Wael Haffar Habbal’s exhibition at GHOSTMACHINE trace journeys across a fractured landscape.

In Julia Masli’s Ha Ha Ha Ha Ha Ha Ha, laughter is the foundation of building community and collective problem-solving.

The spirit of Turiya Adkins’s multimedia work is perfectly captured by the word “ferocity.”

Join IMPULSE journalists at artist studios this month.

Gabori’s practice renders maps of her homeland from memory.

Highlight exhibitions in New York City.

A.E. Chapman weaves together Black and Native histories, queer liberation, domestic labor, and gendered performance.

In Last Caress at Management, postmodern hyperrealism guides the viewer into an unsettling realization about the overproximity to reality.

Condo explores the intersection of artistic freedom and political constraint, speaking to a zeitgeist of tension and uncertainty. 

LOVE POSITIVE WOMEN challenges stereotypes about HIV and AIDS through handwritten Valentine’s Day cards.

The Brooklyn Artists Exhibition navigates a sense of place, presenting the many Brooklyns personal to the artists.

An artist, model, and art director discusses her site-specific practice and interdisciplinary adventures.

At Susan Inglett Gallery, a group show curated by Cortney Connolly rethinks Pop Art.

Bodzy’s sculptures grapple with societal expectations and beauty standards through experimental materiality.

A bedroom exhibition unpacks the complexities and parallel truths around domesticity and femininity.

A poet and artist documents how dislocation affects migrant women workers.

Stark engages with tarot archetypes to delve inwards and reveal complex possibilities of emotional states, desire, and being.

A reprisal of André Heller’s 1987 anti-fascist art-amusement park takes over the Shed.

The artist’s solo exhibition views technologization through an expansive concept of evolution that de-centers humanity.

The gallery’s soon-to-close West Harlem location presents Comfort Zones and an image of your labor hovers over me.