New York

In Buffalo, the artist Marlene McCarty has planted a toxic garden that draws on the area’s intertwined histories of capitalism, expropriation and utopian dreaming

On view at the New Museum, New York, the artist’s avocado oil paintings further her engagement with the politics of migration, trade and diaspora

Informed by the legacies of funk and jazz, the artist’s many collaborations are given space to shine

Whether pairing the two inspires consternation or praise depends largely on how we conceive of the purpose of the Museum itself

From the frieze archives: complete coverage ahead of New York’s Museum of Modern Art’s much-heralded reopening

New arrangements of artists from across the planet emphasize broad concepts over tidier organizing principles 

The late New York artist’s famed ‘anti-crack painting’ in East Harlem has been undergoing restoration since the summer

The artist’s fantastical sculptures and bas reliefs, on view at Lisson, New York, combine prehistoric creatures with oil barons and kings

In a new show, Sze pairs precision with nods to disassembly or messy composition

The artist’s nine-day performance in the museum’s galleries ties the migration of peoples and objects to the systems that control and classify them 

His works in ceramic recall histories of colonialism and manufacturing, while alluding to our digital age

At Leslie-Lohman Museum, New York, an exhibition of art by queer sex workers takes a stand against violence and criminalization

In ‘This Marram’, TM Davy ushers you into a very personal – and almost enchanted – sliver of Fire Island

As galleries return from summer break with a full slate of programming, here are the best shows in town

The Kenyan-American artist’s bronze caryatids occupy the museum’s empty niches which have lain bare for 117 years

Two shows at David Zwirner, New York, champion the artist's ability to capture the sound of a now-bygone world

Artist Candice Lin connects the conditions of slave labour involved in building the drug trade’s infrastructure to the continued Orientalizing representations of the drugs themselves

Wesselmann’s sculpture attempted ‘to pick up a drawing by its lines and carry it’ into the world

The influence of op art leaves scant trace of the artist’s hand, but otherworldly unease pervades his repetitions and reflections

The cultural sector is twice as white as the city