Friday, September 4, 2026

Oasis of No(guchi)

Subconsciously, I guess I'm playing catch-up, visiting the Frick for the first time in May and the Noguchi Museum today. I'd been curious about the out-of-the-way place since occasionally taking lunch-hour walks past it when I worked in Long Island City.  The NYC Ferry to Astoria provides the easiest access from Upper Manhattan, and lovely views to boot in both directions.

"Yellow Landscape" (1943)
Free Fridays the first of the month and an exhibit about the sculptor's relationship with New York City got me in the fairly nondescript front door.  Would you believe that the museum provided umbrellas and water bottles for the mostly young crowd who had lined up in the late-afternoon sun?  In Japan, they call that omotenashi.


In 1961, Isamu Noguchi established a studio half an hour north of what was then called the 59th Street Bridge, eventually buying property in the industrial neighborhood that included an abandoned factory which he used to make and warehouse his art.  This semi-outdoor gallery used to be a gas station. 


The museum and its adjacent garden opened to the public on a seasonal basis in 1985, while Noguchi was still alive; after renovations were completed in 2004, it became year-round and one of New York City's best-kept secrets.  Social media may have changed that.

"Narrow Gate" (1981)
"The Well" (top, 1982)
"The Big Bang" (1978)
"Unmei" (1972)
Being born a Japanese-American early in the 20th century--particularly to literary parents with a complicated relationship in Los Angeles--can't have been easy. After spending most of his childhood in Japan, Noguchi returned to the United States to study, enrolling at Columbia University as a pre-med student.  His artistic ambitions had been thwarted by an internship with the sculptor who went on to supervise the construction Mount Rushmore.  

"To Bring To Life" (1979)
But with encouragement from people he met in New York, including a bacteriologist and a dancer, both Japanese, and his mother, he dropped out of college and began taking classes at the Leonardo da Vinci Art School.  He also trained with European sculptors, including Constantin Brâncuși in Paris, and traveled the world for nearly a decade but found that there was no market for his abstract work, particularly during the Great Depression. 

"The Mountain" (1984)
Noguchi had just turned 37 when the Japanese bombed Pearl Harbor but his official residency in New York spared him from being sent to an interment camp like other Californian Nisei (North and South Americans with at least one parent who had immigrated from Japan). Instead, he formed a group of writers and artists to advocate on their behalf as patriotic citizens.  

"Sun At Midnight" (1973)
Noguchi also briefly served as an arts and crafts instructor at an interment camp in Arizona where administrators ignored his designs to make the place more livable, a barrier he would face throughout his career.  

Vertical View (1973)
The federal government later accused him of being a spy as a result of his advocacy; if not for ACLU intervention, he would have been deported. 

"The Roar" (1966)
After World War II, Noguchi hit pay dirt with furniture and lighting design.  In 1952, he also submitted a parabolic design to memorialize the Japanese civilians killed when the Americans dropped nuclear bombs in a show of uniquely destructive force.  


Only the arch would have been aboveground.  He extended the legs of the parabola below the earth, with a depository for the ashes of the dead and a contemplation chamber located between them. His American blood made it a difficult sell. Three decades later, Noguchi tweaked the original concept to become a monument protesting nuclear weapons in Washington, DC but it never gained traction then, either.  I suspect the bombings of Hiroshima and Nagasaki may have had an impact on my own family, but as they say in the recovery community, "Denial isn't just a river in Egypt."  


"Memorial to the Dead, Hiroshima" (model, 1982)
Fortune, however, did favor the sculptor later in the decade when he became the first solo artist to represent the U.S. at the 1986 Venice Biennale.  "Slide Mantra," the ten-foot tall centerpiece (and one of Noguchi's last major works), exemplified his conviction that play was as important to humanity as art. 


A slide show documents the on-site assembly of the pre-fabricated marble sculpture delivered by boat in eight pieces.  It weighed 20,000 pounds and was later moved to Miami's recently renovated Bayfront Park, home to two other Noguchi sculptures, including the Challenger Memorial which was dedicated in early 1989, a few weeks after his death at the age of 84.  I'm definitely scheduling a Folly Chariot field trip this winter!


However, Noguchi's work at the Biennale, his first major European exhibition, wasn't universally acclaimed because he insisted on including his Akari light sculptures.  Like his iconic table, they had been (and remain) commercial juggernauts.  They also comprise a beautiful display in the gift shop.  Noguchi's reluctance to make fussy distinctions among design, craft and "art" may have cost him the Golden Lion Prize at the Biennale but income from their sale have helped sustain his legacy by robustly funding his museum.


Portrait busts were Noguchi's bread and butter during his early years.  Prior to 1950, when he stopped making them entirely, he had sculpted more than a hundred with extraordinary variation in material. Michio Itō is the Japanese dancer who encouraged him to become an artist.

(1926)
Noguchi collaborated with Buckminster Fuller on the shape of the Dymaxion car

(1929)
. . . which, when completed, he drove on an extended road trip in Connecticut with Clare Booth Luce.

(1933)
It can't be said that José Clemente Orozco, the Mexican muralist, was a looker.

(1931)
Although I didn't notice Noguchi's iconic coffee table on display, his chess table (rear) is similar.  

"Time Lock" (1944-45)
I like the brightly colored pieces even more.



Aside from "Yellow Landscape" (at the top of this entry), "Noguchi's New York" was less impressive in the context of the entire collection, perhaps because so few of his proposed projects--including three playgrounds blackballed by Robert Moses--actually came to fruition.


But modern dance pioneer Martha Graham (whom he also sculpted), asked him to design the sets for the 1962 premiere of "Phaedra."


And the temporary exhibit did teach me that Noguchi felt that his primary self-identification was as strong as mine.

I'm really a New Yorker . . . There's no way out but to say that I'm just a New Yorker, not Japanese, not a citizen of the world.  Just a New Yorker who goes wandering around like many New Yorkers, and like a lot of New Yorkers, I was one of those bitten by some kind of an idealism . . .

Maiastra (1971)
 

Gloria Steinem (1934 - 2026)

Gloria Steinem with Dorothy Pitman Hughes 
(photo by Dan Wynn, ca 1972)

Here's the thing I admired most about Gloria Steinem, something I picked up from Julie Taymor's incredible (and underrated) bio pic, The Glorias:  women's liberation wasn't all about her, even though she served as its mediagenic lightning rod for nearly as long as I've been alive.  

In India, after fleeing first from an engagement and then an abortion, Steinem acquired a critical skill rare among male leaders, learning to listen to others and doing everything in her power to ensure their voices were heard, too.  The original riot grrl with a phantom Bunny tail, center-parted hair and aviator glasses, she embraced both the Black Power movement and what another feminist derisively called "the lavender menace."  

Steinem was Ms. DEI long before it had a name.  Although her grief and dread on November 6, 2024 must have been incalculable, I hope she took some consolation from being on the right side of history for most of her life, so capacious that it took two Oscar-winning actresses to portray her in the same movie!




Monday, August 31, 2026

The Winner (3*)


Tennis, the most solo of professional sports, has been Connor O'Toole's ladder to date out of working-class Yonkers.  With the support and old-fashioned-but-wise counsel of a generous mentor who disdains flash, it's already earned him a college scholarship and the knowledge that "he was lucky in the ways that mattered most." We meet Connor during the covid 19 pandemic, shortly after he's graduated from New York Law School with $144,000 in student loans and a widowed, diabetic mother who's just lost her job and her health insurance.  

But things are looking up, at least temporarily:  he's been offered summer lodging in a gated beach community for the one-percent off the coast of Massachusetts in return for giving tennis lessons to the owner of the cottage where he will reside.  John Price, a successful Ivy League lawyer, has sweetened the deal by promising to pitch Connor as a tennis pro (he's not) and help him recruit paying clients from people with the same access code. These include Catherine Havemeyer, a divorced "rentier" as horny as she is demanding.  For readers of my generation, she recalls Mrs. Robinson even before it's revealed she has a lovely daughter, Emily, who aspires to become a (bad) novelist and give away all her mother's money after mom pays her overdue $7,000 monthly rent for an off-season apartment in Brooklyn.

Author Teddy Wayne volleys the tennis metaphor to great effect in articulating what has turned Connor, a self-described "pusher," into The Winner with a chip on his shoulder that's about to get a lot bigger.

In this expensive, gentlemanly sport, Conor had developed a vision of himself as a scrappy grinder who had blazed an unheralded path to success. The rich boys he’d squared off against in college, like the suburbanites he’d played in high school from Bronxville and Scarsdale, were soft and entitled, and if victory didn’t come easily, if they saw they couldn’t close out points within four shots, if they thought they were getting screwed by the umpire, or balls skimming the net kept unluckily dropping on their side, or they were simply worn out from three arduous sets against a guy who hustled to return every goddamn shot and they just wanted to go back to the frat house and pound beers, they either waved a subconscious white flag or very consciously tanked the match (while hurling their $250 racquets in disgust at losing to a fucking pusher from Yonkers).

But it doesn't take much more than his first outdoor shower with a view of the ocean for Connor to fall in love with the fictional Cutter's Neck, and he soon decides that sex with either Havemeyer is more remunerative than sleeping with a townie, after she and her friends join him for a midnight swim at a an absent neighbor's infinity pool that puts him under suspicion for robbery. Connor is neither fish nor fowl at this early stage, but as what first seems to be a juicy romp about class and ethics morphs into a tedious master class in self-justification and cover-up, he definitely becomes the latter.  

It's the new American way in the increasingly amoral Trump era.

What They Said: August 2026


“When there are political problems, Morocco opens the doors and tells us to go,” said 24-year-old Ajoub el-Arrot, one of 50,000 migrants who crossed the border into a small Spanish town in less than 48 hours, seeking a better life in Europe.  

“I watch the History Channel like most guys watch Pornhub,” Bill Maher, winner of the 2026 Mark Twain Prize for American Humor, said.  (New York Times, August 2)

*  *  *  *  *

“A lot of our churches are turning into beautiful museums,” said Justin Lester,  pastor of San Francisco's Friendship Baptist Church, who created an AI duplicate of himself. “We’re living in the future, whether we like it or not. We can’t afford to sit this one out.”  

“I always said that there is no moral test to be in the Portrait Gallery,” said Kim Sajet, former director of the Smithsonian museum. 

“Some of the themes in Brand New Day [the latest Spiderman film which greatly exceeded box office expectations on opening weekend] that stoke Gen Z include mental health challenges, loneliness and being unseen by the ones you love,” said Greg Durkin, the founder of Enact Insight, an entertainment research firm. (New York Times, August 3)

*  *  *  *  *

“It’s the visible lack of [immigration] control that’s the problem,” said Sunder Katwala, the director of British Future, a London institute that focuses on integration and identity. “That will resonate with the core audience of the populist parties.”  (New York Times, August 4)

*  *  *  *  *

“It’s a currency where you have no instinct to know what you’re using, and the accounting practices aren’t even there for it,” said Howard Rubin, an economist who advises companies on technology spending. “The A.I. stuff is being treated as an investment right now, but it’s a risky investment in case it has no return.”  

“In many ways, Trump represents the epitome of America’s frustrations with Iran,” said Kenneth Pollack, a former C.I.A. analyst and National Security Council official who has studied the country for decades. “He has been both the most desirous of making a deal with Iran, and the one who used the most force against it. He has found that neither got him what he wanted.”

“Twenty is plenty for urban streets, whether you’re on a bike or driving an S.U.V.,” said Ben Furnas, the executive director of Transportation Alternatives, a safe-streets advocacy group.   (New York Times, August 5)

*  *  *  *  *

“People have been telling us that some of the bears are not spending as much, because they’re trying to lose weight,” said Steve August, a visitor to Provincetown during "Bear Week"--and the Ozempic era. “We have a friend who has a cupcake shop and they are ordering the small cupcakes and not the big cupcakes.”  (New York Times, August 5)

*  *  *  *  *

“Is there some cultural change in the way people are parenting?” asked Lawrence Katz, a labor economist at Harvard, referring to college graduates who are returning home in greater numbers after graduation. “You see kids today and the degree to which they’re interacting with parents, that’s completely different than the world of 50 years ago, 25 years ago.” 

“I’m afraid that this kind of woman [Martha Stewart, Liza Minnelli, Isabella Rossellini and Marlene Dietrich] doesn’t exist anymore,” the actress Greta Lee said.  “It’s this very strong presence and force that is really unburdened by the considerations of social media and these sort of more earthly concerns of the internet.”  (New York Times, August 9)

*  *  *  *  *

“She’s happy, you can tell,” said Zane Kesey, 65, son of Ken, whose Day-Glo-painted Merry Prankster bus will return to San Francisco for the first time since 1969 for exhibition in Golden Gate Park.  “She’s thrilled to have people talking about her, paying attention to her and all that she meant.”  

“I can tell you as someone who has frequently had Black mayors on my show, it is rare for non-Black American mayors to want to be this vocal in communicating with Black-owned media,” said Roland Martin, a political commentator who hosted Mayor Zohran Mamdani on his YouTube channel more than once.  

“I have been following traffic to Truth Social for years, and I am really struck by the steepness of the plunge [36% fewer monthly visitors this year compared to last year],” said Howard Polskin, who publishes a newsletter which tracks the right-wing news media. “When you think of how much Trump uses Truth Social as a megaphone you would think the numbers would be skyrocketing.”  

“It’s the classic generational reaction: If your boss comes in wearing sneakers, the natural reaction is to do something different,” said Ben Kriz, a men’s fashion writer who has begun wearing loafers to work, like many of his peers. “It’s like what happened with jeans.”  (New York Times, August 11)

*  *  *  *  *

“Now real life isn’t a movie, but given the circumstances, I’m not sure I could ever script a moment like that for a heroic main character,” Hollywood screenwriter Andrew W. Marlow said about the recent use of Air Force One as a decoy for President Trump by the Secret Service on a flight from Ankara to London. “If the threat were that great, it’s hard to imagine the audience rooting for any character who would trade his own safety by treating the remaining civilians onboard as potential sacrificial lambs, especially without their informed consent.”   

“We’re not allowing children to learn that they’re both physically and psychologically tough,” said Peter Gray, a research professor of psychology and neuroscience at Boston College and the author of the forthcoming book, Restoring Childhood: How to Set Kids Free in the Age of Anxiety. “We assume they’re fragile and it becomes a self-fulfilling prophecy,” he said.  (New York Times, August 13)

*  *  *  *  *

“All the single left-wing men in this city are about to line up nightly for dinner in her district until [Alexndria Ocasio-Cortez]  picks one like the suitors in The OdysseyAsad Dandia, a Brooklyn-based community organizer, wrote on X, after it was revealed the New York City Congressional representative was now single.  (New York Times, August 14)

*  *  *  *  *

“That’s what it is to be a Jew, in some ways,” said Henry Stern, a California state senator who introduced a bill that would include an optional box for Jewish ethnicity on all demographic data forms, from college applications to public assistance programs. “Being really comfortable with tension, and being comfortable with paradoxes, and understanding that we’re a people, we’re a nation, we’re an ethnicity, we are a religion, too. We don’t fit naturally. And that’s why we’re such a pain.”  (New York Times, August 15)

*  *  *  *  *

“The canal stands as one of my proudest battles, no question, but greatness is a strange thing,” an A.I. Teddy Roosevelt responded at the new presidential library in North Dakota's Badlands when asked by President Trump at its opening if the Panama Canal was his greatest achievement. “I measure my greatest work by the lives improved, parks set aside, food and drugs made safe, the square deal given to all, not just to a few.”  

“In the car with my mother as a child, this lady [Shania Twain] taught me to sing. She also taught me that men are trash,” Harry Styles told the crowd at Coachella before introducing her during his 2022 set.  (New York Times, August 16)

*  *  *  *  *

“[New York Harbor has] become a free-for-all,” said Roland Rexha, secretary-treasurer of the Marine Engineers Beneficial Association, an international union. "You have everything from bootleg mariners to jet skis and people in canoes out there cutting in front of the Staten Island Ferry. And they just don’t realize that the ferry is not a car that can just stop on a dime.”  (New York Times, August 17)

*  *  *  *  *

“She just couldn’t believe it that there were these stuffy Washington wives who were denying artistic freedom to musicians,” Rage-Against-the-Machine frontman Thom Morello said of his mother, Mary, who founded Parents for Rock and Rap in 1987. “When I was growing up, there was a lot of Kiss and Alice Cooper being played in the house, and she realized that it was not corrupting my soul.”  (New York Times, August 18)

*  *  *  *  *

"We teachers must remain students — and model what we want to see," writes Matt Dinan, the director of the great books program at St. Thomas University in New Brunswick. We need to recover the passion that drove us to our books, to the lab. We need to embody love of learning for its own sake against the pervasive message that higher education should be vocational, and we need to clarify the basic questions that make our subjects worth studying.  (New York Times, August 19)

*  *  *  *  *

“Memory fades after three generations,” said Thomas Bagger, the German ambassador to Italy. “Even the Holocaust does not resonate as it once did, and nor does the imperative of integration in Europe.” 

“If the next couple of years are dry, the risk to Colorado River water users is extraordinary,” said Jennifer Pitt, who directs the Colorado River Program at the National Audubon Society. “There is no buffer to rely on anymore.”  

“What [Henry] Flagler did with a raw landscape 100 years ago, [developer Stephen] Ross is trying to do with a raw, largely undeveloped business landscape [in West Palm Beach],” said Lester Standiford, a professor at Florida International University.  “I see him engaged in an equal kind of pioneering effort.”

“There has always been this aura here, this magical thinking,” said Leo Braudy, a Los Angeles cultural historian and the author of The Frenzy of Renown: Fame and Its History. “Everybody thinks, ‘I’m beautiful,’ or ‘I’m handsome.’ Everybody thinks, ‘If those people can make it in Hollywood, so can I.’”(New York Times, August 23)

*  *  *  *  *

“[The data center issue] absolutely shakes up the snow globe on the partisan coalitions in a part of the world where Republicans have been dominant,” said Zac McCrary, a Democratic pollster. “It’s one of the few issues today that does not immediately code as red or blue, left or right.”  

“Every candidate in 2028 will have their own cooked poll factory,” said Lis Smith, a Democratic strategist. “Polls now are not just a way of measuring the horse race. It’s a way for candidates and their allies to influence the horse race.”

“The point of life, I think, is to make the world better for your family, your community, for humanity,” said Ezekiel Emanuel, MD who served as a health policy adviser in the Obama administration and is a critic of the modern wellness industry. “We’re here for a short time, and it’s not all about us.”  (New York Times, August 24)

*  *  *  *  *

"French, in Canada, is not a business matter," writes Stephen Marche.  "Its place in our nation transcends absolutely any market-based consideration. It is not something that gets put on the table."  (New York Times, August 25)

*  *  *  *  *

“Songwriting is my way of channeling my feelings and my thoughts, said Dolly Parton. "Not just mine, but the things I see, the people I care about. My head would explode if I didn’t get some of that stuff out. Not everything I write is good, but it’s all good for me — like therapy.”  (New York Times, August 26)

*  *  *  *  *

“They are threatening to shut down the Southwest,” Brenda Burman, the general manager of the Central Arizona Project said of a longstanding federal agreement  to ration Colorado River water flow. “It’s not possible to picture it.”

“I guarantee you, if it matters, that I have experienced true love, true heartbreak and everything in between, including no small amount of wreckage,” wrote Tim Curry, who refused to discuss his private life, in his 2025 memoir, Vagabond. “Which, naturally, helps inform who I am. I have loved and been loved and I hope you have, too. But I’m not interested in your romances.”  (New York Times, August 27)

*  *  *  *  *

“Whether it was in a big law firm or on Wall Street, where he and I grew up, or here in politics, you realize there are certain guys out there who think gay guys are weak and you have to disabuse them of that notion,” said Sean Patrick Maloney, a former Democratic congressman from New York, who is gay. “And sometimes that means getting in their face and telling them to go fuck themselves. And Scott [Bessent] can do that with the best of them.” 

“Bring on Picasso, bring on Matisse,” Yayoi Kusama wrote in her autobiography. “Bring on anybody! I would stand up to them all with a single polka dot. That was the way I saw it. I was betting everything on this and raising my revolutionary banner against all of history.”(New York Times, August 28)

*  *  *  *  *

“Next they’ll be calling Canada geese ‘Donald ducks,’” said David Hedley, the fourth-generation owner of Hedley Boatyard in Olcott on the shores of Lake Ontario.

“By centering Galliano,” said David Ingber, the senior director for Jewish life and senior director of the Bronfman Center at 92NY and the founding rabbi of the Romemu synagogue, “the Met has put the Jewish community in a no-win position. Either we are blamed for being overly sensitive and not allowing him to be honored or we are complicit. The question is not whether they can do this, but whether they should have.”  

“The logo of the Beverly Hills Hotel is in his handwriting, but [architect Paul Williams] couldn’t walk into the front door there,” said LeRonn P. Brooks, who leads the African American Art History Initiative at the Getty Research Institute. “He even kept his hands in his pockets when walking through construction sites, because he knew some construction workers wouldn’t want to shake his hand.” 

 “[Renee Richards' playing] didn’t destroy women’s tennis and it didn’t lead to a generation of guys at a later time who couldn’t quite make it in the N.B.A. suddenly playing as women,” Keith Olbermann told a biographer of a trans pioneer and ophthalmologist whom he consulted. “Boy, [people] made an awful big deal out of something that really did take care of itself.”  (New York Times, August 30)




Thursday, August 27, 2026

AIM Higher @ The Bronx Museum

It probably seems churlish to complain about the operations of a free museum in an outer borough--particularly one with an interesting track record--but here goes anyway: three trips were required to see the Seventh AIM Biennial at the Bronx Museum which exhibits the work of New York City-based artists who were awarded fellowships by the institution.  On two attempted Sunday visits this summer, I arrived only to discover a taped sign on the entrance door saying the museum was closed, information that hadn't been conveyed on the website's "Visit" page or the hours recording.

"First Impressions" by Ricki Dwyer (2021)
Of course, that's not the fault of the artists, and I must say the ratio of hits to misses was higher in this fairly small show than it was at either the Whitney Biennial or Greater New York. Papier-mâché sculptures by Piero Penizzotto (whose "Council of las Tías" was hanging out in Queens)

"Big Brother Obii Knows Best (Ft. Freddy & Shawn)"  (partial, 2025)
. . . looked as if they were waiting to board the Bx 1 just outside on the Grand Concourse where construction on the museum's new exterior continues (Futura 2000 painted the "Aerosol Aesthetic" behind them).

"Beso a La Cámara" by Bryan Fernandez (2025)
For a minute, I thought the pile of discarded razors in a window corner might have been a janitorial oversight


. . . but they turned out to be part of an installation by Asia Stewart that simply conveys how the military industrial complex--first identified by President Dwight D. Eisenhower, a former general and Republican--has frayed our democracy and diminished patriotism among people who don't support war or policies that enrich a few while killing many.


Stewart calls both her installation and video "the money is in the blades." Indeed!


DeepPond Kim employs an ancient form of Korean metalwork called Chilbo (similar to cloisonné), to deter viewers from drawing any conclusions about the race or ethnicity of the individual she is depicting in this strikingly latticed bust which really pops against the main gallery's orange walls.

Veil (2022)
Sangmin Lee recycles printer paper and other material back into a tree of sorts.

"Nostalgia without memory VI (In Collapse)" by  (2022-ongoing)
It appears as if it's blossoming during a nuclear winter.

(close-up)
Several other artists in the main gallery make metaphorical use of water. Nazli Efe adapts an ancient (and hazardous) practice of dropping molten lead into liquid to divine the future; in this work she substitutes wax, sand and gauze to create a three-dimensional Rorschach test that might be mistaken for chunky vomit.
 
"Open Weave No. 3" (2024)
Using cherry blossom branches, Motohiro Takeda recreated an abandoned boat he noticed when he returned to Japan for his grandfather's memorial service. It floats in a kind of purgatory between life and death, between hope for the future and environmental catastrophe. 

"Nights In April (Ark)" by Motohiro Takeda (2025) +
"Shatter Me Upon the Waterfall's Edge" by Cyle Warner (2025)
("Nights" detail) 
Cyle Warner, inspired by a Vermont waterfall, fluidly weaves together fabrics that once belonged to his Trinidadian mother and grandmother to connect his family culture and his appreciation for American pastorality.

("Shatter" detail)
I didn't know what to make of this multimedia installation by Juyon Lee (and reading her artist statement was no help, but she wasn't alone in that regard; few of AIM's artists are as articulate as their work)

"Parabolic Traces (Between Hands and Sunsets)" (2025)
. . . but its unusual construction and neon-lit components were visually arresting.

(partial)
(detail)
Ceramicist Katie Chin is the exception.  When AIM opened, she told Forbes magazine “I don't believe in individual artistic genius. There's a collective, shared knowledge pool that you can pull information from, and it comes through in my work. Research and reading is really important to my practice.”  Industrial sabotage inspired this weird but compelling sculpture.  Indiana railroad workers shortened their shovels in 1899 to protest inadequate pay.

"Short Pay, Short Shovels" (2026)
In "The Gaze" (2024) Skip Brea uses digital animation to make his oil painting--and art history--come alive. Can you spot the falling leaf?


Delvin Lugo explores how members of the queer community create their own families and homes, often depicting moments of non-sexual intimacy, while Leekyung Kang links ancient spirituality (Nut, the Egyptian goddess of the sky) with the discoveries of modern science (the universe's dark matter) across the millennia in a large painting that resembles a contemporary brain scan.

"Country to City/Town to City" by Delvin Lugo (2024) +
"A map of invisible dimensions - Nut's" by Leekyung Kang (2025)
The son of two Dominican tailors, Lugo often paints on vintage linens, like this tablecloth, giving his subjects an embossed texture echoing the "otherness" that binds them.

"Country to City/Town to City" (partial, 2024)
If I were an art dealer hunting for new talent to represent, Cuban-born Erick Alejandro Hernandez would be my guy.  A poem by his father inspired this haunting work, which translates to "window (no one can assure us the places we've lived have been given the right names)."

"Ventana (nadie puede asegurarnos que han puesto los nombres ciertos a los lugares donde hemos vivido") by (2025)
A literal representation of compartmentalization, I haven't been able to get it out my head.


It's as if an exile is dreaming of what he has been forced to leave behind.


And kudos to Duneska Michel, the Bronx Museum Educator!  She describes her workshops for the 55+ crowd like this:

Drawing from family photographs, personal collections, and lived experiences, participants investigated how histories are preserved, interpreted, and transmitted across generations. Central to the workshop was an examination of the archive itself. which is traditionally understood as an institutional repository of materials deemed culturally valuable. Participants were invited to expand this definition by recognizing their own photographs, memories, family histories, and everyday experiences as worthy of preservation. Through this process, the archive became not only a site for safeguarding collective histories but also a space for affirming the significance of personal narratives.



Somehow it never occurred to me to transform all those family photos I digitized into collage material.



I sincerely hope the museum's communications team steps up its game by the time the new building opens in 2027.