Helmed by artistic director and chief curator Marta Kuzma, Faktura 10 is a multi-site, multimodal experiment across borders and time.

The proximity to real imperial power makes the presence of Armin Linke’s Negotiation Tables (2025) and Margherita Moscardini’s The Stairway (2025) much more jarring, although neither work, at least in the wall text, makes explicit mention of genocide or land displacement underway in Palestine today. 

A survey of Algernon Miller’s expansive oeuvre that stretches back to the 1970s through today is on view at Ethan Cohen Gallery—Afrofuturism and Beyond, in the downstairs gallery. That exhibition is accompanied by another show in the upstairs gallery curated by Miller and Ethan Cohen, Afrofuturism. 

The Phantom Museum is one of the Museum of Modern Art Warsaw’s (MSN Warszawa) debut pieces in their new building—a large round table on the ground floor of Poland’s new cultural flagship, designed by Thomas Phifer and Partners, topped with small, precious objects by Ukrainian artists.

Algernon Miller (b. 1945) is an artist from Harlem who is today considered one of several pioneers of Afrofuturism. Since the 1960s, Miller has created powerful public art installations all over New York, including Tree of Hope (1972). This interview with Miller explores his design for Frederick Douglass Plaza (2010), a memorial many call a “Gateway to Harlem,” on the northwest corner of Central Park.