Featured Events in New York in February 2025 (February Updated)

The exhibition is co-hosted by the Shanghai Museum and the Metropolitan Museum of Art in New York, USA. It brings together more than 200 collections from important domestic and foreign institutions such as the Metropolitan Museum of Art in New York, the British Museum in the UK, the Cernuschi Museum in France, the Palace Museum, the Shanghai Museum, and the Liaoning Provincial Museum. This exhibition is a friendly exchange project between the two museums. After the closing of the Metropolitan Museum of Art in September 2025, the exhibition will move to the East Hall of the Shanghai Museum.

A large art project called Day's End now stands in the Hudson River near Pier 52. Created by David Hammond, it's made of slender steel pipes and pays tribute to artist Gordon Matta-Clark, who transformed an abandoned shed on the same pier in 1975. The sculpture changes with the light, connecting to the history of the waterfront as a shipping hub and a gathering place for the gay community. It took seven years to complete the installation, and it's now open to the public for free. The Whitney Museum collaborated with the Hudson River Park Trust on this project, and they will work together on a maintenance plan. To celebrate its completion, the Whitney offers free admission on May 16, and there will be family workshops throughout the day. You can find Day's End at Hudson River Park, across from the Whitney Museum, on the southern edge of the new Gansevoort Peninsula, where it will remain permanently.

A large art project called Day's End now stands in the Hudson River near Pier 52. Created by David Hammond, it's made of slender steel pipes and pays tribute to artist Gordon Matta-Clark, who transformed an abandoned shed on the same pier in 1975. The sculpture changes with the light, connecting to the history of the waterfront as a shipping hub and a gathering place for the gay community. It took seven years to complete the installation, and it's now open to the public for free. The Whitney Museum collaborated with the Hudson River Park Trust on this project, and they will work together on a maintenance plan. To celebrate its completion, the Whitney offers free admission on May 16, and there will be family workshops throughout the day. You can find Day's End at Hudson River Park, across from the Whitney Museum, on the southern edge of the new Gansevoort Peninsula, where it will remain permanently.

Lincoln Center for the Performing Arts is one of the world’s premiere performing arts organizations. On October 8, 2022, David Geffen Hall reopened as a welcoming cultural anchor for New York City, some 60 years after it was first inaugurated as the home of the New York Philharmonic. The new Hall reimagines the concert-going experience by providing more inclusive public spaces for diverse cultural performances and community uses. This initiative includes an annual program of art commissions, where all members of the public are invited to engage with the work of leading contemporary artists free of charge. The democratic approach instills a sense of welcome both indoors and out, beckoning those who may never have interacted with Lincoln Center or the New York Philharmonic, and encouraging those long familiar with the campus to see it afresh. Public Art Fund partnered with The Studio Museum in Harlem to advise Lincoln Center on the selection of artists for this first iteration of the art program. Two prominent sites were identified for the site-specific commissions: the 50-foot Hauser Digital Wall in the lobby, which Jacolby Satterwhite has animated with a richly layered and inclusive celebration of performance that brings into dialogue the past, present and future; and the Hall’s 65th Street façade, which Nina Chanel Abney has transformed into a captivating tribute to the vibrant history and culture of San Juan Hill. Both artists undertook extensive research to develop their works. They emerge as gifted visual storytellers, committed to a more inclusive understanding of the past while giving us all a sense of future potential at a moment of reopening and reinvention. The artworks are commissioned by Lincoln Center for the Performing Arts in collaboration with The Studio Museum in Harlem and Public Art Fund. Nina Chanel Abney, Nina Chanel Abney’s monumental work of art for the façade of David Geffen Hall pays homage to San Juan Hill. In the 1940s and 50s, this predominantly Black and Brown neighborhood was forcibly displaced to make way for redevelopment, including what would become Lincoln Center for the Performing Arts. Abney’s constellation of figures, words, shapes, and symbols reflects the thriving community that lived here. Featured residents include pioneering healthcare workers Edith Carter and Elizabeth Tyler. Also pictured are James P. Johnson, whose music gave rise to the Charleston dance craze, and Thelonious Monk, a pioneer of Bebop and other jazz styles. Reclaiming this important history in her bold and vibrant style, Abney aims to spark curiosity and inspire a more inclusive future. Jacolby Satterwhite, Jacolby Satterwhite’s commission for David Geffen Hall reconsiders the past, present, and future of Lincoln Center and the New York Philharmonic. weaves together archival images, live action footage, and digital animation. We see a colorful and densely layered festival of performance that traverses historical periods through virtual space. Satterwhite’s inclusive cast represents artists since the Philharmonic’s founding in 1842, while featuring young musicians and dancers from across New York City. They play instruments and dance on stages and sculptural monuments set into a landscape inspired by Central Park and surrounded by buildings covered in screens, reminiscent of Times Square. Grounded in a more democratic view of history, Satterwhite’s work offers us his playful and richly inventive vision of a creatively empowered future. is known for combining representation and abstraction. Her paintings capture the frenetic pace of contemporary culture. Broaching subjects as diverse as race, celebrity, religion, politics, sex, and art history, her works eschew linear storytelling in lieu of disjointed narratives. The effect is information overload, balanced with a kind of spontaneous order, where time and space are compressed and identity is interchangeable. Her distinctively bold style harnesses the flux and simultaneity that have come to define life in the 21st century. Through a bracing use of color and unapologetic scale, Abney’s canvases propose a new type of history painting, one grounded in the barrage of everyday events and funneled through the velocity of the internet. Abney’s work is included in collections around the world, including the Brooklyn Museum, The Rubell Family Collection, Bronx Museum, and the Burger Collection, Hong Kong. Her first solo museum exhibition, , curated by Marshall Price, was presented in 2017 at the Nasher Museum of Art, North Carolina. It traveled to the Chicago Cultural Center and then to Los Angeles, where it was jointly presented by the Institute of Contemporary Art, Los Angeles, and the California African American Museum. The final venue for the exhibition was the Neuberger Museum of Art, Purchase College, State University of New York. is celebrated for a conceptual practice addressing crucial themes of labor, consumption, carnality, and fantasy through immersive installation, virtual reality, and digital media. He uses a range of software to produce intricately detailed animations and live action film of real and imagined worlds populated by the avatars of artists and friends. These animations serve as the stage on which the artist synthesizes the multiple disciplines that encompass his practice, namely painting, performance, illustration, sculpture, photography, and writing. Satterwhite draws from an extensive set of references, guided by queer theory, modernism, and video game language to challenge conventions of Western art through a personal and political lens. An equally significant influence is that of his late mother, Patricia Satterwhite, whose ethereal vocals and diagrams for visionary household products serve as the source material within a decidedly complex structure of memory and mythology. Satterwhite received his BFA from the Maryland Institute College of Arts, Baltimore and his MFA from the University of Pennsylvania, Philadelphia. His work has been presented in numerous exhibitions and festivals internationally, including most recently at Haus der Kunst, Munich,2021; Gwangju Biennale, Gwangju,(2021; and Wexner Center for the Arts, Columbus, OH, 2021. Nina Chanel Abney , 2022 Latex ink and vinyl mounted on glass Commissioned by Lincoln Center for the Performing Arts in collaboration with The Studio Museum in Harlem and Public Art Fund Photo: Nicholas Knight, courtesy Lincoln Center for the Performing Arts, The Studio Museum in Harlem, and Public Art Fund, NY. Jacolby Satterwhite , 2022 HD color video and 3D animation 27:23 mins Commissioned by Lincoln Center for the Performing Arts in collaboration with The Studio Museum in Harlem and Public Art Fund © Jacolby Satterwhite. Courtesy of the Artist and Mitchell-Innes & Nash, New York Photo: Nicholas Knight, courtesy Lincoln Center for the Performing Arts, The Studio Museum in Harlem, and Public Art Fund, NY.

New York is one of the most filmed cities on earth. Generations of moviegoers have seen New York depicted and distorted, celebrated and denigrated, idealized and mocked, built up and demolished over and over again on the big screen. Over the past 100 years, legions of filmmakers have drawn attention to New Yorkers’ joys and struggles, shaping our ideas of what the city is—or could become. You Are Here draws on this rich archive of movies set in New York, combining thousands of cinematic moments across 16 screens. Sources include Hollywood blockbusters, independent films, documentaries, and experimental works. By juxtaposing these multiple visions, the dazzling montages of You Are Here make connections and contrasts that allow movies to comment on each other across time and space. Together, they shed new light on the varied New Yorks of our collective imagination. Sometimes New York stars in these movies; sometimes, a studio set or even another city stands in. In the introductory room, Scenes from the City explores the city as a film set, showing how movies have been captured on location throughout the five boroughs. From there, we invite you to enter the immersive central space, where you can explore a narrative tapestry woven from hundreds of films—one impressionistic storyline that strives to represent the multifaceted realities of our countless New York stories.

What new stories can familiar works of art tell? This exhibition showcases longstanding favorites from The New York Historical's permanent collection alongside recent Museum acquisitions and selected loans. Pointed juxtapositions raise questions, create unexpected resonances, and shift established meanings.Martin Wong’s Canal Street (1992) and Oscar yi Hou’s Far Eastsiders, aka: Cowgirl Mama A.B & Son Wukong (2021) establish a longstanding lineage for queer Asian diasporic artists in New York City. And the juxtaposition of Thomas Cole’s five-painting series The Course of Empire (ca. 1834–1836) with Contact 2,021 (2021) by contemporary Shinnecock artist Courtney M. Leonard exposes the racial and gender politics of the Hudson River School landscape tradition. The groupings aim to center long-marginalized experiences and prompt a rethinking of both American art and the way museums tell history. Curated by Wendy Nālani E. Ikemoto, senior curator of American art.

What new stories can familiar works of art tell? This exhibition showcases longstanding favorites from The New York Historical's permanent collection alongside recent Museum acquisitions and selected loans. Pointed juxtapositions raise questions, create unexpected resonances, and shift established meanings.Martin Wong’s Canal Street (1992) and Oscar yi Hou’s Far Eastsiders, aka: Cowgirl Mama A.B & Son Wukong (2021) establish a longstanding lineage for queer Asian diasporic artists in New York City. And the juxtaposition of Thomas Cole’s five-painting series The Course of Empire (ca. 1834–1836) with Contact 2,021 (2021) by contemporary Shinnecock artist Courtney M. Leonard exposes the racial and gender politics of the Hudson River School landscape tradition. The groupings aim to center long-marginalized experiences and prompt a rethinking of both American art and the way museums tell history. Curated by Wendy Nālani E. Ikemoto, senior curator of American art.

Public Art Fund presents Huma Bhabha: Before The End, an exhibition featuring a series of four new large-scale bronze sculptures set against the verdant backdrop of Brooklyn Bridge Park. Drawing inspiration from a diverse array of influences, Bhabha’s works blend aesthetic, cultural, and psychological elements, probing the intersections of art, science fiction, horror, and mythology.

Eighteenth- and nineteenth-century landscape artists often sketched outdoors in oil paint on paper to capture nature from direct observation. Yet as natural as these scenes look, the vantages were chosen or augmented to draw the viewer into the composition. Whether through adding a prescribed path, capturing flecks of light glinting off a winding river, or presenting a series of plateaus receding into the distance, artists created a point of entry and route along which the viewer could journey. These small-scale oil sketches—including a work by one of the few female European landscape painters of her era, Louise-Joséphine Sarazin de Belmont—illustrate how artists synthesized the real and ideal to evoke the experience of encountering nature.

Edra Soto (b. 1971, Puerto Rico) explores the relationship between our private, interior lives and shared public history and culture. Graft is the latest in an ongoing series of installations based on rejas, wrought iron screens frequently seen outside homes in Puerto Rico. Rejas often feature repeating geometric motifs that can be traced to West Africa’s Yoruba symbol systems, in contrast to the Spanish architecture celebrated in official Puerto Rican tourism. Graft investigates how Puerto Rican cultural memory often masks the Black heritage of the island as folklore.

Edra Soto (b. 1971, Puerto Rico) explores the relationship between our private, interior lives and shared public history and culture. Graft is the latest in an ongoing series of installations based on rejas, wrought iron screens frequently seen outside homes in Puerto Rico. Rejas often feature repeating geometric motifs that can be traced to West Africa’s Yoruba symbol systems, in contrast to the Spanish architecture celebrated in official Puerto Rican tourism. Graft investigates how Puerto Rican cultural memory often masks the Black heritage of the island as folklore.

For the 2024 Genesis Facade Commission, South Korean artist Lee Bul (born 1964, Yeongju, based in Seoul) has created four new sculptures that combine figurative and abstract elements. The Genesis Facade Commission: Lee Bul,Long Tail Halois the artist’s first major project in the United States in more than twenty years and the fifth in the series of contemporary commissions for The Met Fifth Avenue’s facade niches. With a career that spans four decades, Lee is widely recognized as the preeminent artist from South Korea. She is known for her sophisticated use of both highly industrial and labor-intensive materials, incorporating artisanal practices as well as technological advancements into her work. Her sculptures, often evoking bodily forms that are at once classical and futuristic, address the aspirations and disillusions that come with progress. The Genesis Facade Commission is part of The Met’s series of contemporary commissions in which the Museum invites artists to create new works of art, establishing a dialogue between the artist’s practice, The Met collection, the physical Museum, and The Met’s audiences.

For a handful of decades at the end of the last century, one of the most popular ways for a superstar professional athlete to cement their iconic status was to have their persona memorialized on a Nike poster. It became a right of passage, and the posters’ popularity peaked as the Nike brand ascended to the pinnacle of its industry. In an age where athletes’ images are much more accessible and down to earth, these posters may seem quaint—but they’re also larger-than-life and undeniably entertaining, just like the stars they depict.Chronicling the many professional sports promoted by Nike, from basketball and football to tennis and golf, as well as the myriad athletes who worked with the brand, this exhibition showcases how one company paved the way for modern sports advertising.

In 1933, newly elected President Roosevelt initiated what became known as the New Deal, a series of federal programs and agencies designed to spearhead economic recovery from the Great Depression through public services, regulation, and new jobs. Among the programs his administration created in 1935 was the Rural Electrification Administration (REA). Managed by the Department of Agriculture, the REA helped build energy infrastructure in areas where private companies refused to operate, extending electricity to remote areas with small populations. Lester Beall was hired to advertise the REA’s work, creating three series of posters over a five-year span. Knowing that Americans were generally distrustful of overly intellectual and visually obtuse European modernism, Beall deftly translated and advanced these artistic concepts to create a new kind of American art, one that distilled the heart of various avant-garde movements with the need for clear communication and the desire to sell. This exhibition highlights the groundbreaking work Beall produced for the REA, as well as the development of his contributions to American modernism up through World War II.

For a handful of decades at the end of the last century, one of the most popular ways for a superstar professional athlete to cement their iconic status was to have their persona memorialized on a Nike poster. It became a right of passage, and the posters’ popularity peaked as the Nike brand ascended to the pinnacle of its industry. In an age where athletes’ images are much more accessible and down to earth, these posters may seem quaint—but they’re also larger-than-life and undeniably entertaining, just like the stars they depict.Chronicling the many professional sports promoted by Nike, from basketball and football to tennis and golf, as well as the myriad athletes who worked with the brand, this exhibition showcases how one company paved the way for modern sports advertising.

This groundbreaking exhibition explores the everyday clothing of ordinary women, from worn-out housecoats to psychedelic micro miniskirts and modern suits to the uniforms of fast-food workers. On view in the Joyce B. Cowin Women’s History Gallery and featuring objects from Smith College’s Historical Costume Collection on display for the first time in a museum, the exhibition traces how women’s roles have changed and evolved across race and class over the decades. Each garment holds a rich story about the women who wore it and made it, the materials used, and the context of place and time. Whether homemade or ready-made, many of the garments on display are modest and inexpensive, rarely preserved or displayed in a museum setting. Some are one-of-a-kind pieces; others are examples of clever makeshift pieces, and many were influenced by the popular styles and trends of their day. Visitors to Real Clothes, Real Lives will learn about the "real" women who worked and dressed in America for two centuries.

The Metropolitan Museum of Art has launched its first-ever major museum exhibition to examine the career of influential 20th-century architect Paul Rudolph, a second-generation Modernist architect who came to prominence in the 1950s and 1960s alongside peers such as Eero Saarinen and I.M. Pei. Materialized Space: The Architecture of Paul Rudolphexhibits the full breadth of Rudolph’s important contributions to architecture—from his early experimental houses in Florida to his civic commissions rendered in concrete, from his utopian visions of urban megastructures and mixed-use skyscrapers to his extraordinary immersive New York interiors. The exhibition offers visitors the opportunity to experience the evolution and diversity of Rudolph’s legacy and to better understand how his work continues to inspire ideas for urban renewal and reconstruction around the world. The exhibition features more than 80 artifacts of varying scales, ranging from small objects collected throughout his life to a wide range of materials produced in his office, including drawings, models, furniture, material samples, and photographs.

Public Art Fund partnered with The Studio Museum in Harlem to advise Lincoln Center on the selection of artists for this first iteration of the art program. Two prominent sites were identified for the site-specific commissions: the 50-foot Hauser Digital Wall in the lobby, which Jacolby Satterwhite has animated with a richly layered and inclusive celebration of performance that brings into dialogue the past, present and future; and the Hall’s 65th Street façade, which Nina Chanel Abney has transformed into a captivating tribute to the vibrant history and culture of San Juan Hill. Both artists undertook extensive research to develop their works. They emerge as gifted visual storytellers, committed to a more inclusive understanding of the past while giving us all a sense of future potential at a moment of reopening and reinvention.

Public Art Fund partnered with The Studio Museum in Harlem to advise Lincoln Center on the selection of artists for this first iteration of the art program. Two prominent sites were identified for the site-specific commissions: the 50-foot Hauser Digital Wall in the lobby, which Jacolby Satterwhite has animated with a richly layered and inclusive celebration of performance that brings into dialogue the past, present and future; and the Hall’s 65th Street façade, which Nina Chanel Abney has transformed into a captivating tribute to the vibrant history and culture of San Juan Hill. Both artists undertook extensive research to develop their works. They emerge as gifted visual storytellers, committed to a more inclusive understanding of the past while giving us all a sense of future potential at a moment of reopening and reinvention.

Otobong Nkanga has changed the way we understand the Earth and our place in it. “Humans are only a small, minute part of the ecosystem,” the artist has said. “My works connect us to our shared histories, not just through land and geography, but through emotions shaped by events and encounters. These are the cadences of life.” Otobong Nkanga: Cadence presents a new commission by the artist: an all-encompassing environment of tapestry, sculpture, sound, and text that explores the turbulent rhythms of nature and society. Created specifically for MoMA’s Marron Family Atrium, the installation centers on a monumental, multi-paneled tapestry that suggests sprawling ecosystems and galaxies.

Barbie®: A Cultural Icon charts the 65-year history of Barbie and the doll’s global impact on fashion and popular culture through an expansive display of more than 250 vintage dolls, life-size fashion designs, advertisements, and other ephemera, along with exclusive video interviews with the doll's designers. Visitors to the exhibition will trace the evolution of Barbie from a child’s toy to a global icon, exploring the style trends, careers, and identities that Barbie has embodied and popularized since her debut in 1959.

Pets and the City explores the visual history of New Yorkers and their animal companions over the last two and a half centuries, tracing the ever-evolving relationship between Gotham’s people and its animals as the city grew increasingly urbanized and industrialized. Through a broad spectrum of works of art, objects, documents, memorabilia, and clips from film and television, the exhibition surveys the evolution of pets—from their presence among the Lenape and Haudenosaunee and the hunting culture of settlers through their insinuation into the urban family and onto the pampered pets of today, which enjoy their own public rights.

To mark the 2024 centenary of its life as a public institution, the Morgan Library & Museum presents a major exhibition devoted to the life and career of its inaugural director, Belle da Costa Greene (1879–1950). Widely recognized as an authority on illuminated manuscripts and deeply respected as a cultural heritage executive, Greene was one of the most prominent librarians in American history. She was the daughter of Genevieve Ida Fleet Greener (1849–1941) and Richard T. Greener (1844–1922), the first Black graduate of Harvard College, and was at birth known by a different name: Belle Marion Greener. After her parents separated in the 1890s, her mother changed the family surname to Greene, Belle and her brother adopted variations of the middle name da Costa, and the family began to pass as white in a racist and segregated America.

Pets and the City explores the visual history of New Yorkers and their animal companions over the last two and a half centuries, tracing the ever-evolving relationship between Gotham’s people and its animals as the city grew increasingly urbanized and industrialized. Through a broad spectrum of works of art, objects, documents, memorabilia, and clips from film and television, the exhibition surveys the evolution of pets—from their presence among the Lenape and Haudenosaunee and the hunting culture of settlers through their insinuation into the urban family and onto the pampered pets of today, which enjoy their own public rights.

To mark the 2024 centenary of its life as a public institution, the Morgan Library & Museum presents a major exhibition devoted to the life and career of its inaugural director, Belle da Costa Greene (1879–1950). Widely recognized as an authority on illuminated manuscripts and deeply respected as a cultural heritage executive, Greene was one of the most prominent librarians in American history. She was the daughter of Genevieve Ida Fleet Greener (1849–1941) and Richard T. Greener (1844–1922), the first Black graduate of Harvard College, and was at birth known by a different name: Belle Marion Greener. After her parents separated in the 1890s, her mother changed the family surname to Greene, Belle and her brother adopted variations of the middle name da Costa, and the family began to pass as white in a racist and segregated America.

While the landscape genre has long been associated with picturesque vistas, Shifting Landscapes considers a more expansive interpretation of the category, exploring how evolving political, ecological, and social issues motivate artists as they attempt to represent the world around them. Drawn from the Whitney’s collection, the exhibition features works from the 1960s to the present and is organized according to distinct thematic sections. Some of these coalesce around material and conceptual affinities: sculptural assemblages formed from locally sourced objects, ecofeminist approaches to land art, and the legacies of documentary landscape photography. Others are tied to specific geographies, such as the frenzied cityscape of modern New York or the experimental filmmaking scene of 1970s Los Angeles. Still others show how artists invent fantastic new worlds where humans, animals, and the land become one. Whether depicting the effects of industrialization on the environment, grappling with the impact of geopolitical borders, or proposing imagined spaces as a way of destabilizing the concept of a “natural” world, the works gathered here bring ideas of land and place into focus, foregrounding how we shape and are shaped by the spaces around us.

Featuring 25 site-specific, newly commissioned installations, Making Home—Smithsonian Design Triennial explores design’s role in shaping the physical and emotional realities of home across the United States, US Territories, and Tribal Nations. The exhibition is the seventh offering in the museum’s Design Triennial series, which was established in 2000 to address the most urgent topics of the time through the lens of design.

When Franz Kafka died of tuberculosis at the age of forty, in 1924, few could have predicted the influence his relatively small body of work would have on every realm of thought and creative endeavor over the course of the twentieth century and into the twenty-first. This exhibition will present, for the first time in the United States, the Bodleian Library’s extraordinary holdings of literary manuscripts, correspondence, diaries, and photographs related to Kafka, including the original manuscript of his novella The Metamorphosis. Other highlights include the manuscripts of his novels Amerika and The Castle; letters and postcards addressed to his favorite sister, Ottla; his personal diaries, in which he also composed fiction, including his literary breakthrough, the 1912 story “The Judgment”; and unique items such as his drawings, the notebooks he used when studying Hebrew, and family photographs. In addition to presenting unique literary and biographical material, the exhibition examines Kafka’s afterlife, from the complex journeys of his manuscripts, to the posthumous creation of a literary icon whose very name has become an adjective, to his immense influence on the worlds of literature, theater, dance, film, and the visual arts. Drawing on institutional holdings and private collections in the United States and Europe, the Morgan will show a selection of key works, among them Andy Warhol’s portrait of Kafka, part of his 1980 series Ten Portraits of Jews of the Twentieth Century.

Contemporary Black artist Trenton Doyle Hancock responds to the provocative images of twentieth-century Jewish painter Philip Guston A defining figure of the New York School, Philip Guston (1913–1980) frequently alluded to racism, antisemitism, and fascism in his work. In the 1960s and 1970s, Guston, who often grappled with his Jewish identity and assimilation into American culture, controversially portrayed himself as a cartoonish Klansman to deflate the power of the Klan’s hateful symbolism, as well as to acknowledge his own complicity in white supremacy. Trenton Doyle Hancock (b. 1974) is a leading contemporary artist who has looked to Guston as a source of inspiration for nearly three decades. In 2014 Hancock created a series of drawings that interweaves Guston’s biography, Hancock’s family history, and the history of lynching in Hancock’s hometown, and introduces Hancock’s avatar, a Black superhero named Torpedoboy who confronts Guston’s hooded alter ego. In bringing together these two trailblazing artists from different generations, this volume situates Guston’s and Hancock’s works in their social and political contexts and explores the way that art, activism, and humor can deepen our understanding of the Black and Jewish experiences in the United States. The book also features Hancock in conversation with curator Valerie Cassel Oliver and award-winning author and cartoonist Art Spiegelman.

Growing up in a religious environment, Ralph Lemon showed unique artistic creativity since childhood. In the early days of his career, he used painting as a source of expression. With his in-depth discovery of dance, he used movement as a means of physical expression. More than 60 works and six performances created across disciplines constitute Lemon's large-scale solo exhibition to reflect on the state of performance in museums, stages and daily life.