Art

Meteorites, fossils, beeswax, moss, hand-painted glass tiles.

Ash Fure distills music to its physical essence: vibration, friction, and the raw materiality of speaker cones.

Bel Falleiros is a Brazilian artist whose practice focuses on place and belonging.

Bows, glass bowls, hurdy-gurdy, doughnut pipe.

Her work moves between performance, sculptural and functional pieces and ruminates on the history of women in ceramics, finding joy in unreachable places and ancient love poems.

Catie Kobland teaches fiber arts and textile craft as acts of witness and repair.

Scrimshaw on detergent bottles.

Freeka Tet treats internet culture the way a graffiti writer treats a wall: as raw material to be stolen, distorted, and thrown back at the audience.

Gulsum Keskinoglu's work keeps returning to the female body as a site of meaning: sculpted, painted, rendered in ceramics and jewelry, examined in detail.

Pigment, for Heath Wae, is never just color.

James Akers treats neon as a sculptural material rather than a sign-making one: he bends glass, modifies consumer circuits, and makes objects that produce sound, play video, and scan their surroundings.

Satellite imagery, 3D spatial reconstruction, survivor testimony.

Blood is Jordan Eagles's medium, and he has spent nearly three decades figuring out exactly what it can hold.

Before Sonic Youth, before the bass guitar, Kim Gordon moved to New York in 1980 to be a visual artist.

LuLu Meng makes work around the invisible forces that bind people together: philosophy of science, mirrored surfaces, systems where touching one thing changes everything else.

Sullivan works from a studio in Red Hook, Brooklyn, teaching preschool and high school students by day and building handmade porcelain by night.

Sydney Cash developed a lifelong relationship with glass by exploring its translucency, transparency, reflection, and refraction.

AG Gallery lives inside About Glamour, a vintage-and-clothing boutique on Grand Street: you enter through the store, which is part of the point.

AM:PM Gallery runs on a specific bet: that art rooted in Black and brown experience, made by BIPOC artists working across all mediums, belongs at the center of a neighborhood's cultural life: not its margins.

Amant runs on a simple premise: slow art down.

Brooklyn Metal Works opened its gallery in 2011 to showcase national and international artists making work with a craft-based ethos, programming installations, performance, mixed media, and sculpture.

The Brooklyn Museum holds 500,000 objects across 560,000 square feet of McKim, Mead & White Beaux-Arts building on Eastern Parkway: ancient Andean textiles, Malian portrait photography, Huastec sculpture, oil-on-wood murals, and a permanent feminist art center that exists nowhere else in the same form.

In 1978, sixteen artists in DUMBO needed a wall to hang work on.

CARVALHO operates out of a renovated warehouse on Waterbury Street in East Williamsburg, where the industrial scale of the space is part of the proposition.

CFGNY (Daniel Chew, Ten Izu, Kirsten Kilponen, and Tin Nguyen) works the seam between garment and racialized object, using clothes, porcelain, cardboard, video, and performance to pull apart how "Asian" identity gets produced, circulated, and assigned from the outside.

Wet clay, loose-leaf tea, and paint markers coexist at Drawing Room, a shoes-off studio that opened its Williamsburg location in May 2025.

Founded in 1998 by Anton Vidokle and Julieta Aranda, e-flux built its reputation on a simple provocation: what if critical discourse about art moved as fast as the art world itself? The email announcement list came first, then the journal: a monthly publication, launched in 2008, commissioning long-form essays on art, politics, history, and technology from writers like Boris Groys and Hito Steyerl.

Gasworks operates from the belief that clay is not precious: it's a material for play, healing, and belonging.

Greenpoint Gallery is a non-profit arts organization at 390 McGuinness Boulevard in Greenpoint, founded in 2003 by artist and musician Shawn James.

HACO stands for Human Art Core Odyssey.

Khajistan runs on the conviction that what gets suppressed tells you more than what gets preserved.

MADO sits at the back of the Issey Miyake flagship at 45 Madison Avenue: past the structural-glass staircase, past the pleated rails, past the titanium panel salvaged from the old Gehry-designed Tribeca store.

Canadian-born artist and gallerist David Craig Ellis runs Not Another Gallery as both a pop-art exhibition space and a working studio: oil paintings, signed prints, merch, and conceptual installations all coexisting on the floor at 109 Broadway.

Pioneer Works occupies a red brick building on Pioneer Street in Red Hook that was, in 1866, a factory floor for railroad tracks and sugar-refinery machinery.

The 1904 Brooklyn Rapid Transit Power Station spent decades as a ruin on the Gowanus Canal (first a cardboard incinerator, then a graffiti destination locals called the Batcave) before becoming Powerhouse Arts, a nonprofit production center that opened in 2023.

Sideshow Gallery has always operated on a single conviction: that visual art, like music, is a language.

Soloway runs on dues and trust.

Forty-foot ceilings in a former factory boiler room set the terms here from the start.

Twelve Chairs Gallery takes its name from a 1928 Soviet satirical novel (a knowing nod to an era of radical artistic experimentation) and runs on a similar appetite for the tension between tradition and rupture.

Zeynep Arolat founded ZAROLAT in 2018 as an independent design studio working across architecture, interiors, and furniture.

Zine Club gathers biweekly at Industry City to make things with paper, ink, and intention.