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DTSTART;VALUE=DATE:20231208
DTEND;VALUE=DATE:20261207
DTSTAMP:20260525T033647
CREATED:20240522T193731Z
LAST-MODIFIED:20240522T193731Z
UID:108575-1701993600-1796601599@artinamericaguide.com
SUMMARY:Isaac Julien: Lessons of the Hour — Frederick Douglass
DESCRIPTION:Sir Isaac Julien’s moving image installation Lessons of the Hour (2019) interweaves period reenactments across five screens to create a vivid picture of nineteenth-century activist\, writer\, orator\, and philosopher Frederick Douglass. Through critical research\, fictional reconstruction\, and a marriage of poetic image and sound\, Julien asserts Douglass’ enduring lessons of justice\, abolition\, and freedom that remain just as relevant today. \nLessons of the Hour features passages from Douglass’ key speeches\, including the titular “Lessons of the Hour\,” “What to the Slave Is the Fourth of July?” and “Lecture on Pictures.” \nJulien weaves together reenacted scenes from Douglass’ life and lectures\, filming at his historic home in Washington\, DC\, and a restaged studio of famed Black photographer J.P. Ball (1825–1904) as he makes a portrait of Douglass. Images of contemporary Baltimore—the city where Douglass was enslaved and escaped from bondage in 1838—including footage of fireworks and protests in 2015 following the death of Freddie Gray\, Jr. while in police custody\, are interspersed as the struggle to make good on America’s promise of equality continues. \nLessons of the Hour was jointly acquired by SAAM and the National Portrait Gallery in 2023. The 28-minute work debuted for Washington audiences December 8\, 2023\, and remains on public view through the 250th anniversary of the founding of the United States in 2026. \n  Save  
URL:https://artinamericaguide.com/event/isaac-julien-lessons-of-the-hour-frederick-douglass/
LOCATION:Smithsonian American Art Museum\, 750 9th St. N.W.\, Washington\, DC\, 20001\, United States
CATEGORIES:Exhibition
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ORGANIZER;CN="Smithsonian American Art Museum":MAILTO:americanartpressoffice@si.edu
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20240726T080000
DTEND;TZID=America/New_York:20280726T170000
DTSTAMP:20260525T033647
CREATED:20240703T180957Z
LAST-MODIFIED:20240703T180957Z
UID:109170-1721980800-1848243600@artinamericaguide.com
SUMMARY:Glenn Kaino: Bridge
DESCRIPTION:Glenn Kaino’s powerful aerial sculpture Bridge is comprised of 200 golden arms hanging from the ceiling of SAAM’s Luce Foundation Center. Each is a casting of the outstretched right arm of Tommie Smith\, the American winner of the men’s 200-meter race at the 1968 Olympic Games in Mexico City. During the medal ceremony\, Smith bowed his head and raised his black-gloved fist in a symbolic act of protest. Coming at a moment of turmoil in the United States\, where public unrest flared over the war in Vietnam\, racial discrimination and inequality\, and the assassinations of Martin Luther King Jr. and Robert F. Kennedy\, his gesture was an assertion of Black solidarity in the fight for human rights. Echoed by the American bronze medalist John Carlos\, it inspired social causes around the world and irrevocably changed Smith’s own life. \n  Save  
URL:https://artinamericaguide.com/event/glenn-kaino-bridge/
LOCATION:Smithsonian American Art Museum\, 750 9th St. N.W.\, Washington\, DC\, 20001\, United States
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2024/07/bridge.jpeg
ORGANIZER;CN="Smithsonian American Art Museum":MAILTO:americanartpressoffice@si.edu
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20250307T110000
DTEND;TZID=America/New_York:20271231T180000
DTSTAMP:20260525T033647
CREATED:20250224T180514Z
LAST-MODIFIED:20250224T180514Z
UID:112255-1741345200-1830276000@artinamericaguide.com
SUMMARY:Tending and Dreaming: Stories from the Collection
DESCRIPTION:Tending and Dreaming: Stories from the Collection launches the first dedicated collection galleries at the Museum. Providing unprecedented access to core works in San José’s only publicly held art collection\, SJMA’s collection galleries position artists as storytellers to imagine the Museum as a space where culture and meaning are actively made and always in process.  \nOrganized into thematic groupings\, Tending and Dreaming offers poetic starting points for engaging with ideas woven through the works of almost fifty artists from the Bay Area and beyond\, including  Ruth Asawa\, Martha Atienza\, Shilpa Gupta\, Yolanda López\, and Elias Sime\, among many others.  \n  Save  
URL:https://artinamericaguide.com/event/tending-and-dreaming-stories-from-the-collection/
LOCATION:San Jose Museum of Art\, 110 S. Market Street\, San Jose\, CA\, 95113\, United States
CATEGORIES:Exhibition
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20251017T110000
DTEND;TZID=America/New_York:20260607T170000
DTSTAMP:20260525T033647
CREATED:20250930T190523Z
LAST-MODIFIED:20250930T190523Z
UID:114809-1760698800-1780851600@artinamericaguide.com
SUMMARY:ektor garcia: loose ends
DESCRIPTION:In a materials-based practice that draws on Mexican handcraft traditions and a DIY sensibility\, ektor garcia subtly challenges hierarchies ​of​ gendered and racialized labor while undermining notions of static identity. ​He draws from a​ ​unique ​vocabulary of materials—copper wire\, cast metals\, glass\, clay\, horsehair\, seashells\, and leather—​which he​ w​ea​ve​s​\, knot​s​\, and crochet​s​​ into objects​ at once​ vulnerable and resistant\, soft and hard. ​He begins e​ach piece with a single gesture or stitch\, ​which he ​repeat​s​ over countless hours to ​create​ long chains\, textiles\, nets\, and altar-like accumulations. Such works are shaped by the artist’s responsiveness to materials\, environmental and social context​s​\, and the intuitive inattention that develops with manual repetition. As sculptures​\,​ they ​are​ quiet but restless​—​psychologically and politically charged in their ​misleading ​delicacy and susceptibility to transformation. \nRecords of time and labor\, garcia’s creations are only ever paused in their growth\, never complete. The artist is ​also ​known to undo previously exhibited objects\, reshaping and gathering them into ​new​ constellations. ​Through​​ ​his​ ​practice\, ​he​ opens up​ new​ possibilities for making and knowing that are constantly engaged in a process of unraveling and reworking\, learning and quiet change. \nIn SJMA’s Davies ​G​allery\, garcia’s installation will incorporate existing and new sculptures repurposed into a single\, new installation. Originally from California​\, the artist is​ currently living nomadically​;​ this exhibition marks his homecoming to the ​B​ay ​A​rea. \n  Save  
URL:https://artinamericaguide.com/event/ektor-garcia-loose-ends/
LOCATION:San Jose Museum of Art\, 110 S. Market Street\, San Jose\, CA\, 95113\, United States
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20251025T110000
DTEND;TZID=America/Los_Angeles:20260920T170000
DTSTAMP:20260525T033647
CREATED:20251002T210138Z
LAST-MODIFIED:20251002T210138Z
UID:114919-1761390000-1789923600@artinamericaguide.com
SUMMARY:Frye Salon + Jonathan Lasker
DESCRIPTION:Frye Salon is both a fixture and a living experiment—an ever-evolving installation that invites fresh perspectives on the museum’s founding-era collection. The gallery features more than one hundred paintings in a floor-to-ceiling presentation mode known as “salon style\,” recalling the striking displays once found in Charles and Emma Frye’s First Hill home. In Frye Salon + Jonathan Lasker\, a selection of large canvases by the contemporary American painter—subject of the concurrent exhibition Drawings and Studies—intermingle with the featured collection works. Known for his bold visual language of biomorphic forms and distinctive use of line\, Lasker uses the familiar tools of representational painting—figure and ground\, space and perspective—to destabilize the dividing line with abstraction. Situated among the works of Frye Salon\, his vibrant\, evocatively titled compositions open unexpected conversations across time\, style\, and painterly intent. \n  Save  
URL:https://artinamericaguide.com/event/frye-salon-jonathan-lasker/
LOCATION:Frye Art Museum\, 704 Terry Ave\, Seattle\, WA\, 98104\, United States
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2025/10/Frye-20240415-079_small.jpg
ORGANIZER;CN="Frye Art Museum":MAILTO:info@fryemuseum.org
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20251025T110000
DTEND;TZID=America/Los_Angeles:20260927T170000
DTSTAMP:20260525T033647
CREATED:20250930T190545Z
LAST-MODIFIED:20250930T190545Z
UID:114831-1761390000-1790528400@artinamericaguide.com
SUMMARY:Jonathan Lasker: Drawings and Studies
DESCRIPTION:For over five decades\, American artist Jonathan Lasker has approached the elements of painting like a puzzle—taking it apart\, turning the pieces\, and putting it back together in new ways. Drawings and Studies offers a close look at how his ideas take shape\, featuring works on paper that Lasker created from the 1980s to the 2020s\, tracking the refinement of his distinctive visual language. At once analytical and expressive\, these compositions play with the visual cues of figuration\, teasing allusions to portraits\, landscapes\, or still lifes through biomorphic forms and carefully choreographed marks. In Lasker’s hands\, abstraction exists in spirited tension with representation\, and the act of seeing becomes part of the story. \n  Save  
URL:https://artinamericaguide.com/event/jonathan-lasker-drawings-and-studies/
LOCATION:Frye Art Museum\, 704 Terry Ave\, Seattle\, WA\, 98104\, United States
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2025/09/Study-for-Fake-Freak-scaled.jpg
ORGANIZER;CN="Frye Art Museum":MAILTO:info@fryemuseum.org
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20260202
DTEND;VALUE=DATE:20270203
DTSTAMP:20260525T033647
CREATED:20260202T204903Z
LAST-MODIFIED:20260202T204903Z
UID:115743-1769990400-1801612799@artinamericaguide.com
SUMMARY:Inner Vision: Judy Ledgerwood's Monotypes
DESCRIPTION:In 2020 Judy Ledgerwood produced a significant body of unique prints with Manneken Press. a project that continued over a period of months and resulted in more than thirty monotypes. \nUsing watercolor\, rather tan traditional printing inks\, the aqueous media flowed\, allowing the colors to pool\, run together\, settle and dry in unique patterns and textures\, emphasizing its physical materiality as a substance and producing results distinctly different from working with watercolor in an unmediated\, direct manner on paper. Ledgerwood’s signature quatrefoil shapes\, loose\, diagonal grids\, floral and yonic symbols\, references to quilts and the “feminine arts” and intense\, penetrating colors are found throughout the monotype series. \n  Save  
URL:https://artinamericaguide.com/event/inner-vision-judy-ledgerwoods-monotypes-2/
LOCATION:IFPDA Viewing Room
CATEGORIES:Virtual Events + Viewing Rooms
ORGANIZER;CN="Manneken Press":MAILTO:ink@mannekenpress.com
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20260202
DTEND;VALUE=DATE:20270203
DTSTAMP:20260525T033647
CREATED:20260202T204903Z
LAST-MODIFIED:20260202T204903Z
UID:115748-1769990400-1801612799@artinamericaguide.com
SUMMARY:Inner Vision: Judy Ledgerwood's Monotypes
DESCRIPTION:In 2020 Judy Ledgerwood produced a significant body of unique prints with Manneken Press. a project that continued over a period of months and resulted in more than thirty monotypes. \nUsing watercolor\, rather tan traditional printing inks\, the aqueous media flowed\, allowing the colors to pool\, run together\, settle and dry in unique patterns and textures\, emphasizing its physical materiality as a substance and producing results distinctly different from working with watercolor in an unmediated\, direct manner on paper. Ledgerwood’s signature quatrefoil shapes\, loose\, diagonal grids\, floral and yonic symbols\, references to quilts and the “feminine arts” and intense\, penetrating colors are found throughout the monotype series. \n  Save  
URL:https://artinamericaguide.com/event/inner-vision-judy-ledgerwoods-monotypes/
LOCATION:IFPDA Viewing Room
CATEGORIES:Virtual Events + Viewing Rooms
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2026/02/field_of_flowers_blue_black.jpg
ORGANIZER;CN="Manneken Press":MAILTO:ink@mannekenpress.com
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20260202
DTEND;VALUE=DATE:20270203
DTSTAMP:20260525T033647
CREATED:20260202T204903Z
LAST-MODIFIED:20260202T204903Z
UID:115756-1769990400-1801612799@artinamericaguide.com
SUMMARY:Sarah Smelser: Sandia
DESCRIPTION:Sarah Smelser’s “Sandia” images filter her experience of the desert environments of the American Southwest\, its particular qualities of light\, heat\, emptiness and expansive spaces of the landscape through an abstract sensibility. \n  Save  
URL:https://artinamericaguide.com/event/sarah-smelser-sandia/
LOCATION:NY
CATEGORIES:Virtual Events + Viewing Rooms
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2026/02/sandia_XXII_web.jpg
ORGANIZER;CN="Manneken Press":MAILTO:ink@mannekenpress.com
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20260202
DTEND;VALUE=DATE:20260602
DTSTAMP:20260525T033647
CREATED:20260202T204903Z
LAST-MODIFIED:20260310T180514Z
UID:115760-1769990400-1780358399@artinamericaguide.com
SUMMARY:Toward What Sun? Vol. I
DESCRIPTION:“Toward What Sun? Vol. I” is the first installment of a four-part online exhibition of prints by Philip Van Keuren featuring forty photogravures made between 2016 and 2026\, presented by Manneken Press.\n\n\nPhilip Van Keuren has been making photographs for many years\, guided by everyday observations that reveal the world as both sublimely beautiful and fundamentally unknowable. His images form a sustained meditation on time\, memory\, and place\, unfolding slowly across decades rather than moments.\n  Save  
URL:https://artinamericaguide.com/event/toward-what-sun-vol-i/
LOCATION:NY
CATEGORIES:Virtual Events + Viewing Rooms
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2026/02/Snowstorm_2016_cropped.jpg
ORGANIZER;CN="Manneken Press":MAILTO:ink@mannekenpress.com
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260202T080000
DTEND;TZID=America/New_York:20270202T170000
DTSTAMP:20260525T033647
CREATED:20260202T204903Z
LAST-MODIFIED:20260202T204903Z
UID:115752-1770019200-1801587600@artinamericaguide.com
SUMMARY:Array: A Woodcut Opus by Rupert Deese
DESCRIPTION:“Array” are twenty circular woodcuts by Rupert Deese\, the series unfolded over seven years: Array 700 appeared in 2005\, followed by Array 350 and Array 500 in 2006\, with the project culminating in Array 1000 in 2012. Each print divides the circular field into a distinct tiling system. Beginning with nine equal radial divisions\, Deese further organizes the space through additional radial lines and inscribed circles\, producing intricate\, balanced configurations that are unique to each work. \nWhile firmly abstract\, the Array images maintain a subtle relationship to the landscapes and watersheds of California’s upper Merced and Tuolumne Rivers—regions central to the artist’s experience and to his larger practice. The suite can be understood as an extended meditation on these geographies\, translating their rhythms and structures into ordered\, contemplative visual systems. \n  Save  
URL:https://artinamericaguide.com/event/array-a-woodcut-opus-by-rupert-deese/
LOCATION:NY
CATEGORIES:Virtual Events + Viewing Rooms
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2026/02/array_pair.jpg
ORGANIZER;CN="Manneken Press":MAILTO:ink@mannekenpress.com
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20260219
DTEND;VALUE=DATE:20260629
DTSTAMP:20260525T033647
CREATED:20260105T215119Z
LAST-MODIFIED:20260105T215119Z
UID:115450-1771459200-1782691199@artinamericaguide.com
SUMMARY:Street Nihonga: The Art of Jimmy Tsutomu Mirikitani
DESCRIPTION:Street Nihonga: The Art of Jimmy Tsutomu Mirikitani explores the life and work of Jimmy Tsutomu Mirikitani (1920–2012)\, whose art blends traditional Japanese aesthetics with the rawness of street life in New York City. Born in Sacramento\, California\, in 1920 and raised in Hiroshima\, Japan\, Mirikitani lived a life shaped by displacement\, resilience\, collaboration\, and creativity across borders. Trained in Nihonga (“Japanese-style” painting) in prewar Japan\, he returned to the United States in 1940 and endured wartime incarceration at Tule Lake\, the loss of family and friends in Hiroshima to the atomic bombing\, and decades of statelessness and homelessness in postwar New York City. His art—spanning painting\, drawing\, collage\, and mixed media—became both a survival strategy and a way to transform memories of his transpacific journey and Japanese American experiences into shared testimony. With more than 160 artworks\, Street Nihonga brings together the largest assembly of Mirikitani’s works to date. Mirikitani’s art invites viewers to engage with his extraordinary life stories beyond national divides\, emphasizing artmaking’s power as a means of survival\, political expression\, and cross-cultural dialogue. \n  Save  
URL:https://artinamericaguide.com/event/street-nihonga-the-art-of-jimmy-tsutomu-mirikitani/
LOCATION:Spencer Museum of Art\, University of Kansas\, 1301 Mississippi St.\, Lawrence\, KS\, 66045\, United States
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2025/12/EL2026.002.jpg
ORGANIZER;CN="Spencer Museum of Art%2C University of Kansas":MAILTO:spencerart@ku.edu
GEO:38.9596803;-95.244588
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Spencer Museum of Art University of Kansas 1301 Mississippi St. Lawrence KS 66045 United States;X-APPLE-RADIUS=500;X-TITLE=1301 Mississippi St.:geo:-95.244588,38.9596803
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20260219
DTEND;VALUE=DATE:20260629
DTSTAMP:20260525T033647
CREATED:20260105T215119Z
LAST-MODIFIED:20260105T215119Z
UID:115457-1771459200-1782691199@artinamericaguide.com
SUMMARY:Brush\, Block\, and Blood: Three Generations of Yoshida Women Printmakers
DESCRIPTION:This exhibition traces over a century of innovation and artistic vision through the work of three generations of women printmakers from the celebrated Yoshida family: Fujio Yoshida (1887–1987)\, Chizuko Yoshida (1924–2017)\, and Ayomi Yoshida (born 1958). Accompanying Ayomi Yoshida’s commission for our Street Nihonga exhibition\, Brush\, Block\, and Blood offers an introduction to her practice through the vibrant legacy of Yoshida family printmaking. \n  Save  
URL:https://artinamericaguide.com/event/brush-block-and-blood-three-generations-of-yoshida-women-printmakers/
LOCATION:Spencer Museum of Art\, University of Kansas\, 1301 Mississippi St.\, Lawrence\, KS\, 66045\, United States
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2025/12/2008.0040.jpg
ORGANIZER;CN="Spencer Museum of Art%2C University of Kansas":MAILTO:spencerart@ku.edu
GEO:38.9596803;-95.244588
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Spencer Museum of Art University of Kansas 1301 Mississippi St. Lawrence KS 66045 United States;X-APPLE-RADIUS=500;X-TITLE=1301 Mississippi St.:geo:-95.244588,38.9596803
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260306T100000
DTEND;TZID=America/New_York:20260802T170000
DTSTAMP:20260525T033647
CREATED:20260120T154410Z
LAST-MODIFIED:20260120T154410Z
UID:115670-1772791200-1785690000@artinamericaguide.com
SUMMARY:Celtic Art Across the Ages
DESCRIPTION:Discover the many forms of Celtic creativity and their artistic legacies in this sweeping story that spans ancient to modern times. \nWhen you think of the word “Celtic\,” what do you picture? Perhaps intricate knotwork designs\, legendary warriors\, or mystical spirituality? Maybe even a certain NBA team? Celtic Art Across the Ages will introduce visitors to the worlds of the various peoples who were historically labeled “Celts”—through the objects they created\, the interactions they had across the European continent\, and the myths that shaped their legacy\, then as now. The exhibition stretches from 800 BCE through today\, showcasing the craftsmanship\, innovation\, cultural connections\, and multilayered reception that characterized Celtic art in Europe and beyond. \nThe first major exhibition on this topic to take place in the United States\, Celtic Art Across the Ages offers an unprecedented opportunity to explore masterful metalwork\, including exquisitely decorated weaponry\, jewelry\, and horse and chariot trappings of the first millennium BCE Iron Age and early medieval times\, all brought to light through archaeological discoveries of the last 200 years. See how imagery transformed under Roman rule\, and trace the revival of Celtic art and identities in the modern era. From shape-shifting ancient ornaments to the more well-known Celtic iconography of medieval Ireland and Scotland\, the objects in this exhibition reveal rich and complex artistic traditions that defy stereotypes of what constitutes “Celtic art.” \nCheck out the exhibition catalogue\, with essays from international experts considering the themes of the exhibition and providing a solid introduction to this often underappreciated area of art history. \n  Save  
URL:https://artinamericaguide.com/event/celtic-art-across-the-ages/
LOCATION:Harvard Art Museums\, 32 Quincy Street\, Cambridge\, MA\, 02138
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2026/01/Pony-cap.jpeg
ORGANIZER;CN="Harvard Art Museums":MAILTO:john_connolly@harvard.edu
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260410T110000
DTEND;TZID=America/New_York:20270110T170000
DTSTAMP:20260525T033647
CREATED:20250930T190522Z
LAST-MODIFIED:20250930T190522Z
UID:114813-1775818800-1799600400@artinamericaguide.com
SUMMARY:Motherboards
DESCRIPTION:Not simply users of technology\, women have played vital roles as inventors and makers across the history of technology. Yet their contributions aren’t always acknowledged in popular and official histories of technological innovation. Motherboards brings together artists whose work foregrounds the many ways that women have shaped the technology industry. \nMotherboards highlights the central role of women in technology in three primary ways: by tracing the links between computers and the traditionally feminine practice of weaving; by exploring the legacy of women “computers” in the early twentieth century; and by attending to the women whose hands have materialized the technologies we use every day. Featuring artists from California and beyond\, the exhibition maps an extensive network of women’s work in technology\, connecting Silicon Valley’s laboratories and garages to looms\, desks\, kitchens\, and assembly lines across the globe. \n  Save  
URL:https://artinamericaguide.com/event/motherboards/
LOCATION:San Jose Museum of Art\, 110 S. Market Street\, San Jose\, CA\, 95113\, United States
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20260415T110000
DTEND;TZID=America/Los_Angeles:20261011T170000
DTSTAMP:20260525T033647
CREATED:20260430T200215Z
LAST-MODIFIED:20260430T200215Z
UID:116353-1776250800-1791738000@artinamericaguide.com
SUMMARY:Boren Banner Series: Chloe King
DESCRIPTION:Chloe King’s vividly layered\, monumental compositions project a surreal vision of contemporary existence. For their Boren Banner—the artist’s first museum presentation in Seattle—King extends their ongoing inquiry into the politics of the dance floor\, exploring Queer nightlife as a site of both refuge and risk. Drawing on the dilapidated\, improvised\, and occasionally illicit spaces that shape “the scene\,” their work considers how the dance floor becomes a stage for radical joy and collective reinvention\, where bodies move\, histories revise\, and new worlds take shape under the pulse of the strobe. \n  Save  
URL:https://artinamericaguide.com/event/boren-banner-series-chloe-king/
LOCATION:Frye Art Museum\, 704 Terry Ave\, Seattle\, WA\, 98104\, United States
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ORGANIZER;CN="Frye Art Museum":MAILTO:info@fryemuseum.org
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260416T180000
DTEND;TZID=America/New_York:20260530T180000
DTSTAMP:20260525T033647
CREATED:20260325T165103Z
LAST-MODIFIED:20260325T165103Z
UID:116098-1776362400-1780164000@artinamericaguide.com
SUMMARY:Jinie Park | Twins
DESCRIPTION:Winston Wächter Fine Art\, New York is pleased to present\, Twins\, an exhibition featuring a new body of work by Jinie Park. In her debut solo exhibition with the gallery\, Park paints thinly layered\, translucent assemblages of linen\, muslin\, and hand-woven fiber to explore materiality and activated space.  \n  Save  
URL:https://artinamericaguide.com/event/jinie-park-twins/
LOCATION:Winston Wächter Fine Art\, 530 W 25th St\, New York\, New York\, 10001
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2026/03/Screenshot-2026-03-12-at-3.18.38-PM.jpg
ORGANIZER;CN="Winston Wachter Fine Art":MAILTO:nygallery@winstonwachter.com
GEO:40.7493621;-74.0047021
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Winston Wächter Fine Art 530 W 25th St New York New York 10001;X-APPLE-RADIUS=500;X-TITLE=530 W 25th St:geo:-74.0047021,40.7493621
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260416T180000
DTEND;TZID=America/New_York:20260530T180000
DTSTAMP:20260525T033647
CREATED:20260325T165355Z
LAST-MODIFIED:20260325T165355Z
UID:116102-1776362400-1780164000@artinamericaguide.com
SUMMARY:Stephanie Hirsch | Wherever You Go\, There You Are
DESCRIPTION:Winston Wächter Fine Art\, New York is pleased to present\, Wherever You Go\, There You Are\, a series of beaded works by Stephanie Hirsch exploring emotional patterns and the inevitability of self. In her newest series\, Hirsch’s work is a meditation on the patterns we carry\, the stories we tell ourselves\, and the excuses we make as the same lessons repeat. \n  Save  
URL:https://artinamericaguide.com/event/stephanie-hirsch-wherever-you-go-there-you-are/
LOCATION:Winston Wächter Fine Art\, 530 W 25th St\, New York\, New York\, 10001
CATEGORIES:Exhibition
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ORGANIZER;CN="Winston Wachter Fine Art":MAILTO:nygallery@winstonwachter.com
GEO:40.7493621;-74.0047021
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Winston Wächter Fine Art 530 W 25th St New York New York 10001;X-APPLE-RADIUS=500;X-TITLE=530 W 25th St:geo:-74.0047021,40.7493621
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260417T100000
DTEND;TZID=America/New_York:20260613T180000
DTSTAMP:20260525T033647
CREATED:20260325T165140Z
LAST-MODIFIED:20260325T165140Z
UID:116122-1776420000-1781373600@artinamericaguide.com
SUMMARY:Dalí: The Great Years\, 1929–1939
DESCRIPTION:Di Donna Galleries is pleased to present Dalí: The Great Years\, 1929–1939\, a major exhibition tracing the pivotal decade in which Dalí established both his mature artistic language and enduring public persona. It is the most significant presentation of Dalí’s work in New York since the Museum of Modern Art’s exhibition in 2008. \n  Save  
URL:https://artinamericaguide.com/event/dali-the-great-years-1929-1939/
LOCATION:Di Donna Galleries\, 744 Madison Avenue\, New York\, NY\, 10065\, United States
CATEGORIES:Exhibition
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ORGANIZER;CN="Di Donna Galleries":MAILTO:info@didonna.com
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260417T100000
DTEND;TZID=America/New_York:20260613T180000
DTSTAMP:20260525T033647
CREATED:20260325T165312Z
LAST-MODIFIED:20260325T165312Z
UID:116116-1776420000-1781373600@artinamericaguide.com
SUMMARY:Dalí: The Great Years\, 1929–1939
DESCRIPTION:Di Donna Galleries is pleased to present Dalí: The Great Years\, 1929–1939\, a major exhibition tracing the pivotal decade in which Dalí established both his mature artistic language and enduring public persona. It is the most significant presentation of Dalí’s work in New York since the Museum of Modern Art’s exhibition in 2008. The exhibition is on view from April 16 through June 13\, 2026 at Di Donna’s Madison Avenue gallery. \n  Save  
URL:https://artinamericaguide.com/event/dali-the-great-years-1929-1939-2/
LOCATION:NY
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2026/03/02-Dali-Venus-de-Milo-aux-Tiroirs-Venus-de-Milo-with-Drawers-scaled.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20260418
DTEND;VALUE=DATE:20260808
DTSTAMP:20260525T033647
CREATED:20260415T191117Z
LAST-MODIFIED:20260415T191117Z
UID:116255-1776470400-1786147199@artinamericaguide.com
SUMMARY:Benny Andrews: Migrants
DESCRIPTION:Michael Rosenfeld Gallery is pleased to present Benny Andrews: Migrants\, the gallery’s fourth solo exhibition celebrating the work of Benny Andrews (1930–2006). Created between 2004 and 2006\, The Migrant Series is the artist’s last body of work created before his death in November 2006. In the series\, Andrews traced three historical migration routes that connected to his own Black\, White\, and Cherokee ancestry: the Great Migration of the 20th century\, in which millions of Black Americans moved from the South to the North\, the 1930s Dust Bowl exodus from the Great Plains that was driven by environmental and economic hardship\, and the 19th century forced migration of Native Americans in what has become known as the Trail of Tears. By shedding light on human resilience amidst the injustices of history\, the series exemplifies Andrews’ humanist approach as an artist who recognized the power of history and sought to leverage the past to inform the future. \nLearn more \n  Save  
URL:https://artinamericaguide.com/event/benny-andrews-migrants/
LOCATION:Michael Rosenfeld Gallery\, 100 11th Ave\, New York\, NY\, New York\, United States
CATEGORIES:Exhibition
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ORGANIZER;CN="Michael Rosenfeld Gallery":MAILTO:info@michaelrosenfeld.com
GEO:40.7460874;-74.0076191
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Michael Rosenfeld Gallery 100 11th Ave New York NY New York United States;X-APPLE-RADIUS=500;X-TITLE=100 11th Ave:geo:-74.0076191,40.7460874
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20260423
DTEND;VALUE=DATE:20260531
DTSTAMP:20260525T033647
CREATED:20260417T194937Z
LAST-MODIFIED:20260417T194937Z
UID:116260-1776902400-1780185599@artinamericaguide.com
SUMMARY:Louisa Chase: The Eighties
DESCRIPTION:Berry Campbell is pleased to present Louisa Chase: The Eighties\, on view April 23 through May 30\, 2026. Marking the artist’s first exhibition with the gallery since announcing representation of her estate\, this exhibition features paintings and works on paper from the mid-1970s to the mid-1980s\, a pivotal and emotionally expressive period of Chase’s practice. This exhibition will be Chase’s largest and most comprehensive in New York City in over 25 years. \n  Save  
URL:https://artinamericaguide.com/event/louisa-chase-the-eighties/
LOCATION:Berry Campbell Gallery\, 524 W 26th Street\, New York\, NY\, 10001\, United States
CATEGORIES:Exhibition
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ORGANIZER;CN="Berry Campbell":MAILTO:em@berrycampbell.com
GEO:40.7488193;-74.0052789
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Berry Campbell Gallery 524 W 26th Street New York NY 10001 United States;X-APPLE-RADIUS=500;X-TITLE=524 W 26th Street:geo:-74.0052789,40.7488193
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20260430
DTEND;VALUE=DATE:20260608
DTSTAMP:20260525T033647
CREATED:20260417T194927Z
LAST-MODIFIED:20260417T195403Z
UID:116270-1777507200-1780876799@artinamericaguide.com
SUMMARY:José-Ricardo Presman
DESCRIPTION:Amos Eno Gallery is pleased to present A Mountain Overlooking a Home by the Lake – The Creation of Time from the State of Duration\, a solo exhibition by artist José-Ricardo Presman. Presman was among the founding artists who established Amos Eno Gallery in 1974\, making this exhibition both a continuation of a decades-long relationship and a reflection on the evolving concerns of his practice. \nIn this new body of work\, Presman explores the relationship between perception\, time\, and scale — drawing connections between the intimate spaces of human awareness and the vastness of the cosmos. The exhibition unfolds as a contemplative installation of canvas panels layered with diluted acrylic pigments that reveal themselves slowly\, shifting as viewers spend time with the surface. \nPresman’s paintings resist immediate readability. Instead\, subtle tonal variations and restrained color fields emerge gradually\, inviting viewers into an extended act of looking. The works operate less as static images than as perceptual environments — spaces where attention itself becomes part of the experience. \nThe exhibition’s title references philosophical ideas about time and duration\, particularly the notion that reality is in constant flux. Presman approaches each exhibition as an opportunity to begin again\, deliberately avoiding stylistic repetition in order to reflect this sense of continual transformation. The resulting works encourage viewers to move beyond habitual ways of seeing and engage the work through sustained attention and imagination. \nThe exhibition also includes a related video component and a forthcoming live musical performance by composer Damien Olsen Berdichevsky\, extending Presman’s investigation of rhythm\, perception\, and time across multiple sensory registers. \nOver five decades after helping to found Amos Eno\, Presman’s latest exhibition reflects both the continuity of his philosophical inquiry and its ongoing evolution. \nThe gallery will celebrate the exhibition with an opening reception on Friday\, May 1\, from 6 to 8 p.m. Works and installation images will be available to view on Artsy. \nAbout the Artist \nJosé-Ricardo Presman was born and raised in Buenos Aires\, Argentina\, and received his MFA from Pratt Institute in Brooklyn\, NY. He is one of the co-founders of the Amos Eno Gallery in 1974\, and has exhibited in numerous solo shows at Amos Eno Gallery in New York and in various group shows throughout the US and Canada. A complete list of exhibitions is available in his CV upon request. \nAbout Amos Eno Gallery \nAmos Eno Gallery has been a fixture in the New York art scene since 1974 when it opened in Soho. The nonprofit space  is open Thursdays through Sundays from noon to 6 p.m. and run by a community of professional artists from New York City and across the country\, along with a part-time director. ​ \nThe gallery is located at 191 Henry Street between Jefferson and Clinton Streets on the Lower East Side of Manhattan. It’s a 5 minute walk from the F Train’s East Broadway Station and a 10 minute walk from the J Train’s Delancey Street – Essex Street Station. \nAmos Eno Gallery’s programs are made possible by the New York State Council on the Arts with the support of the Office of the Governor and the New York State Legislature. \nAmos Eno Gallery is also funded in part thanks to the generosity of the Joseph Roberts Foundation. \n  Save  
URL:https://artinamericaguide.com/event/jose-ricardo-presman/
LOCATION:Amos Eno Gallery\, 191 Henry Street\, New York\, NY\, 10002\, United States
CATEGORIES:Exhibition
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ORGANIZER;CN="Amos Eno Gallery":MAILTO:amosenogallery@gmail.com
GEO:40.7057864;-73.9331373
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Amos Eno Gallery 191 Henry Street New York NY 10002 United States;X-APPLE-RADIUS=500;X-TITLE=191 Henry Street:geo:-73.9331373,40.7057864
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20260430
DTEND;VALUE=DATE:20260608
DTSTAMP:20260525T033647
CREATED:20260417T194927Z
LAST-MODIFIED:20260417T194927Z
UID:116274-1777507200-1780876799@artinamericaguide.com
SUMMARY:"In Translation" Group Show
DESCRIPTION:In Translation brings together five artists whose works examine how inherited systems — linguistic\, biological\, algorithmic\, political\, and ritual — shape identity and belonging. Across drawing\, painting\, sculpture\, and collage\, the exhibition asks how forms are received and remade: to be patterned by forces larger than the self\, and to respond by constructing new visual languages. \nCurated by gallery director Ellen Sturm Niz\, the exhibition traces a shared tension between origin and invention — between what is given and what is built in response. Each artist engages a distinct system of transformation\, from cultural displacement and personal syntax to painterly fracture\, algorithmic logic\, and political interference. Translation emerges here not as loss\, but as a generative act — a process of absorbing disturbance and reconstituting it as meaning. \nAt a moment when identity is increasingly mediated by technology\, migration\, and political division\, the question of how meaning is constructed — and who constructs it — feels newly urgent. In Translation responds by foregrounding artists who do not simply receive these systems\, but actively reshape them. \nReception: Friday\, May 1\, from 6 to 8 p.m. \nArtists & Works in the Exhibition \nZoë Elena Moldenhauer \nZoë Elena Moldenhauer is a New York–based artist who received her BFA from the Maryland Institute College of Art (2019) and an MA from New York University (2022). She is the founder of The Aerogramme Center for Arts and Culture\, an online platform supporting artists and writers\, and maintains a studio at Brooklyn Art Cluster. \nSince 2017\, Moldenhauer has developed a personal alphabet rooted in her experience as a Guatemalan transracial adoptee — a tool for constructing identity in the absence of inherited language or culture. The system continues to evolve\, incorporating Nahuatl\, pictorial languages from the Nazca lines in Peru\, and cave paintings from Serra da Capivara in Brazil. Using linoleum block printing on fabric\, she builds layered surfaces with yarn\, buttons\, zippers\, and wax crayon\, forming what she describes as imaginary constellations — a language that is both invented and deeply researched. \n\n\n\n\n\n\n\n\n\n\n\n\n \n\n\n\n\n\n\n\n\n\n\n\n\n\n\nComposition 3  |  2025  |  Screenprint\, zipper\, wax crayon\, plastic bread tags on fabric  |  12 × 20 in.  |  $300 \nTwo panels of vivid red fabric\, joined at the center by a zipper\, bear bold black screenprinted forms — abstracted figures or glyphs — surrounded by Moldenhauer’s evolving visual syntax and arrow-like notations in yellow and purple wax crayon. Small found objects punctuate the surface: a red button\, orange and green plastic bread tags. The zipper seam running across the middle feels structurally apt: two things held together\, translatable into each other\, always capable of coming apart. \n\n\n\n\n\n\n\n\n\n\n\n\n \n\n\n\n\n\n\n\n\n\n\n\n\n\n\nComposition 1  |  2025  |  Yarn\, buttons\, plastic bread tags\, wax crayon\, screenprint on fabric  |  21 × 19.5 in.  |  $300 \nMade in Rio de Janeiro in response to Brazil’s Tropicália Movement\, Composition 1 works in a quieter register — a dark fabric ground against which Moldenhauer’s coded system floats alongside loosely applied black shapes and thin wax crayon marks. Buttons and bread tags act as punctuation. The work resists legibility by design\, asking to be felt before it is read. \nAllison Pottasch \nAllison Pottasch is a Brooklyn-based artist who collages\, draws\, and paints. Trained in Advertising at Pratt Institute and largely self-taught\, she works with clippings from magazines and historical mass media\, transforming them into what she describes as hieroglyphic characters. \nHer maximalist collages reassemble these fragments into dense visual systems that examine contemporary Americana — exploring sexuality and gender\, religion and mysticism\, and cultural and personal identity. Removed from their original context\, the images invite viewers to activate their own visual memory to construct meaning. \n\n\n\n\n\n\n\n\n\n\n\n\n \n\n\n\n\n\n\n\n\n\n\n\n\n\n\nRangoli  |  2025  |  Paper collage  |  11 × 17 in.  |  $1\,200 \nSet against a ground of layered\, torn black paper\, Pottasch’s collage unfolds along a strict bilateral axis — the symmetry of a mandala or altar. At its center\, a dense horizontal band of fragments — crowns\, leopards\, religious iconography\, botanical forms\, and unmistakably American consumer imagery — is assembled into a form of unexpected ceremony. The traditional Indian rangoli\, typically made as an offering of welcome\, is here reconstructed from the detritus of print culture. The logic of accumulation becomes ceremonial\, transforming disposable imagery into a structure of attention and care. \nOlga Rudenko \nOlga Rudenko is a Ukrainian-born artist based in New York City\, trained in stone and wood carving and holding a Master’s degree in the history of philosophy. Working across sculpture\, textiles\, painting\, and digital language\, she examines how human identity is reshaped by ideology and technology. \nHer project AI_Augmented_Iconography merges Orthodox religious imagery — halos\, gold leaf\, frontal stillness — with algorithmic code\, emojis\, and scientific notation. Rooted in lived experience of cultural and personal transformation\, the work considers how technological systems alter perception\, relationships\, and the body. Slow processes like embroidery act in deliberate opposition to digital speed\, while the recurring child figure underscores the fragility of human life. \n\n\n\n\n\n\n\n\n\n\n\n\n \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n<!–edited–> #3   |  2024  |  Silicone dolls\, cotton\, embroidery\, sequins\, ink\, mirrors  |  34 × 20 × 18 in.  |  $10\,000 \nA cluster of soft\, stuffed figures — childlike in form\, unsettling in implication — hangs suspended against overlapping black mirror discs. Every surface is covered in embroidered and inked genetic notation: CRISPR\, mRNA\, scissor symbols\, DNA base-pair letters. The body becomes a readable document — legible to an algorithm. Where Orthodox iconography once marked the body as sacred\, here it is rendered as code. The work asks what individuality means when reproduction is systematized and the script of life is written elsewhere. \nSasha Skulinets \nSasha Skulinets is a Ukrainian-born painter and filmmaker based in New York. Working across painting and narrative film\, she examines perception and the construction of point of view. \nHer paintings\, made primarily with acrylic on canvas and wood\, evolve through layering\, pouring\, and erasure\, emphasizing surface\, duration\, and the physical negotiation of form. The surface records what has been added\, removed\, and reworked\, locating meaning in the accumulation of time and process\, where images are continually translated through material change. \n\n\n\n\n\n\n\n\n\n\n\n\n \n\n\n\n\n\n\n\n\n\n\n\n\n\n\nWhile the World Decays  |  2025  |  Acrylic on canvas  |  36 × 48 × 1.5 in.  |  $1\,600 \nA dark vertical stroke bisects the canvas\, splitting a bruised\, atmospheric field of lavender\, blue\, teal\, ochre\, and red into near-mirror halves. Layers of erasure and reapplication remain visible in the surrounding surface. Here\, translation emerges through paint itself — the unified image fracturing under pressure into something less resolved\, more contingent. The palette carries the weight of the title: these are not colors of resolution. \nChristopher Squier \nChristopher Squier is a New York–based visual artist who holds an MFA in Sculpture from the San Francisco Art Institute. Working across drawing\, writing\, and installation\, he explores optics and the role of light in contemporary visual culture\, framing vision as both historically shaped and politically contested. \nHis Disturbances series draws on a mid-century physics experiment visualizing light as wave interference\, using these patterns as a framework for understanding how perception is shaped by overlapping political and social forces\, including sound\, architecture\, and embodied experience. \n\n\n\n\n\n\n\n\n\n\n\n\n \n\n\n\n\n\n\n\n\n\n\n\n\n\n\nDisturbances No. 22 (Troubadours)  |  2025  |  Colored pencil on Bristol vellum  |  17 × 11 in.  |  Framed  | $1\,500 \nMade following a trip to Guanajuato\, Mexico\, this drawing layers delicate Gothic-inspired ironwork — drawn from the city’s balconies — over a central interference pattern of concentric white rings radiating across a soft blue and lavender field. Diagonal lines cut through the composition like wave trajectories; a prismatic triangle glows with spectral color; a botanical sprig curls near the surface. Here\, interference becomes grounded in lived conditions — sound moving through streets\, bodies gathering in public space\, presence insisting on itself. \n\n\n\n\n\n\n\n\n\n\n\n\n \n\n\n\n\n\n\n\n\n\n\n\n\n\n\nDisturbances No. 19 |  2023  |  Colored pencil on Bristol vellum  |  17 × 11 in.  |  Framed  |  $1\,500 \nPart of the same series\, this drawing extends Squier’s investigation of interference into the realm of sound. Inspired by time spent in Milan\, the work connects the vibration of light to sonic experience — footsteps echoing in humid air\, architectural acoustics\, and the internal mechanics of hearing itself. The composition draws from specific sites\, including the ear-shaped intercom of Casa Sola Busca and the staircase of Villa Necchi\, while staging a dialogue between interior and exterior space\, and between visual and sensory perception. \nTessellation (The Lighthouse\, Unfolded) | 2026 | Colored pencil on Bristol vellum | 19 × 24 in. | Unframed | $2\,200 \nA larger\, in-progress work\, Tessellation (The Lighthouse\, Unfolded) expands Squier’s interest in optical systems through the geometry of a deconstructed Fresnel lens translating its structure into a dense\, flattened field with a hypnotic\, tessellated structure. \nAbout The Project Space at Amos Eno \nIn Translation is on view at The Project Space\, Amos Eno’s experimental exhibition space in the cellar\, from April 30 through June 7\, 2026. \nThe gallery is open from 12 p.m. – 6 p.m. Thursdays through Sundays. Please note there is a steep staircase to access this area. \n\n\n\n\n\n  Save  
URL:https://artinamericaguide.com/event/in-translation-group-show/
LOCATION:Amos Eno Gallery\, 191 Henry Street\, New York\, NY\, 10002\, United States
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/png:https://artinamericaguide.com/wp-content/uploads/2026/04/Best-graphic-scaled.png
ORGANIZER;CN="Amos Eno Gallery":MAILTO:amosenogallery@gmail.com
GEO:40.7057864;-73.9331373
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Amos Eno Gallery 191 Henry Street New York NY 10002 United States;X-APPLE-RADIUS=500;X-TITLE=191 Henry Street:geo:-73.9331373,40.7057864
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20260514
DTEND;VALUE=DATE:20260621
DTSTAMP:20260525T033647
CREATED:20260506T181008Z
LAST-MODIFIED:20260506T181008Z
UID:116382-1778716800-1781999999@artinamericaguide.com
SUMMARY:Deborah Dancy: Wonder
DESCRIPTION:Kathryn Markel Fine Arts is pleased to announce Wonder\, an exhibition of new paintings by Deborah Dancy. This will be her third solo exhibition with the gallery and a reception will be held on May 21st from 6-8 PM. \n\nIn these new paintings by Deborah Dancy\, layers of poured paint accumulate through gravity\, and chance\, reflecting the tension between control and accident. The palettes are earthy\, muted and somehow resolve into vague landscapes. As always in Dancy’s paintings\,  passages of serene elegance collide with bold contrast\, creating unexpected tension.  As she says\, “These paintings continue my fascination with ephemerality and the sensorial. One significant and distinguishing feature in this current body of work is the absence of brushwork\, now replaced by layers of poured paint. Its elimination signals a shift in vision and embraces a process that encourages unpredictability and chance. Making these paintings became a performative dance in which play and accident are celebrated as something meaningful takes shape. The spirit of wonder is an offering of surprise and delight.” \n\n\nDeborah Dancy earned her BFA from Illinois Wesleyan University and a MFA and MS from Illinois State University. She is the recipient of the John Simon Guggenheim Foundation Fellowship\, a Yaddo Fellow\, and a National Endowment of the Arts NEFA award.Her work is in numerous public and private collections including The Museum of Fine Arts\, Houston\, TX;  The High Museum\, Atlanta\, GA; The Kemper Museum of Contemporary Art\, Kansas City\, MO; 21C Museum\, The Baltimore Museum\, MD;  The Museum of Fine Arts\, Boston\, MA; The Birmingham Museum of Art\, AL; The Hunter Museum\, Chattanooga\, TN; The Detroit Institute of Art\, MI; The Boston Museum of Fine Art\, MA; The Montgomery Museum of Art\, LA;  The Spencer Museum of Art\, Lawrence\, KS;  Vanderbilt University\, Nashville\, TN; Grinnell College\, IA; Oberlin College Museum of Art\, OH; and The United States Embassy in Harare\, Zimbabwe. \n  Save  
URL:https://artinamericaguide.com/event/deborah-dancy-wonder/
LOCATION:179 10th Ave\, 179 10th Ave\, New York\, NY\, 10011\, United States
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2026/05/dan069-scaled.jpg
ORGANIZER;CN="Kathryn Markel Fine Arts":MAILTO:markel@markelfinearts.com
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20260514
DTEND;VALUE=DATE:20260621
DTSTAMP:20260525T033647
CREATED:20260506T181008Z
LAST-MODIFIED:20260506T181008Z
UID:116386-1778716800-1781999999@artinamericaguide.com
SUMMARY:Charles Ritchie: Drawings from a Room
DESCRIPTION:Kathryn Markel Fine Arts in collaboration with BravinLee Programs is pleased to announce Drawings from a Room\, an exhibition of new works on paper by Charles Ritchie. This will be his first solo exhibition with the gallery and a reception will be held on May 21st\, 6-8pm. \n\nCharles Ritchie’s intimate watercolor and ink drawings are the result of sustained attention to his immediate surroundings: details of his neighbors’ homes and yards\, and vignettes of his lived-in rooms. For more than forty years\, his suburban Maryland neighborhood has been his muse\, though light remains his essential subject. \n\n\nMany of these drawings take shape over the course of many years. Ritchie explains\,”My inspirations come in a flash and I hope to convey that initial excitement. When I begin to work\, I am often dependent on the ephemeral: a slant of light\, a certain season\, a subject in a temporary state. When the state passes\, I often put the work aside until it reappears. However\, by the time the drawing is finished\, the site may be vastly different than when I started; trees have come down\, houses have new additions\, etc. The exhibited work is an abstracted accumulation of many different experiences and events.” \n\nRitchie’s drawings move beyond what a camera can offer. His respect for detail is patient and precise. The ordinariness of the everyday becomes suffused with tenderness. Vast amounts of information is contained in these small works\, and their intimate scale invites the viewer to look closely\, to explore the details of spaces familiar and transformed. It is Ritchie’s careful attention\, and then our own\, that transforms the ordinary into something of wonder. \n\nCharles Ritchie has exhibited his watercolor and ink drawings in public and private galleries throughout the United States and Asia.  His works are in such prestigious collections as the Baltimore Museum of Art\, The Metropolitan Museum of Art\, the Boston Public Library\, the Philadelphia Museum of Art\, the New York Public Library\, and the Yale University Art Gallery.  The work is in many private collections such as the Cartin Collection and the Louis-Dreyfus Collection. https://vimeo.com/1004168821 \n  Save  
URL:https://artinamericaguide.com/event/charles-ritchie-drawings-from-a-room/
LOCATION:179 10th Ave\, 179 10th Ave\, New York\, NY\, 10011\, United States
CATEGORIES:Exhibition
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ORGANIZER;CN="Kathryn Markel Fine Arts":MAILTO:markel@markelfinearts.com
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260514T080000
DTEND;TZID=America/New_York:20260620T170000
DTSTAMP:20260525T033647
CREATED:20260417T194927Z
LAST-MODIFIED:20260417T194927Z
UID:116278-1778745600-1781974800@artinamericaguide.com
SUMMARY:Tiffany Chung: traces
DESCRIPTION:RYAN LEE Gallery is pleased to announce traces\, an exhibition of embroidery\, installation\, sculpture\, video\, and works on paper by Tiffany Chung. Chung’s recent projects explore earth’s deep times\, Neolithic ditched and walled enclosures\, and ancient global connections through the 3\,500-year-old spice trade. Chung reorients the world through history\, disentangling and reweaving the environmental\, cultural\, economic\, and political threads that have created global narratives over millennia. Curator Orianna Cacchione has described Chung’s practice as an “insatiable search for knowledge itself.” Writing on Chung’s cartographic works\, Cacchione explained\, “The meticulously rendered infographics shuttle between legibility and illegibility\, recognition and erasure\, the poetic and the empirical\, setting up a dialectical tension that is threaded throughout Chung’s works.” \nChung’s conceptual framework is built upon two key pursuits. One is the multiplicity of history\, challenging accepted narratives by filling in the gaps left out of official accounts\, to shift and reclaim the discourse. The other is the entanglements of social\, political\, economic\, and environmental processes across times and terrains\, entwined in landscape archaeology and historical ecology – the intricate relationship between humans\, the built environment\, and the natural world. \nIn some of the work on view\, Chung explores the movements of plants and spices through space and time\, as they have been traded across the world from ancient times to today. In studies of exotic botanical organisms and spices from the ends of the earth in quest of market dominance (2025)\, Chung pairs embroidered illustrations of spice plants with jars displaying the spices themselves. The embroidered map Global Spice Trade: routes from ancient time to the age of exploration/exploitation (2024-25) casts an overview of the early global economic integration. Proposing that globalization began long before the 1400s\, the work charts ancient spice trade routes connecting Asia\, Africa\, Europe\, and the Americas. Chung says\, “The spices’ trajectories across time and space link commerce\, maritime development\, conflict\, and colonialism\, which led to modern capitalism. They tell stories about how globalization began – through trade\, migration\, linguistic movements\, culinary and cultural adaptation – and how it is inevitably intertwined with wars.” \nChung’s works on paper depict traces of Neolithic ditched and walled enclosures dating from 5000 BCE found across Central Europe and the Iberian Peninsula\, as well as Vietnam and Cambodia (2300-300 BCE). While suggesting possible prehistoric global connections\, Chung notes how these traces of our material culture also indicate the human-driven alterations of landscapes\, flora\, and fauna throughout history. Such traces take another physical form in Chung’s latest project\, the world through my mother’s cabinets of curiosities (cabinet no.2) (2026)\, with whimsical miniature sculptures created from discarded objects and materials donated to her by family and friends. As Chung seeks to bring new meanings to old objects embedded with personal history\, these sculptures depict and reflect on human experience of disasters and survival\, our impact on the environment\, and the rebound and taking over by nature in the aftermath. \nClosing the loop with traces from earth’s deep time\, Chung’s immersive 360° video\, Spheres of Time (2026)\, was screened at UCSB’s AlloSphere research facility. The artist has reworked the video for RLWindow\, viewable from the High Line at 26th Street. The video traverses across traces of different landscapes over stretches of geological and generational time. Contemplating earth’s deep time amid our social\, political\, economic and environmental processes\, the work situates human civilizations as part of an expansive natural history. traces as a whole reminds us that the imprints of our past are carried into the future\, and that we are responsible for the care of creation and sustainable ecology\, beyond human history. \nTiffany Chung (b. 1969 Da Nang\, Vietnam) is globally noted for her interdisciplinary practice cultivated through rigorous analysis of the history\, culture and topography of different locales. Based on painstaking research\, Chung’s work perceptively visualizes the entangled effects of geopolitical change on people and nature. Entwined in threads of landscape archaeology and historical ecology\, Chung uses cultural memories and lived experiences to weave interventions into the narrative produced through statecraft. Chung explores the interconnected layers of history that create globalized networks\, from the ancient spice trade to present-day patterns of migration to the future impacts of climate change. \n  Save  
URL:https://artinamericaguide.com/event/tiffany-chung-traces/
LOCATION:RYAN LEE\, 515 W 26th St\, 3rd Fl\, New York\, NY\, 10001\, United States
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2026/04/Global-Spice-Trade_-routes-from-ancient-time-to-the-age-of-exploration.jpg
ORGANIZER;CN="RYAN LEE":MAILTO:info@ryanleegallery.com
GEO:40.7500935;-74.0036112
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=RYAN LEE 515 W 26th St 3rd Fl New York NY 10001 United States;X-APPLE-RADIUS=500;X-TITLE=515 W 26th St\, 3rd Fl:geo:-74.0036112,40.7500935
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260516T100000
DTEND;TZID=America/New_York:20260621T170000
DTSTAMP:20260525T033647
CREATED:20260506T181147Z
LAST-MODIFIED:20260506T181147Z
UID:116423-1778925600-1782061200@artinamericaguide.com
SUMMARY:Garrison Art Center Presents "Rover" by Artist Mara Baldwin
DESCRIPTION:MARA BALDWIN | Rover\nMay 16 – June 21\, 2026 \nOpening Reception: Saturday\, May 16\, 2026\, 5 – 7 PM\nArtist Talk: Saturday\, June 6\, 2026\, 3 PM\nAdult Workshop: Sunday\, June 7\, 2026\, 10:30 – 11:30 AM\nFamily Workshop: Sunday\, June 7\, 2026\, 1 – 2 PM \nBaldwin explores summer camp as more than nostalgia—examining identity\, belonging\, and the exclusions shaped by colonialism\, class\, and white feminism. Using found materials and layered textures\, she creates imagined spaces that hold memory\, labor\, and overlooked female experience. \n  Save  
URL:https://artinamericaguide.com/event/garrison-art-center-presents-rover-by-artist-mara-baldwin/
LOCATION:Garrison Art Center\, 23 Garrison's Landing\, Garrison\, NY\, 10524\, United States
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2026/05/Mara-Baldwin_Golden-Knot_ink-on-paper_9-x-12_2025_Mara-Baldwin-scaled.jpg
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260516T100000
DTEND;TZID=America/New_York:20260621T170000
DTSTAMP:20260525T033647
CREATED:20260506T181147Z
LAST-MODIFIED:20260506T181147Z
UID:116402-1778925600-1782061200@artinamericaguide.com
SUMMARY:Garrison Art Center Presents Mara Baldwin's Exhibition 'Rover'
DESCRIPTION:MARA BALDWIN | Rover\nMay 16 – June 21\, 2026 \nOpening Reception: Saturday\, May 16\, 2026\, 5 – 7 PM\nArtist Talk: Saturday\, June 6\, 2026\, 3 PM\nAdult Workshop: Sunday\, June 7\, 2026\, 10:30 – 11:30 AM\nFamily Workshop: Sunday\, June 7\, 2026\, 1 – 2 PM \nWhile summer camp is often remembered as a carefree rite of passage\, Baldwin approaches it as a subject worthy of deeper reflection. Her work considers both the tenderness and the fraught joy of searching for identity within communal spaces. Through this lens\, she also examines the histories of exclusion embedded in outdoor and camp traditions—including colonial legacies\, class divisions\, and forms of white feminism—reflecting on how spaces once meaningful in childhood can simultaneously alienate queer and trans communities today. \nIn response\, the environments Baldwin creates suggest human presence without directly depicting it. Her work combines found materials\, intricate surfaces\, and carefully constructed textures to evoke quiet interiors and remnants of speculative landscapes—spaces where memory\, labor\, and imagination intersect\, especially the historically under-recognized depth of female experience. \n  Save  
URL:https://artinamericaguide.com/event/garrison-art-center-presents-mara-baldwins-exhibition-rover/
LOCATION:Garrison Art Center\, 23 Garrison's Landing\, Garrison\, NY\, 10524\, United States
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2026/05/SQUARE-IMAGES.jpg
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BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20260516T110000
DTEND;TZID=America/Los_Angeles:20260920T170000
DTSTAMP:20260525T033647
CREATED:20260430T200215Z
LAST-MODIFIED:20260430T200215Z
UID:116365-1778929200-1789923600@artinamericaguide.com
SUMMARY:Tom Lloyd
DESCRIPTION:Artist\, activist\, and community organizer Tom Lloyd (1929–1996) was an early pioneer of using electric light as an artistic medium. Working in collaboration with an engineer at the Radio Corporation of America (RCA)\, Lloyd developed a radically experimental practice in the 1960s that fused art and technology to dazzling effect. His electronically programmed sculptures—featuring rhythmic sequences of color and abstract forms—challenged popular understandings about what role the work of Black artists should play. This landmark exhibition is based on extensive new research and intensive conservation work undertaken by The Studio Museum in Harlem. \nBorn in Detroit and raised in New York City\, Lloyd worked during a moment of profound transformation in the art world\, as Black artists organized for visibility and representation. While his work was exhibited and collected during the 1960s\, Lloyd soon redirected his focus toward activism and community leadership\, becoming a founding member of the Art Workers’ Coalition and later the Store Front Museum/Paul Robeson Theatre in Queens. \nLloyd’s decision to set aside his artistic practice in favor of supporting those of other artists of African descent may have contributed to his long-standing absence from scholarship related to these decades of artistic production in the United States. Tom Lloyd shows\, for the first time ever\, twenty years of the artist’s assemblages\, electronically programmed light sculptures\, and works on paper together and alongside materials that illuminate his efforts to transform the art world in New York and beyond. \n  Save  
URL:https://artinamericaguide.com/event/tom-lloyd/
LOCATION:Frye Art Museum\, 704 Terry Ave\, Seattle\, WA\, 98104\, United States
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2026/04/IMGP1642_small-scaled.jpg
ORGANIZER;CN="Frye Art Museum":MAILTO:info@fryemuseum.org
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