BEGIN:VCALENDAR
VERSION:2.0
PRODID:-//Art in America Guide - ECPv6.7.0//NONSGML v1.0//EN
CALSCALE:GREGORIAN
METHOD:PUBLISH
X-ORIGINAL-URL:https://artinamericaguide.com
X-WR-CALDESC:Events for Art in America Guide
REFRESH-INTERVAL;VALUE=DURATION:PT1H
X-Robots-Tag:noindex
X-PUBLISHED-TTL:PT1H
BEGIN:VTIMEZONE
TZID:America/New_York
BEGIN:DAYLIGHT
TZOFFSETFROM:-0500
TZOFFSETTO:-0400
TZNAME:EDT
DTSTART:20230312T070000
END:DAYLIGHT
BEGIN:STANDARD
TZOFFSETFROM:-0400
TZOFFSETTO:-0500
TZNAME:EST
DTSTART:20231105T060000
END:STANDARD
BEGIN:DAYLIGHT
TZOFFSETFROM:-0500
TZOFFSETTO:-0400
TZNAME:EDT
DTSTART:20240310T070000
END:DAYLIGHT
BEGIN:STANDARD
TZOFFSETFROM:-0400
TZOFFSETTO:-0500
TZNAME:EST
DTSTART:20241103T060000
END:STANDARD
BEGIN:DAYLIGHT
TZOFFSETFROM:-0500
TZOFFSETTO:-0400
TZNAME:EDT
DTSTART:20250309T070000
END:DAYLIGHT
BEGIN:STANDARD
TZOFFSETFROM:-0400
TZOFFSETTO:-0500
TZNAME:EST
DTSTART:20251102T060000
END:STANDARD
BEGIN:DAYLIGHT
TZOFFSETFROM:-0500
TZOFFSETTO:-0400
TZNAME:EDT
DTSTART:20260308T070000
END:DAYLIGHT
BEGIN:STANDARD
TZOFFSETFROM:-0400
TZOFFSETTO:-0500
TZNAME:EST
DTSTART:20261101T060000
END:STANDARD
BEGIN:DAYLIGHT
TZOFFSETFROM:-0500
TZOFFSETTO:-0400
TZNAME:EDT
DTSTART:20270314T070000
END:DAYLIGHT
BEGIN:STANDARD
TZOFFSETFROM:-0400
TZOFFSETTO:-0500
TZNAME:EST
DTSTART:20271107T060000
END:STANDARD
BEGIN:DAYLIGHT
TZOFFSETFROM:-0500
TZOFFSETTO:-0400
TZNAME:EDT
DTSTART:20280312T070000
END:DAYLIGHT
BEGIN:STANDARD
TZOFFSETFROM:-0400
TZOFFSETTO:-0500
TZNAME:EST
DTSTART:20281105T060000
END:STANDARD
TZID:America/Los_Angeles
BEGIN:DAYLIGHT
TZOFFSETFROM:-0800
TZOFFSETTO:-0700
TZNAME:PDT
DTSTART:20250309T100000
END:DAYLIGHT
BEGIN:STANDARD
TZOFFSETFROM:-0700
TZOFFSETTO:-0800
TZNAME:PST
DTSTART:20251102T090000
END:STANDARD
BEGIN:DAYLIGHT
TZOFFSETFROM:-0800
TZOFFSETTO:-0700
TZNAME:PDT
DTSTART:20260308T100000
END:DAYLIGHT
BEGIN:STANDARD
TZOFFSETFROM:-0700
TZOFFSETTO:-0800
TZNAME:PST
DTSTART:20261101T090000
END:STANDARD
TZID:America/Chicago
BEGIN:DAYLIGHT
TZOFFSETFROM:-0600
TZOFFSETTO:-0500
TZNAME:CDT
DTSTART:20260308T080000
END:DAYLIGHT
BEGIN:STANDARD
TZOFFSETFROM:-0500
TZOFFSETTO:-0600
TZNAME:CST
DTSTART:20261101T070000
END:STANDARD
END:VTIMEZONE
BEGIN:VEVENT
DTSTART;VALUE=DATE:20231208
DTEND;VALUE=DATE:20261207
DTSTAMP:20260613T054924
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
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2024/05/isaac-julien-1-scaled.jpg
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:20260613T054924
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:20260613T054924
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
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2025/02/2004.16_valdezpatssi_theimaginarygarden_FV_2.jpg
GEO:37.3327419;-121.8905201
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=San Jose Museum of Art 110 S. Market Street San Jose CA 95113 United States;X-APPLE-RADIUS=500;X-TITLE=110 S. Market Street:geo:-121.8905201,37.3327419
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20251025T110000
DTEND;TZID=America/Los_Angeles:20260920T170000
DTSTAMP:20260613T054924
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:20260613T054924
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:20260613T054924
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:20270203
DTSTAMP:20260613T054924
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:20260613T054924
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;TZID=America/New_York:20260202T080000
DTEND;TZID=America/New_York:20270202T170000
DTSTAMP:20260613T054924
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:20260613T054924
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;VALUE=DATE:20260219
DTEND;VALUE=DATE:20260629
DTSTAMP:20260613T054924
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;TZID=America/New_York:20260306T100000
DTEND;TZID=America/New_York:20260802T170000
DTSTAMP:20260613T054924
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:20260613T054924
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
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2025/09/TSA_5043_web.jpg
GEO:37.3327419;-121.8905201
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=San Jose Museum of Art 110 S. Market Street San Jose CA 95113 United States;X-APPLE-RADIUS=500;X-TITLE=110 S. Market Street:geo:-121.8905201,37.3327419
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20260415T110000
DTEND;TZID=America/Los_Angeles:20261011T170000
DTSTAMP:20260613T054924
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
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2026/04/Frye-20260417-010-scaled.jpg
ORGANIZER;CN="Frye Art Museum":MAILTO:info@fryemuseum.org
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20260418
DTEND;VALUE=DATE:20260808
DTSTAMP:20260613T054924
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
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2026/04/02.jpg
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;TZID=America/Los_Angeles:20260516T110000
DTEND;TZID=America/Los_Angeles:20260920T170000
DTSTAMP:20260613T054924
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
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20260521
DTEND;VALUE=DATE:20260628
DTSTAMP:20260613T054924
CREATED:20260506T181008Z
LAST-MODIFIED:20260506T181008Z
UID:116394-1779321600-1782604799@artinamericaguide.com
SUMMARY:D. Jack Solomon
DESCRIPTION:Kathryn Markel Fine Arts is pleased to announce an upcoming exhibition of paintings by D. Jack Solomon titled  ALL IN GOOD TIME.  This is his first solo exhibition with the gallery and a reception will be held on May 21st from 6-8pm. \nSolomon’s newest paintings are complex\, richly colored geometric abstractions with a debt to Kandinsky and the Bauhaus. His traditional constructive sensibility is infused with personality and wit. Lines and circles create rhythm and movement\, while arbitrary geometric forms such as checkered spheres\, striped ovals\, and architectural fragments  float in and out of the canvas\, creating visual depth without illusionistic space. Many of these forms seem to develop personalities\, conversing across the canvas in a geometric language all their own. \nD. Jack Solomon has shown at numerous galleries nationally and internationally including Rolf Nelson Gallery\, LA; Jefferson Place Gallery\, Washington DC; James Yu Gallery\, NYC; Pam Adler Galleries\, NYC; and at Gallerie Taksu\, KL\, Malaysia. He has also exhibited widely in the Upstate New York and Berkshire regions including at John Davis Gallery\, Hudson NY; AD-D Gallery\, Hudson NY; and Carrie Haddad Gallery\, Hudson\, NY; ThompsonGiroux\, Chatham\, NY; Carrie Chen Gallery\, Great Barrington\, MA; The Albany Center Galleries\, Albany\, NY; 68 Prince Street\, Kingston NY; and Lockwood Gallery\, Kingston NY. Solomon is the recipient of the National Endowment for the Arts Individual Artist grant and the Pollock Krasner Foundation Grant for painting. He received his MA in painting from San Francisco State University. At 92 years of age Solomon is working in the studio most days. He resides in Hudson NY with his wife\, painter\, Jeanette Fintz. \n  Save  
URL:https://artinamericaguide.com/event/d-jack-solomon/
LOCATION:529 W 20th St. 6W\, 529 W 20th St. 6W\, New York\, NY\, 10011\, United States
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2026/05/5-REDUX-17-2024-30-X-3022-Acrylic-on-Canvas.jpg
ORGANIZER;CN="Kathryn Markel Fine Arts":MAILTO:markel@markelfinearts.com
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20260521
DTEND;VALUE=DATE:20260628
DTSTAMP:20260613T054924
CREATED:20260506T181008Z
LAST-MODIFIED:20260506T181008Z
UID:116390-1779321600-1782604799@artinamericaguide.com
SUMMARY:Mary Didoardo: Short Story
DESCRIPTION:Kathryn Markel Fine Arts is pleased to announce an upcoming exhibition of new paintings by Mary Didoardo titled Short Story.  This is her third solo exhibition with the gallery. A reception for the artist will be held on May 21st from 6-8pm. \n\nMary Didoardo builds her oil paintings on panel in accumulated layers\, then excavates them. After several painted passages\, she covers the surface with packaging tape and carries a gestural\, looping\, and often continuous line across it. The line is not a single passage but is often wiped away and redrawn until the gesture “feels right.” Only then is it cut\, slowly and deliberately\, as she follows that path with an X-Acto knife\, lifting the tape and removing the line from the surface.  The resulting channel is painted\, the surface covered again\, and the process repeated. When all of the tape is finally removed\, flakes of paint lift with it\, revealing earlier colors sealed beneath and exposing the full history of the painting. As the artist notes\, “ This process integrates and embeds the line and keeps it from being simply a design element. It draws the space. The many stages are visible and are there for the viewer to read. Consistent in most of these paintings is the underlying evidence of previous stages of “failed paintings” rising to the surface through layers built up\, scraped down\, enriching the final version.”In the resulting compositions\, fields of bold color are activated by generous\, looping lines that hover between control and release. The lines read as instinctive\, but are in fact adjusted\, erased\, and painstakingly cut into place. The work meanders at the edge of chaos\, then settles into balance. That tension between intuition and labor\, gesture and incision\, is held in the physical presence of the surface. \n\nMary Didoardo lives and works in Long Island City. She received her BFA in Art Education from Pratt Institute where she studied Sculpture and Painting. Her work has been exhibited extensively in New York\, including at the Strohl Art Gallery at Chautauqua Institution\, White Columns\, the C.G Jung Foundation\, and the Painting Center. She is a recipient of the Enrico Donati Foundation Grant and a resident at the Millay Colony. \n  Save  
URL:https://artinamericaguide.com/event/mary-didoardo-short-story/
LOCATION:529 W 20th St. 6W\, 529 W 20th St. 6W\, New York\, NY\, 10011\, United States
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2026/05/dido124.jpg
ORGANIZER;CN="Kathryn Markel Fine Arts":MAILTO:markel@markelfinearts.com
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20260529
DTEND;VALUE=DATE:20260706
DTSTAMP:20260613T054924
CREATED:20260601T192532Z
LAST-MODIFIED:20260601T192532Z
UID:116543-1780012800-1783295999@artinamericaguide.com
SUMMARY:Hiromitsu Morimoto\, 1942–2026
DESCRIPTION:JHB Gallery is saddened to mark the passing of artist Hiromitsu Morimoto. Over a career of more than five decades\, the New York–based photographer cast his compellingly lyrical eye over a range of subjects: from portraits and the human body to commonplace architectural details\, domestic interiors\, flowers and landscapes. \nEngaging with traditional photographic processes including silver gelatin and platinum printing\, often enhanced with graphite or pigments\, Morimoto’s work creates its own unique space between painting and photography. Applying liquid emulsions on supports ranging from vellum and linen to watercolor and printmaking papers\, the artist individualized exposure and development\, resulting in works whose finishes span dark and rich through a barely-there lightness of tone. \nA series of silver-on-white works include images of shirts and other garments hung loosely on hangers or draped over limbs\, as well as interiors and architectural details whose touching corners and molded contours become softly sensualized. Portraits and nudes in silver gelatin emulsions on linen\, on the other hand\, achieve a tonal density that pulls subject and support into a tight embrace. Light or dark\, Morimoto’s work creates what Tadayasu Sakai\, writing on the artist\, describes as “a new horizon of seeing”: a sensual merging of figure and ground that pushes toward the thresholds of visibility. \nWith an instinctive and sometimes idiosyncratic eye for framing and cropping\, Morimoto’s work displays a rare ability to elevate the specific to the archetypal—all the while\, retaining the sense of longing that lies at the heart of photography’s power. \n“In the end\, don’t all photographs stir up impossible desires for things we miss? This is because the access they provide to objects whose reality we can never grasp has frozen time through the magical spell of the instant.”\n—Tadayasu Sakai \nView the exhibition online here. \nHiromitsu Morimoto was born in Yokohama\, Japan\, in 1942 and studied art at the Art Students League\, New York\, NY\, and California State University\, Long Beach\, CA. During his lifetime\, he had over thirty solo exhibitions internationally\, and his work has been included in exhibitions at venues including Massachusetts Institute of Technology\, Cambridge\, MA; Amon Carter Museum of American Art\, Ft. Worth\, TX; WestLicht Museum for Photography\, Vienna\, Austria; C/O\, Berlin\, Germany; Suenkok Art Museum\, Seoul\, Korea; XXI São Paulo Biennial\, São Paulo\, Brazil; Yokohama Museum of Contemporary Art\, Yokohama\, Japan; and Connecticut State Art Museum\, Storrs\, CT. Morimoto’s work can be found in important public collections including Baltimore Museum of Art\, Baltimore\, MD; Brookings Institute\, Washington\, DC; Japan Foundation\, New York\, NY; Milwaukee Art Museum\, Milwaukee\, WI; Museum of Fine Arts\, Houston\, TX; Museum of Modern Art\, New York\, NY; Museum of Modern Art\, Toyama\, Japan; Philadelphia Museum of Art\, Philadelphia\, PA; and National Museum of Modern Art\, Tokyo\, Japan. \n  Save  
URL:https://artinamericaguide.com/event/hiromitsu-morimoto-1942-2026/
LOCATION:JHB Gallery New York\, 26 Grove Street\, 4C\, New York\, NY\, 10014\, United States
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2026/05/HM033_The_Braid_1991_2019-Insta-scaled.jpg
ORGANIZER;CN="JHB Gallery":MAILTO:info@jhbgallery.com
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260604T180000
DTEND;TZID=America/New_York:20260718T180000
DTSTAMP:20260613T054924
CREATED:20260506T181158Z
LAST-MODIFIED:20260506T181158Z
UID:116408-1780596000-1784397600@artinamericaguide.com
SUMMARY:Entangled
DESCRIPTION:Winston Wächter Fine Art is pleased to present Entangled\, an exhibition featuring works by Carolina Ponte\, Dinorá Justice and Livia Mourao. In this group exhibition\, the artists have come together to present a kaleidoscopic perspective of the ways in which the natural systems that we live in are enmeshed.  \nCarolina Ponte works in a variety of mediums\, including painting\, watercolor\, ceramics\, and crochet. Her work is centered on the idea of ornamentation embedded in everyday life and the enduring presence of traditional handcraft practices. Fascinated by the transformation of materials\, Ponte uses yarn and clay\, transforming them into installations and sculptures that pull each material out of their everyday context\, placing them prominently in the realm of fine art. As a result\, the works suggest a sense of uncontrolled growth\, with accumulations of color and pattern that\, at first\, may appear unreadable. However\, upon closer inspection\, the viewer may begin to recognize references drawn from natural forms. \nWorking with acrylic on canvas\, Livia Mourao builds her paintings through densely layered application of color. Rather than recreating a specific place in each piece\, her goal is to evoke a sense of it—something more intuitive than descriptive. Blending imagined and remembered landscapes\, her paintings suggest fragments of forests\, though not entirely real ones\, enmeshing environments\, human experience\, and sensory impressions—each shaping and influencing the other rather than existing in isolation. These paintings are inspired by places including Rio de Janeiro\, Florianopolis and Parati\, and reflect how natural systems are deeply interconnected\, not just ecologically but through memory\, place\, and perception. \nDinorá Justice’s paintings emerge from a base layer of hand-marbled designs in organic patterns reminiscent of foliage\, veins\, and cellular structures. Figures and landscape intermingle\, outlined by textiles and plants\, in a visual language that embraces the entanglements of natural systems. Drawing from art historical references\, Justice explores the works of male artists to create connections with contemporary issues. For the works included in Entangled\, Justice was influenced by a recent residency in Vienna studying Gustav Klimt’s work. The artist finds parallels between Klimt’s decorative\, organic style and her own\, transformed into a vision of nature not as something to control or idealize but as a dynamic\, interwoven force central to our histories\, identities\, and shared future. \nIn Entangled\, Ponte\, Mourao and Justice unite to reflect on the ways in which tradition\, materiality and art history inform our presence in the world. Through different techniques and influences\, each artist transforms materials\, landscapes and figures\, emphasizing the fluidity of the human experience\, natural systems\, and how we are\, inevitably\, entangled. \n  Save  
URL:https://artinamericaguide.com/event/entangled/
LOCATION:Winston Wächter Fine Art\, 530 W 25th St\, New York\, New York\, 10001
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/png:https://artinamericaguide.com/wp-content/uploads/2026/05/Screenshot-2026-05-05-at-12.15.45-PM-scaled.png
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/Los_Angeles:20260606T110000
DTEND;TZID=America/Los_Angeles:20260927T170000
DTSTAMP:20260613T054924
CREATED:20260430T200214Z
LAST-MODIFIED:20260603T171154Z
UID:116369-1780743600-1790528400@artinamericaguide.com
SUMMARY:Lotus L. Kang: I hear the hollow boom of time
DESCRIPTION:Lotus L. Kang creates installations that respond to the spaces they inhabit and reveal the surprising possibilities of ‘misusing’ materials—specifically\, the tools of photography. In her largest museum exhibition to date\, she presents two major new installations alongside a series of works on paper\, all developed in dialogue with the Frye Art Museum’s distinctive architecture.\n\nInterweaving poetic reflections on memory\, translation\, and inheritance\, Kang works iteratively\, revisiting forms and materials across her artworks. For the Frye\, she creates an installation featuring large sheets of unfixed industrial film that have been exposed to varied light sources in a process she calls “tanning\,” likening the film’s sensitive surface to skin. Sculptures using tatami mats as their foundation punctuate the spaces between the suspended\, cascading film sheets. Secondly\, Kang will present a kinetic sculpture: evoking an enlarged ribcage\, a rotating drum wrapped in celluloid film projects shifting bands of color and light throughout the gallery\, its motion timed to a rhythmic score based on lines of poetry.\n\nTogether\, these works embrace leaky boundaries—between inside and outside\, life and death\, deterioration and regeneration—exploring how we are continually shaped and transformed by the environments we move through.\n  Save  
URL:https://artinamericaguide.com/event/lotus-l-kang-i-hear-the-hollow-boom-of-time/
LOCATION:Frye Art Museum\, 704 Terry Ave\, Seattle\, WA\, 98104\, United States
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2026/04/Molt_2022-25-scaled.jpg
ORGANIZER;CN="Frye Art Museum":MAILTO:info@fryemuseum.org
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20260606T110000
DTEND;TZID=America/Los_Angeles:20261011T170000
DTSTAMP:20260613T054924
CREATED:20260430T200214Z
LAST-MODIFIED:20260430T200214Z
UID:116373-1780743600-1791738000@artinamericaguide.com
SUMMARY:Artists' Choice
DESCRIPTION:See selections from the Frye’s collection in a new light. For Artists’ Choice\, we opened the vault to five local creatives working across music\, dance\, poetry\, theater\, and beyond—asking which objects resonated with them from their diverse artistic perspectives. Their selections gather around themes of representation and identity\, grief and love\, solitude and isolation\, and even dystopian despair. The resulting juxtapositions are surprising\, personal\, and occasionally provocative—reminding us that the story of an artwork is never fixed but continually rewritten by all who encounter it. \n  Save  
URL:https://artinamericaguide.com/event/artists-choice/
LOCATION:Frye Art Museum\, 704 Terry Ave\, Seattle\, WA\, 98104\, United States
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2026/04/1998.010_Fang-1-scaled.jpg
ORGANIZER;CN="Frye Art Museum":MAILTO:info@fryemuseum.org
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20260611
DTEND;VALUE=DATE:20260720
DTSTAMP:20260613T054924
CREATED:20260521T195655Z
LAST-MODIFIED:20260521T195655Z
UID:116498-1781136000-1784505599@artinamericaguide.com
SUMMARY:Miguel A. Aragón & Eddy A. López: Echoes of Absence
DESCRIPTION:Reception: Friday\, June 12\, from 6 to 8 p.m. \nEchoes of Absence presents the works of Miguel A. Aragón and Eddy A. López\, artists who explore collective memory and trauma through print media. Aragón\, born in Ciudad Juarez\, uses erasure as language to examine the US-Mexico border with a lens of violence\, memory\, and perception alongside processes that are reductive. López\, a survivor of the Nicaraguan civil war\, uses censorship and obfuscation to interrogate the use of war imagery in the media\, exploring the tension between lived experience and representation\, remembering and forgetting. Together\, Aragón and López critique visual representations of conflict and war -– and the power systems that perpetuate this violence — by centering the victims within loud echoes of absence. \nAbout the Artists \nMiguel A. Aragón (*Juárez\, México) lives and works in New York\, USA and Berlin\, Germany; he is an Associate Professor at the College of Staten Island. He has exhibited internationally at venues in the United States\, Germany\, and Canada to name a few. His awards and residences include the East London Printmakers Keyholder Residency\, UK; The Scuola Internazionale di Grafica Venezia fellowship residency\, Italy\, among many others. His work is in collections including the Museum of Fine Arts\, Boston; National Museum of Mexican Art\, Chicago; his work has been published in A Survey of Contemporary Printmaking (2012)\, ¡Printing the Revolution!: The Rise and Impact of Chicano Graphics\, 1965 to Now (2020) and more. \nEddy A. López\, born in Matagalpa\, Nicaragua in the midst of the Sandinista revolution\, is a printmedia artist whose work explores collective memory and trauma. His work has been exhibited at the International Print Center New York\, the Janet Turner Print Museum\, The Central Academy of Fine Arts in Beijing\, and many other national and international venues. He is the recipient of various awards and grants including an Andrew Mellon Foundation Fellow and his work can be found in the collections of the Fort Wayne Museum of Art\, National Museum of Mexican Art\, Frost Art Museum\, and more. Currently\, he is an Associate Professor of Art at Bucknell University in Lewisburg\, Pennsylvania. \nAbout The Project Space at Amos Eno \nEchoes of Absence is on view at The Project Space\, Amos Eno’s experimental exhibition space in the cellar\, from June 11 through July 19\, 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  Save  
URL:https://artinamericaguide.com/event/miguel-a-aragon-eddy-a-lopez-echoes-of-absence/
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/2026/05/echoes.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:20260611
DTEND;VALUE=DATE:20260720
DTSTAMP:20260613T054924
CREATED:20260521T195656Z
LAST-MODIFIED:20260521T195656Z
UID:116492-1781136000-1784505599@artinamericaguide.com
SUMMARY:Tulu Bayar: What Remains\, What Connects: Stories in Assembly
DESCRIPTION:Reception: Friday\, June 12\, from 6 to 8 p.m. \nAmos Eno Gallery is pleased to present What Remains\, What Connects: Stories in Assembly\, a solo exhibition by Tulu Bayar. On view from June 11 through July 19\, 2026\, the exhibition brings together two of the Turkish-American artist’s recent bodies of work that examine how memory\, identity\, and belonging are constructed through material\, process\, and collective experience. \nAt a moment when migration\, authorship\, and national identity are being actively contested\, Bayar’s work offers a distinct and necessary perspective: one that shifts attention from fixed narratives to lived\, shared\, and continually evolving experiences of home. Her practice foregrounds collaboration\, material transformation\, and the accumulation of traces. This proposes that meaning is not singular or stable\, but assembled across people\, places\, and time. \nWorking across photography and interdisciplinary media\, Bayar uses paper\, soil\, plant matter\, photographic transfer\, and textile processes to create surfaces that hold both image and residue. These materials are not neutral; they carry embedded histories. Through acts of collecting\, layering\, transferring\, and erasing\, Bayar constructs works that operate simultaneously as images and as records of touch\, of movement\, and of exchange. \nThe exhibition centers on two interconnected projects. Mosaic: Immigrant Stories is a collaborative\, community-based work developed through workshops with immigrant participants. Responding to the question “What does home mean?”\, participants share photographs and personal reflections that Bayar translates through transfer processes onto handmade surfaces. Images shift\, fragment\, and partially dissolve\, resisting singular authorship. The resulting works function as both individual artifacts and collective compositions; portraits not of a single subject\, but of a shared condition shaped by displacement\, memory\, and adaptation. The unique book is currently on display at the National Liberty Museum in Philadelphia through August 2027. For this exhibition\, Bayar will present limited-edition rice prints derived from the book. \nIn Cultivated\, developed during a residency in Wyoming\, Bayar turns to the land as both subject and material. She creates paper from soil\, plant matter\, and organic debris gathered on site\, embedding the physical substance of place into each work. Onto these surfaces\, she transfers wide-angle landscape imagery\, bringing together proximity and distance\, material presence and visual representation. These works hold a tension between permanence and fragility\, and between what is fixed in the land and what is continually altered by time\, use\, and perception. \nAcross both series\, Bayar repositions “home” as something constructed through relationships rather than rooted in geography alone. Her work proposes that stories are carried not only across borders\, but through materials\, gestures\, and acts of sharing. In doing so\, she expands the idea of authorship\, inviting multiple voices and histories into the making of each piece. \nBayar’s practice feels particularly urgent now. As debates around migration\, democracy\, and belonging intensify\, especially in the context of the United States’ 250th anniversary\, her work offers a quieter but deeply resonant counterpoint. Rather than asserting fixed identities or boundaries\, it reveals how communities are formed through accumulation\, care\, and exchange\, and how meaning emerges through processes that are collective\, contingent\, and ongoing. \nIn conjunction with the exhibition\, Amos Eno Gallery will host a special live performance by Brooklyn-based saxophonist and composer Caroline Davis on Saturday\, June 13 from 3–5 p.m. Celebrating the release of her album Fallows\, featuring artwork by Tulu Bayar\, the program creates a direct dialogue between sound and material practice. Davis’s improvisational approach — grounded in listening\, responsiveness\, and collective exchange — resonates with Bayar’s exploration of authorship as something distributed and evolving. The event will include an intimate live set\, followed by a vinyl signing\, with albums available for purchase. (RSVP here. Space is limited.) \nAbout the Artist \nTulu Bayar is a Turkish-born American artist and educator based in Lewisburg\, PA. Her interdisciplinary practice spans photography and material-based processes\, and has been exhibited widely in the United States and internationally\, including in Germany\, Denmark\, the United Kingdom\, France\, Turkey\, Italy\, and China. Her work is held in collections including Belfast Exposed Photography\, the Samuel Dorsky Museum\, the Elgiz Museum of Contemporary Art\, the Textile Museum at George Washington University\, and the Samek Art Museum. She is the recipient of numerous grants and residencies\, including a Fulbright Scholar Grant\, and is currently Professor of Photography and Related Media at Bucknell University. \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 gallery is open Thursdays through Sundays from noon to 6 p.m. and is run by a small community of professional artists\, both from New York City and across the country\, and 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. \nFor more information\, please contact Gallery Director Ellen Sturm Niz at info@amoseno.org. \n  Save  
URL:https://artinamericaguide.com/event/tulu-bayar-what-remains-what-connects-stories-in-assembly/
LOCATION:Amos Eno Gallery\, 191 Henry Street\, New York\, NY\, 10002\, United States
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2026/05/01_MosaicPage14jpg.jpg
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;TZID=America/New_York:20260615T080000
DTEND;TZID=America/New_York:20260725T170000
DTSTAMP:20260613T054924
CREATED:20260608T203601Z
LAST-MODIFIED:20260608T203601Z
UID:116631-1781510400-1784998800@artinamericaguide.com
SUMMARY:WAYSON R. JONES: The Full Moon Is My Girlfriend
DESCRIPTION:Washington\, DC – HEMPHILL is pleased to announce the virtual exhibition WAYSON R. JONES: The Full Moon Is My Girlfriend\, beginning on Monday\, June 15\, 2026. The virtual exhibition will be viewable on hemphillartworks.com\, Artsy & Artnet from June 15 – July 25\, 2026. \nWayson R. Jones often found himself outside in his backyard this winter\, accompanied by the moon and stars in the evening air. His shadow elongated by the light of the full moon\, a celestial companion he searched for each evening; tradition\, coming back again and again to the same form in the sky. \nJones visits the same materials in his studio each day. He forms and sculpts Pumice gel until he is content with the final “image.” In the current body of work\, the artist creates portraits inspired by images channeled from cultures worldwide – ranging from Native American and West African ritual figures to Luchadores\, the masked wrestlers of Mexico. These figures are then combined with creatures\, suggesting birds and fish in the titles. His process is intuitive and improvisational. He applies color to the sculpted surfaces\, employing new techniques while engaging the history of the Washington Color School artists he is tied to. In the title piece of the exhibition\, The Full Moon Is My Girlfriend\, Jones explores masking. He sees masks as objects that provide anonymity and power; obscuring the face elevates the wearer to superhero status\, able to adjust personality and attributes depending on the situation at hand. Jones creates movement through raised lines\, seemingly impossible to achieve with a material as coarse as Pumice\, while referencing hard-edge masters like Gene Davis. \nJones views artist heroes of the past as mountains of legacy. In A Mountain by Myself (after Gilliam) layered pieces of paper create a lush surface\, directly in conversation with past works by Sam Gilliam. This piece is both an homage to Gilliam as a peak that rose above\, and an acknowledgement to the mastery Jones himself has achieved in his studio. Vivid colors are paired against neutrals to create juxtaposition and high contrast. Wayson R. Jones achieves the vibrancy the Color School was striving for at the end of the last century. He has taken it one step further\, employing new technologies\, materials and techniques to push the boundaries of painting\, drawing even more attention to surfaces\, emphasizing the painting as an object and enhancing color. \nWayson R. Jones (American\, b. 1957) is a painter\, musician\, and spoken-word artist. A self-taught visual artist\, he was part of a vibrant Black LGBTQ arts scene in Washington DC in the 1980s and early 1990s. His work can be found in public and private collections regionally and nationally including the District of Columbia Art Bank and the Maryland/National Capitol Park and Planning Commission. This is Jones’ second solo exhibition with Hemphill. \nWayson R. Jones: The Full Moon Is My Girlfriend is the third in an ongoing series of virtual exhibitions presented by Hemphill Artworks. \nAs Hemphill continues its thirty-third year\, we look back on over 300 exhibitions and cherished relationships with artists\, collectors\, and art enthusiasts. We feel thankful\, yet introspective. We move forward in presenting more effective ways for you to experience art\, by beginning a program of events tailored for more personal contact with notable artists and artworks. We aim to bring collectors and art lovers into an enhanced engagement with art.  \n  Save  
URL:https://artinamericaguide.com/event/wayson-r-jones-the-full-moon-is-my-girlfriend/
LOCATION:HEMPHILL\, 1515 14th Street NW\, Washington\, DC\, 20005\, United States
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2026/06/Screenshot-2026-06-08-at-11.02.51-AM.jpg
ORGANIZER;CN="HEMPHILL":MAILTO:gallery@hemphillfinearts.com
GEO:38.910305;-77.0315939
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=HEMPHILL 1515 14th Street NW Washington DC 20005 United States;X-APPLE-RADIUS=500;X-TITLE=1515 14th Street NW:geo:-77.0315939,38.910305
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20260625
DTEND;VALUE=DATE:20260822
DTSTAMP:20260613T054924
CREATED:20260521T204125Z
LAST-MODIFIED:20260521T204125Z
UID:116504-1782345600-1787356799@artinamericaguide.com
SUMMARY:Niu Systems
DESCRIPTION:Including work by Kaili Chun\, Sean Connelly\, Pier Fichefeux\, Kainoa Gruspe\, Amber Khan\, John Koga\, Roland Longstreet\, Nicole Parente-Lopez\, Nanea Lum\, Dane Nakama\, Enoka Phillips\, Nalani Sato\, and Lawrence Seward \nRYAN LEE Gallery is pleased to present Niu Systems\, a group exhibition of contemporary artists from Hawai‘i. \nNiu is not a coconut. This distinction is not merely linguistic. Where “coconut” names an object for consumption\, niu holds layers of ‘ike (knowledge): husk\, shell\, water\, flesh\, each revealing itself only through time\, care\, and engagement. Niu is a relation\, not a resource. It carries genealogy\, voyaging histories\, ancestral planting practices\, and future sustenance. Every part has purpose; nothing is isolated; nothing is wasted. To encounter niu is to slow down\, to work with one’s hands\, to engage in process rather than extraction. It becomes kumu\, a teacher\, reminding us that knowledge is not taken but revealed through relationships. \nNiu Systems takes this framework as its ground. The exhibition does not treat niu as metaphor or decoration\, but as a model for how the works here coexist: as distributed\, interdependent parts of a larger structure\, each distinct\, each inseparable from the whole. On islands\, time does not move forward. It gathers. Histories accumulate\, materials circulate\, and relationships to land deepen. In Hawai‘i\, ancestral knowledge\, migration\, and contemporary movement overlap within a compressed geography. Land is not distant. It is encountered through use\, through memory\, and through the conditions of daily life. \nAmber Khan employs niu cordage alongside wood and metal\, binding organic and constructed elements where every binding carries both physical and cultural tension. Sean Connelly’s structures rely on lashing and compression\, holding form through balance rather than fixed joinery\, a logic the niu itself enacts. Kainoa Gruspe maps surface and accumulation\, where fragments of environment\, sand\, line\, debris\, become quiet records of movement and contact. In Dane Nakama’s panels\, shells\, pumice\, and sand are embedded directly into the work\, collapsing image and shoreline into the same plane. \nNanea Lum’s use of kapa and video extends material into duration\, making process and time visible within the work. John Koga and Enoka Phillips both engage the inherited weight of objects\, how things carry histories that exceed their surfaces. Nalani Sato positions pōhaku within domestic interiors\, shifting land into spaces of habitation and memory. Nicole Parente-Lopez isolates the form of a single stone\, rendering it as both object and field. Roland Longstreet and Pier Fichefeux approach Hawai‘i from positions shaped by movement and distance\, engaging the islands as sites of encounter\, observation\, and projection\, perspectives that do not resolve into a singular view but exist in active relation to the others. \nLawrence Seward’s contribution brings the niu into direct sculptural presence. His works are not literal coconuts but representations: painted\, assembled forms that invoke the niu’s physical layers while opening onto something stranger and more interior. Organic materials\, found objects\, and bold surface treatments accumulate on forms that read simultaneously as vessel\, organism\, and world. Where other works in the exhibition engage niu as structural logic\, Seward’s pieces make its body visible – the husk\, the opening\, the held interior – as sites of mystery and meaning rather than utility. \nThe conceptual grounding for the exhibition draws in part from the thinking of Kaili Chun\, whose work is also included here. Chun’s articulation of niu as a relational framework\, one that holds layers of ‘ike rather than a single extractable use\, shapes how the exhibition understands its own materials and positions. Her contribution to the show reflects this same integration of concept and form. \nTogether\, the works in Niu Systems do not argue for a single relationship to land\, material\, or time. Some are grounded in genealogy. Others arrive through migration or temporary presence. What the exhibition holds is not a unified narrative but something closer to what the niu itself demonstrates: a system where each part participates in the whole\, where use is inseparable from responsibility\, and where meaning is not extracted but revealed slowly\, through attention\, care\, and relationship. \nNiu Systems is curated by Jon Santos within Ontopo\, a platform spanning performance\, installation\, and exhibition formats across sites and disciplines. This presentation continues Ontopo’s exhibition track centering Hawai‘i-based artists. \n  Save  
URL:https://artinamericaguide.com/event/niu-systems/
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/2026/05/Sean_Connelly_01-Helix_edit_CMYK-scaled.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
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260626T180000
DTEND;TZID=America/New_York:20260626T200000
DTSTAMP:20260613T054924
CREATED:20260608T203601Z
LAST-MODIFIED:20260608T203601Z
UID:116576-1782496800-1782504000@artinamericaguide.com
SUMMARY:Immensity of Blue
DESCRIPTION:Jane Lombard Gallery is pleased to present the group exhibition Immensity of Blue. This exhibition looks to the conceptual framework of water to highlight places where idle activities are encouraged\, rest is granted\, new communities are fostered\, and time seems to undulate indefinitely. Immensity of Blue will be on view at Jane Lombard Gallery from June 26th – August 14th\, 2026\, with an opening reception on Friday\, June 26th from 6 – 8 PM. \n  Save  
URL:https://artinamericaguide.com/event/immensity-of-blue/
LOCATION:Jane Lombard Gallery\, 58 White Street\, New York\, NY\, 10013\, United States
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2026/06/deBoer_Sunday-at-Echo-Park-Lake-Triptych_WEB.jpg
GEO:40.7185462;-74.0036001
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Jane Lombard Gallery 58 White Street New York NY 10013 United States;X-APPLE-RADIUS=500;X-TITLE=58 White Street:geo:-74.0036001,40.7185462
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260628T120000
DTEND;TZID=America/New_York:20260628T170000
DTSTAMP:20260613T054924
CREATED:20260430T195939Z
LAST-MODIFIED:20260430T195939Z
UID:116294-1782648000-1782666000@artinamericaguide.com
SUMMARY:FREE Fort Lauderdale Neighbor Day
DESCRIPTION:Every LAST Sunday of every month\, Fort Lauderdale residents receive FREE admission to NSU Art Museum as part of Fort Lauderdale Neighbor Days. \nFort Lauderdale Residents Receive: \n\n2-for-1 Wine in the Museum Café\nFREE admission\, residents must show a photo ID\, driver’s license\, or residential utility bill with proof of Fort Lauderdale address.\nVisit the Museum Cafe & Store and receive 10% off books published by NSU Art Museum.\n\nFort Lauderdale Neighbor Day is made possible by the City of Fort Lauderdale. \n  Save  
URL:https://artinamericaguide.com/event/free-fort-lauderdale-neighbor-day-10/2026-06-28/
LOCATION:NSU Art Museum\, 1 E Las Olas Blvd\, Fort Lauderdale\, FL\, 33301\, United States
CATEGORIES:Event
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2026/04/NeighborDayThumbnail2024.jpg
ORGANIZER;CN="NSU Art Museum":MAILTO:moareservations@moafl.org
GEO:26.1194368;-80.1427657
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=NSU Art Museum 1 E Las Olas Blvd Fort Lauderdale FL 33301 United States;X-APPLE-RADIUS=500;X-TITLE=1 E Las Olas Blvd:geo:-80.1427657,26.1194368
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260702T110000
DTEND;TZID=America/New_York:20260702T190000
DTSTAMP:20260613T054924
CREATED:20260430T195846Z
LAST-MODIFIED:20260430T195846Z
UID:116315-1782990000-1783018800@artinamericaguide.com
SUMMARY:Free First Thursday
DESCRIPTION:FREE FIRST THURSDAY \nThursday\, May 7\, 2026 \n11 am – 7 pm \nEnjoy FREE Museum admission and 2-for-1 All Day Happy Hour on the first Thursday of every month from 11 am to 7 pm during Free First Thursday. \nNEW! Free public tours at Noon. \n\n\n\nMINI MUSE \n4 – 6:30 pm \nGet creative with us during Mini Muse for our free drop-in art-making project offered from 4 – 6:30 pm. This drop-in art-making event is open to every skill set and all ages. Grab your friends\, family\, or come alone and let your imagination run wild. \nMaterials are provided\, and all are welcome. \n\nMini Muse us sponsored by Funding Arts Broward \n  Save  
URL:https://artinamericaguide.com/event/free-first-thursday/2026-07-02/
LOCATION:NSU Art Museum\, 1 E Las Olas Blvd\, Fort Lauderdale\, FL\, 33301\, United States
CATEGORIES:Event,Exhibition
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2026/04/FreeFirstThursdayThumbnail-01-scaled-1.jpg
ORGANIZER;CN="NSU Art Museum":MAILTO:moareservations@moafl.org
GEO:26.1194368;-80.1427657
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=NSU Art Museum 1 E Las Olas Blvd Fort Lauderdale FL 33301 United States;X-APPLE-RADIUS=500;X-TITLE=1 E Las Olas Blvd:geo:-80.1427657,26.1194368
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260702T110000
DTEND;TZID=America/New_York:20260702T190000
DTSTAMP:20260613T054924
CREATED:20260506T181119Z
LAST-MODIFIED:20260506T181119Z
UID:116326-1782990000-1783018800@artinamericaguide.com
SUMMARY:Free First Thursday
DESCRIPTION:Enjoy FREE Museum admission and 2-for-1 All Day Happy Hour on the first Thursday of every month from 11 am to 7 pm during Free First Thursday.\nMINI MUSE – 4:30 – 6:30 pm – Get creative with us during Mini Muse for our free drop-in art-making project offered from 4:30 – 6:30 pm. This drop-in art-making event is open to every skill set and all ages. Grab your friends\, family\, or come alone and let your imagination run wild.\nMaterials are provided\, and all are welcome.\n  Save  
URL:https://artinamericaguide.com/event/free-first-thursday-2/2026-07-02/
LOCATION:NSU Art Museum\, 1 E Las Olas Blvd\, Fort Lauderdale\, FL\, 33301\, United States
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2026/04/FreeFirstThursdayThumbnail-01-scaled-2.jpg
ORGANIZER;CN="NSU Art Museum":MAILTO:moareservations@moafl.org
GEO:26.1194368;-80.1427657
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=NSU Art Museum 1 E Las Olas Blvd Fort Lauderdale FL 33301 United States;X-APPLE-RADIUS=500;X-TITLE=1 E Las Olas Blvd:geo:-80.1427657,26.1194368
END:VEVENT
END:VCALENDAR