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

Back to the Future the Musical is an extraordinary event taking place at the Winter Garden Theatre in New York. From now on, immerse yourself in this captivating experience. “Back to the Future: The Musical” is an extraordinary stage adaptation of the beloved 1985 sci-fi masterpiece “Back to the Future”. Transporting audiences through time, this captivating production follows the thrilling journey of Marty McFly. With the aid of a remarkable DeLorean time machine, invented by his ingenious friend, Marty ventures from the year 1985 to the enchanting era of 1955. Along this extraordinary odyssey, he encounters his own parents during their teenage years, facing the pivotal task of ensuring their destined love and unity, ultimately safeguarding his very existence in the future. Experience the awe-inspiring magic of the theater “Back to the Future: The Musical” Secure your tickets on Trip.com now for an unforgettable journey through time and witness the enthralling attractions that await.

The Lion King Show is an exceptional event that takes place in the vibrant city of New York. Held at the renowned Minskoff Theatre, this show promises an unforgettable experience for all attendees. From now on, immerse yourself in the mesmerizing world of The Lion King. Based on the 1994 Disney film and the original book by Roger and Erin, the musical won an Oscar for the song Can You Feel the Love Tonight. This remarkable production showcases the timeless tale of Simba, the young lion prince, as he embarks on a journey of self-discovery and courage. This visual feast successfully blends animals, puppets and real people seamlessly and is loved by audiences of all ages. Don’t miss out on this extraordinary event, Trip.com offers a wide range of ticketing options. Immerse yourself in the enchanting atmosphere of the Minskoff Theatre and witness the magic unfold before your eyes. Whether you are a fan of the original animated film or a newcomer to the story, this show guarantees to leave you in awe.

DIMENSIONS OF SOUND - MUSICAL JOURNEY THROUGH SPACE AND TIME “The ear lies nearest to the human soul.” (Johann Gottfried Herder, „Kritische Wälder”, 1769 ) The House of Music, Hungary is a tree of life in the heart of Városliget, with a trunk, and a crown of golden leaves on slender branches. We are standing here by its roots, which provide the institution with its spiritual sustenance. The roots are entwined, like a labyrinth, and we walk among them. Our journey begins far back in time and space, back at the birth of music itself where we can grasp the roots of Hungarian folk music and European music. Progressing through the centuries, we will follow the development of music, discovering what a series of organised tones has meant to mankind, with the emphasis on Hungarians in the light—or sometimes the shadow—of Europe. Through the language of music, the exhibition speaks for itself: Everywhere we go, we hear music playing; the subject of the exhibition is music itself. Quoting Shakespeare, we might say, “Mark the music!” Mark not only the music coming from the headphones, but also the music around and within you. When you reach the end of the path, the modern day, many sounds will have been etched into your heart and mind: music to take home with you, the music of ancient times.

In the heart of New York City, the Richard Rodgers Theatre proudly presents the musical “Hamilton”. This highly anticipated event will captivate audiences from now on. Experience the captivating story of Hamilton, an extraordinary musical that delves into the life of a remarkable Founding Father. With an insatiable hunger for success and a relentless ambition, Hamilton defies all odds to leave an indelible mark on the new nation. From his humble beginnings as an orphan to becoming George Washington's trusted right-hand man, Hamilton's journey takes him from rebel to war hero. Amidst his rise to power, he becomes entangled in the first-ever sex scandal of the country, all while serving as the head of the Treasury and instilling faith in the American economy. Immerse yourself in the rich history and captivating storytelling of this critically acclaimed musical. Don’t miss the opportunity to witness this extraordinary musical “Hamilton” live on stage at the Richard Rodgers Theatre in New York City. Get your tickets now on Trip.com for an unforgettable journey into the world of Hamilton.

A large art project called Day's End now stands in the Hudson River near Pier 52. Created by David Hammond, it's made of slender steel pipes and pays tribute to artist Gordon Matta-Clark, who transformed an abandoned shed on the same pier in 1975. The sculpture changes with the light, connecting to the history of the waterfront as a shipping hub and a gathering place for the gay community. It took seven years to complete the installation, and it's now open to the public for free. The Whitney Museum collaborated with the Hudson River Park Trust on this project, and they will work together on a maintenance plan. To celebrate its completion, the Whitney offers free admission on May 16, and there will be family workshops throughout the day. You can find Day's End at Hudson River Park, across from the Whitney Museum, on the southern edge of the new Gansevoort Peninsula, where it will remain permanently.

A large art project called Day's End now stands in the Hudson River near Pier 52. Created by David Hammond, it's made of slender steel pipes and pays tribute to artist Gordon Matta-Clark, who transformed an abandoned shed on the same pier in 1975. The sculpture changes with the light, connecting to the history of the waterfront as a shipping hub and a gathering place for the gay community. It took seven years to complete the installation, and it's now open to the public for free. The Whitney Museum collaborated with the Hudson River Park Trust on this project, and they will work together on a maintenance plan. To celebrate its completion, the Whitney offers free admission on May 16, and there will be family workshops throughout the day. You can find Day's End at Hudson River Park, across from the Whitney Museum, on the southern edge of the new Gansevoort Peninsula, where it will remain permanently.

Lincoln Center for the Performing Arts is one of the world’s premiere performing arts organizations. On October 8, 2022, David Geffen Hall reopened as a welcoming cultural anchor for New York City, some 60 years after it was first inaugurated as the home of the New York Philharmonic. The new Hall reimagines the concert-going experience by providing more inclusive public spaces for diverse cultural performances and community uses. This initiative includes an annual program of art commissions, where all members of the public are invited to engage with the work of leading contemporary artists free of charge. The democratic approach instills a sense of welcome both indoors and out, beckoning those who may never have interacted with Lincoln Center or the New York Philharmonic, and encouraging those long familiar with the campus to see it afresh. 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. The artworks are commissioned by Lincoln Center for the Performing Arts in collaboration with The Studio Museum in Harlem and Public Art Fund. Nina Chanel Abney, Nina Chanel Abney’s monumental work of art for the façade of David Geffen Hall pays homage to San Juan Hill. In the 1940s and 50s, this predominantly Black and Brown neighborhood was forcibly displaced to make way for redevelopment, including what would become Lincoln Center for the Performing Arts. Abney’s constellation of figures, words, shapes, and symbols reflects the thriving community that lived here. Featured residents include pioneering healthcare workers Edith Carter and Elizabeth Tyler. Also pictured are James P. Johnson, whose music gave rise to the Charleston dance craze, and Thelonious Monk, a pioneer of Bebop and other jazz styles. Reclaiming this important history in her bold and vibrant style, Abney aims to spark curiosity and inspire a more inclusive future. Jacolby Satterwhite, Jacolby Satterwhite’s commission for David Geffen Hall reconsiders the past, present, and future of Lincoln Center and the New York Philharmonic. weaves together archival images, live action footage, and digital animation. We see a colorful and densely layered festival of performance that traverses historical periods through virtual space. Satterwhite’s inclusive cast represents artists since the Philharmonic’s founding in 1842, while featuring young musicians and dancers from across New York City. They play instruments and dance on stages and sculptural monuments set into a landscape inspired by Central Park and surrounded by buildings covered in screens, reminiscent of Times Square. Grounded in a more democratic view of history, Satterwhite’s work offers us his playful and richly inventive vision of a creatively empowered future. is known for combining representation and abstraction. Her paintings capture the frenetic pace of contemporary culture. Broaching subjects as diverse as race, celebrity, religion, politics, sex, and art history, her works eschew linear storytelling in lieu of disjointed narratives. The effect is information overload, balanced with a kind of spontaneous order, where time and space are compressed and identity is interchangeable. Her distinctively bold style harnesses the flux and simultaneity that have come to define life in the 21st century. Through a bracing use of color and unapologetic scale, Abney’s canvases propose a new type of history painting, one grounded in the barrage of everyday events and funneled through the velocity of the internet. Abney’s work is included in collections around the world, including the Brooklyn Museum, The Rubell Family Collection, Bronx Museum, and the Burger Collection, Hong Kong. Her first solo museum exhibition, , curated by Marshall Price, was presented in 2017 at the Nasher Museum of Art, North Carolina. It traveled to the Chicago Cultural Center and then to Los Angeles, where it was jointly presented by the Institute of Contemporary Art, Los Angeles, and the California African American Museum. The final venue for the exhibition was the Neuberger Museum of Art, Purchase College, State University of New York. is celebrated for a conceptual practice addressing crucial themes of labor, consumption, carnality, and fantasy through immersive installation, virtual reality, and digital media. He uses a range of software to produce intricately detailed animations and live action film of real and imagined worlds populated by the avatars of artists and friends. These animations serve as the stage on which the artist synthesizes the multiple disciplines that encompass his practice, namely painting, performance, illustration, sculpture, photography, and writing. Satterwhite draws from an extensive set of references, guided by queer theory, modernism, and video game language to challenge conventions of Western art through a personal and political lens. An equally significant influence is that of his late mother, Patricia Satterwhite, whose ethereal vocals and diagrams for visionary household products serve as the source material within a decidedly complex structure of memory and mythology. Satterwhite received his BFA from the Maryland Institute College of Arts, Baltimore and his MFA from the University of Pennsylvania, Philadelphia. His work has been presented in numerous exhibitions and festivals internationally, including most recently at Haus der Kunst, Munich,2021; Gwangju Biennale, Gwangju,(2021; and Wexner Center for the Arts, Columbus, OH, 2021. Nina Chanel Abney , 2022 Latex ink and vinyl mounted on glass Commissioned by Lincoln Center for the Performing Arts in collaboration with The Studio Museum in Harlem and Public Art Fund Photo: Nicholas Knight, courtesy Lincoln Center for the Performing Arts, The Studio Museum in Harlem, and Public Art Fund, NY. Jacolby Satterwhite , 2022 HD color video and 3D animation 27:23 mins Commissioned by Lincoln Center for the Performing Arts in collaboration with The Studio Museum in Harlem and Public Art Fund © Jacolby Satterwhite. Courtesy of the Artist and Mitchell-Innes & Nash, New York Photo: Nicholas Knight, courtesy Lincoln Center for the Performing Arts, The Studio Museum in Harlem, and Public Art Fund, NY.

Public Art Fund presents Huma Bhabha: Before The End, an exhibition featuring a series of four new large-scale bronze sculptures set against the verdant backdrop of Brooklyn Bridge Park. Drawing inspiration from a diverse array of influences, Bhabha’s works blend aesthetic, cultural, and psychological elements, probing the intersections of art, science fiction, horror, and mythology.

For The Met Fifth Avenue’s facade niches, Nairy Baghramian will create four abstract polychrome sculptures with components that seem to have washed up like flotsam and jetsam in the voids of their respective niches. The project is the artist’s first public installation in New York City and is the fourth in the series of contemporary commissions for The Met’s facade. Born in Iran in 1971, Nairy Baghramian fled to Berlin, Germany, in 1984, where she continues to live and work. Baghramian creates abstract sculptures that explore the dynamics of the body, gender, and dichotomies of private and public space. Her site-responsive sculptures and installations engage with architecture and often evoke bodily gestures, junctures, or fragments. Along with site responsivity, other hallmarks of Baghramian’s work are polychromy and the innovative and subversive use of different types of material. The exhibition is made possible by Angela A. Chao and Jim Breyer, Robert Denning, Cynthia Hazen Polsky and Leon B. Polsky, and The Hayden Family Foundation.

Frieze New York unveils its eagerly anticipated 2024 edition, scheduled to grace the iconic The Shed from May 1–5. This premier art fair, a beacon for connoisseurs and collectors alike, is set to feature an impressive roster of over 60 galleries from 25 distinct countries. Emphasizing New York City's pivotal role as a cultural nexus and a frontrunner in the global art scene, Frieze New York is committed to a celebration that extends beyond the exhibition space. This year, the fair will engage in dynamic collaborations with some of the city’s most influential non-profit arts organizations, highlighting the communal spirit and cultural richness that thrive within its boroughs. Christine Messineo, Frieze’s Director of Americas, articulates the vision with clarity, noting the city’s unparalleled art landscape. Frieze New York aims to encapsulate this vibrancy by congregating a curated selection of exhibitors who epitomize the zenith of contemporary art. This assembly is not just an exhibition but a testament to New York's enduring legacy as a hub of artistic innovation, offering a platform that interweaves global insights with the city's own illustrious gallery scene, all while paying homage to the non-profit entities that are instrumental in nurturing its diverse art communities.

Experience an enchanting evening of art, music, and revelry at the Celestial Bodies Spring Salon by The Aurelians Collective in New York City. This extraordinary event will take place on May 10, 2024, at 287 Park Ave S. Immerse yourself in a captivating journey through the stars, featuring a lineup of theatre, vocal performances, instrumentalists, contemporary dance, poetry, and visual art installations. The salon will culminate in an afterparty with a talented female DJ. The Aurelians Collective, a female and BIPOC-led group of creatives, aims to drive social change through art by empowering marginalized artists. By attending the Celestial Bodies event, attendees consent to being captured in photographs and recordings used for promotional purposes. Tickets for this unique experience range from $44.52 to $161.90. Join The Aurelians Collective for a night like no other, where you can appreciate art, culture, and revelry under the stars.

The highly anticipated sports event featuring New York Yankees v Houston Astros is set to take place at the iconic Yankee Stadium in New York on May 7, 2024. Fans from both teams are gearing up to witness this thrilling match-up between two powerhouse baseball clubs. The clash between the New York Yankees and the Houston Astros is expected to draw in a massive crowd, all eager to see the intense competition unfold on the field. With the address of the venue being 1 E 161st St, Bronx, NY 10451, USA, attendees can easily locate and access the stadium for the event. Make sure to mark your calendars and secure your tickets to be a part of this electrifying experience. Get ready to cheer on your favorite team as they battle it out for supremacy in this epic showdown. Don't miss out on the excitement of New York Yankees v Houston Astros at Yankee Stadium!

Join Nina St. Pierre at P&T Knitwear Books & Podcasts in New York City on May 8, 2024, as she presents her latest memoir, Love is a Burning Thing, featuring a discussion with Chloé Cooper Jones, author of the acclaimed memoir Easy Beauty. In this riveting account, Nina delves into her mother's fascinating life, marked by a quest for the divine and two mysterious fires. The event will include an audience Q&A, a book signing session, and limited amphitheater-style seating for attendees. Tickets range from $7.18 to $34.38, with the cost of general admission applicable towards the purchase of the featured book or any item at the venue's café on the event night. Signed copies of Love is a Burning Thing can be pre-ordered for shipping to most locations. Nina St. Pierre, a prominent queer essayist and culture writer, has been recognized with numerous fellowships and residencies, while Chloé Cooper Jones is a distinguished philosophy professor and journalist, celebrated for her award-winning work. Mark your calendars for this exclusive literary event of introspection and discovery.

See stunning jewelry pieces that trace the history of hip-hop from the 1980s to today. Ice Cold: An Exhibition of Hip-Hop Jewelry celebrates hip-hop’s cultural influence through exquisite jewelry worn by some of its iconic stars. Highlights include Slick Rick’s dazzling crown, Notorious BIG’s legendary gold “Jesus piece,” a diamond-encrusted Roc-A-Fella medallion from the record label co-founded by Jay-Z, Nicki Minaj’s sparkling “Barbie” pendant, and pieces from Erykah Badu, A$AP Rocky, Joey Bada$$, FERG and Tyler, the Creator, among others. Building on New York City’s celebration of hip-hop’s 50th anniversary as a global phenomenon, Ice Cold will highlight the evolution of hip-hop jewelry over the past fifty years, starting with the oversized gold chains adopted by rap pioneers in the 1980s, all the way to the 1990s, when emcees turned business moguls wore record label pendants sparkling with diamonds and platinum.

Get ready for the ultimate experience at Sean Paul - Greatest Tour 2024, taking place at Brooklyn Paramount on May 9, 2024. The venue address is 385 Flatbush Ave. Extension, Brooklyn, NY, 11201. Fans can expect an electrifying night filled with hits like "Get Busy," "Like Glue," "Cheap Thrills," and more. This concert is a must-attend for all Sean Paul enthusiasts looking to groove to his chart-topping tunes. Tickets for this sensational event will be available for purchase starting from February 9, 2024, at 3:00 PM, until May 10, 2024, at 1:00 AM. Don't miss out on this incredible opportunity to witness Sean Paul live in action. Mark your calendars and secure your tickets to what promises to be a memorable night of music and entertainment. Experience the magic of Sean Paul - Greatest Tour 2024 and create lasting memories with friends and fellow fans.

Don't miss the opportunity to attend the exclusive event where writer Maggie Hill will be discussing her latest book, "Sunday Money," set in 1970s Brooklyn. The novel follows a teenage girl navigating life on and off the basketball court, challenging societal norms. Joining her in conversation will be publishing professional Alexandra Shelley. The event will take place on May 21, 2024, at P&T Knitwear Books & Podcasts in New York City. Tickets for this in-store event with limited seating range from $7.18 to $22.69, applicable towards the purchase of the featured book or any café product on the event night. Ensure to wear a mask for the talk and book signing session afterward. If you can't attend but wish to obtain a signed copy of "Sunday Money," pre-orders are accepted for shipping to most locations. Learn more about Maggie Hill, a distinguished author with work featured in prestigious publications, and about Alexandra Shelley, a seasoned professional in the literary world. Immerse yourself in this engaging literary discussion and book signing event.

The BIG Salsa Festival New York, a highly anticipated annual event, will take place on Memorial Day Weekend. Positioned at the heart of New York, this festival serves as a Mecca for salsa enthusiasts. BIG Salsa Festival New York 2024 is committed to delivering an unparalleled New York experience, attracting attendees from around the world. Renowned instructors from various corners of the globe are gathered to present and share their exceptional talents. Prepare to be captivated by breathtaking performances, as the best Salsa and Bachata DJs from across the globe accompany the night's festivities, ensuring an unforgettable experience in the heart of New York City. The BIG Salsa Festival New York 2024 will be held at the prestigious New York Hilton Midtown, located at 1335 6th Ave, New York, NY 10019. Don't miss this opportunity to immerse yourself in the pulsating rhythm of salsa and create lasting memories. Secure your tickets now, with prices ranging from $44.52 to $172.57.

Get ready to rock out at Laundry Day, a must-see concert happening at Bowery Ballroom on May 24, 2024. Located at 6 Delancey St., New York, NY, 10002, this event is set to be an unforgettable night filled with killer tunes and high-energy performances. The lineup for Laundry Day includes some of the hottest acts in the music scene, promising a show that will have you on your feet from start to finish. Be sure to mark your calendars, as tickets for Laundry Day will be available for purchase starting April 12, 2024, at 14:00, and will be on sale until May 25, 2024, at 02:00. Don't miss your chance to be a part of this epic experience that is Laundry Day - it's going to be one for the books!

Go far beyond our own blue planet and marvel at the latest discoveries about our cosmic neighbors. Immersive visualizations of distant worlds. Groundbreaking space missions. Breathtaking scenes depicting the evolution of our solar system.

An exhibition that reveals the mysterious world of the 5th Duke of Portland. The 5th Duke was an unusual figure in Victorian high society, and many myths and legends have grown around his memory. These include always wearing 3 pairs of socks, only eating roast chicken, and communicating exclusively by letter through his bedroom door. The actual truth behind the stories is uncertain but it seems that the famously private 5th Duke was not a conventional Victorian aristocrat. He is best known for his building projects, which include one of the world’s largest riding schools, 2¾ miles of tunnels, a subterranean ballroom and an underground donkey stable. The 5th Duke of Portland was a keen art collector, and The Portland Collection remains home to many pieces that he chose. He bought more than 50 paintings, including works by Reynolds and Mytens, over 70 miniatures and an extraordinary array of ceramics. This exhibition includes the architectural models for some of the Duke’s building projects, portraits of his lost love – the opera singer Adelaide Kemble, the Duke’s death mask, and his iconic double-letterbox bedroom door.

Kämpfe und Widerstände gegen Rassismus sind Bestandteil der Geschichte dieses Landes. Ob eingewandert, durchreisend oder hier geboren - Menschen mit Rassismus-, Antisemitismus- und Diskriminierungserfahrungen kämpfen seit Jahrzehnten für Gleichberechtigung und gesellschaftliche Veränderung. Ihre Forderungen für Teilhabe und Projekte gegen Rassismus und Unterdrückung haben die Gesellschaft wesentlich mitgeprägt. Ihre Geschichten und Perspektiven bleiben jedoch meist unsichtbar und unerzählt. Ihr Wissen, ihre Erfahrungen und ihre Stimmen werden instrumentalisiert oder fehlen in der Erinnerungskultur und in offiziellen Archiven. Zusammen mit vielen Menschen aus Ost-, West- und dem wiedervereinigten Deutschland arbeiten wir seit einiger Zeit daran, die Geschichten der Kämpfe gegen Rassismus und Antisemitismus zu erzählen. Gemeinsam suchen wir nach neuen Wegen des Sammelns, Aufarbeitens und Darstellens. Im FHXB Friedrichshain-Kreuzberg Museum ist ein offenes Archiv mit ersten Ergebnissen dieses gemeinsamen Forschens entstanden. Es handelt sich um eine Sammlung an Bruch- und Fundstücken, die bei Workshops und durch Unterstützung der Besucher:innen weiter wachsen wird. Das offene Archiv soll zu einem Debattenraum werden, der vergangene Erfahrungen mit heutigen Debatten und Kämpfen gegen Antisemitismus, Rassismus und allen Diskriminierungen zusammenbringt. Ein Kooperationsprojekt der Georg-August-Universität Göttingen, der Fachhochschule Kiel, des Dokumentationszentrums und Museums über die Migration in Deutschland e.V. (DOMiD) und des FHXB Friedrichshain-Kreuzberg Museums. Gefördert durch die Bundeszentrale für politische Bildung.

Pueblo Indian pottery embodies four main natural elements: earth, water, air, and fire. It is an art form literally of land and place, and is one of America’s ancient Indigenous creative expressions. Foregrounding Pueblo voices and aesthetics, Grounded in Clay: The Spirit of Pueblo Pottery is the first community-curated Native American exhibition in the history of The Met. The effort features more than one hundred historical, modern, and contemporary clay works and offers a critical understanding of Pueblo pottery as community-based knowledge and personal experience. Dating from the eleventh century to the present day, the featured artworks represent the aesthetic lineages of New Mexico’s nineteen Río Grande Pueblos as well as the West Texas community of Ysleta del Sur and the Hopi tribe of Arizona—sovereign Indigenous nations where pots and other ceramic works have been made and used for millennia. Visual and material languages of pottery and intergenerational narratives are highlighted throughout the exhibition. Grounded in Clay: The Spirit of Pueblo Pottery was curated by the Pueblo Pottery Collective, a group that includes sixty individual members of diverse ages, backgrounds, and professions, who represent twenty-one source communities. Selected works are from two significant Pueblo pottery collections—the Indian Arts Research Center of the School for Advanced Research (SAR) in Santa Fe, New Mexico, and the Vilcek Foundation, New York, New York.

Any act of good design must also be an act of empathy, respect, and responsibility toward all living organisms and ecosystems––as well as future generations. By translating scientific, technological, and social revolutions into objects and behaviors, design can be an agent of positive change and play a crucial part in restoring the fragile ties between humans and the rest of nature. Life Cycles: The Materials of Contemporary Design explores the regenerative power of design as it shifts its focus towards a more collaborative rapport with the natural world. The objects in this exhibition highlight the entire life cycle of the materials they are made of. From extraction to reuse or disposal, designers are exploring new ways––sometimes drawn from old traditions––to enlist materials in their efforts to bring ecosystems into balance. Cow manure collected from the streets of Indonesia is transformed into casings for loudspeakers and lamps. Bricks made from crop waste and fungi mycelium are used as a carbon-neutral building material. Bees fabricate honeycomb vases over human-made forms. These objects demonstrate that design can be elegant, innovative, and compelling, while at the same time offering new strategies for repairing our planet.

The exhibition reflects Public Art Fund's ongoing commitment to creating public exhibition opportunities for advanced career artists and artists of color, particularly those who may not have received widespread recognition earlier in their careers. Eversley’s presentation represents not only his first public sculpture in New York, but also the first outdoor placement of the artist’s large-scale polyurethane resin works. “Fred Eversley’s art immerses us in perceptual experiences that bring us outside of ourselves. He explores how an artwork may inhabit the world around it while simultaneously inviting us into the realms of imagination and mystery,” said Public Art Fund Artistic & Executive Director Nicholas Baume. “, Eversley’s first public work in his home city, takes his series of pristine cylindrical sculptures to a new scale and context, engaging with the ever-changing outdoor environment, the effects of natural light, and the countless visitors whose attention it captures.” New York-based artist Fred Eversley is a pioneer of the West Coast Light and Space and Finish Fetish movements. With his scientific background as an electrical and aerospace engineer informing his artistic practice for over fifty years, Eversley is renowned for his vivid cast resin works that invite audience-artwork interaction through a range of sensory phenomena. Dedicated to expressing ideas about energy as a physical and metaphysical concern for all of humanity, Eversley’s sculptures center on the parabola, the only shape that concentrates all forms of energy—light, sound, and heat—into a single acoustic and optical focal point. “My parabolic forms are all about energy. They are made to reflect all the infinite combinations of internal reflections, refractions, color changes, and other optical phenomena that one can experience within a single sculpture,” said artist Fred Eversley. “ and its display in Doris C. Freedman Plaza resonates with my vision of an energetic outdoor focal point to attract public audiences to spontaneously pause, slow down, and engage in numerous ways with a cosmic, mystifying object.” Eversley’s presentation with Public Art Fund marks an ambitious continuation of his new works, the artist’s first series of larger-than-human-scale, free-standing, floor-based sculptures. These recent works—which debuted at David Kordansky Gallery in May 2023—are conceptually linked to the cylindrical section sculptures the artist first exhibited in his first solo presentation at the Whitney Museum of American Art in 1970. The largest work of the series thus far, , is shaped as a plano-convex lens that focuses light into a single line. It acts as an optical instrument where stillness and motion appear to be present at the same time. Its geometrical mass gradually transitions its magenta hue, from rich saturation at its bottom to colorless transparency at the apex. The color saturation further shifts depending on the angle of the viewer and the direction of the sun. The sculpture obtains its luminous tone and reflective quality from its crystal-clear resin material and through a labor-intensive hand-polishing process. appears simultaneously reflective and transparent, liquid and solid—a manmade form with an otherworldly, ethereal quality. prompts questions about how optical and physical perceptions determine how we connect with each other and the world, communicating a kinetic, palpable sense of the mysterious presence of energy throughout the universe. The sculpture’s properties, and direct placement on the ground, entice viewers to approach and move around the work. Bending, distorting, and reflecting faces, forms, and colors, the work heightens the relationship between the viewer’s body and the cylindrical lens. This key performative facet is on full display in this outdoor work. Interacting with natural light and spontaneous passers-by, it represents Eversley’s most far-reaching and dynamic foray into the cultivation of audience-artwork interaction to date. The work's outdoor site allows for natural light to hit its surface and further generate a range of refractions and prismatic effects, connecting the viewer’s senses with the object and the environment in spellbinding ways. In this way, the sculpture expands and destabilizes multiple states of existence and perception. Straddling the scientific, metaphysical, and mystical, the sculpture functions as a portal for viewers to a world of radiant color, abstracted form, and a re-examination of one’s self and others within our surroundings. is curated by Public Art Fund Artistic & Executive Director Nicholas Baume with support from Public Art Fund Assistant Curator Jenée-Daria Strand, and developed by former Public Art Fund Senior Curator Allison Glenn. ABOUT THE ARTIST Fred Eversley (b. 1941, Brooklyn, New York) is a key figure in the development of contemporary art from Los Angeles during the postwar period. He synthesizes elements from several art historical movements associated with Southern California, including Light and Space, though his work is the product of a pioneering vision all his own, informed by lifelong studies on the timeless principles of light, space, time, and gravity. Prior to becoming an artist, Eversley moved to California to become an engineer, collaborating with NASA and major aerospace companies to develop high-energy acoustic and vibration testing laboratories. Eversley’s work on NASA’s second and third human spaceflight programs, Gemini and Apollo, developed his interest in the parabola, which began when he was a teen. His pioneering use of plastic, polyester resin, and industrial dyes and pigments reflects the technological advances that define the postwar period even as his work reveals the timeless inner workings of the human eye and mind. Eversley will unveil his largest Public Commission to date, a sculptural installation, titled “Portals”, for permanent display in Able’s Park, at One Flagler, West Palm Beach in early summer of 2024, commissioned by Related Companies in partnership with the City of West Palm Beach. He has also been the subject of solo exhibitions at the Orange County Museum of Art, Costa Mesa, California (2022–2023); Rose Art Museum, Brandeis University, Waltham, Massachusetts (2017); Art + Practice, Los Angeles (2016); National Academy of Science, Washington, D.C. (1981); Palm Springs Art Museum, California (1977); Newport Harbor Art Museum, Newport Beach, California (1976); and Whitney Museum of American Art, New York (1970). Eversley will be part of two major group shows as part of the Pacific Standard Time Art and Science Collide program 2024. Recent group exhibitions include Light and Space, Copenhagen Contemporary, Copenhagen (2021–2022); Soul of a Nation: Art in the Age of Black Power 1963–1983 (2017–2020, traveled to five venues); Space Shifters, Hayward Gallery, London (2018); Dynamo – A Century of Light and Motion in Art, Grand Palais, Paris (2013); Pacific Standard Time: Art in L.A. 1945–1980 (Getty Foundation, 2011; traveled to Gropius Bau, Berlin, 2012). His work is in the permanent collections of more than three dozen museums throughout the world, including Tate Modern, London; Guggenheim Museum, New York; Museum of Fine Arts, Houston; Whitney Museum of American Art, New York; Crystal Bridges Museum of American Art, Bentonville, Arkansas; Museum of Modern Art, New York; K11 Art Foundation, Hong Kong; and Los Angeles County Museum of Art. The first monograph dedicated to Eversley’s work was published by David Kordansky Gallery in 2022. Eversley lives and works in New York City.

From the MINDS that brought The Play That Goes Wrong and Peter Pan Goes Wrong to Broadway comes the hilarious new comedy by Mischief!

Stephen Sondheim and Hugh Wheeler’s landmark musical tells the tale of a resourceful pie shop owner and a vengeful barber out for blood. After he’s sent away by a corrupt judge, Sweeney returns to London years later seeking his long-lost family, and forms an unlikely partnership with Mrs. Lovett, who serves up pies underneath his former shop. Together, they wreak havoc on Fleet Street and serve up the hottest – and most unsettling – pies in London.

Mwesiga’s canvases begin with the figure—fictional characters formed from the artist’s imagination—around which he constructs surreal environments, pairing seemingly familiar landscapes with quietly bizarre atmospheres. This contrast is achieved through Mwesiga’s manipulation of the proportion and setting of quotidian objects. In Tales of the Moonlight Boy, 2023, a bare-chested man reclines on a crinkly, pink satin sheet draped over an ornate balustrade, while a striking, orange bird perches atop a globe-sized passion fruit; in Lady in a Blue Dress at a Bus Stop, 2023, a woman in a brightly patterned dress waits in anticipation on a desolate sidewalk while a figure holding an umbrella dissolves into a grisaille fog. Within the composition, Mwesiga’s figures appear as if they are situated at the intersection of a parallel dimension that, whether solitary or coupled, suggest isolation. His world consists of ephemeral reflections, refractions, and shadows; like symbols in a dream, imagery recurs throughout the exhibition. In these sequences, order is expressed through tiles and bricks and abstraction is realized through overgrowth and mist—the natural world brought into high contrast. Here, seemingly disparate elements like falling leaves, partially-eaten apples, and black-headed gonolek birds occupy a familiar universe where seasonal, temporal, and lunar cycles are suspended. A striking spectrum of blue unites the works in Beyond the Edge of the World, gracing glistening pools, abandoned stairwells, and Pepsi billboards with brilliant hues. Mwesiga welcomes the color’s inherent dichotomies, capable of underscoring a sense of calm or melancholy. With blue, he melds the sky, land, and sea, creating a mirroring effect that connects unfathomably vast nature with the landscape in and around Kampala—interwoven with visions from his personal life, experiences, and travels. The exhibition’s title is borrowed from Haruki Murakami’s 2002 novel Kafka on the Shore. As the author describes and the artist depicts, “Beyond the edge of the world there’s a space where emptiness and substance neatly overlap, where past and future form a continuous, endless loop. And hovering about there are signs no one has ever read, chords no one has ever heard.”

In the 1960s and ’70s, Terry Fox was part of an American-European avant-garde that actively sought new forms of artistic expression. Employing an actionist and process-oriented approach to art making, Fox created extreme physical and psychological performance experiences that used his own body to explore the often-invisible aspects of human existence and endurance. Extending far beyond a single medium, Fox moved effortlessly between the accidental and ephemeral while focusing on a heightened awareness of perception and the subtextual aspects of social life. All These Different Things Are Sculpture comprises Fox’s videos and sound works as well as performance documentation primarily from the late ’60s to the early ’90s, with glimpses of later works appearing throughout, to collectively highlight the artist’s subversive understanding of attunement to both one’s interior state and external surroundings. Moving geographically from San Francisco to New York, two key sites for Fox’s experimental activities before his relocation to Europe in 1980, the exhibition begins in the late 1960s with Fox’s involvement in the Bay Area Conceptualist movement, his association with the artist-run space the Museum of Conceptual Art (MOCA) in San Francisco, and his relationships with figures such as Tom Marioni, Bonnie Sherk, and others. Fox’s arsenal of materials included everything from fermented flour, yeast, and water—the ingredients used to make bread—to dead fish to nature’s four elements (earth, air, water, and fire) to his own breath. With this rich panoply of unconventional mediums, he highlighted the transitory nature of existence while extending the boundaries of body art. He carried over this approach to his sound art, understanding sonic and physical space as inherently sculptural materials. All These Different Things Are Sculpture will prominently feature audio, video, and recordings of solo performances and collaborations that capture Fox’s acoustic use of everyday elements to foreground the vibrations emitted by purring cats, traffic on Canal Street in New York’s Chinatown, metal doors and rosined piano wires, and foghorns. Living with Hodgkin’s lymphoma (a form of cancer affecting the lymphatic system) led Fox to address the physical and emotional cycles of illness and wellness in works like Levitation (1970), where the artist fasted and then lay for six hours atop a square of dirt surrounded by elemental fluids in order to be able to rise into the air—a metaphor for transfiguration. Fox called the actions in Levitation his “strongest piece of sculpture because the whole room was energized,” a key example of his attempts to expand the limits of gesture and the body and the possibilities of sculpture. In 1972, after undergoing major surgery, Fox began making art inspired by the Chartres labyrinth in France, an intricate pattern on the pavement of the cathedral floor that represents life’s journey as a winding path of 552 steps. Among the resulting works was Yield (1973), a set of continuous trancelike actions that took place over three days in an elaborate built environment. While viewers watched from a balcony, Fox ritualistically performed such activities as creating skeletal outlines on the floor in flour, blowing smoke, and baking bread.