Best of Brooklyn and Queens

Mineral Meridian presents paintings by Heath Wae centered on magnified orchids rendered in soft, atmospheric color. Distorted scale, blurred edges, and immersive surfaces shift attention from botanical description toward sensory experience. Using hand-foraged pigments such as minerals, resins, and plant materials, Wae emphasizes the living histories within his materials. The works invite viewers to reconsider plants as active presences, highlighting human entanglement with natural systems.

Apr 2 - May 30

Kat Howard: Mother centers on two large-scale sculptures that draw on the folk practice of "telling it to the bees" — the tradition of confiding grief and transformation to beehives, understood as liminal vessels between the living and the dead. Handmade from nylon stockings and straw, their mouths dipped in beeswax, the forms evoke the hive through smell as much as sight. Echoing the Willendorf Venus, they suggest bodies, matriarchs, and communities of women — carrying trauma externalized at colossal scale, with the hive's capacity to fracture and regenerate intact.

Apr 2 - May 30

Sheila Pinkel: Early Works, 1974–1977 presents twelve cyanotypes shown for the first time, revealing the experimental foundations of Pinkel's investigation of light, form, and materiality. Body prints made with the sun as light source produce surrealist figures that float, contort, and multiply; other works layer objects and photographic images onto cyanotype emulsion approached like pigment; and early incorporations of computer-generated imagery — a largely uncharted move at the time — weave digital forms alongside analog elements. Marilyn Monroe surfaces unbidden within one work, spectral and digitized. Across all twelve, the tension between analog and emergent digital, body and object, holds the exhibition together.

Apr 22 - Jun 13

Anna Ting Möller: BAD CARE takes its title from the Swedish word for bathtub — badkar — as a site for contemplating caregiving structures, reproductive logics, and the continual labor of suturing the self. The central sculpture In Tandem suspends two abstracted, fleshy forms covered in SCOBY — a living kombucha culture gifted to Möller in China in 2015 — within a misting system that keeps it continually alive. The SCOBY, itself called a "mother," becomes a feral living archive that complicates biological origin, offering instead a communal, shareable form of kinship. A three-channel video essay chronicles Möller's travels through China, layering English, Swedish, and Chinese into a multivocal meditation on diasporic selfhood and the pursuit of connection.

May 2 - May 31

Why… Yes It is A Move Show: Rich Jacobs With Some Friends is an iteration of Rich’s final exhibition, which includes the last body of work he created from his hospital bed, along with a. group show featuring some of his artist friends. It was exhibited at SWIM Gallery in San Francisco this past December, sadly just weeks after he passed away following a battle with leukemia. This exhibition at Halsey McKay includes Rich’s remaining works, along with many of the artists who participated in the friends portion of that show. Rich had expressed me his desire to have a show in New York next, after San Francisco. He really wanted everyone – his friends colleagues, supporters, admirers, and the general public in New York to have the opportunity to see this work; it was profoundly important to him.

May 9 - Jun 9

Puddles into Pond is an exhibition by CFGNY, a collective formed by Daniel Chew, Ten Izu, and Tin Nguyen. Drawing from the legacy of the No Name Painting Association, the exhibition considers collective practice under constraint. An artificial landscape, ceramic vessels by invited collaborators, and water clocks explore shared labor, durational time, and provisional forms of collectivity.

Mar 19 - Aug 16

I Happen to Be Rock presents the culminating work of seven Cornell MFA candidates — Marissa Cote, Michael Morgan, Sheila Novak, Onome Olotu, Faye Pamintuan, Carla Rangel García, and Yun Hsiang Wang — across painting, sculpture, printmaking, installation, writing, and expanded material practices. The title evokes contingency and endurance: something accidental and elemental, formed under pressure. Across distinct practices in dynamic conversation, the exhibition moves through questions of identity, collectivity, visibility, repair, queer construction, and memory — insisting on persistence, relation, transformation, and becoming.

May 8 - May 31

Fire Island Sun centers on Chris Bogia's fifteen-year relationship with Fire Island—exploring its landscape, architecture, and LGBTQ+ cultural history through a material language that brings together both familiar and newly developed techniques. A six-foot yarn-and-wood mandala anchors the show, radiating in vibrant oranges and pinks. Boardwalk Compositions meander across the walls, built from reclaimed Cherry Grove planks and embellished with cast bronze push-pins, monarch wings, and ceramic snakes. The exhibition is Bogia’s love letter to a place of refuge, creative exchange, and community.

May 9 - Jun 27

May 9 - Jun 27

Soul Sessions is an exhibition surveying the career of Akinsanya Kambon, tracing his practice across ceramics, painting, drawing, and archival materials. The exhibition spans two galleries: SculptureCenter and CARA. At SculptureCenter, Soul Sessions focuses on Kambon's figurative ceramics, depicting African mythologies, deities, historical figures, and events tied to legacies of violence and resistance across the United States, the African diaspora, and colonial and neo-colonial Africa—ranging from free-standing figures and vessels to wall-mounted reliefs. His use of the unpredictable Japanese raku technique, adapted with eucalyptus leaves and sawdust, imbues the sculptures with spiritual essence and a singular metallic sheen.

May 27 - Aug 16