Saturday is the whole week. Four workshops run at once on October 3, and every one of them is a way of making a material hold: glass, clay, broken porcelain, steel. You cannot do all four, and I would choose by the material you already have feelings about. Thursday is the other night worth clearing, with a group show opening in Williamsburg, a documentary in Carroll Gardens and Levon Helm's family in Sunset Park.
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Twenty-two artists take on the space between reality and nightmare, comfort and fear, the familiar and the uncanny. The opening is the night the whole roster is in the room, which is the argument I would make for going Thursday rather than at some point during the month. The show runs through October 31, Tuesday to Saturday, noon to five.
Thu 6–9p -
Pallecchi made a 47-minute documentary on Eva Aeppli, the Swiss painter and sculptor who belonged to Nouveau Réalisme and spent her working life overshadowed by Jean Tinguely, to whom she was married first. It took the Best Female Film prize at the 2026 Cannes Film Awards. Pallecchi stays afterward for a conversation with the curator Barbara Stehle.
Thu 6:30–8p -
Levon Helm's family plays his songbook, which makes this inheritance rather than tribute. The evening is billed as a rock and roll revue running through the band's catalog and the wider canon of American roots music, presented with Murmrr.
Thu 7:30–10p -
Lees teaches two days of advanced neon bending for people who already know how to curve, bend and seal glass tubing. She is a Chicago sculptor whose glass and print work takes the phenomena of light as its subject, and the weekend is about precision, consistency and troubleshooting the shapes that fail. Participants leave with one or two finished units.
Sat–Sun 11a–5p -
Klein is a yarn craftsperson who has knitted for television, print and Broadway, including the blue sweater in the stage adaptation of Mrs. Doubtfire, and she leads the Grieving and Weaving group at Green-Wood Cemetery. The session runs inside Sáandlaanaay's The 7th Time, a gallery rebuilt as a familiar domestic room, so the craft and the walls around it end up making the same argument about handmade things carrying a history. Bring whatever you are working on, knitting or otherwise, and some materials are there.
Sat 1–3p -
Willers spends two days on terra sigillata, the fine clay slip potters have used since antiquity to get a finished surface without reaching for glaze. She is an artist, author and educator working out of rural Wisconsin who has spent years on this one material, and the class runs from raw clay through layered, colored surfaces.
Sat–Sun 10a–4p -
Khajistan and Majeed run a hands-on session inside the newest build of the collective's digital archive, working through metadata, regional tags and translations, then printing and collaging the material by hand. Majeed came up through Beaconhouse National University in Lahore and Parsons, and her work reads Pakistani state, urban and digital infrastructure through a feminist lens. No prior knowledge of the archive or its languages is required.
Sat 1–4p -
Bring your own broken piece and leave ninety minutes later with it rejoined in epoxy and metallic powder. The conditions are specific: glazed ceramic or porcelain, a clean break into two or three pieces, nothing chipped. Each session is capped at six people, there are three a day, and a seat is $160. I would spend it on the bowl you have been meaning to fix.
Sat–Sun, sessions at 12p, 2p and 4p -
Makerspace NYC runs a half day on metal inert gas welding at the Brooklyn Army Terminal. Welding is the maker discipline that is hardest to teach yourself, because the equipment is the barrier rather than the skill, and a four-hour intensive is the shortest way past it.
Sat 10a–2p
Etta Vintage takes over Gottscheer Hall in Ridgewood on Sunday afternoon, free and with no RSVP
The Rail launches its October issue inside Nate Lowman's Hanging Out, with remarks from Phong H. Bui and from Natalia Gierowska, whose Critics Page for the issue asks whether art history has ended. The issue carries interviews with Lowman, Rita Ackermann, Andrea Bowers and Deborah Buck. The launch is free and open to the public.
Liftin is a Brooklyn painter who photographs through a glass eye and then rebuilds the image by hand, laying acrylic ink in grids over a medium-gray ground and breaking the grids down into cyan, yellow, magenta and black dots. He holds degrees in both art and cognitive science from Yale, and the practice sits exactly where those two meet. Arne Glimcher curated the show and joins Phong H. Bui to talk with him in the gallery, free with a reservation.
Sáandlaanaay, Kimberly Fulton Orozco, is a Kaigani Haida Raven of the Yakhw' Jaanaas clan and a citizen of the Central Council of the Tlingit and Haida Indian Tribes of Alaska. Born in Ridgecrest, California in 1985, she holds an MFA from the Institute of American Indian Arts and designs for the United States Mint's Artistic Infusion Program. Her beadwork lists its own materials: deer leather, abalone buttons, red cedar shavings from two totem poles, and the cord she wore her copper on for four years. Seven is the average number of times it takes a person to leave an abusive relationship, which is where the title comes from. The room grew out of The Space We Story, a work she staged inside Jeffrey Gibson's Indigenous Art School at the 2024 Venice Biennale. The 7th Time is at Open Source Gallery through October 11, and I would sit down in it.
Read the full profile →See you out there,
Sam