett Key. Hair Painting No. 40. A live performance in Key’s “Hair Paintings” series, in which the artist uses their hair to create paintings honoring their grandmother, Ruth Mae Giles. Photo: Adam Reich.
Chelsea Odufu. Echoes of Gold. A video installation foregrounding dance and movement to uncover the haunting legacy of the gold trade in Côte d’Ivoire. Photo: Adam Reich.
Victor “Marka27” Quiñonez. Elevar La Cultura NYC. An immersive sculptural installation of a large Mayan pyramid, composed of ice coolers, textiles, and spiritual objects, activated by a mural and a projection, honoring the beauty and resilience of immigrant street vendors. Photo: Adam Reich.
Yelaine Rodriguez and Luis Vasquez La Roche. Residence Time | The Sea Is History. A mixed-media sculptural Corcinstallation that reimagines the transatlantic slave trade’s Door of No Return in Ghana as an archaeological ruin. Photo: Adam Reich

“Beyond the theme of this exhibition, we’re thinking about portals as invitations,” said Darren Biggart, Director of Civic Programs. “We hope that audiences find many entry points to engage with new ideas and connect with new communities. These 12 multivalent works provide diverse and unique openings to examine complex ideas and envision a better future.”

“These works by artists living and, or working in New York City remind us that identity, memory, and belonging are shaped not in isolation but in the unpredictable interstices of history and the present,” said Dejá Belardo, Assistant Curator of Visual Arts and Civic Programs. “In doing so, the exhibition Open Call: Portals subverts the typical understanding of its title. Instead of spaces meant solely for moving from one point to another, portals in this exhibition open a third space where we might linger, inhabiting the forgotten and the imagined.”

Title image: Installation view of Open Call:Portals. Photo: Adam Reich.

Images courtesy The Shed.

BAAND Together Dance Festival at David Koch Theatre, Lincoln Center for The Performing Arts, 2025

“Five of NYC’s most iconic dance companies—Ballet Hispánico, Alvin Ailey American Dance Theater, American Ballet Theatre, New York City Ballet, and Dance Theatre of Harlem—reunited on one stage to celebrate the fifth anniversary of the BAAND Together Dance Festival, sharing the spotlight and a stage for five performances from July 29-August 2 as part of Lincoln Center’s Summer for the City. The Festival began when the performing arts were coming back after the height of the pandemic in 2021 as a new form of collaboration in celebration of the return to live performance.” — Lincoln Center

BAAND Together began as a gesture of hope during a time of crisis. What started as a response to the challenges of COVID has grown into a celebration of what makes New York extraordinary—its creativity, its diversity, and its spirit. These performances remind us that the arts are not just entertainment; they are a vital force that brings people together and lifts us all.” — BAAND Artistic Director

Dance Theatre of Harlem – Nyman String Quartet No. 2 by Robert Garland.

Company Artists: Ingrid Silva, Alexandra Hutchinson and Lindsey Donnell. Photo © Rosalie O’Connor.

New York City Ballet – After the Rain (Pas de Deux) by Christopher Wheeldon.

Company Artists: Miriam Miller and Alec Knight. Photo © Rosalie O’Connor.

Alvin Ailey American Dance Theater Many Angels by Lar Lubovitch.

Company Artists: Jacquelin Harris, Jesse Obremski (below Jacquelin), Yannick Lebrun (above Jacquelin), Isaiah Day, Ashley Kaylynn Green. Photo © Rosalie O’Connor.

American Ballet Theatre – Midnight Pas de Deux by Susan Jaffe.

Company Artists: Michael de la Nuez and Sierra Armstrong. Photo © Rosalie O’Connor.

Ballet Hispánico – House of Mad’moiselle by Annabelle Lopez Ochoa

Company Artists: Amanda Ostuni, Olivia Winston, Amanda del Valle, Adam Dario Morales, Andrea Mish, Francesca Levita. Photo © Rosalie O’Connor.

Images courtesy Lincoln Center for The Performing Arts.

Open Studio: Six Decades of Works by Murray Hochman, Berkshires, through September 14, 2025

While Hochman was noticed by key gallerists and collectors in the 1960s, he has worked mostly in obscurity. Recent rediscoveries of dozens of older paintings are providing a more complete picture of Hochman’s vibrant 60-year career. For the first time selected paintings from Murray Hochman’s entire body of work will be on display in one place.

From the downtown NYC art scene of the early sixties through the present, Murray has painted consistently, immersed in and influenced by cultural trends, the demands of his materials and an abiding interest in experimentation. Over the last six decades he has explored the possibilities of light, color, geometry and gesture. From early investigations into Op Art to recent assemblages and free-standing sculptures made of discarded plastic, his multiple series reveal his deep engagement in creating and are noteworthy for the presence they evoke.

“My work has always been process-oriented, and I let materials, and chance, largely dictate the direction. Still, I see themes that occur and reoccur over the decades, in various transformations.”  —  Murray Hochman

The red barn, with its iconic spiral window, is Murray Hochman’s studio. It is located in a Berkshires (MA) village, established in 1739 – a self-described “hinterland settlement.” The brown barn was used for drying tobacco.
Photograph by Michael Lavin Flower.
A series of works on paper from 2008 displayed outside the tobacco barn. Photograph by Michael Lavin Flower.
In cleaning up the barn, Hochman rediscovered dozens of earlier paintings, some dating back to the 1960s, which are now on display in the studio. Photograph by Michael Lavin Flower.
The colorful paintings on the right are part of a series called Caliente, produced in 1980. The large black and white painting is from 1995; the black and white drawing is from 2004-2006. Photograph by Michael Lavin Flower.
Works on canvas and paper dating from 1980 to 2013. Photograph by Michael Lavin Flower.
The three smaller canvases are Hochman’s most recent works. The large painting on the far right (8 x 6.5 ft) is from a 2006 series called Chrome Geometries. Photograph by Michael Lavin Flower.
In 2020, Hochman began working with discarded plastic collected from the local dump, turning it into free-standing sculptures and wall reliefs. Photograph by Michael Lavin Flower.
Murray Hochman, now 90, in front of his largest painting, a 10 x 8 ft work on canvas from 2004-2005, called Polychrome 2. Photograph by Michael Lavin Flower.

Title image: Untitled, 2024, Paint chips and spray paint on aluminum panel, 4 x 4 ft. Photograph by Michael Lavin Flower. 

PLEASE NOTE: The studio is available for viewing by appointment only until September 14, 2025. Contact Dan Schwartz at: danschwar@gmail.com

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