Damon Crain says collectors “clutch their pearls” about visiting chaotic West 38th street to see his expanded field art gallery Culture Object, even though it’s only situated half a mile north of Chelsea. After four years and twenty-eight shows at this location, Crain is closing the maximalist atelier to strategize his next moves. While that means New York is losing one of its most interesting exhibition spaces at present, he’s going out with a flash. Crain put out an open call on Instagram, took ten weeks to sort through the four hundred applications he received, and chose forty-six artists who haven’t yet shown with Culture Object to curate THE END, the gallery’s last exhibition—for the time being.

Little portals into the chaotic core of childhood playtime comprise Small Worlds at Trotter&Sholer, the latest solo show by New York-based, mixed media artist Bonnie Lucas.

Brooklyn-based artist Cyle Warner never met his great grandfather, who started moving their family from Trinidad to Brooklyn in 1962. Warner, who’s just finished studying photography at SVA, interweaves that medium with textiles in his debut exhibition “Weh Dem? De Sparrow Catcher?” at Welancora Gallery in Bed-Stuy.

Hundreds of chorusing voices, hands, and stories crest across Singing Everything, the second solo show at Marc Straus by Portland-based interdisciplinary and multicultural artist Marie Watt. For twenty-five years, Watt has collaged and sculpted blankets into layered wall hangings and towers that deconstruct the household object’s symbolism within her own diverse German-Scot and Seneca heritage—and the grander scale of the human life cycle. We’re born on blankets, bond with them as teething children and slumbering adults, and die wrapped in them, if we’re lucky.