Chelsea: Second Round

Until the Moon Comes Over the Mountain presents a two-part exhibition across the FLAG Art Foundation in Manhattan and the Parrish Art Museum on Long Island's East End, united by Lawrence Weiner's 1994 text-based work as both title and touchstone. Bringing together pioneering land art figures alongside contemporary artists, the exhibition eschews monumental approaches in favor of diverse and intimate scales, examining personal and collective attachments to land through conceptualism, abstraction, documentary, and pictorial representation. Works by N. Dash and Lucy Skaer anchor Part I at FLAG, exploring landscape through multimedia sculpture that moves between the fixed and fluid, the synthetic and organic, the literal and abstract.

May 27 - Jul 31

Ryan Wallace: Second Skin presents paintings developed through Wallace's ongoing renegotiation of materials, compositional forms arising from the remnants of earlier works. The verso becomes as compelling as the face; unresolved works are resurrected; excised components are reapplied with renewed intent. Fiberglass sheeting — translucent as skin — forms new planes to cover and cut into, blurring the line between front and back, public and private. Oil, enamel, acrylic, aluminum, copper, linen, canvas, and fiberglass introduce textural presence across formally resonant surfaces where line, shape, and geometric motifs repeat with lyrical intent. The exhibition takes its title from a song on The Chameleons' 1983 debut album — described by Wallace as "ethereal and familiar and abstract and desolate and raw, but beautiful and melodic."

Jun 11 - Sep 4

Helen Marden’s Interlude of Joy presents new abstract paintings, triptychs, and watercolors, her largest works to date. Using acrylic, resin, powdered pigment, and found natural objects such as shells and feathers, Marden creates luminous compositions inspired by travel, nature, and memory. The exhibition celebrates over four decades of her expressive, color-driven practice.

Jul 14 - Aug 21

For it is our battle brings together women artists across generations whose works examine the female body as a site of identity, power, and political struggle. Anchored by Nancy Spero’s rarely exhibited This Womb… (1985), the exhibition explores reproductive rights, bodily autonomy, representation, and gendered violence through painting, sculpture, photography, textiles, and installation.

Jul 9 - Aug 14

A group exhibition at Gladstone's 24th Street space, June 24 – August 8, 2026, organized by Alissa Bennett and Julian Ehrlich. Taking its theme from Edith Wharton's 'The House of the Dead Hand' and Balzac's 'The Unknown Masterpiece,' stories of artworks hidden from view, the show gathers over 30 artists—including Weegee, Huguette Clark, Joseph Cornell, Vivian Maier, Alex Katz, and David Hammons—to ask whether fully apprehending art is itself a form of vandalism.

Jun 24 - Aug 8

Emily Kam Kngwarray: The Turning Season surveys the career of the Anmatyerr Elder and custodian of Alhalker, from batik works of the early 1980s through her final canvases of the mid-1990s. Rooted in the Dreaming — a lived worldview in which ancestral creation stories animate land, people, and time — Kngwarray's paintings embody rather than depict the rhythms of her Country. The rhizomatic paths of the pencil yam, whose seeds give the artist her middle name, animate her iconic dot compositions; colors shift with the seasons, subdued in dry periods and vivid after rain. In fewer than a decade of painting on canvas, she produced some 3,000 works.

May 14 - Aug 14