Third pass through the same ten blocks — the galleries you walk past on the way to the famous ones, and shouldn't.
Karma, 549 West 26th Street
Since the mid-1960s, when he first began painting abstractly, Peter Bradley has treated color as a portal—an aperture onto another realm or a threshold to the sensorial. Made six decades later, the paintings in Burning On extend his pursuit of the ineffable while responding to the hues and vicissitudes of his surroundings. Pouring acrylic directly onto canvases laid flat on the ground, Bradley lets his compositions evolve organically. His forms are at turns liquid, translucent, and eddying, and at others crystallize into topographies. This suite of paintings extends his distinct visual language into vivid new terrain.
Jul 9 - Aug 28
Lisson, 504 W 24th Street
Huguette Caland: My Home charts five decades of Caland's practice across Beirut, Paris, and Los Angeles, tracing a career defined by displacement and liberation. From early color-field abstractions to the erotically charged Bribes de corps series, through encoded Silent Letters and late Rossinantes sculptures, Caland consistently rendered the body as both intimate terrain and cartographic field. As curator Tarini Malik writes, "home was a rendering and a reflection of the self" — a conviction that animates every turn in this groundbreaking, continent-spanning practice.
May 13 - Jul 25
Paula Cooper, 534 W 21st Street
John Gast's 1872 painting American Progress depicts a colossal woman striding westward as Indigenous people flee. Liz Glynn's response—a disembodied copper dress, hyper-reflective and hollow—is currently on view in Paula Cooper Gallery's vitrine. The dress is a shell of ideas that no longer hold weight. "It's just a story," Glynn says, "and it's in decline." On view during the United States' 250th anniversary, the timing is its own argument.
Jun 22 - Jul 31
Bowery
Bowery Gallery presents Daphne Minkoff: We Carry It With Us, paintings and collages exploring place and emotional experience. Working from photographs of transitional structures — boarded-up homes, abandoned buildings — Minkoff layers Xerox transfers, painted paper, and oil paint to build surfaces that reveal and conceal. Developed during personal loss, the work draws on time in Montgomery, Alabama, and embeds fragments of her grandfather's WWII letters, connecting private memory to broader histories. Collages on birch board, constructed from hand-painted paper, feel provisional and portrait-like against bare wood.
Jul 7 - Jul 25
Fredericks & Freiser
Fredericks & Freiser presents Roller Rink (June 18–July 31, 2026), a summer group exhibition bringing together more than thirty artists across generations, including John Wesley, Gary Panter, Robert Overby, David Humphrey, Mary Reid Kelley, Cristina De Miguel, Danielle Roberts, Lamar Peterson, Katelyn Ledford, Maud Madson, Brad Phillips, Tom Trosch, and Zak Smith, alongside younger voices such as Anna Kenneally, Amelie Peace, Anastasya Pena, Marika Thunder, and Jesse Zuo.
Jun 18 - Jul 31
