Featured Events in New York in June, 2025 (July Updated)

The Interborough Rapid Transit Company (IRT) opened New York City’s original underground subway line in October 1904. While the city was one of the most diverse in the country, before the introduction of the subway, most New Yorkers were not in regular contact with people outside their own neighborhoods. Initially extending from the Bronx to Lower Manhattan (with service to Brooklyn beginning in 1908) and forming part of the wider transit system, the convenient and affordable IRT encouraged riders to travel beyond their communities for both work and leisure. In order to entice people to regularly use the subway, the IRT printed two in-car poster campaigns, The Elevated Express and The Subway Sun, that highlighted each borough’s unique attractions. Of these, The Subway Sun was especially successful.

As our lives become increasingly shaped by the glut of garbage and information, The Gatherers brings into focus current artistic practices grappling with global waste and excess. Featuring fourteen international artists—many showing for the first time in a US museum—the exhibition includes sculptural installation, assemblage, painting, video, and performance. While artists have rummaged for centuries, the exhibition underscores how retooling detritus has new meaning for a generation contending with the impacts of recent world orders, such as the ongoing fallouts and failures of globalization and neoliberalism. Artists in The Gatherers render politics as spatialized in the built environment, drawing attention to how histories reverberate into the future.

This spring, the presentation of late works by French avant-garde artist Francis Picabia (1879 – 1953) travels from Hauser & Wirth’s Paris gallery to 22nd Street in New York. Organized in collaboration with Comité Picabia, and co-curated by its President, Beverley Calté, and art historian Arnauld Pierre, ‘Eternal Beginning’ is the first major exhibition to focus on Picabia’s compelling final period. It features close to 30 paintings created by Picabia between 1945—when he returned to Paris from the South of France—and 1952, the penultimate year of his life. As a complement to the exhibition, Hauser & Wirth Publishers has released a catalogue with fresh scholarship in both English and French on Picabia’s late work.

Nicola Vassell presents Where The I Settles, an exhibition of new and recent work by Che Lovelace, the artist’s second solo exhibition with the gallery. Across a group of multi-paneled paintings, the exhibition radically expands his exploration into the relationship between nature and society in his native Trinidad. Lovelace attends to the many ways that these worlds contrast with one another before eventually reaching a state of unity, which he expresses above all through the act of painting itself.

Fleiss-Vallois presents Windchimes and Prayers, an exhibition curated by Julia Wachtel with works by Julia Wachtel, Wendy White, and Jason Yates.Much like her canvases which juxtapose disparate images in order to establish an ideological connection, Wachtel has selected three works from each artist which together investigate the language of symbols, the emotional manipulation of advertisements, and the commodification of culture in our image-dominated and consumer-driven world. Each artist memorializes, edifies, and analyzes omnipresent yet disposable images and items.

Carpenters Workshop Gallery New York presents a display of works by Aki+Arnaud Cooren, the multidisciplinary design studio known for serene, dreamy, creations that evoke poignant and harmonious confluences with the natural world. The exhibition features new pieces that add to the duo’s acclaimed Ishigaki Lamp series, which won a Créateurs Design Award in 2025 and is inspired by freediving experiences off the coast of Ishigaki island, southern Japan.

In a celebration of modern and contemporary Italian design, Forma & Estetica at Carpenters Workshop Gallery brings together leading figures in the field, exploring how beauty and function intersect in a world shaped by industry, urbanisation and cultural tradition. The exhibition features contemporary artists Vincenzo De Cotiis and Giacomo Ravagli alongside iconic 20th-century designers such as Gio Ponti, Gabriella Crespi, Emilio Lancia, Cesare Leonardi, Franca Stagi, Mario Gottardi, Studio BBPR, and Ico and Luisa Parisi.

An exhibition of Arshile Gorky, Wifredo Lam, Roberto Matta and Oscar Murillo Curated by Oscar Murillo .

TEMPLON New York presents its first exhibition by American painter Will Cotton. In this new body of work, Between Instinct and Reason, the artist continues to reflect on pop culture and a new American mythology. In Cotton’s world of sugary treats, pink unicorns, and hypermasculine cowboys, he is now introducing a new player: the mermaid.

Lévy Gorvy Dayan presents Half Way Home by Los-Angeles based artist Austyn Weiner. Weiner’s debut solo exhibition with the gallery comprises three monumental paintings that form an immersive installation, representing the emotional, physical, and spiritual odyssey she traversed over the past year.

Presenting a dialogue across time and space, Nature and Form explores materiality as a dynamic and ever evolving archive. Artists exhibited go beyond using material solely as a medium of expression and physically construct meaningful conversations in each sculpture.

The Coney Island History Project will open for the season on May 24th with new exhibits by Charles Denson and Amanda Deutch. Coney Island Streets: 1965–1975 and Brooklyn Wilds combine street photography, cyanotypes, native plants, and poetry to explore the natural and urban sides of Coney Island that are not well known. Through the medium of photography, both shows complement each other by exploring the complexity of this New York City neighborhood. With this exhibit, we are introducing our new Wonder Gallery, a collaboration between Charles Denson and Amanda Deutch. More info on our website. Link in bio.

“Into the Dimensional Corridor” is a phrase borrowed from a first season episode of the Star Trek series and refers to a magnetic corridor that allows travel between parallel universes, one of matter and one of anti-matter. In the years leading up to the first installation of “Into the Dimensional Corridor”, Lutz Bacher slowly amassed sheets of Plexiglas from salvage stores throughout Brooklyn and Queens. As the number of sheets grew, she wrote in her notes: “So there was a sense that [this] was something to ‘follow’– wherever it might lead me – ”. As was often the trajectory of her later installations, she did not know where the path would lead or what other objects might finally come together.

Arresting Beauty: Julia Margaret Cameron explores the path-breaking career of photography’s first widely recognized artist. Cameron (1815–1879) was born in Calcutta to a French mother and an English father; in 1848, with her husband and children, she moved to England, where her sisters introduced her to the elite cultural circles in which they traveled. Residing on the Isle of Wight, where she was close neighbors with the poet Alfred Tennyson, Cameron acquired her first camera at age 48. In only eleven years she would create thousands of exposures and leave an enduring image of the Victorian era as an age of intellectual and spiritual ambition. Her own prodigious drive helped Cameron become a probing portraitist of leading figures such as Tennyson, Thomas Carlyle, G.F. Watts, and Charles Darwin, while her absorption with fine art, notably Renaissance painting, led her to create staged tableaux in a mode that has been perpetually rediscovered by photographers down to the present. Most distinct of all was Cameron’s wholly personal handling of her medium. Heedless of a large camera’s technical limitations, alert to the happy effects of accident, and indifferent to critical scorn, she embraced a style of spontaneous intimacy that distanced her from the photographic establishment of her time and class. Motion blur, highly selective focus, and even fingerprints on the glass negatives (which required developing before their emulsions dried) are among the idiosyncrasies of her singular oeuvre. Cameron was quick to exploit publishing and promotional opportunities: at London’s South Kensington Museum (today the Victoria & Albert Museum) she secured not only an exhibition in 1865 but, a few years later, studio space, and she was the first photographic artist to be collected by the institution. Arresting Beauty features prints from its initial purchase and from subsequent additions to its holdings, which have grown to number nearly one thousand. The exhibition includes Cameron’s large if optically primitive lens (all that survives of her apparatus), pages from her memoir manuscript Annals of My Glass House, and portraits she made in Ceylon (now Sri Lanka) after Cameron and her husband moved there in 1875.

This June, The Gallery at Soho Grand unveils a rare and intimate look into the creative world of iconic American designer Bob Mackie. Bob Mackie: From Sketches to Spotlight showcases a collection of original sketches, some of which have never been seen outside the designer’s private archive.

Hutchinson Modern & Contemporary (HM&C) presents Landed, an exhibition of works by Dominican-born, New York-based sisters iliana emilia García and Scherezade García.Landed is the first exhibition of iliana emilia and Scherezade at HM&C. The show features sculptures and works on paper, ranging from 1999-2025, as well as a new installation La salita (2025)—the first artwork that they collaboratively produced—drawing from memories of a cherished creative space that they shared in childhood.

Jack Shainman Gallery presents Genesis, an exhibition of new work by Claudette Schreuders, the artist’s eighth solo exhibition with the gallery. Bringing together figurative sculptures made in both wood and bronze, Genesis reimagines scenes and characters from the suburban landscape of Cape Town that Schreuders calls home. Using the raw material of her own life as the foundation to create portraits that are equally archetypal and idiosyncratic, Schreuders explores how specific forms can convey universal truths and how personal history remains fundamentally connected to social reality.

Melissa Joseph has risen to prominence in recent years. Since being featured in Artsy Vanguard last year, her work has been shown at Charles Moffett Gallery’s booth at Art Basel Miami and at Public Gallery in London, and she recently won the Brooklyn Museum’s UOVO Award, a prize for Brooklyn artists. This summer, Joseph will exhibit a site-specific installation inspired by Renaissance imagery outside the Brooklyn Museum. Throughout the summer, reproductions of Joseph’s soft, needle-felt portraits will be on display in the museum’s outdoor plaza. Depicting heartwarming moments between friends and family, these works highlight the important role public art plays in fostering human connection. Blow-up photographs capture details of the blurred fibers in the portraits and the materials they are made of—wool, recycled sari, and industrial felt. The vinyl drawings will wrap around the piazza steps in a hexagonal pattern inspired by the floor patterns Joseph saw while visiting Santa Maria Assunta in Siena, Italy, as a student.

Summer in the City opens June 7 at ACA Galleries, and it’s a love letter to New York in all its maddening, magnificent glory. The show spans a century of artists obsessed with the city—not just the skyline, but the hum of the streets, the geometry of the fire escapes, the poetry of pigeons, the solitude in a crowd.

Perrotin New York presents Power Line, an exhibition of works by the Yale School of Art Painting and Printmaking Graduate Class of 2025. Through painting, sculpture, or installation, these artists share a deep engagement with materiality, memory, identity, and transformation.

Gabriel Rico is known as one of "the most talented artists in Latin America". He is good at combining natural objects and man-made civilization in an interdisciplinary way to present a unique humorous poetry. Through the combination of neon lights, specimens, ceramics, stones, branches, formulas and other elements, he created a series of "wall installations", chiseling out the meaning hidden behind the objects and expanding the concept of "discovering objects".

Perrotin New York presents Imaginary Country, an exhibition by Chilean-born, Paris-based artist Christiane Pooley, marking her first show in the United States. In her new body of paintings, Pooley draws inspiration from the landscapes of South America in ethereal terrains on canvas and copper plate. Imaginary Country invites viewers to reflect on the elusive and evolving nature of identity and belonging.

Drawing on the language of minimalist painting from the 1960s and 1970s, Josh Sperling’s work is often saturated and even discordant in color. Whether it is a large-scale composite wall installation or a single shape, Sperling is able to inject a sense of vitality into these static works simply through color and outline itself.

CARVALHO presents the 3rd edition of its acclaimed performance series, with a commissioned, architecturally scaled installation by gallery artist, Rosalind Tallmadge, in collaboration with globally renowned Principal dancer and activist, Ingrid Silva, with Elias Re and Vinícius Freire. Tallmadge’s ten-panel tapestry installation of mirrored mica on silk, titled Pareidolia, coalesces to a faceted luminarium, refracting light and the dancers’ forms off its glimmering surfaces.

Friedrichs Pontone presents Under the Sun, a summer group exhibition featuring works by eight different artists. The exhibition represents a collection of artworks dedicated to exploring the ways in which humanity interacts with the environment, both in a physical and mental reality.

The proliferation of experiences and emotions that comprise each individual’s personal history might be remembered by a few stories, all the more vivid in their retelling, and a handful of intense images. By virtue of it being selective, and beholden to the conventions of narrative, memory is creative. Not only that, but memories pass from one generation to another, acquiring new meanings and echoes. If memory is an art, how might an artist reflect the richness of its styles and mechanisms in their own practice? Robert Lowell, in his poem ‘Epilogue’, proposes ‘plot and rhyme’ as ways to order and digest the past. Beau Gabriel’s new series of paintings offer alternative formal solutions for transforming memory into a work of art: echoes, allusions and borrowings that all fall under the umbrella of intertextuality. These paintings offer episodes from Gabriel’s family history in Marin County in Northern California, but consistently and inventively channel these private myths through imagery drawn from Italian Renaissance art. Chains of associations wind around well-known scenes and stories in mutually transformative relationships. The paintings accommodate a loose narrative of becoming — a young woman’s bildung in charged, pastel marshlands and pastures — but don’t insist upon being read sequentially.

Friedrichs Pontone presents Second Shadow, a group exhibition featuring works by seven artists. Second Shadow explores the concept of a second shadow, or the partial light shadow cast by a summer solstice. The artworks obscure their natural representations either by existing among multiple layers or by the contrast between light and shadow, creating an obscure deeper truth about the subjects.

New Yorkers will finally be getting back the gorgeous Frick Collection at its original historic buildings at 1 East 70th Street this year. The buildings have been closed to the public for renovations since 2020, and it’s been a long five years not being able to walk those glamorous Gilded Age halls. Some of the museum’s collection was relocated to the Met Breuer Building on Madison Avenue for a couple of years, but that iteration closed in March 2024. In April, we’ll be invited back to its restored spaces on the first floor and a new roster of galleries on the mansion’s second floor, open to the public for the very first time. Even better, to celebrate the reopening, the Frick will throw a weeklong music festival and present an installation of paintings by Vermeer that will inaugurate its new special exhibition galleries.

‘Nordic Surrealism’ is a landmark exhibition tracing the emergence and evolution of Surrealist ideology in Sweden and Denmark from the 1930s through the 1960s. Featuring works by Stellan Mörner, Vilhelm Bjerke-Petersen, Lambert Werner, Max Walter Svanberg, and Eric Cederberg, the exhibition re-examines a critical yet overlooked chapter in modern art history.

Upsilon Gallery presents Mark Making / Time Marking, a compelling exhibition featuring Ryoko Endo (b. 1951), Hannah Lim (b. 1995), and Park Seo-Bo (1931–2023), three visionary artists whose practices traverse East and West, past and present, structure and spontaneity.