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

I’m sitting outside of my home studio looking out at the Spanish Colonial Revival house across the street. A block east lies the headquarters of the Theosophical Society, renowned pioneers of Yoga and Eastern philosophy in the Western world during the early 1900s. To the south are the quantum scientists of CalTech. To the west is JPL, ground zero for space travel in the 1940s. Its founder Jack Parson, an occult magician, considered the current JPL site to be a portal to another dimension. And that’s just within a 5-minute radius. The military-industrial complex and esoteric institutions interweave across the California landscape, forming modern-day California. In Santa Monica, RAND, known for brainstorming many of the Cold War strategies, shares a wall with Starbucks, and is across the street from the iconic Santa Monica Ferris Wheel and Rollercoaster. Satellites, systems analysis, computing, the Internet — almost all the features of the information age were shaped in part at RAND. Silicon Valley's own genesis can be traced back to military presence in the 1950s, which laid the groundwork for subsequent private companies such as Apple, Google, and Facebook. Next door in Big Sur, The Esalen Institute, a catalyst in the New Age movement, today remains a revered sanctuary for the Techno-Spiritualists of Silicon Valley, and is equally valued as a founding pillar of modern marketing. With the emergence of Esalen’s Human Potential movement, society shifted its focus to self-exploration. Propagandists seized upon the individualistic methods of self-realization pioneered by Esalen, offering tailored fulfillment of the self through objects and images. The convergence of government research, LSD experimentation, bohemian artistic movements, and cults gave rise to a nebulous counterculture, fueled by utopian dreams—a wave still felt globally today.- Ramiro Hernandez Local Realism questions truth through an investigation of the illusory nature of reality in an interconnected, screen- mediated world. Based on the foundations of California landscape painting, Hernandez’s paintings demonstrate that to paint a place is not just to paint its geography. By incorporating dreams, ideals, history, and inner life, the artist delves into the complex interplay of forces shaping each hyper-curated, dreamlike reality. Local Realism explores the inner workings of semi-realistic paradises, where progress blurs the line between truth and illusion and is fueled by utopian dreams. Hernandez sources digitally, pulling images from social media, news articles, AI-generated memes, advertisements, and anything else mediated through screens. Varying in quality, the artist uses tracing techniques borrowed from Photorealists and Pop Artists and transfers digitally-projected screenshots onto canvas. The technique allows for a more journalistic perspective, an approach to better capture the nature of the image and embrace the mechanization. Beginning as completed, realistic paintings, each is then dissolved in washes of rainbow-colored pigment. The images are lost, modulated, retrieved, and lost again, a process repeated until each painting reaches a place that almost doesn’t exist. The artist’s deliberate technique challenges the sanctity of painting, a nod to the illusory nature of reality, and leaves each painting hanging in the balance of presence and absence. Each painting in Local Realism each painting simulates convergence and separation, where the components of Hernandez’s California intertwine to form a modern-day, illusory Garden of Eden. Amidst the seemingly idyllic tableaux lie a complex interplay of forces shaped by complex histories and romanticized pasts. Hernandez’s paintings are deliberately unclear, disintegrating, deceptive, alluding, hallucinating, and none are an answer to what “lies behind the curtain” but rather are offering an opportunity to contemplate the elusive nature of truth. Ramiro Hernandez graduated with a BFA in Painting from the California College of the Arts in San Francisco in 2010. The artist’s first solo exhibition with Massey Klein Gallery, Alta Vista, was on view from 3 June through 16 July, 2022, and in the fall of 2023, the gallery featured new and recent works by Hernandez on David Zwirner’s Platform. His work has been featured in exhibitions at Harkawik Gallery in New York, Baik Art in Seoul, Bozo Mag in Los Angeles and Pasadena, F2T Gallery in Milan, Marinaro Gallery in New York, M+B Gallery in Los Angeles, Nino Mier Gallery in Los Angeles, the Tecoah and Thomas Bruce Galleries at the California College of Arts in Oakland, the Bluebird Art House in Whittier, and the North/South Gallery at the CCA, among others. Hernandez was featured by New American Paintings in their 2021 Pacific Coast issue. The artist lives and works in Los Angeles, CA. Massey Klein Gallery is located at 124 Forsyth St. New York, NY 10002. Gallery hours are Thursday - Sunday 12pm-6pm. To schedule a private viewing, email info@masseyklein.com.

His stated goal is to use his work to reveal the invisible realm to the spirit that lies hidden beneath the visible world, a process that he refers to as an alchemical, metaphysical transformation of mystery into knowledge. The imagery that populates his paintings, drawings, sculptures, and installations bears a dreamy, child-like quality, with recurring references to marionettes, automatons, fantastical architectures, cosmic geometries, angelic beings, and strange, chimerical creatures. His Inward Light, exhibit in conjunction with Pan American Art Projects, is a profound invitation to reflect on the challenges of modern society, using art as a tool to illuminate the inner path, find meaning, and enrich the human experience. By sharing personal experiences and reflections through artistic expression, Estévez hopes to connect with others and shed light on the importance of genuine communication, self-awareness, and personal growth.

Olympia is pleased to announce Wait Here, a solo exhibition of fifteen new egg tempera paintings and an artist’s book by Lee Maxey. This is Maxey's second solo exhibition with Olympia. Paranoia underlies Maxey’s new body of work. Painted in a matter-of-fact naturalism, ordinary objects are filled with an ambiguous, authoritative presence. Games like pick-up sticks and tricky triangle correlate with the weight and composition of religious iconography, while the unsettling gaze of a blood-eyed pigeon encourages us to decipher hidden messages in the work. Only one painting depicts a human figure – a suited man with his hand raised – but a moralizing, irrational force lingers over every subject depicted. The titles of the works are named after common-place instructions like Take it from Here, Listen Carefully, and Move Ahead, sending viewers through a maze of riddles and paradoxes. Apocalyptic language is pushed into new, yet wholly familiar scenes. Also included in the exhibition is Maxey's artist’s book, My Character Notebook, an introspective pastiche of childhood memories and present day imagery in the form of an unbound personal scrapbook. Through a juxtaposition of penmanship exercises from elementary school with recent drawings and paintings, Maxey creates a biographical sketch; exploring her own indoctrination into Christian Evangelicalism, the nature of meaning-making, fear, and one’s own agency in the world. The works in Wait Here examine the origins of the American psychological experience. Made years after leaving the religious community, Maxey captures the fear that accompanies the doomsday narratives of her childhood and the anxious mindset that they cultivate. By borrowing as much from her own experiences as the visual details of everyday life, observational painting is transformed into talismans of a coded language, whose meanings are ultimately of one’s own creation.

In the early decades of the 20th century, when many artists were experimenting with abstraction, Käthe Kollwitz remained committed to an art of social purpose. Focusing on themes of motherhood, grief, and resistance, she brought visibility to the working class and asserted the female point of view as a necessary and powerful agent for change. “I have no right to withdraw from the responsibility of being an advocate,” she wrote. “It is my duty to voice the sufferings of men, the never-ending sufferings heaped mountain-high.” The first major retrospective devoted to Kollwitz at a New York museum, this is also the largest exhibition of her work in the US in more than 30 years. Born in the Prussian city of Königsberg (now Kaliningrad, Russia), Kollwitz was based in Berlin from the 1890s through the early 1940s, a period of turmoil in German history marked by the upheaval of industrialization and the traumas of two world wars. Though she had trained briefly as a painter, she quickly turned to drawing and printmaking as the most effective mediums for social criticism. This exhibition includes approximately 120 drawings, prints, and sculptures drawn from public and private collections in North America and Europe. Examples of the artist’s most iconic projects will showcase her political engagement, while preparatory studies and working proofs will highlight her intensive, ever-searching creative process.

Referencing the concept of integration as it relates to psychedelic therapies, Watts investigates how the Afro-Indigenous cosmologies of these undefinable yet universal spaces can be internalized to better understand the physical world. Paintings from the artist’s series interplay transparency and color as an exploration of sacred meditative sites. The fluid fields of color in these paintings are created using only natural pigments gifted to the artist by a Peruvian shaman. Their mercurial reactions to elements like water and oxygen guide the application process, resulting in a convergence of natural and artistic forces, the present and ancestral past. In (2024), fields of vibrant purple and earthy green mesh in a watery composition that contrasts with the sharp, geometric form of the frame visible through the poly-chiffon surface. Removing the traditional canvas offers an expanded vision of what painting can be, while the presence of the frame grounds the work in the traditions of the medium. A new series of works, the “ambient paintings,” develops this inquiry in three-dimensional form, with Watts’s abstractions housed in freestanding frames of Nigerian mahogany. Displayed away from the wall, the colorful transparencies are illuminated by the light entering the gallery, recalling the stained-glass windows of sacred sites, including the Southern Baptist churches of the artist’s native North Carolina. Borne of a desire to further his practice beyond the common conventions of paintings and inspired by the impact of sacral architecture, the works reflect the presence of the body in the gallery, offering the viewer a heightened level of spiritual awareness. Contrasting the guiding forces of the “ambient paintings,” a selection of works on view from the series act as forums for Watts’s personal reflections. Lapis lazuli, a stone often associated with wisdom and enlightenment, produces a pigment steeped in history, known for its many uses from ancient decorative items through Renaissance paintings. Through this choice of material, Watts connects himself to artistic masters and movements of the past, while his use of the material in works he considers meditative drawings quietly upends our notions of the storied pigment. In the small gallery, a selection of works from Watts’s series will be on view. Beginning in 2017, the series sources imagery from video footage of excessive police violence against Black bodies, but in each instance removes the figure, prompting an inquiry into the role of the body in this footage, the impact of viewing it, and the limitations of its perceived truth in legal settings. Composed of mixed media on sheer polyester screens, the paintings expose their frame and wall behind it. Created with the stipulation that they always be exhibited on a painted black wall, the works in this series, in the artist’s words, “create realities that only reveal themselves in blackness.” A pivotal point in Watts’s practice, the series marks the removal of the figure in the artist’s work and the commencement of his ongoing exploration of the use of physical transparency to create works that hold metaphysical space evident in the works on view in the main gallery. Chris Watts is an interdisciplinary artist whose work seeks to revise, interrogate, and re-examine social and personal narratives through the transfiguration of painting and installation. Currently, these projects exist as representations of windows as switches into another, layered, assemblage of spaces that act as guides in the exploration of sacred meditative spaces and encounters with the immaterial. He attended the MFA program at Yale School of Art, New Haven, Connecticut, after graduating from the College of Arts and Architecture, University of North Carolina, Charlotte, and the Academy of Fine Arts and Design, Wroclaw, Poland. He participated in the Art & Law Fellowship Program, at Cornell University Art Architecture Planning, New York; and is a 22-23 Soros Justice Fellow. Watts has held various artist residencies, among them the Marek Maria Pienkowski Foundation, Chelm, Poland; McColl Center for Art + Innovation, Charlotte, North Carolina; and the Lower Manhattan Cultural Council Workspace Program, New York. His work has been exhibited nationally and internationally. Watts was born in High Point, North Carolina, in 1984 and now lives and works between New York City and North Carolina.

Drawing has been integral to Horn’s oeuvre for nearly 40 years. Describing it as her ‘primary activity,’ she expands the language of mark-making by constructing, deconstructing and then reconstructing images and texts. A meditation on meaning, Horn’s unique process of taking things apart and putting them back together anew tests the limits of draftsmanship by exploring its sculptural potential. For her latest series, titled ‘Slarips’ (the word ‘spirals’ written in reverse), Horn began by making watercolor spirals in an array of hues. She then cut up the painted images and collaged them together into new tessellated compositions. Each is titled with a deliberate misspelling of the word ‘spirals,’ signaling a profound departure from the work’s original source material. Horn is an avid reader, and as much a writer as she is a visual artist. Words naturally permeate her practice. In this exhibition, her use of language pertains to the works’ titles, which act as entrance rather than explanation. Horn’s wordplay also figures in the sculptures on view: the titles of the six luminous cast-glass forms feature quotes from novels, films and radio broadcasts. These shallow tapered circular forms––a new shape in Horn’s ongoing glass works––are infused with a singular color drawn from a palette of whites, blacks and blues. As daylight pours in from the skylights, moving across the gallery and changing temperature over the course of the day, the saturation and transparency of the colors likewise shift. The subtle effects of varying light, combined with viewers’ movements in the room, activate these works, which defy any fixed reading. The artist began making cast-glass sculptures in the mid-1990s, pouring colored molten glass into molds that would then gradually anneal over the course of several months. Horn spent years developing a specific technical process that furnishes her finished works with a nearly alchemical quality: they appear simultaneously fluid and solid. Visually ambiguous, their opaque, roughly textured sides bear impressions of the molds in which they were cast, while their glossy, fire-polished tops recall the crystal-clear surface of an undisturbed pool of water. Water, often considered a universal symbol for change, is a constant theme for Horn, once stating she is ‘…fascinated by this idea of water as a form of perpetual relation, not so much a substance but a thing whose identity was based on its relation to other things…. Rather than an object, water becomes a metaphor for consciousness—of time, of physicality, of the human condition.’ This spring, Horn’s work will be presented in the following solo exhibitions: ‘Roni Horn. Give Me Paradox or Give Me Death,’ at Museum Ludwig in Cologne, Germany (23 March – 11 August); ‘Roni Horn. The Detour of Identity,’ at the Louisiana Museum of Modern Art in Humlebæk, Denmark (2 May – 1 September); and at Hauser & Wirth Menorca (11 May – 27 October).

Lum mines aspects of daily life, vistas of architecture, design, and advertising that could easily go unnoticed. These familiar and often mundane sights are transformed into something more: juxtapositions and layers of random elements, which show both spontaneity and control, perhaps revealing a glimpse into the soul of a city. The exhibition title refers to Lum’s journeys though the streets of New York and Paris, observing the fragments of a crumbling façade of a building, a vendor’s pushcart, or a poster for a vernissage, which may have a short shelf life in the urban environment. Lum takes photographs on the streets looking at geometric forms, planes of color, and text. She pulls off bits of advertising posters that are peeling from their bases and collects printed materials – all of which are collaged in her sketchbooks, becoming the basis for her paintings. These elements provide inspiration for Lum, who creates a collision of perspectives and forms that boldly announce the delights of quiet discoveries. Susan Cross, Senior Curator, Mass MoCA, wrote that Lum’s work “.” Influenced by Cubism and Russian Constructivism, Lum is also interested in the concept of psychogeography, as practiced by members of the Situationist International movement in the 1950s and ‘60s. Referring to the effect of a geographical location on the emotions and behavior of the individual, one may see Lum’s interdisciplinary practice as a physical manifestation of this phenomenon. Lum also finds inspiration in artist and activist Corita Kent’s graphic style and fractured text as well as artist Ray Yoshida’s use of comics, which tell stories with isolated fragments. Mary Lum wrote, “FIND THE LESS GOOD IDEA.” Mary Lum is known for her dynamic and intricate painting and collages of elements in the urban environment. She was born in 1951 in St. Cloud, Minnesota. Lum received her BFA from the University of Michigan and her MFA from the Rochester Institute of Technology. Her work has been exhibited in numerous institutions internationally including The Drawing Center, New York; Harvard Radcliffe Institute, Cambridge, MA; Mass MoCA, North Adams, MA; deCordova Sculpture Park and Museum, Lincoln, MA; University of Oxford, England; Kunstmuseum fur Geganwartskunst, Basel, Switzerland; Savannah Colleage of Art and Design, GA; and Beijing Academy of Fine Arts, China. Lum has been the recipient of numerous awards, including a Harvard Radcliffe Institute Fellowship (2022), Guggenheim Fellowship (2010), the Radcliffe Fellowship for Advanced Study (2004-2005), and a MacDowell Colony Fellowship (2012), among others. She was a professor of painting and drawing at Bennington College in Vermont from 2004 to 2022. She lives and works in North Adams, MA.

Two of the early paintings featured in the exhibition were first shown in Tyson’s 1993 solo show at Trial BALLOON, the experimental project space the artist co-founded and ran out of her Soho loft from 1991–1993, centering women and lesbian artists. Trial BALLOON represented a DIY ethos, responding to a critical need for alternative venues outside the stagnant, post-80s commercial gallery scene. A new approach to female subjectivity was beginning to manifest; an interest in representing “difficult subject matter,” spearheaded by key players such as Nicole Eisenman in the emerging, yet sophisticated, lesbian subculture. Tyson spoke of her work then: (1993) Tyson’s palette across these 90s works is more muted, employing delicate tints and hues befitting “the tentative, phantom-catching nature of this exploration—to discover and represent the uncharted, invisible female subjectivity in painting.” Her figures are most often faceless or turned away, an act of refusal to engage with the viewer. Tyson protects this interior space while revealing it just slightly, through the torque of the figure, the slope of a declined gaze. In contrast, her self-portraits from this period are laden with intense, time-specific autobiographical detail, inviting the viewer into her subjective environment. Galvanized by groundbreaking women artists of the 1980s such as Louise Bourgeois, Cindy Sherman, Barbara Kruger, Jenny Holzer, and Karen Finley, and writers Laura Mulvey, Hélène Cixous, and Luce Irigaray during her time in art school, Tyson’s sense of and relationship to feminism transformed. Tyson abandoned ‘easel’ painting upon graduation and—moving to New York—worked conceptually for a few years, before realizing for her, this was to deny instinct. Tyson sought to carve out space within an environment where painting, particularly figurative painting, was not at the forefront of the male-dominated, contemporary argument. When Tyson returned to painting in her 1993 exhibition at Trial BALLOON, what surfaced surprised her: “I had found my own voice.” Where the female form “had been routinely described and prescribed by male desire,” Tyson created a painterly language outside of the male argument, and with it “a female protagonist.” Over the past three decades, Tyson’s paintings and their enhanced chromatic intensity have examined new strategies of refusal and tension; more spontaneous preparatory techniques have shifted gesture and form on the canvas. Yet, as 90s Paintings illuminates, Tyson’s desire and ability to conjure presence, in and by the paint, continues to persist and unfurl. The opening of this exhibition coincides with the launch of , the most comprehensive overview of the artist’s paintings to date. Spanning three decades of Tyson’s oeuvre, this monograph provides a panoramic view of the artist’s evolving lexicon. A conversation between Nicola Tyson and Ksenia M. Soboleva celebrating and discussing the evolution of Tyson’s practice will take place on May 11th, from 4–6 pm, at Petzel’s Upper East Side location, 35 East 67th Street. 90s Paintings also anticipates an exhibition of new paintings from the artist, opening January 2025 at Petzel’s Chelsea space, located at 520 W 25th Street. About Nicola Tyson Nicola Tyson was born in 1960 in London, England. She attended Chelsea School of Art, St. Martins School of Art, and Central/St. Martins School of Art in London and currently lives and works in New York, NY. Recent solo exhibitions include Nicola Tyson (a survey of drawings), Nino Mier Gallery, Los Angeles, CA (2024), Nicola Tyson: A Bit Touched, Nino Mier Gallery, Belgium, Brussels (2022), Holding Pattern, Sadie Coles HQ, London, UK (2021), and Sense of Self, Petzel Gallery, New York, NY (2020). In 2017, she was the subject of solo exhibitions at The Drawing Room, London, and the Contemporary Art Museum St. Louis, St. Louis, Missouri. In 2011 Tyson released the limited-edition book, Dead Letter Men, a collection of satirical letters addressing famous male artists. The book was designed by Peter Miles and published by Petzel Gallery, New York, and Sadie Coles HQ, London. Her unique archive of color photos documenting the London club scene of the late 1970s—Bowie Nights at Billy’s Club—was the subject of shows, both in New York and London, in 2012 and 2013. Tyson’s work is included in major collections such as Museum of Modern Art, New York; Whitney Museum of Art, New York; Solomon R. Guggenheim Museum, New York; Philadelphia Museum of Art, Philadelphia; Museum of Contemporary Art, Chicago; UCLA Hammer Museum, Los Angeles; San Francisco Museum of Modern Art, San Francisco; Walker Art Center, Minneapolis; Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, D.C.; National Museum of Women in the Arts, Washington D.C.; Corcoran Gallery of Art, Washington, D.C.; and Tate Modern, London.

Twilight in the city, after the sun disappears below the horizon and the hustle and bustle has dissipated, is where Lynn Saville finds refuge and inspiration. For decades, she has documented these fleeting, dream-like moments suspended in time within the urban landscape. showcases Saville’s mastery of the city’s natural light. Much like Edward Hopper, who painted the solitude of New York City through its buildings and rooftops, Saville’s photographs transform architectural elements and structures into dramatic geometric forms and patterns through light and shadows. Saville describes the importance of capturing images at twilight, “.” As the exhibition title implies, photographs featured in the show were taken from the elevated platforms of New York City’s mass transit system or from the street looking upward at structures on rooftops. These photographs explore perspectives on the language of the built environment and our perception of the cityscape. For example, Elevated subway platforms offer an expanse of skyline structures such as rooftops, water towers, and upper sections of nearby buildings, which along with the coming and goings of trains become the focal point. Born in Durham, North Carolina, Lynn Saville lives and works in New York City. She earned her BA from Duke University and her MFA from Pratt Institute. Her work has been widely exhibited in the US and abroad, including at The Photographers’ Gallery, London; Brooklyn Museum, New York; Mint Museum, Charlotte, North Carolina; Tucson Museum of Art; and Nasher Museum of Art, Duke University. Her work can be found in numerous major public collections including National Portrait Gallery, London; International Center of Photography, New York; Brooklyn Museum, New York; Los Angeles County Museum of Art; and Museum of Fine Arts, Houston, among others. Saville has published four monographs: (Rizzoli, 1997); (Monacelli/Random House, 2009), with an introduction by Arthur C. Danto; Dark City: (Damiani, 2015), with an introduction by Geoff Dyer, and (Kris Graves Projects, 2018). Saville’s archives were acquired by the David M. Rubenstein Rare Book & Manuscript Library at Duke University.

Featuring artists from across GRIMM’s network and beyond, presents a challenge to this selection of acclaimed contemporary artists to apply their distinctive style to the framework of self-portraiture. The resulting work enacts a shared moment of recognition between artist and viewer, reflecting the spectrum of emotion from introspective to joyful encounters throughout the exhibition. The self-portraits presented across GRIMM’s New York and Amsterdam spaces are direct, lively, intimate, and authentic, true to our contemporary confessional age. Taking a classical, painterly approach, as opposed to the ‘anything goes' trend from the 1980s to the 2000s, when performance, video, and photography dominated the genre, and where the self-portrait seemed to focus on sound, the body (or part thereof), or a comment on a general metaphysical state, the works included here are the result of painters looking directly at themselves and depicting what they see. For some artists, the exhibition marks their first self-portrait; Matthias Weischer and Alex Dordoy among them. Others, such as Philip Akkerman, have made a career out of limiting their practice to only painting self-portraits. The exhibition aims to capture a ‘state of being’ at this specific moment in time for each artist. In the era of the ‘selfie’, taken on a daily basis by millions to present a veneer of success, experience, beauty, or aspiration - the true sense of ’self’ can be overlooked or masked. The self-portrait offers the potential to reflect not only the surface but also the psychological interior of the artist, adapting to each artist’s distinctive voice. A group exhibition about self-portraiture in 2024, featuring young and mid-career artists engaging with this centuries-old practice of self-reflection and contemplation seems apt, provocative, and challenging. In New York, will feature work by Philip Akkerman, Charles Avery, Gabriella Boyd, Anthony Cudahy, Alex Dordoy, Louise Giovanelli, Tommy Harrison, Nathanaëlle Herbelin, Neo Matloga, Rosalind Nashashibi, Polina Pak, Emil Sands, Benjamin Sasserson, and Rafał Topolewski. Meanwhile in Amsterdam, will present new work by artists, including Hannah van Bart, Volker Hüller, Nathaniel Oliver, Christine Safa, Anj Smith, Jonathan Wateridge, Matthias Weischer, and Arisa Yoshioka.

Klein’s paintings affirm his conviction that art should exude life. His and exemplify this ethos, possessing traces of living flesh and imprinted memories of fire, water, earth, and air. Klein once wrote, “The link between spirit and matter is energy. The combined mechanism of these three elements generates our tangible world, which is claimed to be real but is in fact ephemeral.” Through direct physical contact and alchemy, energy is captured and transferred in the works on view, binding the soul and the material support. The practice of employing nude models, as in Klein’s words “living brushes,” began in 1958 during a private performance in Paris, in which a model, covered in paint, created an International Klein Blue (IKB) monochrome. Subsequently, in 1960, Klein began using painted models to leave discernible imprints that served as “mark[s] of the immediate.” The body trace paintings joined Klein’s artistic practice with his expertise in choreographed motion and energy release, gained from years of dedication to judo—the graceful arabesques rendered in pigment echoing the shadows of judo movements on white competition mats. Unlike action painting, Klein’s manifested considered compositions, the result of planned and dedicated collaboration between the artist and his models. For Klein, not only did the nude body provide articulate mark-making, but it also represented openness, liberation, and a celebration of being. Importantly, he did not view his works as figurative in a traditional sense, derived from the hand of the artist. As he wrote on the creation of the , “the work of art must complete itself before my eyes and under my command.... as soon as the work is realized, I stand there—present at the ceremony, spotless, calm, relaxed, worthy of it, and ready to receive it as it is born into the tangible world.” Among the paintings exhibited will be the blue and gold anthropometry and cosmogony (ANT 101, 1960), the first presentation of this monumental work in the United States since the 1960s. Measuring over four meters tall, the composition features two arching forms levitating above a ground with three figures, appearing amidst negative imprints of plants— bringing together man and nature. A group of (Shroud Anthropometries) will also be on view, including (ANT SU 20, 1960). Painted in pink, blue, and black on silk or gauze, the loosely woven surfaces of the shroud works enhance the aura of the body, while referencing death and resurrection. Formed by fire, water, and flesh, Klein’s embody creation born of destruction: “Fire, for me, is the future without forgetting the past. It is the memory of nature.” The series began following the artist’s 1961 retrospective at the Museum Haus Lange in Krefeld, Germany, that included outdoor fire sculptures, which he used to make the first group of fire paintings. Klein continued the series at the Centre d’Essais du Gaz de France, near Paris. Holding a fire torch, Klein exposed flames to compressed board or paper, leaving scorched voids and atmospheres of smoke. He later introduced body imprints, made with water, into his environments of light and shadow. The and the fire paintings are distinguished by their distinctive materiality—characterized by paint, resin, physical contact, flame, and support. This tangible essence is epitomized in —which will be presented with a human model on Thursdays and Saturdays from 2–6 pm during the exhibition. “They were boxes, each pierced with two holes fitted with sleeves,” Klein wrote. “The idea was to be able to put one’s hands inside the box up to one’s elbows and to touch and examine the sculpture in the interior of the box without being able to see it.” The box was conceived to hold a living sculpture, a nude model, but was not presented as intended during Klein’s lifetime. Here, the activation of will foreground the engagement and tactility of the body as well as perceptions of touch. The exhibition will also include a sculptural floor installation of (Pure Blue Pigment, conceived 1957). Composed by gravity, the sculpture comprises countless powdered grains of pure International Klein Blue. In this form, Klein exalted, the textured pigment possesses “a brilliance and an extraordinary, autonomous life of [its] own”—revealing “color in itself. The living and tangible matter of color.” Klein espoused the primacy of color as a pictorial and physically sensorial phenomenon. Evoking the sea and the sky, Klein believed “blue has no dimensions” and could transport viewers to a realm of boundless space and the experience of immaterial sensibility. Photographs, ephemera, and film will enrich the exhibition, demonstrating Klein’s process and his singular awareness of documentation, communication, and performance. Featured will be a large-scale archival projection of the artist’s March 1960 presentation at the Galerie Internationale d’Art Contemporain in Paris, in which Klein conducted three nude models in the creation of an and one corporeal monochrome, while a small orchestra performed his (Monotone-Silence Symphony, conceived 1947–49) before an audience of 100 guests—as well as Klein’s newspaper , published November 27, 1960, that includes his prolific writings and the photograph (1960). On the occasion of the exhibition, Lévy Gorvy Dayan will present a performance of Klein’s Monotone- Silence Symphony at St. James’ Church, New York, on Wednesday, May 1, at 6:30 pm. Conducted by Petr Kotik and performed by the orchestra and choir of the S.E.M. Ensemble, the symphony is composed of a single note held for twenty minutes followed by twenty minutes of silence. Producing the sensation of endless duration, Klein describes the symphony as “[consisting] of one unique continuous ‘sound,’ drawn out and deprived of its beginning and of it end, creating a feeling of vertigo and of aspiration outside of time.... In the world of our possibilities of conscious perception, it is silence—audible perception.” continues Dominique Lévy’s more than 20-year representation of the Yves Klein Estate and now the Yves Klein Foundation, and her commitment to the enduring, contemporary relevance and legacy of the artist’s work. The exhibition follows earlier presentations including (2005, L&M Arts, New York) and (2013, Dominique Lévy Gallery, New York). In 2013, Dominique Lévy Gallery presented the first public performance in New York City of Monotone-Silence Symphony at the Madison Avenue Presbyterian Church, followed by a 2017 performance of the Symphony at Grace Cathedral in San Francisco.

Both artists developed new modes of artistic production to create a visual language for abstraction, space, and an ever-expanding network of energy and forms. The often-forgotten interplay between these two titans of modern art unfolds in and encourages visitors to consider their overlapping expressions of what Klee described as “latent realities.” marks the first dedicated reunion of Klee and Calder since 1942, when the Cincinnati Modern Art Society assembled one of the earliest known exhibitions to juxtapose the artists’ work. While this early pairing explored their mutual penchant for versatile experimentation related to temporal and spatial relationships, seeks instead to emphasize their respective investigations and interests in natural forms and kinetic energies. The works of Klee and Calder are placed in conversation once more, in an exhibition designed as a dreamlike realm where rare masterpieces by each artist are meaningfully presented to illustrate their explorations of the spiritual and unknown. In a 1962 interview, Calder was asked, “What artists do you most admire?” He replied, “Goya, Miró, Matisse, Bosch and Klee.”[1] These artists shared a commonality — namely the ability to conceptualize existence without heavy, dramatic overtones, but rather with a rhythmic lightness and vibrancy. Calder likely viewed Klee as a Modern master of this feat, whose lyrical investigations of space and form were inspirational. A prolific creator, Klee’s works are cornerstones of nearly every major institutional collection. He continually demonstrated a masterful command of line and color, revealing the intricate connections that both capture and bind us to the concrete and metaphysical realms. For Klee, natural phenomena served as a metaphor for both artistic and cosmic creation. In his (1920), Klee furthers this notion, stating, “formerly we used to represent things which were visible on earth… we reveal the reality that is behind visible things, thus expressing the belief that the visible world is merely an isolated case in relation to the universe and that there are many more other, latent realities.”[2] Though part of the subsequent generation, Calder's nonobjective sculptures exploit atmospheric effects to engage time and space within and beyond the human realm. His diverse body of work, celebrated in public collections and commissions throughout the world, transports viewers into the fourth dimension, evoking notions of immateriality and the sublime. In a 1946 catalogue essay, Jean-Paul Sartre wrote: “Although Calder has not sought to imitate anything ... his mobiles are at once lyrical inventions, technical, almost mathematical combinations and the tangible symbol of Nature, of that great, vague Nature that squanders pollen and suddenly causes a thousand butterflies to take wing.” The exhibition includes loans from distinguished private collections and international institutions including the Fondation Beyeler, The Metropolitan Museum of Art, and the Art Institute of Chicago, as well as an impressive selection of works from the Calder Foundation. Enchanted Reverie: Klee and Calder will be accompanied by a fully illustrated catalogue featuring a selected chronology and major essays written by the historian Olivier Berggruen and Dr. Elizabeth Hutton Turner, renowned specialists in the emergence and development of Modern and Post-War art. To ensure a pleasant experience for guests and safe conditions for the works on view, this exhibition will be viewable by timed entry. For updates on timed entry, stay tuned for an announcement when reservations open in the coming weeks. [1] Katharine Kuh, “Alexander Calder” in The Artist’s Voice: Talks with Seventeen Artists (New York: Harper & Row, 1962), 39. [2] Paul Klee, “Creative Credo V” in Tribune der Kunst und Zeit (Berlin: Erich Reiss Verlag, 1920).

Wayne Thiebaud rose to prominence in the 1960s at the same time as Pop artists Andy Warhol, Roy Lichtenstein, and James Rosenquist, though he did not feel aligned with the movement. Unlike these contemporaries, many of whom embraced commercial techniques, Thiebaud described himself as a traditional painter of illusionistic forms. He repeatedly tackled familiar, everyday subjects to challenge and explore the formal possibilities of painting. His meticulously crafted surfaces are steeped with art historical references and a subtle longing for a sweeter time. In (1969) the simplicity of the composition highlights Thiebaud’s technical approach to his paintings. Richly painted in pastel shades of pink, the ice cream emerges almost sculpturally against a stark, blank background, its thick layers of paint bulging past the flat plane of the canvas. Dedicated to a tradition of figuration, Thiebaud’s demonstrates the artist’s strength in color and masterful use of impasto and brushwork, with the swaths of creamy paint suggesting the ice cream melting in front of the viewer. His painting (2002) reflects his sustained interest in the role of sweets as a collective experience, imbuing the painting with the same strain of nostalgia that he employed nearly four decades earlier. Though most famous for his persistent rendering of still lifes, portraiture and landscapes were also central to the artist’s practice over the many decades of his career. His portraits reflect a similar modality as his scenes of food– highly stylized, colorful subjects set against distilled backgrounds. (1965) presents the artist’s wife sporting a striped swimsuit in profile, extending her focus past the edge of the frame. Rendering the face with a playful veracity, Thiebaud subverts the image subtly by changing the perspective of the torso to a three-quarters position, flattening the swimsuit’s stripes against the contours of the body. The brightly patterned swimsuit creates a moment of technical interest and abstraction that hints at a body in motion, ready to dip into summer’s waters. This same subversion of perspective also defines the artist’s landscapes, blending points of view to create dreamy realities of the beach bending against water and heat. (2004–2014) pushes the artist’s strength in landscapes to its limits, casting his beachgoers into oscillating passages of color. In the foreground, the beachgoers buzz with detail and motion, inducing a feeling of summer ease and nostalgia. As the painting recedes, however, the rendering of the beach distorts and twirls. In lucid hues of yellow, purple, and blue, Thiebaud disrupts the atmospheric perspective with a quickening flatness, rejecting the vanishing point for an absorbing color field thick with movement and animated brushwork. Echoing lapping waves and the long hours of summer days, welcomes the viewer into a hypnotizing scene reminiscent of calm, playful vacations in thick heat. tracks the career of the artist over six decades, revealing his retained interest in lighthearted subjects while casting them in traditional modes of painting. This exhibition celebrates the artist’s regard for the delights of the quintessentially American summer experience, from its sweet ice creams and chilled soda pops to beach games and barbecues, melting a grey winter into a fading memory. In his paintings, an American nostalgia gently invites the viewer into the season’s space, readying them for warmer days ahead. The exhibition will be accompanied by an illustrated catalogue with essays by curator and art historian Steven Nash and art historian Mary Okin.

Materialized in varying ways, kinship and cultural inheritance are frequent touchstones for many of these artists. William Eric Brown’sworks — the source images for which were taken in Antarctica in the 1960s by the artist’s father while serving in the US Navy and stationed on an icebreaker — are instilled with new significance through his manipulation and reconceptualization, which address the current reality of climate change and its effects on the arctic. Sophia Chai explores her memory of learning the Korean alphabet as a child through her work. By drawing and painting the shapes and lines of the characters on the walls and floor of her studio, Chai reimagines them in space, thereby abstracting written communication into an embodiment of the sensation of each word being formed inside the mouth. Sheida Soleimani stages elaborately constructed tableaux to address interwoven narratives of family, politics, and caregiving that trace both personal and public histories. Her carefully fabricated scenes demonstrate her commitment to approaching her practice with measured sensitivity; rather than divorcing her subjects from their own realities, Soleimani creates a contemplative space in which each incorporated object or image conveys an intentional message. Similarly, Shaun Pierson’s work illuminates the complex dynamics in the relationship between photographer and subject. Entwining conflicting sensations of inhibition and desire, Pierson lays bare the often simultaneously transactional and vulnerable apparatus and process of making photographs. Kevin Landers’ photographs, taken on the streets of New York, are rooted firmly in the here and now. He documents a collection of seemingly unnoticed moments, paying careful attention to unexpected details that, more often than not, most people would simply walk past — ephemera such as an abandoned shopping cart or an intricately woven spider web. Queer desire and a longing for another space and time are explored through the re-authoring of found or archival images in the works of Gonzalo Reyes Rodriguez and Brittany Nelson. Rodriguez pairs images from his own history with a series of photographs he purchased from a bookshop in Mexico City — dated between 1987 and 1993, the found snapshots evidence the personal experiences of a young, presumably queer, man known to us as “Technoir.” By combining the two archives, Rodriguez invites us to dwell in a space of merged memories, neither of which we can fully inhabit, and of the desire to know more. While at first glance Brittany Nelson’s use of archival materials is less overtly personal, her work considers themes of otherness, isolation, and the desire for connection. In one of the series on view, she perceived a sense of romantic devastation in the images taken by , the Mars rover, which she amplifies by re-printing them using the 1920s analog bromoil photographic process, thereby infusing them with an added eerie, otherworldly quality. Though varied in their approaches to photographic practice, what unifies these artists is their investigation of longing, care, and lineage—familial and otherwise—and the way in which they use the medium and the process of making the work as a means to engage with others, with themselves, and to challenge expectations. Generating a constellated conversation that draws upon photography’s history, yet turns toward something altogether new, the artists included in imbue the seemingly unknown with flashes of recognition.

Kosovar artist Petrit Halilaj (born 1986 in Kostrci, former Yugoslavia) was commissioned to create a site-specific installation for the museum's Iris and B. Gerald Cantor Roof Garden. For the artist's first major project in the United States, Halilaj transformed The Met Roof with a massive sculptural installation. Halilaj's work is closely tied to the recent history of his native Kosovo and the consequences of cultural and political tensions in the region. After studying art at the Brera Academy in Italy, he moved to Berlin in 2008, where he still lives and works. His projects span a variety of media including sculpture, painting, poetry and performance.

Dubuffet and Giacometti, both born in 1901 in France and Switzerland, respectively, forged deeply philosophical artistic outlooks inspired by the devastation and disorientation of the two world wars. While there is no record of direct correspondence between them, the Paris-based artists rubbed shoulders often enough to interpret reciprocity in their practices. They exhibited regularly with Pierre Matisse Gallery, where Dubuffet’s first solo exhibition occurred in 1947 and Giacometti’s in 1948. With singular bodies of work articulating the alienation and estrangement of a generation, the artists became icons of a postwar European vision at home and across the Atlantic. In New York, they both found acclaim and were among the roster of artists in the Museum of Modern Art’s (1959) curated by Peter Selz, who also organized solo exhibitions for each of them (Dubuffet in February 1962 and Giacometti in June 1965) at the museum. In the late 1950s, prior to Dubuffet’s commission to create his landmark (1969–72) for Chase Manhattan Plaza, Giacometti was initially chosen for the space. Unfamiliar with the city and unconvinced about how his figures would compete with the surrounding skyscrapers, he withdrew from the project. However, when he traveled to New York for his MoMA retrospective, shortly before his untimely death at the beginning of the following year, Giacometti made a special visit to the plaza and asked his wife Annette to stand where his sculptures would have been. is made possible by generous loans from American and European institutions, including Fondation Beyeler, Riehen; Fondation Maeght, Saint-Paul-de-Vence; and Pierre and Tana Matisse Foundation, New York, as well as from worldwide private collections. The exhibition will be accompanied by a fully illustrated catalogue featuring new research by Nairne, as well as essays by Giacometti expert Casimiro Di Crescenzo and Dubuffet scholar Camille Houzé.

Experience the ultimate fusion of energy medicine and calisthenics at the "Workout Flow 60 Sunset Central Park" event in New York City. Led by Ariel Brill, a seasoned personal trainer and energy medicine practitioner, this workout promises a unique blend of exercises to elevate your physical and mental state. Join Ariel at The Great Lawn in Central Park on May 1st for a transformative session designed to unleash your peak performance and inner flow. Participants are encouraged to bring a towel or yoga mat, a water bottle for hydration, and a positive mindset to fully engage in the workout. Through a combination of energy medicine exercises, calisthenics, stretching, tapping, breathwork, and meditation, you will sweat out stress and build strength, energy, and focus. Ariel Brill's expertise in personal training and energy medicine ensures a high-quality workout experience that caters to improving chronic pain, sports injuries, and overall sport performance. Don't miss this opportunity to be part of a dynamic workout class that promises to leave you feeling invigorated and empowered. Secure your spot for just $17.85 and meet Ariel at The Great Lawn in Central Park for an unforgettable fitness session at sunset.

Experience the vibrant and eclectic world of Greenwich Village on May 1, 2024, with the Artful Buzz: Artful Side of Greenwich Village Walking Tour. Immerse yourself in the rich artistic history of this iconic neighborhood in New York City. Wander through the charming streets of Greenwich Village, known for its bohemian atmosphere and creative energy. Discover legendary landmarks, trendy art galleries, and hidden gems tucked away in this cultural hub. The walking tour will take you on a journey through time, exploring how Greenwich Village has been a mecca for artists, writers, and musicians for decades. With a ticket price of $108.55, this tour offers a unique opportunity to explore the artful side of Greenwich Village in a guided and informative way. Don't miss out on this chance to delve into the soul of one of the most artistic neighborhoods in the world. Book your spot now for the Artful Buzz: Artful Side of Greenwich Village Walking Tour - May 1, 2024, and get ready to be captivated by the creativity that defines this legendary enclave.

Immerse yourself in the captivating world of “Bear Pirate Viking Queen” at the upcoming signing event featuring the talented artist Jonathan Marks Barravecchia and the esteemed writer Sean Lewis. This visually stunning narrative, depicted in exquisite watercolor, delves into the complexities of nation-building through the lens of captivating characters such as bears, pirates, vikings, and queens. By securing a ticket for $7.16, attendees are guaranteed a signed copy of the comic, ensuring a cherished memento of this unique occasion. Mark your calendar for this exclusive event taking place on May 1, 2024, at Anyone Comics located at 831 Nostrand Avenue, Brooklyn, NY 11225.

Curator Deirdre Lawrence will be conducting an exclusive in-person tour of her captivating exhibition, "Language, Decipherment, and Translation - from Then to Now," at the Second Floor Gallery. This enlightening exhibition, part of the Lunchtime Exhibition Tours series, will be held at The Grolier Club in New York City. Delve into the intricate world of language and its evolution on May 2, 2024. Explore the rich tapestry of linguistic history as Curator Deirdre Lawrence takes you on a journey through the exhibition, offering unique insights and perspectives on the theme. Located at 47 East 60th Street, New York, NY 10022, the venue provides the perfect setting for this thought-provoking event. Immerse yourself in the world of decipherment and translation, and gain a deeper understanding of how language has evolved over time. Don't miss this exclusive opportunity to engage with the exhibition before it concludes on May 11, 2024. Tickets are no longer available for purchase, as sales have ended. Join Curator Deirdre Lawrence for an unforgettable exploration of language and its significance in our history and society.

The highly anticipated sports event, New York Mets v Chicago Cubs, is set to take place at the iconic Citi Field in New York. Baseball enthusiasts are gearing up for an epic showdown between these two powerhouse teams on May 2, 2024. The venue, located at 123-01 Roosevelt Ave, Queens, NY 11368, USA, is expected to be buzzing with excitement as fans from both sides come together to witness the clash of the titans. With a rich history and passionate fan base, both the New York Mets and the Chicago Cubs are known for their competitive spirit and determination on the field. This match promises to be a thrilling experience for all those in attendance. So mark your calendars and get ready to cheer on your favorite team at the New York Mets v Chicago Cubs event.

Experience the exclusive Insider's Tour: DUMBO First Thursday Gallery Walk in Brooklyn on May 2, 2024, from 6:00 to 7:00 PM. This monthly event offers a unique opportunity to explore the vibrant art scene of DUMBO after hours. Hosted by various galleries, the First Thursday Gallery Walk allows attendees to immerse themselves in special exhibitions and engage with art experts. The tour kicks off at 20 Jay Street Lobby, where participants will gather before embarking on a journey through the following exhibitions: Platform Project Space's Love Fest, Cuban Art Space's Lost and Found, New York Studio School Projects @ DUMBO featuring Yiting Zhao's Linger, and A.I.R. Gallery showcasing works by Keli Safia Maksud, Zoila Andrea Coc-Chang, and Maxine Henryson. Generously supported by DUMBO Improvement District, Two Trees Management Co, Empire Stores, and Superfine, this event is made possible by the ongoing collaboration of DUMBO's esteemed art galleries. Don't miss the chance to delve into the art world of DUMBO during this enlightening evening. Tickets will be available for purchase starting April 13 at 12:30 PM.

Sinkane is set to take the stage at Bowery Ballroom on May 3, 2024. The venue's address is 6 Delancey St., New York, NY, 10002. This highly anticipated concert will feature an array of Sinkane's popular tunes, including "Everybody," "U'Huh," "Love Sick," and many more. Fans can expect a night filled with soulful melodies and infectious rhythms. Tickets for this extraordinary event will be available for purchase starting from January 26, 2024, at 3:00 PM until May 4, 2024, at 2:00 AM. Don't miss this chance to experience Sinkane's captivating music live in a vibrant atmosphere. Get ready to groove to the beat and immerse yourself in the magical world of Sinkane. Mark your calendars and secure your tickets for a memorable evening of music and entertainment.

Join the AAPI pole dancing community and its allies at the AAPI-Heritage Month Pole Jam + Hangout in Brooklyn. This event welcomes participants of all levels to the IncrediPole venue located at 43D 9th Street, Brooklyn, NY 11215 on May 4, 2024. Celebrate the first Saturday of AAPI month by enjoying a fun-filled day with nine poles available in the loft, along with a common area for socializing. Food catering will be provided in the common area for all attendees. If you prefer not to participate in pole dancing, you can still enjoy the delicious food. Participants engaging in pole dancing activities will receive a wristband and a waiver to sign upon check-in. Those opting for the Food Only option will not receive a wristband initially but can join in the pole dancing by zelling $28 on the day of the event. This inclusive event is open to individuals of all levels, welcoming both seasoned practitioners and newcomers. Tickets range from $17.85 to $39.19, with no refunds available.

Get ready to showcase your air guitar skills at the Galactic Strum-Off: US Air Guitar Championships - May the Fourth Be With You Edition in Brooklyn. The event will take place at Barrow's Intense Tasting Room, located at 86 34th Street, Brooklyn, NY, on May 4, 2024, from 7 pm to 10 pm. For a registration fee of $25, participants will have the opportunity to compete for the title of ultimate air guitar champion and win fantastic prizes. The judging panel includes Joon Chung, a Brooklyn-based comedian and writer, Akpanoluo, a music community builder and performer, and Ann Courtney, the frontwoman of the well-known New York rock band Mother Feather. Limited slots are available, so secure your spot promptly to avoid missing out on this thrilling experience. The winner of this competition will advance directly to the nationals in Cleveland, OH on July 20th. Join us for a night of stellar performances and let the force guide you to air guitar glory.

Join Greenpoint Athletics for the highly-anticipated Smash Games 2024, a thrilling in-house competition that will take place on May 4th at 188 Dupont Street, Brooklyn, NY 11222. Athletes will compete in individual categories, including Male RX, Female RX, Male Scaled, and Female Scaled divisions. Participants can look forward to a half-day event featuring three challenging workouts, with the possibility of a bonus floater workout. Registration fee is set at $20 per competitor, ensuring exciting prizes for the top three performers in each division. All skill levels are welcome to join this inclusive and enjoyable competition, catering to seasoned athletes and newcomers alike. While traditionally an internal event, participants are welcome to invite a couple of friends to compete, and spectators are encouraged to attend and show their support. Don't miss this opportunity to showcase your athletic prowess and immerse yourself in the competitive spirit of Smash Games 2024 at Greenpoint Athletics in Brooklyn.

Experience the poignant "Pride & Performance: Soul Showcase" in Brooklyn at The Green-Wood Cemetery on May 4, 2024. This open-mic style variety showcase focuses on grief and loss, amplifying the voices of the LGBTQ+ community. Join in to witness a moving exploration of these themes through artistic performances and heartfelt expressions. The event promises a space for reflection and connection as artists share their stories and emotions in a supportive environment. Come together to honor and celebrate the resilience and authenticity of the LGBTQ+ community in a setting that encourages empathy and understanding. Don't miss this unique opportunity to engage with powerful narratives and connect with others who share similar experiences. Mark your calendar for an evening of soul-stirring performances at the "Pride & Performance: Soul Showcase" at The Green-Wood Cemetery.

Explore the vibrant contemporary art scene of Tribeca, New York's rapidly-growing gallery district, by joining the Tribeca 3:30 PM May 4 Gallery Tour. This phenomenon of an art world hub has attracted numerous galleries that were once located in Chelsea, showcasing a diverse array of brand new paintings, sculptures, electronic media, and photography by talented artists. Ensure punctuality to avoid missing out on this exclusive tour of artistic excellence. Please note that all sales are final, and tickets are only valid for the specified date of the event. Come rain or shine, the tours will proceed as scheduled, as all the captivating artworks are displayed indoors at 120 Walker Street, New York, NY 10013. Secure your spot for this enlightening experience for just $34.92 and immerse yourself in the creativity and innovation that define Tribeca's thriving art scene.

Shared Harbor Day is an exciting annual event held in New York City at The Downtown Boathouse at Pier 26. On May 4, 2024, visitors can partake in this unique physical activity for free. This special day offers individuals the opportunity to engage in various water-based activities and enjoy the scenic views of the harbor. Located at 233 West Street, New York, NY 10013, the venue provides a perfect setting for participants to unwind and connect with nature. Shared Harbor Day aims to promote community bonding and emphasize the importance of outdoor recreation. So mark your calendars and make sure not to miss out on this unforgettable experience. Come and join in the fun at Shared Harbor Day, where memories are made and adventures await!

Explore the vibrant contemporary art scene in New York City's bustling Tribeca neighborhood by joining the Tribeca 3:30 PM May 4 Gallery Tour. This tour offers a unique opportunity to immerse yourself in the latest art world phenomenon taking place in Tribeca, where numerous galleries have recently relocated from Chelsea. Witness a diverse range of artistic expressions, including new paintings, sculptures, electronic media, and photography created by a variety of talented artists. Ensure you arrive promptly to avoid missing the tour, as all sales are final, and tickets are only valid for the specified date of May 4, 2024. Regardless of the weather, the tours proceed as scheduled, as the captivating art awaits indoors at 120 Walker Street, New York, NY 10013. Don't miss this exclusive chance to experience the cutting-edge art scene in Tribeca. Get your tickets for $22.11 now and prepare for an enriching artistic journey.