#the-hole-gallery

#the-hole-gallery

Carter Shocket stated, 'They kind of felt like they happened and then they were over, like it wasn't a long-lasting kind of project. It was just a flash-in-the-pan kind of thing.'

In SoHo, people are always waiting in line for something, whether that's the latest sneaker drop or a croissant-donut hybrid. There's a palpable enthusiasm for the Next Big Thing.

"Cinematic Immunity" offers a workers'-eye view of Hollywood on the Hudson, revealing the intricate dynamics of filmmaking in New York City from 1954 to 9/11.

Pictoplasma is the world's leading conference on contemporary character-driven creativity, focusing on storytelling and how characters shape emotion, identity, and meaning.

KAWS has shown an uncanny ability to connect with a wide variety of people. Younger buyers clamor for his $50 Uniqlo T-shirts, while trophy-hunting collectors shell out millions for paintings.

Aliza Nisenbaum's vibrant portraiture portrays her subjects in bold chromatics, echoing her larger project, a celebratory mural for the Obama Presidential Center.

A new report found that museums and cultural centers founded and led by people of color in the Northeast face severe staffing shortages, with over a third of responding institutions lacking a single full-time employee.

Kamrooz Aram is everywhere this year, from Mumbai Art Week to the Whitney Biennial, and critic Aruna D'Souza is grateful. She pens a beautiful meditation on his work, reading his abstract paintings as not simply a denunciation of Western modernism nor a reassertion of Islamic visual motifs, but something else entirely - something gestural, exuberant, riotous, and incomparably his own.

"These works are an exploration of the human body's elasticity and capacity to metamorphose. Informed by my own experience of pregnancy and the birth of my first child last year, these paintings are a meditation on physiological transformation and the body's underlying animalistic and mammalian nature."

Opening April 10, Keith Haring: On the Street marks the first time his painted 1963 Buick Special and 1983 Range Rover will be shown together in Manhattan.

Hong Kong's particular and seductive Metabolist city planning is an ode to consumption as a great totalizer of culture, and to contemporary art as merely a niche commodity form among many others.

The 2026 Whitney Biennial opened at the beginning of the month, providing a snapshot of current trends and curatorial interests in the art world.

The new New Museum is many things: contemporary, perhaps, but also a science, history, anthropology, and many other museums in one. It echoes the desire of its patron class to own the world and its affiliated courtier class to deliver it to them on a silver platter, or encased in perforated metal, in this case.

Dealers like artists with established sales records because it lowers their already considerable financial exposure. Renting a gallery space in Tribeca costs anywhere between $8,000-30,000 a month on top of staff, marketing, and daily operations. With that kind of overhead, very few business owners can afford to take on the financial risk of untested artists.

On Franklin Street in Brooklyn's Greenpoint neighborhood, one non-commercial gallery fosters 'a small, stubbornly human space for friction.' Friction—the ubiquitous buzzword that captures the simultaneous delight and discomfort of doing things the slow way—is at the heart of artists Pap Souleye Fall and Char Jeré's current show at Subtitled NYC. It also reflects the overall spirit of this little exhibition space and of a burgeoning movement to reject our culture of optimization in favor of a bumpier, more intimate, less alienating experience.

With 70-plus shows, it's all you need to know about the major art happenings of the season. There's something in it for everyone, from the ancient to the futuristic. Above all, this is a love letter to our city, where art never sleeps.