5 Standout New York Exhibitions to See This March
Here, we share a roundup of notable shows to see in New York this March, chosen by Artsy Editors.
Derrick Adams at Luxembourg & Dayan
Through April 20th
64 East 77th Street
And do it out he’s done. On the entry level, the wallpapering suggests a fireplace with two statuettes on top: one resembling a black power fist, the other conveying hands pressed in prayer. On another level, you’ll find a faux kitchen, decked out with real recipes taped to the fake wooden cabinets: Patti LaBelle’s Sweet Potato Pie, Bobby Seale’s Spicy Chicken Barbecue, and more. The exhibition interrogates sartorial, culinary, and architectural influences on design and style. In all, it’s a colorful journey into an imaginary domestic realm. (Adams’s work is also on view at Mary Boone Gallery, 745 Fifth Avenue, March 7th–April 27th.)
Charlotte Posenenske at Dia Beacon
March 8th–September 9th
3 Beekman Street, Beacon, New York
In contrast to much galvanized steel structures are almost comical. Installed in the solemn, light-filled galleries of Dia Beacon, they look like misshapen air ducts plunked on the wood-slatted floor. Full of slants, bends, and obvious seams, they offer character-filled alternatives to the pristine, simple constructions of the
Posenenske has a compelling backstory, too. She was born in Germany in 1930 and went into hiding to avoid the Nazis. She did not escape the Holocaust unscathed, though—her father committed suicide when she was a child. Throughout the 1950s, Posenenske focused on making accessible, politically responsible art. Anyone who bought her steel or cardboard structures could choose how to assemble the individual pieces.
Artmaking, however, proved unsatisfying for her progressive ambitions. In 1968, Posenenske quit her practice to become a sociologist. She died young, at age 54 (of cancer), and curators are just beginning to re-insert her name into the art historical canon. The Dia exhibition proves she’s a crucial addition to the minimalist legacy.
Nari Ward at the New Museum
Through May 26th
Amazing Grace (1993) is one of the most moving installations on view in New York right now. Walking into a dimly lit room, the viewer encounters hundreds of used strollers, situated around fire hoses laid side by side on the floor. The titular hymn fills the room, enhancing the theatricality and gravity of the piece. Even without knowing the artist’s intent, the work conveys a haunting sense of loss as it evokes that famed, six-word Ernest Hemingway story: “For sale: baby shoes, never worn.”
In fact, the Jamaica-born, New York–based Ward found all the strollers abandoned in Harlem during a 1993 residency at the Studio Museum. The locally sourced, sullied symbols of innocence suggest the city’s ongoing contention with AIDS, drugs, and homelessness. If Amazing Grace is a highlight, it’s just one of many outstanding multimedia pieces in the artist’s solo exhibition. Hunger Cradle (1993) consists of a network of yarn, rope, and found materials that weave above the viewer’s head like a tangled web of domestic objects. Ward may be best known for scavenging materials from shopping carts to codfish, and his ability to turn trash into veritable treasure is a very special brand of alchemy.
David Byrd at White Columns
Through March 9th
91 Horatio Street
The quiet tones and pared-down compositions of
A particularly moving title, Patient Expiring (1972), leaves the viewer wondering: breathing or dying? In the composition, a figure lies in a blue-blanketed bed with a bent knee. In the open, light-filled doorway, an orderly’s hands appear, making a checkmark on a clipboard. It is, perhaps, a parable of the artist’s work—peering at the shapes of life and death and bringing them into the light via gesture. Byrd received only one show in his lifetime, at Seattle’s Greg Kucera Gallery in 2012. White Columns is showing a small but excellent selection of the art trove he left behind. (Anton Kern Gallery is also showing Byrd’s work at 16 East 55th Street through March 9th.)
Judith Linhares at P.P.O.W
Through March 16th
535 West 22nd Street
The first line of bio on her website reads: “Judith Linhares came of age in the socially turbulent ‘take-it-to-the-streets’ days of feminism, underground comics, and poetic reverie in Northern California.” Psychedelic shades still infuse the painter’s recent work, though she’s now living in Brooklyn. Her presentation at P.P.O.W shines with magenta and goldenrod, emerald and chartreuse. And the figures are no less colorful: Nude women gnaw on chicken wings, ride a horse, and lounge on craggy rocks beneath a lion.
Plants and animals abound, though in a decidedly expressionistic, unnatural manner. One painting, which features a crazed, cartoonish dog with pointy ears and a lolling tongue, earns its title, Rave (2018). Like contemporary painters
Alina Cohen is a Staff Writer at Artsy.