The group exhibition الفكرة ذكرى / A thought is a memory curated by Noel Maghathe and on view at CUE Art Foundation includes work by four artists, Zeinab Saab, Kiki Salem, Nailah Taman, and Zeina Zeitoun, who have lineages tracing to the “Arab world.”

Comprised of more than 100 photographs and a two-channel video installation, Land of Dreams is the New York premiere of Shirin Neshat’s latest body of work. The show marks a monumental conceptual and visual shift for the artist, whose repertoire has often looked back at her native Iran. Here, her explorations and camera are fixed on her adoptive home in the United States.

This unconventional exploration of the oyster through the lens of metaphysics approaches the species as a culinary marvel, an architectural artifact, and a filtration device unlike any other that holds in it the contrast of a hard and highly calcified shell and a soft interior.

Within Global Isolation: Asian Artists in America is a virtual exhibition, organized by curators Han Hongzheng and Chandler Allen, and fueled by a spike in anti-Asian sentiments, xenophobia, and discrimination as a result of COVID-19.

Co-curated by Barbara Pollack and Anne Verhallen as a platform for the exchange of art and ideas at a time of crisis, How Can We Think of Art at a Time Like This? is an exhibition without walls, created almost overnight to respond to museum and galleries’ closures due to the COVID-19 pandemic, as well as a platform for free expression, inviting visitors to post responses on its Comments page.

Now more than ever, we are faced with news that rapidly turns into history, having to instantly make sense of and adapt to the current state with which we are presented. Bolande’s decades-long practice probes this process as we experience the proliferation of online news outlets.

How do we study abstraction across different contexts, and what modes of analysis do we use?

In its new exhibition Rayyane Tabet: Alien Property, the Metropolitan Museum of Art explores the circuitous route that ancient artifacts sometimes travel to wind up on display in a hallowed Western institution, if they aren’t first destroyed or lost.

Nestled in the smaller gallery of Canada’s newly inaugurated Tribeca space, Sahar Khoury’s solo show Afterhours presents sculptures that upon first encounter resemble screens, tapestries, and baskets. Khoury’s sculptures prioritize distortion over function and take pleasure in moments of material chaos. The layering in of personal mementos makes it so that the work can absorb the histories embedded in the discarded materials and reinvent them with new possibilities.