This spring, New York City is brimming with blockbuster exhibitions, from Raphael at The Met to the Whitney Biennial and the reopening of the New Museum. Amidst these major attractions, smaller galleries, independent art spaces, and lesser-known venues can easily be overlooked.
However, neglecting these smaller shows would be an oversight. New York’s vibrant art scene thrives on a continuous influx of new, experimental, and sometimes unconventional art that may not grace the halls of renowned institutions for years, if ever. Many of these exhibitions have short runs, lasting just a few weeks, presenting a challenge for editors but an opportunity for art enthusiasts.
We’ve curated a selection of standout exhibitions this month, ranging from an all-immigrant show in Queens to DAZE’s urban-inspired creations, and Naufus RamĂrez-Figueroa’s reimagining of a play once censored during Guatemala’s civil war. As Seph Rodney notes, these exhibitions capture the full spectrum of humanity. — Lisa Yin Zhang, associate editor
E. Jane: Cryptid or let the body be
Anonymous Gallery, 136 Baxter Street, Chinatown, Manhattan
Through April 10
E. Jane’s work often carries a literary quality, and in this exhibition, they explore this through images, video, vinyl text, and a silkscreened curtain. Their art plays with the viewer’s desire to understand an artist and their persona. The piece “For Aaliyah (I hope your spirit is free now)” (2023) exemplifies their abstract inclinations, while the video “Skinny Dipping” (2024) delves into emotional landscapes that challenge perceptions of Black femme artists in the United States. Jane teases the audience’s expectations, only to subvert them through complex, itinerant, and plural narratives. —Hrag Vartanian, editor-at-large
The Lost Beauty of Humankind: Robert Bergman’s Portraits in the Hill Collection
Hill Art Foundation, 239 Tenth Avenue, Third Floor, Chelsea
Through April 11
In a time where idealization and public approval are persistent, Robert Bergman’s close-up portraits of unusual human faces offer a refreshing perspective. Curated by David Levi Strauss, this exhibition pairs Bergman’s street photography with pre-modern European portraits, highlighting his intrigue with lives partially revealed through their faces. This collection offers a broad view of humanity, inviting viewers to see themselves reflected in these diverse visages. —Seph Rodney
Kamrooz Aram: Infrequencies
Alexander Gray Associates, 384 Broadway, Tribeca, Manhattan
Through April 11
Kamrooz Aram’s exhibition at Alexander Gray showcases his diverse artistic range. Known for his early psychedelic pieces, intricate cosmic drawings, and installations critiquing modernity’s portrayal of the “other,” Aram’s work is both conceptually rich and visually striking. This exhibition breathes new life into his art by drawing inspiration from Matisse, Gorky, and Fra Angelico, among others. Aram’s pieces are also featured in the Whitney Biennial, engaging in a dialogue with the museum’s curatorial practices. —Hrag Vartanian
Read Aruna D’Souza’s review
Pamela Sneed and Carlos Martiel: Sacred and Profane
Leslie-Lohman Museum of Art, 26 Wooster Street, Soho, Manhattan
Through April 12
In this exhibition, poet Pamela Sneed and performance artist Carlos Martiel delve into the hidden history of Black people on Fire Island. Sneed uses mixed-media collages and poetic texts to evoke this presence, while Martiel’s performance art confronts the risks associated with his body. In “Cuerpo” (2022), volunteers hold him aloft while a noose is tightened around his neck, symbolizing both vulnerability and resilience. —Seph Rodney
Judith Godwin: Flux and Form
Berry Campbell Gallery, 524 West 26th Street, Chelsea, Manhattan
Through April 18
Judith Godwin, “Moonlake” (1988) and “Feathered Arrow” (c. 1978) on view at Berry Campbell Gallery (photo Hrag Vartanian/Hyperallergic)
Judith Godwin’s work from the ’70s and ’80s is often labeled as Abstract Expressionist, but this exhibition argues for a reevaluation of this period as her most significant. Her canvases draw from Color Field painting, mid-century abstraction, and Pattern & Decoration, resulting in unique and dynamic compositions. Godwin’s willingness to incorporate unexpected elements, like textile fragments, is evident in pieces like “In Circle/Encircle” (1985). The exhibition will feature a performance by the Martha Graham Company on April 4, aligning dance with Godwin’s artistic vision. —Hrag Vartanian
Wendy Red Star: One Blue Bead
Sargent’s Daughters, 370 Broadway, Tribeca, Manhattan
Through April 18
Wendy Red Star’s latest installation at Sargent’s Daughters focuses on trade beads, creating large glass sculptures that celebrate a historically undervalued aesthetic. The exhibition resonates deeply with the Crow artist, challenging the legend of Manhattan’s purchase with beads from the Munsee tribe. Red Star creates her own narrative with watercolor and glass forms, offering a fresh perspective on this historical tale. Visitors can also pick up a specially created newspaper, One Blue Bead Exchange, for the exhibition. —Hrag Vartanian
The New Colossus
Lorimoto Gallery, 16-23 Hancock Street, Ridgewood, Queens
Through April 19
During a spring visit to Ridgewood, Queens, the Lorimoto Gallery captured my attention. New Colossus, inspired by Emma Lazarus’s poem on the Statue of Liberty, features works exclusively by immigrant artists. Highlights include Anam Rani’s graphite prayer rug and Cibele Vieira’s puppets made from her own clothes. Brazilian artist Vieira, along with gallery director Nao Matsumoto, curated the exhibition, earning well-deserved recognition for their efforts. —Hakim Bishara, editor-in-chief
American Modernist works from the Estate of a New York private collector
Schoelkopf Gallery, 390 Broadway, Tribeca, Manhattan
Through April 24
At Schoelkopf Gallery, a collection of four Marsden Hartley paintings offers a glimpse into the artist’s exploration of everyday objects, landscapes, and abstract forms. These pieces, drawn from private collections, showcase Hartley’s distinctive style. Alongside works by Stuart Davis, Milton Avery, Walt Kuhn, Edward Hopper, and Charles Demuth, this exhibition provides a rich tapestry of American modernist art. —Hrag Vartanian
Chris “Daze” Ellis: Orchid Rain on the Underground
PPOW, 392 Broadway, Tribeca, Manhattan
Through April 25
Chris “Daze” Ellis continues to captivate with his urban-inspired art, blending elements of aerosol culture with contemporary aesthetics. His installation “Soundtrack to the City” (2026) highlights cultural fusion, combining nostalgia with modern-day artistic expressions. The gallery will host a conversation between DAZE and Carlo McCormick on April 9, offering insights into the artist’s creative process. —Hrag Vartanian
Arleene Correa Valencia
Fridman Gallery, 169 Bowery, Lower East Side, Manhattan
Through May 2
In her exhibition at Fridman Gallery, Arleene Correa Valencia uses handmade amate paper from San Pablito, Mexico, to explore the complexities of Mexican immigrant life in the U.S. Collaborating with her father, the DACA recipient artist stitches textiles and paper to depict anonymous figures, highlighting the precarious existence of immigrants living on the fringes of society. —Seph Rodney
Nuits Balnéaires and François-Xavier Gbré: Latitudes
International Center of Photography, 84 Ludlow Street, Lower East Side, Manhattan
Through May 4
This compelling exhibition by two artists from CĂ´te d’Ivoire, commissioned by the Fondation d’entreprise Hermès, explores a unique intersection of design and photography. The installation features vibrant colors and dynamic compositions that evoke a sense of modernity and movement. —Hrag Vartanian
Eugène Atget: The Making of a Reputation
International Center of Photography, 84 Ludlow Street, Lower East Side, Manhattan
Through May 4
Eugène Atget’s sepia-toned photographs of Paris offer a window into a bygone era, capturing the city’s essence before modernity transformed it. Although Atget didn’t view his work as art, Berenice Abbott’s efforts elevated his photography to artistic status, preserving its historical and romantic charm. Julia Curl’s review provides further insights into this captivating exhibition. Read Julia Curl’s review
Margaret Curtis: ‘S
Post Times, 29 Henry Street, Lower East Side, Manhattan
Through May 17
Margaret Curtis’s paintings dissect the myth of the American West, intertwining symbols like revolvers and cowboy hats with fragmented images of people. Her work offers a critical analysis of rugged individualism and the heroic taming of the frontier. —Seph Rodney
RugLife
Pratt Manhattan Gallery, Greenwich Village, Manhattan
Through May 23
RugLife at Pratt Manhattan Gallery expands the boundaries of textiles as visual art. The exhibition includes Ali Cha’aban’s fusion of Superman comics with Persian rugs, Liselot Cobelens’s wool landscapes, and Sonya Clark’s “Comb Carpet” (2008) made from plastic combs. —Seph Rodney
Naufus RamĂrez-Figueroa: Lugar de Consuelo (Place of Solace)
Museum of Modern Art, 11 West 53rd Street, Midtown, Manhattan
Through May 25
Naufus RamĂrez-Figueroa’s installation at MoMA invokes a haunting memory with five suspended figures, representing characters from Hugo Carrillo’s censored play El CorazĂłn del espantapájaros (Heart of the Scarecrow). The exhibition includes drawings, etchings, and a performance developed with poet Wingston González, reflecting on censorship’s past and present impact. — Valentina Di Liscia, senior editor
