The roof of 47 Pianos was briefly in sight as my Delta flight from Florida flew over the Jacqueline Kennedy Reservoir in Central Park.
Thanks to the excellent Palm Beach County Library, I started Yesteryear the next morning in my usual post-Central Park bike loop reading spot. The reservoir's cherry blossoms were in abundant bloom, and it seemed as if all of New York were walking, running or biking past, making concentration on a time traveling trad wife difficult.
Despite the unseasonable heat--it was hotter in Manhattan than Lake Worth Beach--I walked along the Hudson River to Chelsea to catch a gallery show that was about to close.
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| "All One" by Jason McCormack (2025) |
"Two Strikes on a Snowman" at Picture Theory featured collages by Lucy Sante, a classmate of mine at Columbia long before she transitioned.
I found myself apologizing for referring to "him" when discussing her work with Rebekah Kim, the gallery owner who asked me what she had been like. "A real beatnik. We weren't friends but you couldn't miss him. He wore a beret and smoked stinky European cigarettes. He seemed way smarter than me, that's for sure. And braver. He truly lived the life of an artist in the East Village."
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| "Crust" by Lucy Sante (2023) |
When Rebekah mentioned she worked in several different galleries before opening her own in 2023, I recommended The Loneliness of Sunny and Sonia (now that I'm living on my own again, I make conversation where I find it). The main show at Picture Theory paired the work of two artists, born on different continents forty years apart, whose visual works were as experimental as their musical compositions, although John Fahey is much better known as a guitarist.
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| Untitled by John Fahey |
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| "Exaltador" by Jean Dubuffet (1973) |
More art--and crowds--awaited on the High Line, just around the corner.
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| "In Mortal Repose" by Diana Al-Hadid (2011) |
It was great, if a little overstimulating, to be back home.
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