On the 75th floor of an apartment tower that overlooks the fork of New York City’s two great rivers, stylist David Casavant lives with his archive.

A show at turns multicolored and monstrous, “SEED” opened at Paul Kasmin on the eve of the summer solstice, with a packed house.

The Galleria Nazionale, dependent until now on deeply carved historical narratives of 20th century painting and enamored with its canon, has decided to reject all its institutional decorum and pledges allegiance to the promises of ’68.

Digging through tattered piles of mass-produced garments Rivkah Barringer and Amanda McGowan, founders of the fashion collective Women’s History Museum (WHM), hungrily scavenge for evidence of past luxury.

A packed house at the Film Society at Lincoln Center hangs perpendicular—staring straight down at a mottled beige satellite map that hovers beneath.