Art

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

Apollinaria Broche, born in 1995 in Moscow, creates places of escape and retreat that blur boundaries between the real and imagined.

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.

Carol Priego is a Fulbright Scholar in New York conducting cross-border research on Opuntia ficus-indica (prickly pear) as a vehicle for ecological and political narratives across the Mediterranean, the United States, and Mexico.

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

CJ Hendry built her reputation through hyperreal drawings of luxury objects, working from photographs in colored pencil with what she calls a meticulous scribbling technique.

Scrimshaw on detergent bottles.

Elisa Bertaglia moves between painting, ceramics, wall drawings, and site-specific works, investigating how symbols break down in contemporary life.

Erica Linnemann makes ink line drawings that attempt to render both gently and satirically the routine, unspoken labors of urban existence.

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.

Hetanshi Vakta calls herself an I/O psychologist by background, photographer by instinct.

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.

Juan Miguel Marin works at the intersection of memory, sound, and emotion, letting the unconscious guide him toward discoveries only visible once the work is complete.

Kari Love spent two decades exploring motion through Broadway costume design and puppetry before bringing inanimate objects to life as soft robots.

Kiki Smith makes sculptures where the body turns itself inside out.

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.

Matthew Logan works between photography and music, shooting travel and landscape series (Paris, the Adirondacks) alongside a body of work marked War and Peace, and composing and playing cello outside of the camera work entirely.

Cattelan prefers the designation "art worker" to "artist." Self-taught and skeptical of traditional art education, he regards practical experience and making shows as his true teachers.

Michael Stern's creative practice is driven by incessant questioning about connections and contradictions between traditional glass blowing and digital design.

Min Park's solo show at Awita New York Studio, Navigating In-Between Spaces, ran July 2 through 31, 2026, in ink and watercolor alongside installation and projected media.

Rachel Mica Weiss combines the visual language of textiles with the density of stone and cast forms—components that balance uneasily, vie for dominance, or are inextricably intertwined.

Twin sisters Nicole and Mishel Feldman—Sestry Feldman—work across painting, installation, animation, and public space, developing narrative systems that move between street art and exhibition contexts.

Shuyao Huang's painting practice revolves around meditation, observation, and mindfulness, informed by Buddhist concepts of fullness and emptiness.

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.

Terry Hunter is a South Side native who found his love for making music through house and disco, and he has spent the past three decades working from that foundation.

Tharini Sankarasubramanian works across drawing, painting, and fiber art, using colors, symbolism, materials and numbers to convey the intangible aspects of her experiences through abstraction.

Zoë Pulley works with textiles, photographs, and family archives to trace the everyday stories of Black American life.

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.

Art Cake is a production venue and artist studio complex built on an economics of exchange.

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.

Denied Access is an ongoing campaign from ACTUM Giving, an arts and community engagement organization, built around fundraising for reproductive healthcare access through cultural events rather than direct appeals.

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.

Everyday Afrique is more than just a party—it's a cultural platform.

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.

Recess formed in 2009, beginning by uniting artists and audiences through the creative process.

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.

Yarn/Wire started in 2005 as four Stony Brook graduates with no plan except to play together.

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.