How can it presumably be October already? Soon sufficient, we’ll be setting the clocks again as soon as once more, which more and more looks like an effort to recuperate misplaced time. For lifelong goths similar to myself, nonetheless, this season is all in regards to the metropolis’s many thrills and chills, and naturally the informal reminders of our personal mortality. Our month-to-month highlights embody topographical research of battlegrounds and cemeteries, ghosts of Manhattan’s geological previous, and the terrors of theocratic rule. Happy Halloween, my pals!


Jude Griebel, “Procession” (2020) (courtesy Invisible Dog Art Center)


A gaggle exhibition and pageant devoted to cooking examines the results of colonialism and industrialism on world delicacies. Taken from the Arabic phrase for spirit, which in keeping with resident artist Reem Kassis carries a twin context in cooking, Nafas brings collectively blended media by greater than 30 up to date artists. Displayed throughout the primary gallery of Invisible Dog, these works are much less of a smorgasbord and extra a vivid tableau of cultural resistance. Jude Griebel’s manufacturing unit farming sculptures, Chang Ya Chin’s work of personified dumplings, and Khaled Hourani’s Palestinian watermelon are just some of the choices at this desk.

Invisible Dog Art Center (
51 Bergen Street, Boerum Hill, Brooklyn
Through October 15

Installation view of Tiffany Chung, Archaeology for Future Remembrance (picture by Adam Reich)

Tiffany Chung: Terra Rouge & Archaeology for Future Remembrance

Across two flooring of Davidson’s 26th Street location, Vietnamese artist Tiffany Chung questions whether or not displacement is a historic inevitability. The maps and drawings in Archaeology of Future Remembrance, displayed round home windows that look out to the Manhattan skyline, discover how US colonialism immediately influenced current redevelopment in her hometown of Ho Chi Minh City. Beneath this, the colourful work in Terra Rouge take heed to historic earthworks excavated from a website the place each 19th-century French colonialists planted their first rubber bushes and the People’s Army of Vietnam launched its 1972 Easter Offensive towards the US navy. Together, these our bodies of labor posit that no state construction has an intrinsic proper to any land and that colonialism embeds itself deep into tradition lengthy after its departure.

Davidson Gallery (
521 West 26th Street, Chelsea, Manhattan
Through October 22

Athena LaTocha, “Remains of Winter (Battle Hill, East)” (2022) (courtesy the artist)

Athena LaTocha: The Remains of Winter

Lakota-Ojibwe artist Athena LaTocha is exhuming what lies beneath the Brooklyn cemetery’s floor in her newest installations, that are displayed atop Battle Hill and in Green-Wood’s Historic Chapel. The Remains of Winter might seem to be a weird identify selection for early autumn, however it truly refers back to the remnants of prehistoric glaciers that grew to become these lands. LaTocha composed her shapely sculptures with layers of paper, lead, and metal to resemble earthen developments over millennia. A research of shifting terrains beneath our ft, LaTocha makes this place of everlasting relaxation really feel like a small blip within the land’s better historical past.

Green-Wood Cemetery (
500 25th Street, South Slope, Brooklyn
Through December 23

Sill from Paula Court, “Carmelita Tropicana: Your Kunst Is Your Waffen” (1994) (courtesy Leslie-Lohman Museum)


It doesn’t appear controversial to say that American notions of “decency” have triggered extra hurt than good, significantly the invasion of privateness in queer areas. INDECENCIA goes tit for tat with this paradigm, trying to late theorist Marcella Althaus-Reid’s notion of “lifting the skirts of God” to indicate the true roots of “indecency.” Contemporary Latinx artists similar to Marga Gomez, Arantxa Araujo, and Elizabeth “MACHA” Marrero flip symbols of non secular purity into indicators of cultural depravity, exposing the bare corruption of theocratic rule.

Leslie-Lohman Museum (
26 Wooster Street, Soho, Manhattan
Through January 8, 2023

Installation view of Enrico Riley, Stand (courtesy Jenkins Johnson Gallery, New York and San Francisco)

Enrico Riley: Stand

On the floor, Enrico Riley’s radiant work of Black and Brown dancers exude pleasure and freedom. Looking deeper, although, these monochromatic compositions, which curator Connie H. Choi describes as “deceptively simple,” appear to exist in an in-between area straddling figuration, abstraction, company, and entrapment. In delicate critiques of the Western canon, Riley positions his topics in positions of fluidity and fugitivity — their featureless faces and coordinated physique language communicate for generations of enslaved, indentured, and segregated lives craving for the straightforward pleasure of self-expression.

Jenkins Johnson Gallery (
207 Ocean Avenue, Prospect Lefferts Gardens, Brooklyn
Through October 29

Bia Davou, untitled work (c. 1980s) (courtesy Radio Athènes and Melas Martinos, Athens)

Siren (some poetics)

For Amant’s newest group exhibition, visitor curator Quinn Latimer sounds a metaphorical alarm. Everything we find out about that means, symbolism, and aesthetics, she claims, is however a portion of an ongoing inventive course of. To that finish, she posits that the “siren,” a female-coded image that has shifted significance over centuries, calls us to maneuver previous well-worn binaries and borders. From Nour Mobarak’s “Fugue” sculptures to Jenna Sutela’s visible “poetry,” the exhibition commences the decontextualization course of.

Amant (
315 Maujer Street, East Williamsburg, Brooklyn
Through March 5, 2023

Installation view of Charisse Pearlina Weston, of [a] tomorrow: lighter than air, stronger than whiskey, cheaper than mud (picture by Hai Zhang, courtesy the artist)

Xaviera Simmons: Crisis Makes a Book Club, Charisse Pearlina Weston: of [a] tomorrow: lighter than air, stronger than whiskey, cheaper than mud

Two concurrent solo exhibitions ruminate on an pressing want for neighborhood organizing and the political historical past of the Queen’s Museum’s environment. Weston’s expansive glassworks trace on the clear nature of liberal identification politics, in addition to Flushing Meadows Corona Park’s legacy of Civil Rights and Black Power struggles, whereas Simmons’s large-scale billboards on the constructing facade name on the general public to interact with artwork historical past past pure aesthetics. Together, the artists work throughout disciplines to uplift the disappeared labor and resistance that defines the borough.

Queens Museum (
Grand Central Parkway and Van Wyck Expressway, Queens
Through March 5, 2023

Lisa Oppenheim “Nature Mort, 1943/2022 (Version II)” (2022) (courtesy the artist and Tanya Bonakdar Gallery)

Lisa Oppenheim: Spolia

The Third Reich imposed incalculable harm on the legacy of Jewish modernism. Many Nazi-looted artworks have been recovered through the years, however a major quantity stays in secret areas or in any other case expired. Spolia, named after the Latin phrase for “spoils,” focuses on the latter, recreating spectral variations of artworks that have been by no means recovered. Oppenheim’s chilly, grey photographic works draw from the data of the Nazi Party’s Einsatzstab Reichsleiter Rosenberg activity drive, which museums and European governments nonetheless seek the advice of by way of the ERR Project, to painting the grave and bitter nostalgia of restitution.

Tanya Bonakdar Gallery (
521 West 21st Street #1, Chelsea, Manhattan
Through October 22

Installation view of Tropical is Political: Caribbean Art Under the Visitor Economy Regime (picture by Arturo Sánchez)

Tropical Is Political: Caribbean Art Under the Visitor Economy Regime

Americas Society is exploring the completely different meanings of “paradise” for Caribbean islanders and Euro-American vacationers. Tropical Is Political, which brings collectively the work of 19 up to date artists, conceptualizes how the “visitor economy” has torn away layers of stability within the Bahamas, Jamaica, Barbados, Puerto Rico, and elsewhere. From Yiyo Tirado’s overly patronizing neon indicators to Sofía Gallisá Muriente’s nostalgic ocean images, the present dispels all notions of pleasant lodging, positioning diaspora consciousness as oppositional to capitalist luxurious.

Americas Society (
680 Park Avenue, Upper East Side, Manhattan
Through December 17

Installation view of Carriers (picture by Dario Lasagni)

Mire Lee: Carriers

The centerpiece of Mire Lee’s newest exhibition seems behind a wall of concrete molds, whereby hanging silicone tendrils spew and flow into liquid by way of a hose pump. This darkish, dank setting for such an equipment feels organic and industrial, bringing to thoughts how humanity develops techniques in its personal bodily picture. Lee’s “carriers,” which tackle digestive components, can thus stand in for the subsuming of the oppressed by the oppressor, the hunted by the hunter, or the thoughts by the machine. In this fashion, Lee presents a eager allegory for the artist’s relationship to their labor. (Read John Yau’s evaluation of this exhibtion for Hyperallergic).

Tina Kim Gallery (
525 West 21st Street, Chelsea, Manhattan
Through October 22

Cristina Iglesias, Landscape and Memory at Madison Square Park, 2022 (picture by Rashmi Gill)

Cristina Iglesias: Landscape and Memory

For her newest public set up, Spanish artist Cristina Iglesias dug deep into the soil of Madison Square Park to unearth a bit of historical past. The bronze sculptural swimming pools of Landscape and Memory revive the picture of Cedar Creek, which once ran by way of the north finish of the Manhattan park to the East River. Long buried underground, this pure formation features for Iglesias as proof of human intervention, leading to a intelligent critique of the constructed surroundings. Her delicate designs will little question make an impression on all guests — simply remember to watch your step.

Madison Square Park (
11 Madison Avenue, Flatiron, Manhattan
Through December 4

Jahtiek Long, “Brooklyn Messing with Staten” (2020) (courtesy the artist)

Yes, And

Staten Island doesn’t get sufficient artwork world illustration regardless of its wealthy cultural historical past. As such, its museum is highlighting 36 native artists who doc the abundance of communities on the small island. Photos by Arlette Cepeda and Nathan Kensinger convey out the dynamics of immigration and displacement, whereas Kay Healy’s acrylic work exhume the discarded familial belongings that composed the previous landfill project. Celebrating the borough’s range, Yes, And posits there’s way more to Staten Island than meets the attention.

Staten Island Museum (
1000 Richmond Terrace, Staten Island
Through March 26, 2023

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