September is the single best month of the year to see contemporary art in New York. After the traditional August lull, galleries across Manhattan sync their openings to the weeks around Labor Day – timed just ahead of the Armory Show – so nearly every commercial gallery in the city has fresh work on the walls right now. This guide breaks down what’s new by neighborhood, with full write-ups, addresses, and hours for each district.
Manhattan’s contemporary art scene is organized into three main clusters, each with its own scale, character, and program:
| Neighborhood | Character | Best For |
|---|---|---|
| Chelsea | The largest and most established district, with 200+ galleries in warehouse-scale spaces | Museum-quality shows from major artists, mega-gallery flagships |
| Tribeca | The fastest-growing district, with blue-chip names in intimate loft spaces | A tighter, more walkable mix of blue-chip and emerging galleries |
| Lower East Side | The city’s grittiest, most experimental scene, in dense storefront clusters | Discovering emerging and mid-career artists first |
Each neighborhood has its own dedicated guide below, with full exhibition details, addresses, and gallery hours.
Roughly bounded by West 19th and West 28th Streets between 10th and 11th Avenues, Chelsea remains the densest concentration of contemporary art galleries in New York City. This September brings new shows from Ugo Rondinone at Gladstone Gallery, Arakawa at Castelli, and Sable Elyse Smith and Hank Willis Thomas at Flag Art Foundation, alongside major rotating exhibitions at David Zwirner, Gagosian, and Pace.
Read the full Chelsea gallery guide →
Over the past decade, Tribeca has quietly overtaken Chelsea as New York’s most talked-about gallery district, with David Zwirner, Marian Goodman, and a dense cluster of mid-size galleries centered on Walker, White, and Franklin Streets. Highlights this month include Emma McIntyre at David Zwirner, Gordon Parks at Jack Shainman Gallery, and a tribute to the late sculptor Melvin Edwards at Alexander Gray Associates.
Read the full Tribeca gallery guide →
Concentrated around Orchard, Eldridge, Grand, and Rivington Streets, the Lower East Side is where New York’s contemporary art scene stays young and unpolished, leaning toward emerging and mid-career artists in compact storefront galleries. This September’s standouts include Arthur Jafa’s major survey at the New Museum, three concurrent solo shows at Perrotin, and Eileen Quinlan at Miguel Abreu Gallery.
Read the full Lower East Side gallery guide →
Chelsea, Tribeca, and the Lower East Side are all reachable from one another by subway or a longer walk, making a multi-neighborhood gallery day realistic if you plan around hours and geography:
Which Manhattan neighborhood has the most art galleries? Chelsea, with more than 200 commercial galleries between West 19th and West 28th Streets – by far the largest concentration in the city.
Is it possible to visit galleries in multiple Manhattan neighborhoods in one day? Yes. Tribeca, the Lower East Side, and Chelsea are all connected by subway in under 20-30 minutes each, and many visitors plan a route starting downtown in the morning and ending in Chelsea in the afternoon.
Are Manhattan art galleries free to visit? Yes, nearly all commercial galleries across Chelsea, Tribeca, and the Lower East Side are free and open to the public during posted hours, with no appointment required except at a handful of smaller spaces.
When is the best time of year to see new gallery shows in Manhattan? September is widely considered the best month, as galleries citywide sync their most ambitious new exhibitions to open in the weeks after Labor Day, ahead of the fall art fair season.
Exhibition details and dates are current as of early September 2026 and subject to change – check individual gallery websites for the latest hours and closing dates before you visit. For full listings, addresses, and gallery-by-gallery details, see the Chelsea, Tribeca, and Lower East Side guides.
]]>If Chelsea is New York’s art establishment and Tribeca is its blue-chip newcomer, the Lower East Side is where the city’s contemporary art scene stays young and unpolished. Concentrated around Orchard, Eldridge, Grand, and Rivington Streets, LES galleries lean toward emerging and mid-career artists, narrower storefronts, and a grittier, more experimental sensibility than uptown or Tribeca counterparts. September 2026 brings a fresh wave of openings across the neighborhood – here’s the complete guide.
Unlike Chelsea’s warehouse-scale spaces or Tribeca’s blue-chip flagships, LES galleries are compact, closely packed, and skew toward discovery. The neighborhood’s gallery scene took shape in the 2000s and 2010s as rising rents pushed younger dealers out of Chelsea and Soho, and it has since become the place New York collectors and curators look to spot emerging talent early. Expect to walk block-to-block between tiny storefront spaces on Orchard and Eldridge Streets, punctuated by a handful of larger anchor institutions like the New Museum and Perrotin.
The largest museum survey to date of Arthur Jafa’s nearly forty-year practice, occupying two floors of the New Museum’s expanded building. The show traces Jafa’s filmic language from early works through recent video installations, including his best-known films alongside new painting, sculpture, and photography.
Dates: September 24, 2026 – January 4, 2027 Address: 235 Bowery, New York, NY 10002 Website: newmuseum.orgHours: Tue-Wed & Fri-Sun, 11am-6pm; Thu, 11am-9pm
Three concurrent solo presentations at Perrotin’s Orchard Street outpost, the LES branch of the international blue-chip gallery. Maloof is known for lush, tactile still-life and figurative painting; the pairing offers a wide range of contemporary painting approaches under one roof.
Dates: September 9 – October 17, 2026 Address: 130 Orchard St, New York, NY 10002 Website: perrotin.com Hours:Tue-Sat, 10am-6pm
A group exhibition spotlighting the continued vitality and evolving practices of women artists working well into their later decades, challenging assumptions about whose work counts as contemporary.
Dates: September 18 – October 31, 2026 Address: 299 Grand St, New York, NY 10002 Website: marcstraus.com Hours:Tue-Sun, 11am-6pm
Quinlan’s photography manipulates studio setups, mirrors, and darkroom processes to blur the line between documentation and abstraction, continuing a practice that interrogates the medium’s claims to objectivity.
Dates: Opens September 10, 2026 Address: 88 Eldridge St, New York, NY 10002 Website: miguelabreugallery.comHours: Tue-Sat, 10am-6pm
A show devoted to the late multimedia artist Dan Asher, whose restlessly experimental practice spanned photography, sculpture, and performance across four decades of downtown New York’s art scene.
Dates: September 18 – October, 2026 Address: 41 Elizabeth St, New York, NY 10013 Website: martosgallery.comHours: Tue-Sat, 10am-6pm
Intimate, autobiographical figurative paintings from McEneaney, who has spent decades depicting her own domestic life, garden, and Philadelphia surroundings in a distinctive flattened, narrative style.
Dates: September 11 – October 17, 2026 Address: 11 Rivington St, New York, NY 10002 Website: tibordenagy.comHours: Tue-Sat, 10am-6pm
Schulte’s meditative, minimalist drawings draw on geological forms and quiet repetition, using graphite and subtle mark-making to explore stillness and material presence.
Dates: September 9 – October 25, 2026 Address: 55 Orchard St, New York, NY 10002 Website: mckenziefineart.comHours: Wed-Sat, 11am-6pm; Sun, 12pm-6pm
A presentation of work by the late New Zealand-born feminist photographer, known for staged, narrative-driven images that critiqued gender roles and power dynamics in the 1970s and ’80s.
Dates: September 10 – October, 2026 Address: 183 Stanton St, New York, NY 10002 Website: davidtotah.com Hours:Tue-Sat, 11am-6pm
Kobayashi’s paintings distill landscapes and organic forms into simplified, sculptural bands of color, balancing hard-edge abstraction with a sense of atmospheric depth.
Dates: September 3 – October 10, 2026 Address: 109 Norfolk St, New York, NY 10002 Website: hollistaggart.comHours: Tue-Sat, 11am-6pm
A New York presentation of the Korean monochrome painter, a key figure in the postwar Dansaekhwa movement known for austere, repetitive brushwork that treats the canvas as a meditative surface.
Dates: September 17 – October 31, 2026 Address: 50 Eldridge St, 4th Fl, New York, NY 10002 Website:kiangmalingue.com Hours: Tue-Sat, 10am-6pm
McQuillen’s work merges painting with astronomical and scientific imagery, using layered, luminous surfaces to explore perception, scale, and the cosmos.
Dates: September 5 – October 24, 2026 Address: 124 Forsyth St, New York, NY 10002 Website: masseyklein.comHours: Wed-Sat, 12pm-5pm
What makes the Lower East Side gallery scene different from Chelsea or Tribeca? LES galleries tend to be smaller, more numerous, and more focused on emerging and mid-career artists, giving the neighborhood a grittier, more experimental character compared to Chelsea’s scale or Tribeca’s blue-chip presence.
Are Lower East Side galleries free to visit? Yes. Nearly all commercial galleries listed above are free and open to the public during posted hours, though a few smaller spaces operate by appointment only.
When do most Lower East Side gallery shows open in September 2026? Most new exhibitions open in the first two to three weeks of September, following the same fall-season pattern as Chelsea and Tribeca ahead of the Armory Show.
What’s the best day to visit Lower East Side galleries? Hours vary more than in other neighborhoods, but Wednesday through Saturday afternoons cover the majority of spaces; check individual listings, and consider the September 25 late-night gallery walk for an efficient single-evening visit.
Exhibition details and dates are current as of early September 2026 and subject to change – check individual gallery websites for the latest hours and closing dates before you visit.
]]>Over the past decade, Tribeca has quietly overtaken Chelsea as New York’s most talked-about gallery district – and September 2026 shows exactly why. Blue-chip powerhouses like David Zwirner, Marian Goodman, and Hauser & Wirth have set up flagship spaces alongside a dense cluster of ambitious mid-size and emerging galleries on Walker, White, and Franklin Streets. With nearly every gallery in the neighborhood timing new exhibitions to open around Labor Day, this is the definitive guide to what’s new in Tribeca right now.
Tribeca’s gallery scene is organized around a handful of walkable corridors: Walker Street (home to David Zwirner, Bortolami, and kaufmann repetto within steps of each other), White Street and Franklin Street (a growing cluster of contemporary galleries and project spaces), and the blocks around Leonard Street and North Moore Street, where design-oriented and more established spaces sit inside converted loft buildings. Unlike Chelsea’s warehouse-scale mega-galleries, Tribeca’s spaces tend to be smaller and more intimate – though the artists on view are frequently just as significant.
New Zealand-born, Los Angeles-based painter Emma McIntyre brings vivid, chance-based abstractions to David Zwirner’s Tribeca space. McIntyre pours oils and unconventional substances like oxidized iron across her canvases, creating layered, atmospheric works that draw on art-historical references from the Renaissance through Helen Frankenthaler and Cy Twombly.
Dates: September 18 – October 24, 2026 Address: 52 Walker St, New York, NY 10013 Website: davidzwirner.comHours: Tue-Sat, 10am-6pm
Marking the 20th anniversary of The Gordon Parks Foundation, this exhibition revisits the pioneering photographer’s images through new reflections from the families he photographed, including those of Muhammad Ali and Malcolm X. Parks used his camera as a tool for social justice across a career spanning Harlem street portraits, the civil rights movement, and decades of work for Life magazine.
Dates: September 18 – November 7, 2026 Address: 46 Lafayette St, New York, NY 10013 Website: jackshainman.comHours: Tue-Sat, 10am-6pm
A two-artist presentation at Bortolami’s Walker Street space, part of the 55 Walker building’s cluster of galleries alongside Andrew Kreps and kaufmann repetto. Bortolami has built its program around rigorous, research-driven contemporary painting and sculpture.
Dates: September 9 – October 24, 2026 Address: 39 Walker St, New York, NY 10013 Website: bortolamigallery.comHours: Tue-Sat, 10am-6pm
New work from Turkish artist Gökhun Baltacı at kaufmann repetto’s 55 Walker Street space, sharing a building with Bortolami and Andrew Kreps Gallery – making this block one of the most efficient stops on a Tribeca gallery crawl.
Dates: September 9 – October 31, 2026 Address: 55 Walker St, New York, NY 10013 Website: kaufmannrepetto.comHours: Tue-Sat, 10am-6pm
Following sculptor Melvin Edwards’s death earlier in 2026, this group exhibition brings together fifteen artists who knew him – including longtime friends and collaborators Sam Gilliam, Jack Whitten, and William T. Williams – tracing the community of exchange that shaped his six-decade practice in welded steel.
Dates: September 9 – October 24, 2026 Address: 384 Broadway, New York, NY 10013 Website: alexandergray.comHours: Tue-Sat, 10:30am-6pm
A two-artist show pairing British sculptor Tony Cragg, known for his biomorphic bronze and stainless-steel forms, with Belgian artist Edith Dekyndt, whose ephemeral, process-based installations explore materiality and perception.
Dates: September 10 – October 24, 2026 Address: 385 Broadway, New York, NY 10013 Website: mariangoodman.comHours: Tue-Sat, 10am-6pm
A solo presentation from Oscar yi Hou, a Liverpool-born, Brooklyn-based painter whose portraits explore queer Asian American identity through a distinctive visual language mixing cowboy iconography, calligraphy, and pop culture references.
Dates: September 11 – October 10, 2026 Address: 52 White St, New York, NY 10013 Website: jamesfuentes.comHours: Tue-Sat, 10am-6pm
Multimedia artist Janet Biggs presents new work exploring extreme environments and human endurance, continuing her long-running practice of filming in remote, physically demanding locations from Arctic ice fields to volcanic terrain.
Dates: September 9 – October 24, 2026 Address: 49 Walker St, New York, NY 10013 Website: cristintierney.comHours: Tue-Sat, 10am-6pm
Szot’s exhibition takes its title from a Blind Willie Johnson lyric, continuing the gallery’s focus on artists who work at the intersection of geometric abstraction and material process.
Dates: September 23 – October 31, 2026 Address: 494 Greenwich St, New York, NY 10013 Website:anitarogersgallery.com Hours: Tue-Sat, 10am-6pm
A presentation devoted to the interdisciplinary Korean American artist and writer Theresa Hak Kyung Cha, best known for her 1982 book Dictee. This show gathers her rarely-exhibited video, performance, and text-based work at the nonprofit that has championed experimental practice in New York since 1972.
Dates: September 11 – November 21, 2026 Address: 11 Cortlandt Alley, New York, NY 10013 Website: artistsspace.orgHours: Wed-Sat, 12pm-6pm
A solo show of contemporary Japanese ceramics from Kaori Someya at Ippodo, a gallery specializing in Japanese fine art and craft near the Holland Tunnel entrance in northern Tribeca.
Dates: September 10 – October 17, 2026 Address: 35 N Moore St, New York, NY 10013 Website: ippodogallery.comHours: Tue-Sat, 11am-6pm
Is Tribeca or Chelsea better for gallery-hopping? Both are excellent, but they offer different experiences. Chelsea has more sheer volume and warehouse-scale spaces; Tribeca offers a tighter, more walkable cluster with a strong mix of blue-chip and emerging galleries, often in smaller, more intimate rooms.
Are Tribeca art galleries free to visit? Yes. Nearly all commercial galleries listed above are free and open to the public during posted hours, with no appointment required except where noted.
When do most Tribeca gallery shows open in September 2026? The majority of new exhibitions open in the first two to three weeks of September, timed ahead of the Armory Show and other fall art fairs.
What’s the best day to visit Tribeca galleries? Tuesday through Saturday during standard hours works well for most galleries; check individual listings for any Thursday evening or late-night events during the season’s opening weeks.
Exhibition details and dates are current as of early September 2026 and subject to change – check individual gallery websites for the latest hours and closing dates before you visit.
]]>Fall is the busiest season on the Chelsea gallery calendar, and September 2026 is no exception. After the traditional August lull, Chelsea’s contemporary art galleries have synced their openings to the first few weeks of September – well ahead of the Armory Show – meaning nearly every major space in the neighborhood has fresh work on the walls right now. Whether you’re planning a Chelsea gallery crawl for the first time or you’re a regular on the West 19th-to-28th Street circuit, here’s a complete, address-by-address guide to what’s new.
Roughly bounded by West 19th and West 28th Streets, between 10th and 11th Avenues, Chelsea remains the densest concentration of contemporary art galleries in New York City. It’s home to everything from global mega-galleries like David Zwirner and Gagosian to specialized spaces focused on design, photography, and emerging talent. The unofficial kickoff to the fall season falls on the first or second Thursday after Labor Day, when dozens of galleries host simultaneous opening receptions – making September the single best month of the year to see the most ambitious shows Chelsea has to offer.
Two years in the making, this exhibition brings fifteen towering resin “waterfall” sculptures infused with crushed blue gemstones to Gladstone’s hangar-like Chelsea space. Each piece began as a small clay line hand-shaped around a thin wire before casting, continuing Rondinone’s long-running practice of using natural phenomena – sunsets, mountains, rainbows, waterfalls – as metaphors for longing, solitude, and transcendence.
Address: 530 West 21st Street, New York, NY 10011 Website: gladstonegallery.com Hours: Mon–Fri, 10am–6pm
Two concurrent solo presentations at Petzel’s 16,000-square-foot Chelsea flagship. Smith is known for surreal, feminist reworkings of art-historical motifs, frequently via a recurring broom-witch figure, while Bleckner – a key figure in 1980s Neo-Geo painting – shows symbol-laden, elegiac abstractions.
Address: 520 W 25th St, New York, NY 10001 Website: petzel.com Hours: Tue–Sat, 10am–6pm
A show devoted to the late Wendell Castle, a founding figure of the American studio-furniture movement. His biomorphic, hand-carved wood forms sit at the intersection of sculpture and function, and this exhibition anchors Friedman Benda’s continued stewardship of his estate.
Address: 515 W 26th St, New York, NY 10001 Website: friedmanbenda.com Hours: Mon–Sat, 10am–6pm
A presentation of paintings by Shusaku Arakawa, the Japanese conceptual artist whose diagrammatic, text-and-image work interrogates perception, language, and how meaning is constructed. A rare chance to see Arakawa’s paintings in depth at the gallery that has long championed Conceptual and Post-Minimal art.
Address: 18 E 77th St, 3rd Floor, New York, NY 10075 Website: castelligallery.com
Two artists, two urgent bodies of work: Sable Elyse Smith’s sculpture and text examine incarceration, memory, and institutional systems, while Hank Willis Thomas’s photography and mixed-media pieces interrogate race, history, and commercial imagery in America. Free to the public.
Address: 545 W 25th St, 9th Floor, New York, NY 10001 Website: flagartfoundation.org Hours: Wed–Sat, 11am–5pm
Photography and film by Mohawk artist Shelley Niro, whose work centers Indigenous women’s experience and identity across generations. This is Niro’s latest presentation at Hales’ primary Chelsea location.
Address: 547 W 20th St, New York, NY 10011 Website: halesgallery.com
Sarah Sense, of Chitimacha and Choctaw descent, weaves photographs into basket-like forms using Indigenous weaving techniques, layering personal and ancestral narrative into her photographic practice.
Address: 529 W 20th St, 3rd Floor, New York, NY 10011 Website: brucesilverstein.com Hours: Tue–Sat, 10am–6pm
Abstract painting that blends geometric and organic form, probing the tension between order and instability, at one of Chelsea’s longest-running contemporary galleries (founded 1976).
Address: 529 W 20th St, Suite 6W, New York, NY 10011 (second location at 179 10th Ave) Website: markelfinearts.comHours: Mon–Fri, 11am–5pm
Chelsea’s flagship spaces – David Zwirner (W 19th & 20th Streets), Gagosian (W 21st & 24th Streets), and Pace Gallery (W 25th Street) – are all rolling out major fall exhibitions this month. Titles and artists rotate frequently at this scale, so it’s worth checking each gallery’s website directly before you visit:
Most Chelsea galleries are free, open to the public without appointment, and clustered tightly enough to visit six or seven in an afternoon. A few tips for making the most of a September visit:
When do most Chelsea gallery shows open in September 2026? The bulk of openings are timed to the first two weeks of September, ahead of the Armory Show – so nearly every gallery in the neighborhood will have new work on view before the fair begins.
Are Chelsea galleries free to visit? Yes. Nearly all commercial galleries in Chelsea, including every gallery listed above, are free and open to the public during posted hours.
What’s the best day to see gallery openings in Chelsea? Thursday evenings are traditionally when galleries hold opening receptions, though the shows themselves remain on view for weeks afterward – so any day during regular hours works for a standard visit.
Exhibition details and dates are current as of early September 2026 and subject to change – check individual gallery websites for the latest hours and closing dates before you visit.
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]]>A WORLD UNTO ITSELF brings together seven artists whose practices span figuration, abstraction, painting, printmaking, mixed media, and sculptural wall works. Each is immersed in an intuitive and exploratory process, allowing personal experience, observation, memory, material, and chance to shape the work. Together, their practices give rise to distinct visual worlds, each shaped by an individual artistic vision and each a world unto itself, where ideas, experience, and possibility converge.
SUSAN COSTES explores human connection and the quiet narratives of everyday life through paintings that move between realism and abstraction. In this exhibition, Costes presents a series of oil portraits characterized by flattened forms, subtle shifts in tone and color, and washes of paint. Blurred surfaces, matte finishes, and high-contrast textures create a sense of ambiguity, placing the figures between recognition and abstraction. Working intuitively, Costes uses color, texture, and line to look beneath the surface and evoke a sense of intimacy and connection. Her layered process begins with an abstracted, textured underpainting, allowing traces of earlier layers to remain visible as the work develops. Line and the absence of line, transparency and opacity, realism and abstraction coexist, creating a space where image, surface, narrative, and gesture converge.
Process-driven artist BART DLUHY centers his practice on abstraction, combining woodworking and painting through a layered approach to wood surfaces. Using acrylic paint as a foundation, he incorporates other media to alter the paint’s physical qualities and create unexpected results. His process explores the tension between human agency and chance, embracing experimentation and unpredictability. Circles, lines, arcs, contrasting colors, and exposed wood recur throughout his work, while contrasts between dark and light, organic and geometric, delicacy and harshness, and clarity and ambiguity create dynamic opposition. Through an intuitive process, Dluhy balances intention and abandon, emphasizing the serendipitous nature of creation.
KAZUO ISHIKAWA creates abstract mixed-media sculptural wall works that explore the relationship between material, space, and perception. Working with acrylic, polycarbonate, leather, rubber, metal leaf, and other materials, he assembles modular, interlocking geometric forms that move beyond conventional planar structures. Inspired by what he calls “hidden landscapes,” Ishikawa translates the sounds, rhythms, and sensations of nature into imagined spaces defined by points, lines, and planes. Viewed from multiple perspectives, his constructions create complex spatial relationships where geometry and form interact, presenting each work as both an object and an imagined environment.
VERNITA NEMEC’s series “Lost Landscapes” features abstract interpretations of landscapes she calls “Haiku Collages,” a name inspired by their simplicity and diminutive scale. The works evoke imagined vistas that serve as symbols of landscapes already lost, as well as those that may disappear due to humanity’s continued disregard for the environment. Concerned with environmental issues, Nemec has incorporated discarded materials into her art, including junk mail and other forms of trash. She also presents altered digital photographs inspired by Color Field painting, transforming landscape imagery through intensified, non-naturalistic color. These vivid compositions reflect on the beauty, fragility, and evolving reality of the natural world.
The abstract expressionist oil paintings of ROBERT T. ROGERS emphasize mark-making and explore color, shape, and gesture as means of conveying emotion. He works across multiple media, including oil painting, drawing, photography, and text, creating multilayered projects that reflect the complexity of his subject matter. His work connects personal with shared emotional realities. Subconscious painting and intuitive decision-making are central to his process, which often unfolds physically on the floor as he moves around and rotates the canvas. References to religion, particularly Christian ethics, and Cognitive Behavioral Therapy appear throughout his work, grounding his practice in spiritual and psychological narratives.
SUE ROLLINS creates metaphorical landscapes that reflect the subconscious, constructing scenes that feel both familiar and disorienting. Shifting perspectives, atmospheric changes, and layered imagery evoke connections between the seen and unseen, memory, and emotion. In her Artifacts of Memory paintings, Rollins incorporates vintage letters and found objects, allowing unexpected political, environmental, or personal narratives to emerge. Lines, whether drawn, painted, or stitched, divide the canvas into quadrants for stories within stories, suggesting the passage of time and changing perspectives. Through layered brushwork, Rollins embraces the process of painting, reworking, and refining as a meditation on impermanence. Her paintings connect the external world she observes with the internal world she experiences.
KRISTEN STRUEBING-BEAZLEY presents seven works from Autumn Orgy: Ancient Greeks at Play, a series of linocuts and monotypes inspired by the black-figure and red-figure imagery of ancient Greek pottery. After discovering playing cards in Athens featuring frolicsome depictions of ancient Greeks in intimate situations, she recognized their connection to motifs found on vessels created for Classical-era symposia. Further research at the Museum of Fine Arts, Boston, and the Ashmolean Museum in Oxford deepened her fascination with these works and their erotic imagery. Her series reinterprets and combines these ancient motifs through a contemporary lens.
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Join us on Sunday September 13th for a private guided tour of Jessica Lichtenstein: Rewilding at the Museum of Arts and Design. Lichtenstein transforms the gallery into a lush, fantastical terrain of forests, ruins, and flowering canopies—all intricately composed from thousands of digitally rendered female figures.
Vibrant, immersive, and richly layered, the exhibition brings together installation, painting, sculpture, and video to explore freedom, ecology, collectivity, and female autonomy. During our private tour, we’ll take a closer look at Lichtenstein’s dazzling materials, unexpected influences, and bold reimagining of the relationship between women and nature.
Why join us?
Experience the exhibition through a private guided tour, with insights that bring its ideas, techniques, and hidden details to life.
Discover an immersive technicolor world featuring thousands of miniature female figures woven into spectacular landscapes.
Art-full members are invited to connect over brunch at the beautiful and plant-filled Jams Restaurant
Continue to continue the conversation while absorbing the beautiful natural surroundings of the southwestern part of Central Park, stopping at the Women’s Rights Pioneers Monument on the way toward Bethesda Terrace.
Schedule:
12pm | Optional member’s brunch at Jams Restaurant
The 1 Hotel | 1414 Sixth Avenue
2-3pm | Private guided tour
Museum of Art & Design | 2 Columbus Circle
3pm | Optional group walk & talk in Central Park
Ending near Bethesda Terrace
Non-member tickets:
Tour only: $45 first release; $50 full price
Art-full member tickets*:
Tour only: $40 first release; $45 full price
Full experience (including 1 brunch entree + tax/tip): $80 first release; $85 full price
Inclusions:
All tickets include museum admission as well as the private guided tour.
Full experience tickets also include 1 brunch entree (up to $28) with tax/tip at Jams. Any additional food or drink will need to be paid separately.
*Premier members save an additional 10%. Learn more about membership below/here.
Artist Talk Thursday, October 1, 2026, 6-9PM | Gallery director, curator, and publisher Jeroen Dijkstra from Livingstone Gallery will provide an introduction to Raquel Maulwurf’s work.
This exhibition will be featured as part of New York Art Week, a series of events organized by Artforum taking place November 11 – 14.
David Krut Arts is pleased to present an exhibition of work by Spanish-Dutch artist Raquel Maulwurf (Madrid, 1975), living and working in Amsterdam, the Netherlands. The exhibition is curated by Dr. Amé Bell (curator of the South African Pavilion at the 2022 Venice Biennale) who will provide a brief introduction to Maulwurf’s work.
In the main gallery space, the exhibition features the sculptural floor installation The Carbon Cross, consisting of 11 Plexiglass boxes containing charred Namibian wood arranged on the floor in the shape of a Christian cross. This installation is flanked by monumental charcoal drawings, some of which have been partially scratched away. In addition, a soundscape composed specifically for these works in collaboration with composer Terra Ray can be heard to create an immersive total experience.
In an adjoining space Maulwurf’s charcoal drawings are placed in conversation with selected large-format editioned work by William Kentridge. Viewed together, Maulwurf’s and Kentridge’s works draw connections across time and place to present landscapes charged with grief and political urgency.
Maulwurf’s work foregrounds the sublime power of nature, depicting dramatic moments of rupture as human activity wreaks havoc on the natural world through war and ecocide. She presents solemnly alarming depictions of violence and force; paradoxical images of beauty and destruction. By slashing open the surface of the museum board she works on with a box cutter, the artist depicts violence through violence, materializing destruction in both subject and process.
The use of charcoal across both two- and three-dimensional works shown here invites us to consider the medium itself as physical evidence of our extractive relationship with nature. Charcoal, as a manifestation of carbon in its final form once it has been burned for energy, is used here like a clue at a crime scene. Taking this to its logical endpoint, Maulwurf’s sculptural installation The Carbon Cross poses the question whether our worship of carbon-based fuel has taken on religious qualities, evidenced by our unwillingness to make the change toward renewable energies.
The work is the newest in a series of large installation projects that originated in 2017 for her monumental solo exhibition The Carbon War Room at the Museum of Contemporary Art (Kunstmuseum) The Hague. Each of her Carbon works uses coal or charcoal as a medium in order to reflect upon human history with this exhaustible resource.
Alongside works by William Kentridge, these works invite viewers to consider each artist’s perspective commenting on the history of violence and its dire effects. Both artists forgo color in favor of dynamic blacks and whites, stripping the image of unnecessary frills to take a broad, sweeping view of human history. While Maulwurf highlights the impacts of destruction on our own environment by war and ecocide, Kentridge focuses on the human aspect, addressing the alienation, grief, and confusion that result from violence.
In combination these works remind us that the human aspect cannot be detached from nature: a natural tragedy is always a human one and vice versa. Transforming historical events into evocative, monumental images, Maulwurf distills each event to its essential core, creating her own cautionary ‘Collective Memory Archive.’
The exhibition is organized in collaboration with Livingstone Gallery The Hague-Berlin.
]]>“WHAT REMAINS… Marcie Vesel Bronkar’s return to Prince Street Gallery for her second solo exhibition, marking a decisive turning point in her work. After decades as an abstract expressionist and color field painter, she presents a solo show featuring encaustic combined-media assemblages. These works distill a lifetime of discipline in both painting and textile design into forms that belong fully to neither. Concrete, silver skies, steel and metallic pavement cracks of the the urban landscape influenced imagery in her works. These pieces explore explore what survives when materials are pushed beyond comfort, layered, and broken down.What emerges is not perfection but something more honest: beauty that arrives only when destruction is allowed to complete itself.Isolating what matters, what remains.
Jonathan Miller Spies, Editor of Hanging Papers Press, writes:
“A contemporary artist from New York and Los Angeles, Bronkar has moved, recently, to a poetic mode: the works are intimately scaled and cleave toward monochrome. Sheets of paper soaked in wax, and collaged, with an outside-in compositional device: now the edges of the paper are on the inside of the picture, pressurizing that interior activating the outside. The textural ground of the encaustic-gritty, almost industrial, to the semi-transparent and rounding-makes a raw stage for the dance of delicate lines and edges; the occasional dash of muted color resonates profoundly.”
“Finding a dichotomy in the work- irreverently important yet precious at the same time has been thrilling in the studio process. ” – Marcie Vesel Bronkar
For much of her career, Bronkar has maintained painting and textile practices as parallel tracks each informing the other without fully merging. WHAT REMAINS marks the moment where that long dialogue resolves not into synthesis, but into reduction. The works register what is left after habitual gestures have been stripped away. With this new body of work, the title WHAT REMAINS (…what lies beneath) speaks directly to the core of Bronkar’s practice: the physical residue of process, the evocative presence of textiles. stripped of function, and the evolution of a rigorous studio language freed from traditional form.
OPENING RECEPTION: Saturday, September 12th, 2-6pm
ARTIST TALK: With Jonathan Miller Spies Saturday, September 19th, 3-5pm
CLOSING RECEPTION: Saturday, October 3, 2026, 2-5pm
GALLERY HOURS Tuesday – Saturday, 11am – 6pm
ARTIST PRESENT Every Saturday throughout the exhibition. Also available by appointment.
Prince Street Gallery The Landmark Arts Building
547 West 27 Street Suite 504 New York, NY 10001
646.230.0246
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