The real world privileges experience over interpretation. To make an omelette—you know.

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

“We can float,” LeSeur announces in Monument Eternal, “we don’t have to break, we don’t have to shatter.”

In his first solo exhibition with Gagosian, the artist pushes the boundaries of form and challenges photographic transience.

In Mexico City, Teresa Solar Abboud nods at a shared biology that emerges from the soil.

In the National American Theater Company’s Cymbeline, every rageful man is played by an Asian American woman.

Highlight exhibitions in New York City.

At NARS Foundation, a residency show constructs an experiential meditation.

Park Avenue Armory’s new commission is a series of vignettes and a study in dynamics.

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

A show illuminates how the everyday work of care and guardianship, so intimately connected to Indigenous life, is itself a form of warriorhood.

Kai Oh’s recent works explore self-objectification and the fragmentation of narrative in contemporary visual culture.

In Beijing Stories, the sculptural work of Chinese artist Liu Shiming is juxtaposed with Lois Conner’s photographs.

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

One could say that Ana Jotta made a single letter in the alphabet her own, but also that she already lost her name to it.

British writer-artist Susan Finlay squares in on a precarious life in the art world in this wry anti-memoir.

At YveYANG Gallery, Huidi Xiang’s site-specific installation brings an animated film to life while centering on underrecognized labor.

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

Iván Navarro’s solo exhibition at Miriam Gallery dissolves symbols and rhetoric into syllables and sounds.

The 1964 film sacrificed Eliza Doolittle’s agency in George Bernard Shaw’s play Pygmalion and resorted to romance as an easy solution.