Sunday March 8: Whitney Biennial 2026

The eighty-second edition of the Whitney Biennial—the longest-running survey of contemporary art in the United States—features work of 56 artists, duos, and collectives that reflects the current moment and examines various forms of relationality, including interspecies kinships, familial relations, geopolitical entanglements, technological affinities, shared mythologies, and infrastructural supports. Above: kekahi wahi (Sancia Miala Shiba Nash and Drew K. Broderick) and Bradley Capello, 20-minute workout WIP, 2023 

Whitney Biennial 2026 offers a vivid atmospheric survey of contemporary American art shaped by a moment of profound transition. Rather than offering a definitive answer to life today, this Whitney Biennial foregrounds mood and texture, inviting visitors into environments that evoke tension, tenderness, humor, and unease. Together, the works capture the complexity of the present and propose imaginative, unruly, and unexpected forms of coexistence. This exhibition includes a billboard across from the Museum’s entrance on Gansevoort Street.

Whitney Biennial 2026 is co-organized by Whitney curators Marcela Guerrero, the DeMartini Family Curator, and Drew Sawyer, the Sondra Gilman Curator of Photography with Beatriz Cifuentes, Biennial Curatorial Assistant, and Carina Martinez, Rubio Butterfield Family Fellow.

Whitney Museum of American Art, 92 Gansevoort Street, New York, NY Info

Édouard Vuillard: Early Interiors at Skarstdt 

For Vuillard and les Nabis, the figurative or representational dimension of painting was secondary to the formal relationships between color, line, and pattern. “Remember that a painting—before being a battle horse, a nude woman, or an anecdote of some sort—is above all a flat surface covered with colors arranged in a certain order,” noted Maurice Denis in 1890. It is this tension between figures set in ordinary spaces and an emergent abstract pictorial order that animates Vuillard’s interiors, as the viewer is constantly forced to switch between objective and non-objective modes of perception.

Unlike some of his Nabi peers who employed mystical symbolism or exotic subject matter, Vuillard tightly focused his gaze on the domestic interior and its seemingly mundane activities. The close quarters of his family apartment— which also doubled as his mother’s corset atelier—became Vuillard’s principal theater, where he observed the comings and goings of friends and clients, the daily rituals of family life, and his mother and sister’s quiet labor in the atelier. Yet, despite their intimacy, Vuillard imbued these familiar rooms with a certain eeriness as spectral figures appear in shadowy doorways and faceless women hunch over their fabrics. Deeply immersed in the Symbolist, artistic and intellectual milieu of fin-de-siecle Paris, Vuillard aimed to reawaken the mystery of everyday experience, to reveal the latent quality of abstraction that pervades even the most ordinary scenes. 

Through April 25 at Skarstedt Chelsea, 547 West 25th Street, New York, NY Info

Wednesday, March 4, 6-9pm: Women Celebrate Women at PS109

El Barrio’s Artspace presents Women Celebrate Women, a dynamic exhibition featuring over 90 women artists across generations, from emerging voices to deeply established creatives whose work reflects decades of practice, resilience, and vision. Curated by Yvonne Lamar-Rogers and Rolinda Ramos.

Painters, photographers, mixed-media artists, and multidisciplinary creators come together not only to exhibit their work, but to uplift one another — in celebration of Womens History Month, they honori the beauty, complexity, and power of women’s creative expression.

El Barrio’s Artspace/PS109, 215 East 99^th Street, New York, NY Info

Thursday, March 5, 6-8pm: Personal Space at Springs Projects

“It’s the kind of premonition that holds a sort of certainty, however grim, that once the world presses up against your skin, there is no way to tell where your own life ends and the noise begins,” says Tommy White, curator and co-founder of Springs Projects. “Like the way you leaned back just as I leaned in, a recalibration of the air between us that made me feel suddenly, sharply, intrusive.

“Maybe, it’s like every soul is a sphere whose radius is determined by the weight of its memories, of the choices made, and that to collide with another is to risk the muddying of these unique voices. The marks are everywhere, vibrating at a pitch that jabs the nerves – their souls into your personal space.”

Personal Space brings together thirteen diverse artists working across media, subject, and approach, to create a shared environment where these distinct voices coexist, overlap, and sometimes quietly clash. They are:Richie Chen, Milan Debert, Thomas Gaffney, Chris Herrera, Kenichi Ikeda, Yuki Kano, Kazuko KobayashiXiangling Lin, Valentina Luna, Julia Meshcheriakova, Juliet O’Connor, Fabian Pearl, Xiya Wang, Bruce Maclean. The exhibition is curated by Springs Projects co-founder Tommy white

About one of his two still-lifes included, Kenichi Ideda says, “I painted the lemons during a period when I was spending a lot of quiet, focused time alone in my studio. Paying close attention to a simple object gave me a sense of personal space, a small, protected moment where I could hear my inner thoughts without interruption. The painting holds that stillness for me, like a diary entry.”

Springs Projects, 20 Jay Street #311B, Brooklyn, NY Info

Deborah Roberts | Consequences of Being at Flag

Bringing together large-format paintings, works on paper and, for the first time in her career, ceramic sculpture, the exhibition signals an expansion of Roberts’s practice and the intensification of her research into the history of colonialism. 

Roberts’s paintings and works on paper are built through a unique approach to collage that combines found and manipulated images with hand-drawn and painted details to create figures—young black girls and boys—that are fundamentally hybrid in nature. By constructing her subjects with imagery drawn from the social and economic worlds they must navigate.

The exhibition also features the debut of a new ceramic sculpture, Zuri. A bust of a young girl, Zuri takes its name from the Swahili word meaning ‘beautiful’ or ‘good,’ with the association serving as affirmation of the cultural lineages and ancestral traditions that Black communities continue to draw from. Roberts explores how these legacies continue to shape cultural identity, economic access and the politics of consumption today.

Through April 25 at Flag Art Foundation, 545 West 25th Street, 9th Floor, New York, NY Info