Featured Events in New York in November, 2024 (February Updated)

For a handful of decades at the end of the last century, one of the most popular ways for a superstar professional athlete to cement their iconic status was to have their persona memorialized on a Nike poster. It became a right of passage, and the posters’ popularity peaked as the Nike brand ascended to the pinnacle of its industry. In an age where athletes’ images are much more accessible and down to earth, these posters may seem quaint—but they’re also larger-than-life and undeniably entertaining, just like the stars they depict.Chronicling the many professional sports promoted by Nike, from basketball and football to tennis and golf, as well as the myriad athletes who worked with the brand, this exhibition showcases how one company paved the way for modern sports advertising.

The posters in this display represent a snapshot within Bućan’s expansive career, focusing on the monumental works he created for his first season with the Croatian National Theatre in Split, who hired him between 1982 and 1986. While he had previously produced a few large-format posters for other organizations or events, these images made up of six separate sheets of paper became his best-known designs, transforming exterior walls into urban canvases for his artistic explorations. Each image references numerous moments in art history and yet remains extremely modern, so much so that many of the posters from the first and second seasons of his tenure at the theater were given their own exhibition the following year. In 1984, the posters were seen as so particularly Yugoslavian that they were chosen to represent the country at the 41st Venice Biennale, revealing his work to a global audience and solidifying him as one of the most exciting and innovative poster designers in the world.

This groundbreaking exhibition explores the everyday clothing of ordinary women, from worn-out housecoats to psychedelic micro miniskirts and modern suits to the uniforms of fast-food workers. On view in the Joyce B. Cowin Women’s History Gallery and featuring objects from Smith College’s Historical Costume Collection on display for the first time in a museum, the exhibition traces how women’s roles have changed and evolved across race and class over the decades. Each garment holds a rich story about the women who wore it and made it, the materials used, and the context of place and time. Whether homemade or ready-made, many of the garments on display are modest and inexpensive, rarely preserved or displayed in a museum setting. Some are one-of-a-kind pieces; others are examples of clever makeshift pieces, and many were influenced by the popular styles and trends of their day. Visitors to Real Clothes, Real Lives will learn about the "real" women who worked and dressed in America for two centuries.

The Metropolitan Museum of Art has launched its first-ever major museum exhibition to examine the career of influential 20th-century architect Paul Rudolph, a second-generation Modernist architect who came to prominence in the 1950s and 1960s alongside peers such as Eero Saarinen and I.M. Pei. Materialized Space: The Architecture of Paul Rudolphexhibits the full breadth of Rudolph’s important contributions to architecture—from his early experimental houses in Florida to his civic commissions rendered in concrete, from his utopian visions of urban megastructures and mixed-use skyscrapers to his extraordinary immersive New York interiors. The exhibition offers visitors the opportunity to experience the evolution and diversity of Rudolph’s legacy and to better understand how his work continues to inspire ideas for urban renewal and reconstruction around the world. The exhibition features more than 80 artifacts of varying scales, ranging from small objects collected throughout his life to a wide range of materials produced in his office, including drawings, models, furniture, material samples, and photographs.

Public Art Fund partnered with The Studio Museum in Harlem to advise Lincoln Center on the selection of artists for this first iteration of the art program. Two prominent sites were identified for the site-specific commissions: the 50-foot Hauser Digital Wall in the lobby, which Jacolby Satterwhite has animated with a richly layered and inclusive celebration of performance that brings into dialogue the past, present and future; and the Hall’s 65th Street façade, which Nina Chanel Abney has transformed into a captivating tribute to the vibrant history and culture of San Juan Hill. Both artists undertook extensive research to develop their works. They emerge as gifted visual storytellers, committed to a more inclusive understanding of the past while giving us all a sense of future potential at a moment of reopening and reinvention.

Public Art Fund partnered with The Studio Museum in Harlem to advise Lincoln Center on the selection of artists for this first iteration of the art program. Two prominent sites were identified for the site-specific commissions: the 50-foot Hauser Digital Wall in the lobby, which Jacolby Satterwhite has animated with a richly layered and inclusive celebration of performance that brings into dialogue the past, present and future; and the Hall’s 65th Street façade, which Nina Chanel Abney has transformed into a captivating tribute to the vibrant history and culture of San Juan Hill. Both artists undertook extensive research to develop their works. They emerge as gifted visual storytellers, committed to a more inclusive understanding of the past while giving us all a sense of future potential at a moment of reopening and reinvention.

Otobong Nkanga has changed the way we understand the Earth and our place in it. “Humans are only a small, minute part of the ecosystem,” the artist has said. “My works connect us to our shared histories, not just through land and geography, but through emotions shaped by events and encounters. These are the cadences of life.” Otobong Nkanga: Cadence presents a new commission by the artist: an all-encompassing environment of tapestry, sculpture, sound, and text that explores the turbulent rhythms of nature and society. Created specifically for MoMA’s Marron Family Atrium, the installation centers on a monumental, multi-paneled tapestry that suggests sprawling ecosystems and galaxies.

Barbie®: A Cultural Icon charts the 65-year history of Barbie and the doll’s global impact on fashion and popular culture through an expansive display of more than 250 vintage dolls, life-size fashion designs, advertisements, and other ephemera, along with exclusive video interviews with the doll's designers. Visitors to the exhibition will trace the evolution of Barbie from a child’s toy to a global icon, exploring the style trends, careers, and identities that Barbie has embodied and popularized since her debut in 1959.

Pets and the City explores the visual history of New Yorkers and their animal companions over the last two and a half centuries, tracing the ever-evolving relationship between Gotham’s people and its animals as the city grew increasingly urbanized and industrialized. Through a broad spectrum of works of art, objects, documents, memorabilia, and clips from film and television, the exhibition surveys the evolution of pets—from their presence among the Lenape and Haudenosaunee and the hunting culture of settlers through their insinuation into the urban family and onto the pampered pets of today, which enjoy their own public rights.

To mark the 2024 centenary of its life as a public institution, the Morgan Library & Museum presents a major exhibition devoted to the life and career of its inaugural director, Belle da Costa Greene (1879–1950). Widely recognized as an authority on illuminated manuscripts and deeply respected as a cultural heritage executive, Greene was one of the most prominent librarians in American history. She was the daughter of Genevieve Ida Fleet Greener (1849–1941) and Richard T. Greener (1844–1922), the first Black graduate of Harvard College, and was at birth known by a different name: Belle Marion Greener. After her parents separated in the 1890s, her mother changed the family surname to Greene, Belle and her brother adopted variations of the middle name da Costa, and the family began to pass as white in a racist and segregated America.

Pets and the City explores the visual history of New Yorkers and their animal companions over the last two and a half centuries, tracing the ever-evolving relationship between Gotham’s people and its animals as the city grew increasingly urbanized and industrialized. Through a broad spectrum of works of art, objects, documents, memorabilia, and clips from film and television, the exhibition surveys the evolution of pets—from their presence among the Lenape and Haudenosaunee and the hunting culture of settlers through their insinuation into the urban family and onto the pampered pets of today, which enjoy their own public rights.

To mark the 2024 centenary of its life as a public institution, the Morgan Library & Museum presents a major exhibition devoted to the life and career of its inaugural director, Belle da Costa Greene (1879–1950). Widely recognized as an authority on illuminated manuscripts and deeply respected as a cultural heritage executive, Greene was one of the most prominent librarians in American history. She was the daughter of Genevieve Ida Fleet Greener (1849–1941) and Richard T. Greener (1844–1922), the first Black graduate of Harvard College, and was at birth known by a different name: Belle Marion Greener. After her parents separated in the 1890s, her mother changed the family surname to Greene, Belle and her brother adopted variations of the middle name da Costa, and the family began to pass as white in a racist and segregated America.

“Behind this mask, another mask; I will never be done with removing all these faces,” wrote artist and poet Claude Cahun in 1930. Throughout the 20th century, artists have imagined the body and ideas of the self as fluid and open to ongoing transformations. Vital Signs includes over 100 works by artists who question what it means to be an individual within a larger society—and how socially sustained categories such as gender, race, and sexual identity are rooted in abstraction. Much of the work in Vital Signs was made by women or gender-expansive artists. The exhibition suggests fresh perspectives on celebrated works from MoMA’s collection by artists such as Frida Kahlo, Ana Mendieta, Louise Bourgeois, and Senga Nengudi, as well as works on view at the Museum for the first time by artists including Belkis Ayón, Ted Joans, and Rosemary Mayer. Some artists explore how we project, distort, and create identities through acts of play, empathy, or control. Others focus on the body’s interior—both real and imagined—or look to the world outside, forming newly imagined combinations of the human and the non-human. Full of life, Vital Signs illuminates some of the ways that artists reflect on abstraction in its broadest social senses while expanding ideas around what it means to be alive and to connect with others.

While the landscape genre has long been associated with picturesque vistas, Shifting Landscapes considers a more expansive interpretation of the category, exploring how evolving political, ecological, and social issues motivate artists as they attempt to represent the world around them. Drawn from the Whitney’s collection, the exhibition features works from the 1960s to the present and is organized according to distinct thematic sections. Some of these coalesce around material and conceptual affinities: sculptural assemblages formed from locally sourced objects, ecofeminist approaches to land art, and the legacies of documentary landscape photography. Others are tied to specific geographies, such as the frenzied cityscape of modern New York or the experimental filmmaking scene of 1970s Los Angeles. Still others show how artists invent fantastic new worlds where humans, animals, and the land become one. Whether depicting the effects of industrialization on the environment, grappling with the impact of geopolitical borders, or proposing imagined spaces as a way of destabilizing the concept of a “natural” world, the works gathered here bring ideas of land and place into focus, foregrounding how we shape and are shaped by the spaces around us.

Featuring 25 site-specific, newly commissioned installations, Making Home—Smithsonian Design Triennial explores design’s role in shaping the physical and emotional realities of home across the United States, US Territories, and Tribal Nations. The exhibition is the seventh offering in the museum’s Design Triennial series, which was established in 2000 to address the most urgent topics of the time through the lens of design.

When Franz Kafka died of tuberculosis at the age of forty, in 1924, few could have predicted the influence his relatively small body of work would have on every realm of thought and creative endeavor over the course of the twentieth century and into the twenty-first. This exhibition will present, for the first time in the United States, the Bodleian Library’s extraordinary holdings of literary manuscripts, correspondence, diaries, and photographs related to Kafka, including the original manuscript of his novella The Metamorphosis. Other highlights include the manuscripts of his novels Amerika and The Castle; letters and postcards addressed to his favorite sister, Ottla; his personal diaries, in which he also composed fiction, including his literary breakthrough, the 1912 story “The Judgment”; and unique items such as his drawings, the notebooks he used when studying Hebrew, and family photographs. In addition to presenting unique literary and biographical material, the exhibition examines Kafka’s afterlife, from the complex journeys of his manuscripts, to the posthumous creation of a literary icon whose very name has become an adjective, to his immense influence on the worlds of literature, theater, dance, film, and the visual arts. Drawing on institutional holdings and private collections in the United States and Europe, the Morgan will show a selection of key works, among them Andy Warhol’s portrait of Kafka, part of his 1980 series Ten Portraits of Jews of the Twentieth Century.

Contemporary Black artist Trenton Doyle Hancock responds to the provocative images of twentieth-century Jewish painter Philip Guston A defining figure of the New York School, Philip Guston (1913–1980) frequently alluded to racism, antisemitism, and fascism in his work. In the 1960s and 1970s, Guston, who often grappled with his Jewish identity and assimilation into American culture, controversially portrayed himself as a cartoonish Klansman to deflate the power of the Klan’s hateful symbolism, as well as to acknowledge his own complicity in white supremacy. Trenton Doyle Hancock (b. 1974) is a leading contemporary artist who has looked to Guston as a source of inspiration for nearly three decades. In 2014 Hancock created a series of drawings that interweaves Guston’s biography, Hancock’s family history, and the history of lynching in Hancock’s hometown, and introduces Hancock’s avatar, a Black superhero named Torpedoboy who confronts Guston’s hooded alter ego. In bringing together these two trailblazing artists from different generations, this volume situates Guston’s and Hancock’s works in their social and political contexts and explores the way that art, activism, and humor can deepen our understanding of the Black and Jewish experiences in the United States. The book also features Hancock in conversation with curator Valerie Cassel Oliver and award-winning author and cartoonist Art Spiegelman.

Experts debate which Olympics were the best designed, with Mexico City, Los Angeles, Barcelona, and Grenoble drawing enthusiastic advocates. But a consensus usually forms around the graphic program created for the XXth Olympiad held in Munich, West Germany, in 1972. Usually attributed to a single visionary creative director, Otl Aicher, the program was in fact created by a team of designers who worked tirelessly on every detail of it for nearly six years. The result was a fully coordinated, rigorously executed, totally comprehensive scheme that set a new standard for the design of the Games. It became an influential model not only for the design of sporting events but for comprehensive identity programs of any kind. This exhibition highlights the program created for the 1972 Munich Olympics at its best, one for each event, each capturing both a moment in time and making a bid for permanence. Together, they demonstrate a magically calibrated balance of consistency and surprise, control and power, precision and exuberance: no less than the athletes they celebrate.Graphic designer Michael Bierut graduated from the University of Cincinnati and worked for ten years with Massimo Vignelli before joining the New York office of the design consultancy Pentagram in 1990. His teaching appointments have included positions at the Yale School of Art and the Yale School of Management. He was the recipient of the AIGA Medal in 2006 and the Design Mind Award from the Cooper Hewitt National Design Museum in 2008.

Growing up in a religious environment, Ralph Lemon showed unique artistic creativity since childhood. In the early days of his career, he used painting as a source of expression. With his in-depth discovery of dance, he used movement as a means of physical expression. More than 60 works and six performances created across disciplines constitute Lemon's large-scale solo exhibition to reflect on the state of performance in museums, stages and daily life.

MoMA would not be what it is today without Lillie Plummer Bliss. In 1929, after years of advocating for modern art in New York, Bliss, together with Abby Aldrich Rockefeller and Mary Quinn Sullivan, founded The Museum of Modern Art. When she died, at 66, just two years later, Bliss left a large part of her art collection to the museum—a visionary act that fundamentally changed MoMA’s trajectory. Lillie P. Bliss and the Birth of the Modern brings together 40 works from Bliss’s collection, including paintings and works on paper by Paul Cézanne, Odilon Redon, Georges-Pierre Seurat, and Pablo Picasso. Bliss was a fierce supporter of these groundbreaking artists at a time when modern art was often met with suspicion or ridicule. “They have something to say worth saying and claim for themselves only the freedom to express it in their own way,” she declared. Her uniquely generous gift, which allowed for the sale of her works to fund new acquisitions—including Vincent van Gogh’s The Starry Night—provided the young museum with a means to develop its collection far into the future. Bliss’s remarkable contribution to the history of modern art in the United States remains under-recognized. This is partly due to her wish to stay out of the spotlight; at the end of her life, Bliss requested that her personal papers be burned. While much of her story remains left to the imagination, Lillie P. Bliss and the Birth of the Modern illuminates this pivotal figure through the works of art she loved most.

The majority of the posters in this exhibition date from the Golden Age of London Passenger Transport Board posters, when many artists were commissioned to produce designs, primarily for London Underground and its various connecting networks of tram and bus lines. In this post-World War I era, the overarching concept behind the poster campaigns was to encourage off-peak travel across the wider network through eye-catching, attractive designs, thus driving up revenues for under-utilized lines. Most of these posters were not advertising the train lines themselves, but featured images focused on pastoral or unspoiled destinations for weekend day trips, such as historic houses, beaches, or sporting events like rowing races, all on the outer reaches of the Tube lines. These vividly colored posters frequently juxtaposed the inherent grayness of inner city London with an exaggerated vibrant atmosphere available just a short Tube ride away.

Art of Commerce: Trade Catalogs in Watson Library features a selection of the library’s extensive holdings of sale catalogs. Watson Library has almost two thousand trade catalogs published in many countries from the eighteenth century to the present. Objects featured include furniture, jewelry, tiles, ironwork, glasswork, lighting, stoves, tableware, textiles, decorative paper, artist’s materials, fashion, typography, automobiles, and musical instruments. Numerous catalogs illustrate works of art or related objects now in The Met collection.

Art of Commerce: Trade Catalogs in Watson Library features a selection of the library’s extensive holdings of sale catalogs. Watson Library has almost two thousand trade catalogs published in many countries from the eighteenth century to the present. Objects featured include furniture, jewelry, tiles, ironwork, glasswork, lighting, stoves, tableware, textiles, decorative paper, artist’s materials, fashion, typography, automobiles, and musical instruments. Numerous catalogs illustrate works of art or related objects now in The Met collection.

For the 2024 Great Hall Commission, Taiwanese artist Tong Yang-Tze (born 1942, Shanghai, based in Taipei) has created two monumental works of Chinese calligraphy for the Museum’s historic space. Her project is the third in the series of commissions for The Met’s Great Hall and the artist’s first major project in the United States.

For the 2024 Great Hall Commission, Taiwanese artist Tong Yang-Tze (born 1942, Shanghai, based in Taipei) has created two monumental works of Chinese calligraphy for the Museum’s historic space. Her project is the third in the series of commissions for The Met’s Great Hall and the artist’s first major project in the United States.

This exhibition features a selection of artwork by teens from across the United States who received the highest national recognition in the 2024 Scholastic Art & Writing Awards: the Gold and Silver Portfolio Award, The Herblock Award for Editorial Cartoon, the New York Life Award, and the Gold Medal Award. Presented by the Alliance for Young Artists & Writers, the Scholastic Awards are the longest-running and most prestigious recognition program for creative teens in the United States. Established in 1923, the Scholastic Art & Writing Awards bring the work of young people to regional and national audiences. Former recipients include artists Andy Warhol, Cy Twombly, Kay WalkingStick, and John Baldessari—all represented in The Met collection—and writers Stephen King, Amanda Gorman, and Joyce Carol Oates.

This exhibition features a selection of artwork by teens from across the United States who received the highest national recognition in the 2024 Scholastic Art & Writing Awards: the Gold and Silver Portfolio Award, The Herblock Award for Editorial Cartoon, the New York Life Award, and the Gold Medal Award. Presented by the Alliance for Young Artists & Writers, the Scholastic Awards are the longest-running and most prestigious recognition program for creative teens in the United States. Established in 1923, the Scholastic Art & Writing Awards bring the work of young people to regional and national audiences. Former recipients include artists Andy Warhol, Cy Twombly, Kay WalkingStick, and John Baldessari—all represented in The Met collection—and writers Stephen King, Amanda Gorman, and Joyce Carol Oates.

Experience crucial moments in the history of LGBTQ+ civil rights captured by famed Village Voice photographer Fred McDarrah in the latter half of the 20th century.

This exhibition features a selection of artwork by teens from across the United States who received the highest national recognition in the 2024 Scholastic Art & Writing Awards: the Gold and Silver Portfolio Award, The Herblock Award for Editorial Cartoon, the New York Life Award, and the Gold Medal Award. Presented by the Alliance for Young Artists & Writers, the Scholastic Awards are the longest-running and most prestigious recognition program for creative teens in the United States. Established in 1923, the Scholastic Art & Writing Awards bring the work of young people to regional and national audiences. Former recipients include artists Andy Warhol, Cy Twombly, Kay WalkingStick, and John Baldessari—all represented in The Met collection—and writers Stephen King, Amanda Gorman, and Joyce Carol Oates.

Join us for Victory Lap: The Official After-Party of the TCS New York City Marathon! We are excited to announce we will be hosting a special post-race event to celebrate runners and their family and friends. Enjoy music, activations, surprise guests, and more! When: Sunday, November 3 from 7:00 p.m. to 11:00 p.m. Location: Terminal 5 at 610 W 56th St, New York City Price: $35 per person (+ $3.43 processing fee) (1) complimentary drink voucher will be included with each ticket! This is a 21+ only event. Note: A maximum of (10) tickets may be purchased per customer PUBLICITY RELEASE: I grant permission to NYRR to use, publish or license or authorize others to use, publish or license any photographs, motion pictures, video or sound recordings, and/or any other record of my participation in the Events, including, but not limited to my portrait, picture, likeness, image and/or personal information, such as name, age, gender, domicile, race results, club affiliation, for any purpose without remuneration. Please click HERE for more information about security and prohibited items. NYRR strives to host inclusive, sustainable, and accessible events that enable all individuals to engage. To request reasonable accommodations or for inquiries about accessibility for attending this event, please email accessibility@nyrr.org. Information Source: New York Road Runners | eventbrite