Coco Klockner’s installation at SculptureCenter uses sound not as a medium in or of itself, but as an extension of sculpture. The piece is composed of a looping dialogue played on two large speakers pushed to opposite ends of a small room. Klockner treats the speakers as sculptural bodies—objects with agency, voice, and presence.

Darren Bader’s current exhibition at Matthew Brown returns to objecthood as a construct: what counts as an object, when does it become an artwork, and the point at which that question itself becomes the medium.

Over the course of approximately forty sketches, one observes the petri dish of ideas cultured during a fertile moment in Thek’s career. The sketchbook is a microcosm of his artistic maturation, capturing a mind in quiet, probing transformation.

After a breakout contribution to the 2019 Whitney Biennial put Paul Mpagi Sepuya on the radar of next-gen photography enthusiasts, the artist’s New York exhibitions have been highly anticipated.

Balance: between form and formlessness, the personal and the universal, the temporal and the eternal. Francesco Clemente brings together large-scale watercolors, frescoes, and oil paintings in his current exhibition, continuing his long standing engagement with such tensions.

Take the subway to Kristin Walsh’s debut New York solo show. As the train hurtles through the underbelly of the city, the clean lines of the car glisten under harsh fluorescent lights, and the rhythmic thrum of the engine reverberates through the linoleum floor. Its jarring lurches and abrupt stops mirror the very structures Walsh interrogates in her exhibition, The working end, where public infrastructure is transformed into a forum for critique and contemplation.