Women’s History Museum’s Grisette à l’enfer [Grisette in Hell], at Amant is their first institutional exhibition in the United States. The show is framed around the concept of the grisette, a French seventeenth-century trope of working-class women that gruelingly produced fashion while also engaging in the glamor and style of their products. 

At Yehwan Song’s exhibition Are We Still (Surfing)?, interfaces explode in gridded sculptures and few but mighty works transport viewers to a technological dystopia in which they will likely recognize themselves.

In Cars, Pools & Melanin at Perrotin, Zéh Palito places Black and brown bodies in pools and cars, both traditional spaces of leisure reminiscent of American consumerism in the 1950s and ’60s. Palito’s scenes are heavy-handed, but there is value in the obvious. Water is a classic symbol of the Jim Crow era, given laws segregating water fountains, pools, and bathrooms; it also doubles as a space of liberation and humanity.