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ArtPhilly is excited to announce the inaugural edition of its festival, “What Now: 2026.” Scheduled to open on May 27 to coincide with the 250th anniversary of the nation’s founding, the five-week city-wide fest will feature over 30 projects created by and with local artists, each carefully selected by ArtPhilly’s curatorial committee to heighten the artistic heart and soul of Philadelphia and to spark important conversations about the future of the United States.

In festival districts around the city, @artphilly2026 will stage artworks and events at a variety of venues and spaces, underscoring the creative possibility and communal spirit that exists throughout the city. Emerging and established artists alike will be part of an expansive curatorial program featuring performances, installations, podcasts, and more.

To learn more, visit the link in bio or artphilly.org.
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1 - Jai Perez in rehearsal for "in case of fire, speak" (photo Daniel Jackson)

2 - Cookie Diorio with Philadelphia Gay Men’s Chorus (photo Joe Mac)

3 - "Say Yes, Philly!" by Urban Arts Movement (photo Terrell Halsey)

4 - Philadelphia Young Playwrights at Sketch 2024 (Daniel Jackson for Embassy_ Interactive)

5 - "AAAHH!!! WTF Now?!" by The Bearded Ladies (photo Kevin Monko)

#ArtPhilly #Philadelphia #Performance #Art #Sponsored

ArtPhilly is excited to announce the inaugural edition of its festival, “What Now: 2026.” Scheduled to open on May 27 to coincide with the 250th anniversary of the nation’s founding, the five-week city-wide fest will feature over 30 projects created by and with local artists, each carefully selected by ArtPhilly’s curatorial committee to heighten the artistic heart and soul of Philadelphia and to spark important conversations about the future of the United States.

In festival districts around the city, @artphilly2026 will stage artworks and events at a variety of venues and spaces, underscoring the creative possibility and communal spirit that exists throughout the city. Emerging and established artists alike will be part of an expansive curatorial program featuring performances, installations, podcasts, and more.

To learn more, visit the link in bio or artphilly.org.
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1 - Jai Perez in rehearsal for "in case of fire, speak" (photo Daniel Jackson)

2 - Cookie Diorio with Philadelphia Gay Men’s Chorus (photo Joe Mac)

3 - "Say Yes, Philly!" by Urban Arts Movement (photo Terrell Halsey)

4 - Philadelphia Young Playwrights at Sketch 2024 (Daniel Jackson for Embassy_ Interactive)

5 - "AAAHH!!! WTF Now?!" by The Bearded Ladies (photo Kevin Monko)

#ArtPhilly #Philadelphia #Performance #Art #Sponsored

ArtPhilly is excited to announce the inaugural edition of its festival, “What Now: 2026.” Scheduled to open on May 27 to coincide with the 250th anniversary of the nation’s founding, the five-week city-wide fest will feature over 30 projects created by and with local artists, each carefully selected by ArtPhilly’s curatorial committee to heighten the artistic heart and soul of Philadelphia and to spark important conversations about the future of the United States.

In festival districts around the city, @artphilly2026 will stage artworks and events at a variety of venues and spaces, underscoring the creative possibility and communal spirit that exists throughout the city. Emerging and established artists alike will be part of an expansive curatorial program featuring performances, installations, podcasts, and more.

To learn more, visit the link in bio or artphilly.org.
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.
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1 - Jai Perez in rehearsal for "in case of fire, speak" (photo Daniel Jackson)

2 - Cookie Diorio with Philadelphia Gay Men’s Chorus (photo Joe Mac)

3 - "Say Yes, Philly!" by Urban Arts Movement (photo Terrell Halsey)

4 - Philadelphia Young Playwrights at Sketch 2024 (Daniel Jackson for Embassy_ Interactive)

5 - "AAAHH!!! WTF Now?!" by The Bearded Ladies (photo Kevin Monko)

#ArtPhilly #Philadelphia #Performance #Art #Sponsored

ArtPhilly is excited to announce the inaugural edition of its festival, “What Now: 2026.” Scheduled to open on May 27 to coincide with the 250th anniversary of the nation’s founding, the five-week city-wide fest will feature over 30 projects created by and with local artists, each carefully selected by ArtPhilly’s curatorial committee to heighten the artistic heart and soul of Philadelphia and to spark important conversations about the future of the United States.

In festival districts around the city, @artphilly2026 will stage artworks and events at a variety of venues and spaces, underscoring the creative possibility and communal spirit that exists throughout the city. Emerging and established artists alike will be part of an expansive curatorial program featuring performances, installations, podcasts, and more.

To learn more, visit the link in bio or artphilly.org.
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1 - Jai Perez in rehearsal for "in case of fire, speak" (photo Daniel Jackson)

2 - Cookie Diorio with Philadelphia Gay Men’s Chorus (photo Joe Mac)

3 - "Say Yes, Philly!" by Urban Arts Movement (photo Terrell Halsey)

4 - Philadelphia Young Playwrights at Sketch 2024 (Daniel Jackson for Embassy_ Interactive)

5 - "AAAHH!!! WTF Now?!" by The Bearded Ladies (photo Kevin Monko)

#ArtPhilly #Philadelphia #Performance #Art #Sponsored

ArtPhilly is excited to announce the inaugural edition of its festival, “What Now: 2026.” Scheduled to open on May 27 to coincide with the 250th anniversary of the nation’s founding, the five-week city-wide fest will feature over 30 projects created by and with local artists, each carefully selected by ArtPhilly’s curatorial committee to heighten the artistic heart and soul of Philadelphia and to spark important conversations about the future of the United States.

In festival districts around the city, @artphilly2026 will stage artworks and events at a variety of venues and spaces, underscoring the creative possibility and communal spirit that exists throughout the city. Emerging and established artists alike will be part of an expansive curatorial program featuring performances, installations, podcasts, and more.

To learn more, visit the link in bio or artphilly.org.
.
.
.

1 - Jai Perez in rehearsal for "in case of fire, speak" (photo Daniel Jackson)

2 - Cookie Diorio with Philadelphia Gay Men’s Chorus (photo Joe Mac)

3 - "Say Yes, Philly!" by Urban Arts Movement (photo Terrell Halsey)

4 - Philadelphia Young Playwrights at Sketch 2024 (Daniel Jackson for Embassy_ Interactive)

5 - "AAAHH!!! WTF Now?!" by The Bearded Ladies (photo Kevin Monko)

#ArtPhilly #Philadelphia #Performance #Art #Sponsored

ArtPhilly is excited to announce the inaugural edition of its festival, “What Now: 2026.” Scheduled to open on May 27 to coincide with the 250th anniversary of the nation’s founding, the five-week city-wide fest will feature over 30 projects created by and with local artists, each carefully selected by ArtPhilly’s curatorial committee to heighten the artistic heart and soul of Philadelphia and to spark important conversations about the future of the United States.

In festival districts around the city, @artphilly2026 will stage artworks and events at a variety of venues and spaces, underscoring the creative possibility and communal spirit that exists throughout the city. Emerging and established artists alike will be part of an expansive curatorial program featuring performances, installations, podcasts, and more.

To learn more, visit the link in bio or artphilly.org.
.
.
.

1 - Jai Perez in rehearsal for "in case of fire, speak" (photo Daniel Jackson)

2 - Cookie Diorio with Philadelphia Gay Men’s Chorus (photo Joe Mac)

3 - "Say Yes, Philly!" by Urban Arts Movement (photo Terrell Halsey)

4 - Philadelphia Young Playwrights at Sketch 2024 (Daniel Jackson for Embassy_ Interactive)

5 - "AAAHH!!! WTF Now?!" by The Bearded Ladies (photo Kevin Monko)

#ArtPhilly #Philadelphia #Performance #Art #Sponsored

Right-wing news outlets published back-to-back articles characterizing British-Nigerian arts trustee Misan Harriman’s recent social media posts as antisemitic, prompting thousands to submit complaints to the United Kingdom’s Independent Press Standards Organisation.

Alongside the complaints, Tracey Emin, Greta Thunberg, Mark Ruffalo, Peter Doig, and Aimee Lou Wood were among the 245 original signatories of an open letter in support of the photographer and human rights activist.

“Truth itself is on the line; just because these right-wing and frankly racist newspapers scream the loudest, it does not mean it is the truth,” Harriman told Hyperallergic. “To have by far the most complaints in British newspaper history means the people have had enough.”

Read more at hyperallergic.com.
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Image: Artist and activist Misan Harriman, current chair of the Southbank Centre in London (photo courtesy Misan Harriman)

In this week’s A View From the Easel, read all about Lavett Ballard — artist and Barbie curator extraordinaire — who organizes exhibitions and transforms wood in the former chemistry lab of a high school-turned-community center.

Read more at hyperallergic.com.

Beach reads are officially back. But in between your escapist fantasy novels and trendy memoirs, our writers recommend that you check out their 12 recommendations including Megan O’Grady’s meditation on art and living, a novel lampooning the art world, and Nan Goldin’s tender photo essay.

Read the full list at Hyperallergic.com.

Beach reads are officially back. But in between your escapist fantasy novels and trendy memoirs, our writers recommend that you check out their 12 recommendations including Megan O’Grady’s meditation on art and living, a novel lampooning the art world, and Nan Goldin’s tender photo essay.

Read the full list at Hyperallergic.com.

Beach reads are officially back. But in between your escapist fantasy novels and trendy memoirs, our writers recommend that you check out their 12 recommendations including Megan O’Grady’s meditation on art and living, a novel lampooning the art world, and Nan Goldin’s tender photo essay.

Read the full list at Hyperallergic.com.

Beach reads are officially back. But in between your escapist fantasy novels and trendy memoirs, our writers recommend that you check out their 12 recommendations including Megan O’Grady’s meditation on art and living, a novel lampooning the art world, and Nan Goldin’s tender photo essay.

Read the full list at Hyperallergic.com.

Beach reads are officially back. But in between your escapist fantasy novels and trendy memoirs, our writers recommend that you check out their 12 recommendations including Megan O’Grady’s meditation on art and living, a novel lampooning the art world, and Nan Goldin’s tender photo essay.

Read the full list at Hyperallergic.com.

Gabrielle Goliath’s show “Elegy” is South Africa’s unofficial pavilion for the Venice Biennale after its participation was canceled by the country’s Culture Minister Gayton McKenzie. Writer Aruna D’Souza says the exhibition is a call to action that “proposes that grief is a necessary tool for building solidarity.”

“The censorship of Goliath’s proposed contribution to the Biennale seems especially perverse when confronted with the actual installation, which is hauntingly beautiful and achingly tender,” says D’Souza.
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Slide 1: Installation view of Gabrielle Goliath, Elegy at Chiesa di Sant’Antonin in Venice, Italy (photo Aruna D’Souza/Hyperallergic)

Slide 3: Goliath’s proposed pavilion was nixed after the intervention of South Africa’s Culture Minister Gayton McKenzie (photo Aruna D’Souza/Hyperallergic)

Gabrielle Goliath’s show “Elegy” is South Africa’s unofficial pavilion for the Venice Biennale after its participation was canceled by the country’s Culture Minister Gayton McKenzie. Writer Aruna D’Souza says the exhibition is a call to action that “proposes that grief is a necessary tool for building solidarity.”

“The censorship of Goliath’s proposed contribution to the Biennale seems especially perverse when confronted with the actual installation, which is hauntingly beautiful and achingly tender,” says D’Souza.
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Slide 1: Installation view of Gabrielle Goliath, Elegy at Chiesa di Sant’Antonin in Venice, Italy (photo Aruna D’Souza/Hyperallergic)

Slide 3: Goliath’s proposed pavilion was nixed after the intervention of South Africa’s Culture Minister Gayton McKenzie (photo Aruna D’Souza/Hyperallergic)

Gabrielle Goliath’s show “Elegy” is South Africa’s unofficial pavilion for the Venice Biennale after its participation was canceled by the country’s Culture Minister Gayton McKenzie. Writer Aruna D’Souza says the exhibition is a call to action that “proposes that grief is a necessary tool for building solidarity.”

“The censorship of Goliath’s proposed contribution to the Biennale seems especially perverse when confronted with the actual installation, which is hauntingly beautiful and achingly tender,” says D’Souza.
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Slide 1: Installation view of Gabrielle Goliath, Elegy at Chiesa di Sant’Antonin in Venice, Italy (photo Aruna D’Souza/Hyperallergic)

Slide 3: Goliath’s proposed pavilion was nixed after the intervention of South Africa’s Culture Minister Gayton McKenzie (photo Aruna D’Souza/Hyperallergic)

Gabrielle Goliath’s show “Elegy” is South Africa’s unofficial pavilion for the Venice Biennale after its participation was canceled by the country’s Culture Minister Gayton McKenzie. Writer Aruna D’Souza says the exhibition is a call to action that “proposes that grief is a necessary tool for building solidarity.”

“The censorship of Goliath’s proposed contribution to the Biennale seems especially perverse when confronted with the actual installation, which is hauntingly beautiful and achingly tender,” says D’Souza.
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Slide 1: Installation view of Gabrielle Goliath, Elegy at Chiesa di Sant’Antonin in Venice, Italy (photo Aruna D’Souza/Hyperallergic)

Slide 3: Goliath’s proposed pavilion was nixed after the intervention of South Africa’s Culture Minister Gayton McKenzie (photo Aruna D’Souza/Hyperallergic)

Todd Gray’s new exhibition “Portals” reframes Black diasporic history, enticing viewers to “keep looking, find connections, and ask questions,” says writer David S. Rubin.

Featuring several multi-paneled photo assemblages, the exhibition explores “the evolution of Black history and identity through the juxtaposition of images related to slavery with views of European art, architecture, and formal gardens.”

Read more at hyperallergic.com.
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All photos David S. Rubin/Hyperallergic
Image 1: Detail of Todd Gray, “Octavia’s Gaze” (2026), featuring a reproduction of Anne-Louis Girodet de Roussy-Trioson, “Portrait of Jean Baptiste-Bailey” (1797)

Image 2: Todd Gray, “Heart of Darkness in Eden’s Garden” (2026), two UV pigment prints on Dibond in artist’s frames

Image 3: Todd Gray, “Paradox of Liberty (Monticello, Elmina, Akwidaa)” (2026), three UV pigment prints on Dibond in artist’s frames

Todd Gray’s new exhibition “Portals” reframes Black diasporic history, enticing viewers to “keep looking, find connections, and ask questions,” says writer David S. Rubin.

Featuring several multi-paneled photo assemblages, the exhibition explores “the evolution of Black history and identity through the juxtaposition of images related to slavery with views of European art, architecture, and formal gardens.”

Read more at hyperallergic.com.
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All photos David S. Rubin/Hyperallergic
Image 1: Detail of Todd Gray, “Octavia’s Gaze” (2026), featuring a reproduction of Anne-Louis Girodet de Roussy-Trioson, “Portrait of Jean Baptiste-Bailey” (1797)

Image 2: Todd Gray, “Heart of Darkness in Eden’s Garden” (2026), two UV pigment prints on Dibond in artist’s frames

Image 3: Todd Gray, “Paradox of Liberty (Monticello, Elmina, Akwidaa)” (2026), three UV pigment prints on Dibond in artist’s frames

Todd Gray’s new exhibition “Portals” reframes Black diasporic history, enticing viewers to “keep looking, find connections, and ask questions,” says writer David S. Rubin.

Featuring several multi-paneled photo assemblages, the exhibition explores “the evolution of Black history and identity through the juxtaposition of images related to slavery with views of European art, architecture, and formal gardens.”

Read more at hyperallergic.com.
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All photos David S. Rubin/Hyperallergic
Image 1: Detail of Todd Gray, “Octavia’s Gaze” (2026), featuring a reproduction of Anne-Louis Girodet de Roussy-Trioson, “Portrait of Jean Baptiste-Bailey” (1797)

Image 2: Todd Gray, “Heart of Darkness in Eden’s Garden” (2026), two UV pigment prints on Dibond in artist’s frames

Image 3: Todd Gray, “Paradox of Liberty (Monticello, Elmina, Akwidaa)” (2026), three UV pigment prints on Dibond in artist’s frames

Todd Gray’s new exhibition “Portals” reframes Black diasporic history, enticing viewers to “keep looking, find connections, and ask questions,” says writer David S. Rubin.

Featuring several multi-paneled photo assemblages, the exhibition explores “the evolution of Black history and identity through the juxtaposition of images related to slavery with views of European art, architecture, and formal gardens.”

Read more at hyperallergic.com.
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All photos David S. Rubin/Hyperallergic
Image 1: Detail of Todd Gray, “Octavia’s Gaze” (2026), featuring a reproduction of Anne-Louis Girodet de Roussy-Trioson, “Portrait of Jean Baptiste-Bailey” (1797)

Image 2: Todd Gray, “Heart of Darkness in Eden’s Garden” (2026), two UV pigment prints on Dibond in artist’s frames

Image 3: Todd Gray, “Paradox of Liberty (Monticello, Elmina, Akwidaa)” (2026), three UV pigment prints on Dibond in artist’s frames

Before arriving at the Venice Biennale, Zhanna Kadyrova’s sculpture “The Origami Deer” undertook an epic journey mirroring that of displaced Ukrainians. The day before previews began at this year’s international art exhibition, Russia launched a massive drone and missile attack on Ukraine, targeting civilians and civilian infrastructure.

Art critic Gregory Volk writes that "The Origami Deer" is a “totemic animal for these trying, war-wracked, freedom-seeking times.”

“With its upraised head and powerful, defiant posture, it also signals hope, strength, resilience, and resolve.”

Read Volk’s full review at hyperallergic.com.
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All photos Gregory Volk/Hyperallergic
Image 1: Zhanna Kadyrova’s “The Origami Deer” (2019) in Berlin

Image 2: Zhanna Kadyrova’s “The Origami Deer” (2019) fitted in an orange harness and suspended from a crane in front of the entrance to the Giardini

Image 3: Protests outside of the Russian pavilion at this year’s Venice Biennale

Before arriving at the Venice Biennale, Zhanna Kadyrova’s sculpture “The Origami Deer” undertook an epic journey mirroring that of displaced Ukrainians. The day before previews began at this year’s international art exhibition, Russia launched a massive drone and missile attack on Ukraine, targeting civilians and civilian infrastructure.

Art critic Gregory Volk writes that "The Origami Deer" is a “totemic animal for these trying, war-wracked, freedom-seeking times.”

“With its upraised head and powerful, defiant posture, it also signals hope, strength, resilience, and resolve.”

Read Volk’s full review at hyperallergic.com.
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All photos Gregory Volk/Hyperallergic
Image 1: Zhanna Kadyrova’s “The Origami Deer” (2019) in Berlin

Image 2: Zhanna Kadyrova’s “The Origami Deer” (2019) fitted in an orange harness and suspended from a crane in front of the entrance to the Giardini

Image 3: Protests outside of the Russian pavilion at this year’s Venice Biennale

Before arriving at the Venice Biennale, Zhanna Kadyrova’s sculpture “The Origami Deer” undertook an epic journey mirroring that of displaced Ukrainians. The day before previews began at this year’s international art exhibition, Russia launched a massive drone and missile attack on Ukraine, targeting civilians and civilian infrastructure.

Art critic Gregory Volk writes that "The Origami Deer" is a “totemic animal for these trying, war-wracked, freedom-seeking times.”

“With its upraised head and powerful, defiant posture, it also signals hope, strength, resilience, and resolve.”

Read Volk’s full review at hyperallergic.com.
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All photos Gregory Volk/Hyperallergic
Image 1: Zhanna Kadyrova’s “The Origami Deer” (2019) in Berlin

Image 2: Zhanna Kadyrova’s “The Origami Deer” (2019) fitted in an orange harness and suspended from a crane in front of the entrance to the Giardini

Image 3: Protests outside of the Russian pavilion at this year’s Venice Biennale

Before arriving at the Venice Biennale, Zhanna Kadyrova’s sculpture “The Origami Deer” undertook an epic journey mirroring that of displaced Ukrainians. The day before previews began at this year’s international art exhibition, Russia launched a massive drone and missile attack on Ukraine, targeting civilians and civilian infrastructure.

Art critic Gregory Volk writes that "The Origami Deer" is a “totemic animal for these trying, war-wracked, freedom-seeking times.”

“With its upraised head and powerful, defiant posture, it also signals hope, strength, resilience, and resolve.”

Read Volk’s full review at hyperallergic.com.
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All photos Gregory Volk/Hyperallergic
Image 1: Zhanna Kadyrova’s “The Origami Deer” (2019) in Berlin

Image 2: Zhanna Kadyrova’s “The Origami Deer” (2019) fitted in an orange harness and suspended from a crane in front of the entrance to the Giardini

Image 3: Protests outside of the Russian pavilion at this year’s Venice Biennale

While visiting “Sophie Rivera: Double Exposures” at El Museo del Barrio, writer Julia Curl notes that the first survey of the late Nuyorican artist drives the viewer through many emotions — wonder, horror, and laughter — without necessarily leading one to acceptance.

Although the exhibition showcased Rivera’s ability to capture New York City in the 70s and 80s, “more context is sorely needed,” says Curl.

Read more at hyperallergic.com.
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All photos courtesy El Museo del Barrio
Image 1: Sophie Rivera, “Untitled” (c. mid-1980s), color photograph

Image 2: Sophie Rivera, “Untitled” (c. 1982), gelatin silver print (photo courtesy El Museo del Barrio)

Image 4: Sophie Rivera, “Self-portrait” (c. 1970s), gelatin silver print (photo courtesy El Museo del Barrio)

Image 5: Sophie Rivera, “Shoulder to Shoulder” from the Two series (c. 1994–95)

Image 6: Sophie Rivera, “Untitled” (c. 1986–87), color photograph

While visiting “Sophie Rivera: Double Exposures” at El Museo del Barrio, writer Julia Curl notes that the first survey of the late Nuyorican artist drives the viewer through many emotions — wonder, horror, and laughter — without necessarily leading one to acceptance.

Although the exhibition showcased Rivera’s ability to capture New York City in the 70s and 80s, “more context is sorely needed,” says Curl.

Read more at hyperallergic.com.
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All photos courtesy El Museo del Barrio
Image 1: Sophie Rivera, “Untitled” (c. mid-1980s), color photograph

Image 2: Sophie Rivera, “Untitled” (c. 1982), gelatin silver print (photo courtesy El Museo del Barrio)

Image 4: Sophie Rivera, “Self-portrait” (c. 1970s), gelatin silver print (photo courtesy El Museo del Barrio)

Image 5: Sophie Rivera, “Shoulder to Shoulder” from the Two series (c. 1994–95)

Image 6: Sophie Rivera, “Untitled” (c. 1986–87), color photograph

While visiting “Sophie Rivera: Double Exposures” at El Museo del Barrio, writer Julia Curl notes that the first survey of the late Nuyorican artist drives the viewer through many emotions — wonder, horror, and laughter — without necessarily leading one to acceptance.

Although the exhibition showcased Rivera’s ability to capture New York City in the 70s and 80s, “more context is sorely needed,” says Curl.

Read more at hyperallergic.com.
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All photos courtesy El Museo del Barrio
Image 1: Sophie Rivera, “Untitled” (c. mid-1980s), color photograph

Image 2: Sophie Rivera, “Untitled” (c. 1982), gelatin silver print (photo courtesy El Museo del Barrio)

Image 4: Sophie Rivera, “Self-portrait” (c. 1970s), gelatin silver print (photo courtesy El Museo del Barrio)

Image 5: Sophie Rivera, “Shoulder to Shoulder” from the Two series (c. 1994–95)

Image 6: Sophie Rivera, “Untitled” (c. 1986–87), color photograph

While visiting “Sophie Rivera: Double Exposures” at El Museo del Barrio, writer Julia Curl notes that the first survey of the late Nuyorican artist drives the viewer through many emotions — wonder, horror, and laughter — without necessarily leading one to acceptance.

Although the exhibition showcased Rivera’s ability to capture New York City in the 70s and 80s, “more context is sorely needed,” says Curl.

Read more at hyperallergic.com.
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All photos courtesy El Museo del Barrio
Image 1: Sophie Rivera, “Untitled” (c. mid-1980s), color photograph

Image 2: Sophie Rivera, “Untitled” (c. 1982), gelatin silver print (photo courtesy El Museo del Barrio)

Image 4: Sophie Rivera, “Self-portrait” (c. 1970s), gelatin silver print (photo courtesy El Museo del Barrio)

Image 5: Sophie Rivera, “Shoulder to Shoulder” from the Two series (c. 1994–95)

Image 6: Sophie Rivera, “Untitled” (c. 1986–87), color photograph

While visiting “Sophie Rivera: Double Exposures” at El Museo del Barrio, writer Julia Curl notes that the first survey of the late Nuyorican artist drives the viewer through many emotions — wonder, horror, and laughter — without necessarily leading one to acceptance.

Although the exhibition showcased Rivera’s ability to capture New York City in the 70s and 80s, “more context is sorely needed,” says Curl.

Read more at hyperallergic.com.
.
.
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All photos courtesy El Museo del Barrio
Image 1: Sophie Rivera, “Untitled” (c. mid-1980s), color photograph

Image 2: Sophie Rivera, “Untitled” (c. 1982), gelatin silver print (photo courtesy El Museo del Barrio)

Image 4: Sophie Rivera, “Self-portrait” (c. 1970s), gelatin silver print (photo courtesy El Museo del Barrio)

Image 5: Sophie Rivera, “Shoulder to Shoulder” from the Two series (c. 1994–95)

Image 6: Sophie Rivera, “Untitled” (c. 1986–87), color photograph

While visiting “Sophie Rivera: Double Exposures” at El Museo del Barrio, writer Julia Curl notes that the first survey of the late Nuyorican artist drives the viewer through many emotions — wonder, horror, and laughter — without necessarily leading one to acceptance.

Although the exhibition showcased Rivera’s ability to capture New York City in the 70s and 80s, “more context is sorely needed,” says Curl.

Read more at hyperallergic.com.
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.
.
All photos courtesy El Museo del Barrio
Image 1: Sophie Rivera, “Untitled” (c. mid-1980s), color photograph

Image 2: Sophie Rivera, “Untitled” (c. 1982), gelatin silver print (photo courtesy El Museo del Barrio)

Image 4: Sophie Rivera, “Self-portrait” (c. 1970s), gelatin silver print (photo courtesy El Museo del Barrio)

Image 5: Sophie Rivera, “Shoulder to Shoulder” from the Two series (c. 1994–95)

Image 6: Sophie Rivera, “Untitled” (c. 1986–87), color photograph

While visiting “Sophie Rivera: Double Exposures” at El Museo del Barrio, writer Julia Curl notes that the first survey of the late Nuyorican artist drives the viewer through many emotions — wonder, horror, and laughter — without necessarily leading one to acceptance.

Although the exhibition showcased Rivera’s ability to capture New York City in the 70s and 80s, “more context is sorely needed,” says Curl.

Read more at hyperallergic.com.
.
.
.
All photos courtesy El Museo del Barrio
Image 1: Sophie Rivera, “Untitled” (c. mid-1980s), color photograph

Image 2: Sophie Rivera, “Untitled” (c. 1982), gelatin silver print (photo courtesy El Museo del Barrio)

Image 4: Sophie Rivera, “Self-portrait” (c. 1970s), gelatin silver print (photo courtesy El Museo del Barrio)

Image 5: Sophie Rivera, “Shoulder to Shoulder” from the Two series (c. 1994–95)

Image 6: Sophie Rivera, “Untitled” (c. 1986–87), color photograph

How do the wealthy choose their art these days?

Peek inside TEFAF New York’s annual “wealth pageant,” as writer Aaron Short puts it. There was plenty to dazzle the patrons of the Nouveau Gilded Age at this year’s edition of the Park Avenue Armory fair.

“Inside, prospective clients trailed by their art advisors nibbled seafood hors d’oeuvres and sipped glasses of rosé while inspecting the presentations of 88 galleries from 14 different countries,” said Short.

Read more at hyperallergic.com.
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All photos Aaron Short/Hyperallergic
Image 1: A Kathleen Ryan sculpture on view at Gagosian’s booth at TEFAF New York

Image 2: TEFAF has long held a reputation for attracting the upper tier.

Image 4: François-Xavier Lalanne, “Canard” (2008)

How do the wealthy choose their art these days?

Peek inside TEFAF New York’s annual “wealth pageant,” as writer Aaron Short puts it. There was plenty to dazzle the patrons of the Nouveau Gilded Age at this year’s edition of the Park Avenue Armory fair.

“Inside, prospective clients trailed by their art advisors nibbled seafood hors d’oeuvres and sipped glasses of rosé while inspecting the presentations of 88 galleries from 14 different countries,” said Short.

Read more at hyperallergic.com.
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All photos Aaron Short/Hyperallergic
Image 1: A Kathleen Ryan sculpture on view at Gagosian’s booth at TEFAF New York

Image 2: TEFAF has long held a reputation for attracting the upper tier.

Image 4: François-Xavier Lalanne, “Canard” (2008)

How do the wealthy choose their art these days?

Peek inside TEFAF New York’s annual “wealth pageant,” as writer Aaron Short puts it. There was plenty to dazzle the patrons of the Nouveau Gilded Age at this year’s edition of the Park Avenue Armory fair.

“Inside, prospective clients trailed by their art advisors nibbled seafood hors d’oeuvres and sipped glasses of rosé while inspecting the presentations of 88 galleries from 14 different countries,” said Short.

Read more at hyperallergic.com.
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All photos Aaron Short/Hyperallergic
Image 1: A Kathleen Ryan sculpture on view at Gagosian’s booth at TEFAF New York

Image 2: TEFAF has long held a reputation for attracting the upper tier.

Image 4: François-Xavier Lalanne, “Canard” (2008)

How do the wealthy choose their art these days?

Peek inside TEFAF New York’s annual “wealth pageant,” as writer Aaron Short puts it. There was plenty to dazzle the patrons of the Nouveau Gilded Age at this year’s edition of the Park Avenue Armory fair.

“Inside, prospective clients trailed by their art advisors nibbled seafood hors d’oeuvres and sipped glasses of rosé while inspecting the presentations of 88 galleries from 14 different countries,” said Short.

Read more at hyperallergic.com.
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All photos Aaron Short/Hyperallergic
Image 1: A Kathleen Ryan sculpture on view at Gagosian’s booth at TEFAF New York

Image 2: TEFAF has long held a reputation for attracting the upper tier.

Image 4: François-Xavier Lalanne, “Canard” (2008)

Every art fair season the question arises: If you aren’t an arts journalist or a patron looking to augment your collection, why attend an art fair at all?

“With regard to the 1-54 Contemporary African Art Fair, the answer I find is that it keeps offering surprise and the genuine pleasure of discovery,” says art critic Seph Rodney. “Among the spring art fairs that take place in New York, 1-54, still features work that’s unexpected.”

Read the full review at hyperallergic.com.
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Photos Seph Rodney/Hyperallergic

Image 1: Marcel Gotène, “Untitled” (1990), oil on canvas

Image 2: Rommulo Vieira Conceição’s work at Aura Galeria’s booth

Image 3: Work by Candice Tavares

Every art fair season the question arises: If you aren’t an arts journalist or a patron looking to augment your collection, why attend an art fair at all?

“With regard to the 1-54 Contemporary African Art Fair, the answer I find is that it keeps offering surprise and the genuine pleasure of discovery,” says art critic Seph Rodney. “Among the spring art fairs that take place in New York, 1-54, still features work that’s unexpected.”

Read the full review at hyperallergic.com.
.
.
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Photos Seph Rodney/Hyperallergic

Image 1: Marcel Gotène, “Untitled” (1990), oil on canvas

Image 2: Rommulo Vieira Conceição’s work at Aura Galeria’s booth

Image 3: Work by Candice Tavares

Every art fair season the question arises: If you aren’t an arts journalist or a patron looking to augment your collection, why attend an art fair at all?

“With regard to the 1-54 Contemporary African Art Fair, the answer I find is that it keeps offering surprise and the genuine pleasure of discovery,” says art critic Seph Rodney. “Among the spring art fairs that take place in New York, 1-54, still features work that’s unexpected.”

Read the full review at hyperallergic.com.
.
.
.
Photos Seph Rodney/Hyperallergic

Image 1: Marcel Gotène, “Untitled” (1990), oil on canvas

Image 2: Rommulo Vieira Conceição’s work at Aura Galeria’s booth

Image 3: Work by Candice Tavares

Every art fair season the question arises: If you aren’t an arts journalist or a patron looking to augment your collection, why attend an art fair at all?

“With regard to the 1-54 Contemporary African Art Fair, the answer I find is that it keeps offering surprise and the genuine pleasure of discovery,” says art critic Seph Rodney. “Among the spring art fairs that take place in New York, 1-54, still features work that’s unexpected.”

Read the full review at hyperallergic.com.
.
.
.
Photos Seph Rodney/Hyperallergic

Image 1: Marcel Gotène, “Untitled” (1990), oil on canvas

Image 2: Rommulo Vieira Conceição’s work at Aura Galeria’s booth

Image 3: Work by Candice Tavares

Every art fair season the question arises: If you aren’t an arts journalist or a patron looking to augment your collection, why attend an art fair at all?

“With regard to the 1-54 Contemporary African Art Fair, the answer I find is that it keeps offering surprise and the genuine pleasure of discovery,” says art critic Seph Rodney. “Among the spring art fairs that take place in New York, 1-54, still features work that’s unexpected.”

Read the full review at hyperallergic.com.
.
.
.
Photos Seph Rodney/Hyperallergic

Image 1: Marcel Gotène, “Untitled” (1990), oil on canvas

Image 2: Rommulo Vieira Conceição’s work at Aura Galeria’s booth

Image 3: Work by Candice Tavares

Staff writer Rhea Nayyar explores the seemingly interchangeable tropes and trends present at the 12th annual New Art Dealers Alliance (NADA) fair including vibrant kitsch, zany little sculptures, shiny stuff™, and lots of florals (in the spring? groundbreaking!).

"All of that is to say that there were many works — including those among the aforementioned tropes and their varying combinations — that I did enjoy, and probably would have felt more strongly about outside of the context of NADA," Nayyar says.

Watch along for her standouts and read Nayyar's full take on our website.

In New York City, spring fairs are in full throttle. Hyperallergic went behind-the-scenes to get more information about what it costs to participate in these highly coveted events.

We asked 13 New York art fairs to open up about booth costs, and what they shared (and didn’t) revealed much about affordability and the cost-benefit equation for galleries weighing their options in an increasingly tight market.

Get all the details at hyperallergic.com.
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Image: A bird’s-eye view of Frieze New York 2025 (photo Casey Kelbaugh, courtesy Frieze and CKA)