City Guides - Art in America Guide
City Guide


“Pacha, Llaqta, Wasichay: Indigenous Space, Modern Architecture, New Art”

Through September 30, 2018

The Greek root of “architecture” means “power” or “mastery.” The word’s etymology conveys trust in a designer’s ability to create a sound and useful space. But in other traditions the built environment is understood as collectively created, shaped by social needs and exchanges. That is the premise of “Pacha, Llaqta, Wasichay, ” a seven-artist exhibition whose title lists three words in the Quechua language that refer, respectively, to world, place, and construction. Ecuador-born Ronny Quevedo makes drawings and collages with markings derived from the playing grounds of both Incan and modern American sports, as well as other ancient and modern systems of delineation and measurement. Claudia Peña Salinas creates sculptures whose shapes recall Indigenous structures in Central and South America. In all, the show’s artists—who also include William Cordova, Clarissa Tossin, Livia Corona Benjamín, Jorge González, and Guadalupe Maravilla—do not revive pre-Columbian traditions and concepts so much as reveal their persistent presence in spite of colonialism.

Image: Claudia Peña Salinas, Tlaloc MNA, 2018, found image adhered to metal, 50 x 72 x 1 inches. Collection of the artist. Courtesy Embajada, Puerto Rico.
New York

“3D: Double Vision”

Through March 31, 2019

For better or worse, our technology remains hindered by its human origins: it hews primarily to our own needs and understanding of the world. Thus, in the optical realm, it has often served the aim of faithfully rendering the image of three-dimensional space produced by our binocular vision. This exhibition explores the history and creative offshoots of this long-standing ambition. Organized thematically and starting with the invention of the stereoscope in the 1830s, it features scientific devices, pop culture artifacts, and approximately sixty artworks, including Richard Hamilton’s lenticular print Palindrome (1974), Simone Forti’s Hologram Striding (1975–78), and—requiring the familiar blue-and-red glasses—Lucy Raven’s video installation Curtains (2014).

Image: Lucy Raven, Curtains, 2014, anaglyph video installation, 5.1 sound, dimensions variable, 50 minutes looped. Copyright © Lucy Raven. Courtesy of the artist.
Los Angeles

“Julie Becker: I must create a Master Piece to pay the Rent”

through August 12, 2018

L.A.-based artist Julie Becker, who died at age 43 in 2016, created a heterogeneous body of work that now seems to anticipate the output of certain internet-savvy artists working today, among them Samara Golden and Bunny Rogers. Encompassing installation, sculpture, drawing, video, and photography, and blending story lines taken from real life, movies, and her imagination, Becker’s oeuvre offers an episodic, yet nevertheless potent narrative—in which a gritty 1990s Los Angeles is both backdrop and central character—of precarious lives in late 20th-century America.

Image: Julie Becker, Interior Corner #9, 1993, c-print, 35 1/2 x 27 1/2 inches. Courtesy Greene Naftali, New York.

“Jessie Dunahoo”

through August 31, 2018, by appointment

Kentucky artist Jessie Dunahoo (1932–2017), who was born deaf and lost his sight as a young man, made astonishing quilt-like panels from plastic shopping bags, fabric scraps, and yarn, each the exact size of his work table, and each a visually sophisticated arrangement of colors and textures; irregular voids and regimented grids; solid shapes and imprinted images and words. Institute 193’s Phillip March Jones, who will open a branch of the Lexington-based space on the Lower East Side this fall, has curated an installation of Dunahoo’s work in Elaine de Kooning’s former studio in East Hampton, New York.

Image: Installation view of “Jessie Dunahoo” at Elaine de Kooning House, East Hampton, New York, 2018.


Art in America talks to artists, curators, and other leading figures about their favorite current exhibitions.

Photographer Dawoud Bey on two shows in New York [published 08/09/2018]

“I get back to my New York City hometown periodically, and more often than not I’m drawn there by exhibitions that I know will haunt me if I miss them.”

Image: Maren Hassinger, Monuments, 2018, eight site-specific sculptures in Marcus Garvey Park, Harlem, dimensions variable. Courtesy the artist and Susan Inglett Gallery. Photo: Adam Reich.
New York

Oluremi C. Onabanjo on three exhibitions in New York [posted 7/23/2018]

“It was thrilling to go into those darkened galleries packed with people sitting on the floor, enrapt.”

Image: Malick Sidibé, Soiree eu famille, 1972/2008, gelatin silver print, 8 3/4 x 5 3/4 inches image size, 9 1/2 x 7 inches paper size, signed, titled, and dated on front. Courtesy of Jack Shainman, New York.
Los Angeles

Photographer Janice Guy on four shows in New York [published 08/07/2018]

“The Folk Art Museum has a beautiful show of scientific illustrations by the 19th-century artist Orra White Hitchcock.”

Image: Orra White Hitchcock, 27. Strata near Valenciennes, pen and ink and watercolor wash on cotton with woven tape binding, 14 x 20 7/8 inches. Amherst College Archives & Special Collections.

Artist Joe Fyfe on three painting shows in Paris [posted 7/9/2018]

“Looking at Delacroix’s ‘Women of Algiers’ is like looking at the DNA of modernism.”

Image: Claude Monet, Saule pleureur (Weeping Willow), 1920–22, oil on canvas, 43 1/4 x 39 ½ inches. Courtesy Musée d’Orsay, Paris. Photo copyright © RMN-Grand Palais (Musée d’Orsay) / Michèle Bellot.


NeoRealismo: The New Image in Italy, 1932–1960

September 6, 2018–December 8, 2018

New York

Scenes from the Collection (650 works from antiquities to contemporary art highlighting the collection)


New York

Icons of Style: A Century of Fashion Photography, 1911–2011

June 26, 2018–October 21, 2018

Los Angeles

Beyond the Nile: Egypt and the Classical World

March 27, 2018–September 9, 2018

Los Angeles

Picasso 1932—Love, Fame, Tragedy

March 8, 2018–September 9, 2018



March 19-May 14, 2017
by Ciara Moloney

Jacqueline de Jong is perhaps best known for her affiliation with the leftist Situationist International, for which she edited the Situationist Times between 1962 and ’67, giving particular attention to the wildly spontaneous work of CoBrA.

Los Angeles
February 9-May 29, 2017
by Gabriel Coxhead

David Hockney is one of the most popular and widely-recognized artists of our time,” states the introductory wall text in Tate Britain’s retrospective––though actually that’s putting it mildly.

March 2-August 5, 2017
by Federico Florian

A quiet, placid atmosphere filled the rooms of the group show “All Watched Over by Machines of Loving Grace.” The sculptures, installations, and video projections on view evoked a present tense where technology has imbued every aspect of human life, and therefore reshaped the mechanisms of our affections.