Caitlin Anklam

Caitlin Anklam is a writer living in Brooklyn.

In Disobedient Spaces, at Columbia University’s Wallach Art Gallery, Rosenfeld’s “+s” repeat throughout the show. Her actions—whether alone or with the collective she co-founded, Colectivo Acciones de Arte (CADA)—often took place in the contested, militarized space of the street.

Installation view: Lotty Rosenfeld: Disobedient Spaces, Wallach Art Gallery, 2025–26. Courtesy Wallach Art Gallery and Columbia University. Photo: Olympia Shannon.

[See] [Saw] [Sound] [Wave] at Fall River Museum of Contemporary Art (FR MoCA) features the work of historic and contemporary artists interested in the acoustic properties of space. It includes recorded works by Alvin Lucier, Pauline Oliveros, and Laurie Spiegel, a sound installation by Erik DeLuca, and lithographs and sound-dampening, wall-mounted textile panels by Aviva Silverman. The physical space of the gallery is largely blank, enabling auditory information to replace visual information.

Installation view: [See] [Saw] [Sound] [Wave], Fall River Museum of Contemporary Art, Fall River, MA, 2025. Courtesy Fall River Museum of Contemporary Art.

At Arts and Letters, Wadada Leo Smith and Raven Chacon both present an expanded understanding of what a score can be and do.

Raven Chacon, Labrador Pied Duck, 2024, in Raven Chacon, Aviary, American Academy of Arts and Letters, 2024. Photo: Charles Benton.
Worlds Within, now on display at the Noguchi Foundation and Garden Museum, is the most comprehensive retrospective of Toshiko Takaezu’s (1922–2011) work to date. Paintings and textiles by Takaezu are displayed alongside decades of her ceramic works, which span early experiments at the Cranbrook Academy of Art, multi-spouted pots, plates, and the closed forms for which she is best known.
Toshiko Takaezu, Closed Form, 2004. Porcelain, 19 1/2 x 11 inches. Private Collection. Photo: Nicholas Knight. Courtesy The Isamu Noguchi Foundation and Garden Museum. © Family of Toshiko Takaezu
En Parábola/Conversations on Tragedy, Part I opens with a trio of discrete shots of a boat’s wake unfolding across the film’s channels, the camera positioned backwards as the boat drives forward.
The foci of Swift Island Chain span artificial intelligence, human and computational translation, apocalyptic realities, and post-pandemic corporate dystopia. Kong probes at the gaps that result from geographic, emotional, and psychic distances, and manifest in mistranslations and misunderstandings. 
Installation view: Mo Kong: Swift Island Chain, Smack Mellon, Brooklyn, 2024. Courtesy Smack Mellon. Photo: Etienne Frossard.
In Jonas Mekas, Open Archives at Mana Contemporary’s Chicago location, the exhibit employs a straightforward curation: Moving clockwise around the room, the objects follow the order of the newsletter’s release, the gallery lined with small gray floating shelves, one object per shelf.
Installation view: Jonas Mekas, Open Archives, Mana Contemporary Chicago, 2023. Courtesy Monira Foundation and Jonas Mekas Studio.
Alejandro Contreras’s In Work We Trust ¡Chamo, ¿qué hiciste con el carro?! at the ELM Foundation, his first solo exhibition in New York, is viscerally overwhelming. The sheer amount of material is difficult to process.
Installation view: Alejandro Contreras: In Work We Trust ¡Chamo, ¿qué hiciste con el carro?!, The Boiler at ELM Foundation, Brooklyn, 2023. Courtesy the artist and The Boiler.
Installation view: Alejandro Contreras: In Work We Trust ¡Chamo, ¿qué hiciste con el carro?!, The Boiler at ELM Foundation, Brooklyn, 2023. Courtesy the artist and The Boiler, ELM Foundation.

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