Featured Events in New York in June 2024 (May Updated)

The reopened galleries dedicated to European Paintings from 1300 to 1800 highlight fresh narratives and dialogues among more than 700 works of art from the Museum’s world-famous holdings. The newly reconfigured galleries—which include recently acquired paintings and prestigious loans, as well as select sculptures and decorative art—will showcase the interconnectedness of cultures, materials, and moments across The Met collection. The chronologically arranged galleries will feature longstanding strengths of the collection—such as masterpieces by Jan van Eyck, Caravaggio, and Poussin; the most extensive collection of 17th-century Dutch art in the western hemisphere; and the finest holdings of El Greco and Goya outside Spain—while also giving renewed attention to women artists, exploring Europe’s complex relationships with New Spain and the Viceroyalty of Peru, and looking more deeply into histories of class, gender, race, and religion. The reopening of the suite of 45 galleries at the top of the Great Hall staircase follows a five-year project to replace the skylights. This monumental infrastructure project improves the quality of light and enhances the viewing experience for a new look at this renowned collection. Major support for Look Again: European Paintings 1300–1800 is provided by Candace K. and Frederick W. Beinecke.

This porcelain head, a self-portrait, is glazed in shades of blue and covered with metallic droplets called “silver mist,” or gintekisai. The term, like the secret technique that produces the effect, was invented by ceramicist Kondō Takahiro (born 1958). Based in Kyoto, Japan, he carries on a legacy of innovation in ceramic art. For the last one hundred years, Kondō Takahiro and his father Kondō Hiroshi (1936–2012), grandfather Kondō Yūzō (1902–1985), and uncle Kondō Yutaka (1932–1983) have broken free of centuries-old traditions to pursue original, individual expression. Porcelains in the Mist brings together sixty-one pieces that celebrate the Kondō family’s innovations and talents. Their early creations range from freehand-painted vases to pure-white jars. Most of the works on view are by Takahiro, who often pairs his “mist,” which he describes as “water born from fire,” with dramatic shapes and textures. Several of these powerful porcelains reflect his personal responses to monumental events, particularly the 2011 earthquake and tsunami that devastated northeastern Japan. Museum Spotlights are intimate installations of noteworthy collection works, recent acquisitions, and loans, presented to encourage deeper conversations about art, history, and justice. Porcelains in the Mist: The Kondō Family of Ceramicists is organized by the Brooklyn Museum based on the exhibition Transcendent Clay/Kondo: A Century of Japanese Ceramic Art, originally presented by the Lowe Art Museum, University of Miami, and guest curated by Joe Earle. The Brooklyn Museum’s presentation is organized by Joan Cummins, Lisa and Bernard Selz Senior Curator, Asian Art. We are grateful to Carol and Jeffrey Horvitz, whose generosity and enthusiasm made this exhibition possible.

At a time when photographs are primarily shared and saved digitally, many artists are returning to the physicality of snapshots in an album or pictures in an archive as a source of inspiration. Drawing its title, Don’t Forget to Call Your Mother, from a photograph by Italian provocateur Maurizio Cattelan, the exhibition consists of works in The Met collection from the 1970s to today that reflect upon the complicated feelings of nostalgia and sentimentality that these objects conjure, while underlining the power of the found object. Among the featured artists is Sadie Barnette, for whom photographs provide a portal to illuminate the forgotten history of the first Black-owned gay bar in San Francisco and her own father’s life as her 2022 work Photo Bar powerfully illustrates. Like Barnette, many of the artists in the exhibition seek to fortify the legacy of family histories, to emphasize the importance of intergenerational relationships, and to consider the ways in which knowledge and respect for the past can inform our current moment. Some artists such as Sophie Calle and Larry Sultan explore their own narratives to reveal the construction of desire, while others including Taryn Simon and Hank Willis Thomas examine histories that have shaped cultural and political dialogue. For some, including Darrel Ellis who utilized family pictures to negotiate the trauma of police violence, the personal is political. Deploying various strategies, these artists consider how a collection of images—like a talisman or an altarpiece—build relationships across time and can transform our understanding of the present. The exhibition is made possible by Joyce Frank Menschel.

Two singers at the height of their powers—radiant soprano Nadine Sierra and tenor sensation Benjamin Bernheim—come together as the star-crossed lovers in Gounod’s sumptuous Shakespeare adaptation, with Met Music Director Yannick Nézet-Séguin on the podium to conduct one of the repertoire’s most romantic scores. Bartlett Sher’s towering staging also features baritone Will Liverman and tenor Frederick Ballentine as the archrivals Mercutio and Tybalt, mezzo-soprano Samantha Hankey as the mischievous pageboy Stéphano, and bass-baritone Alfred Walker as Frère Laurent.

"Don Giovanni" is an opera in two acts composed by Wolfgang Amadeus Mozart with a libretto by Lorenzo Da Ponte. The story follows the life of the infamous Don Giovanni, a seductive and immoral nobleman who uses his charm and power to seduce and betray women. His actions eventually catch up to him, leading to a dramatic confrontation with his past victims and a supernatural punishment.

Once Upon a One More Time is a new Broadway musical that tells the story of a group of fairytale princesses who gather for a book club meeting, only to discover that their lives are not as perfect as they seem. When a fairy godmother grants their wish to read a new book, they are transported to a world where they must confront their own desires and fears. With a score featuring the music of Britney Spears, Once Upon a One More Time is a fun and empowering musical that celebrates the strength and resilience of women.

Six remarkably talented young men form a singing group who become international sensations: The Comedian Harmonists.

Welcome to opening night of the Cornley Polytechnic Drama Society’s newest production, The Murder at Haversham Manor. This 1920s whodunit has everything you never wanted in a Broadway show—a ramshackle set, a leading lady with a concussion, and a corpse that can’t play dead. It’s a classic murder mystery… and it’s a mystery how it ever got to Broadway!

Divorced, beheaded, died, divorced, beheaded, survived. From Tudor Queens to Pop Icons, the SIX wives of Henry VIII take the microphone to remix five hundred years of historical heartbreak into a Euphoric Celebration of 21st century girl power! This new original musical is the global sensation that everyone is losing their head over!

Lovingly ripped from the film classic, Monty Python and the Holy Grail, Spamalot has everything that makes a great knight at the theatre, from flying cows to killer rabbits, British royalty to French taunters, dancing girls, rubbery shrubbery, and of course, the lady of the lake. Spamalot features well-known song titles such as “Always Look on the Bright Side of Life,” “The Song That Goes Like This,” “Find Your Grail” and more that have become beloved classics in the musical theatre canon.

Hamilton is the story of the unlikely Founding Father determined to make his mark on the new nation as hungry and ambitious as he is. From orphan to Washington's right-hand man, rebel to war hero, a loving husband caught in the country's first sex scandal, to the Treasury head who made an untrusting world believe in the American economy. George Washington, Eliza Hamilton, Thomas Jefferson and Hamilton's lifelong friend/foil Aaron Burr all make their mark in this astonishing new musical exploration of a political mastermind.

The Gazillion Bubble Show is a live, interactive performance that showcases the mesmerizing art of creating bubbles. The show features a variety of bubble-related acts, including creating bubbles within bubbles, giant bubbles that encapsulate audience members, and even bubble sculptures that float and dance around the stage. The performers use a range of props, including wands, hoops, and even their bare hands, to create an incredible variety of shapes and sizes of bubbles.

The show is a modern retelling of William Shakespeare's play Romeo and Juliet, but with a twist - it explores an alternative ending where Juliet doesn't die and instead sets out to discover her own identity and independence.

What’s your fantasy? Ana knows that everybody has one—her especially, and she’d do anything to make it come true. And when she meets Jonah, a sweet and caring student at her boarding school, everything she’s ever wanted is finally falling into place. Except Jonah, like everything else in this moving world premiere play from Rachel Bonds, is not all that he seems. A singularly haunting and heart-racing coming-of-age tale that will keep you guessing until its final twisting moments, Jonah is about the true cost of survival, and the lengths some will travel to feel just a little less alone in the world. Danya Taymor directs.

Tosca is, ultimately, the story of a woman who wants to create beauty and to love, but who is swept up in the storm of history.

L'Elisir d'Amore is an Italian opera composed by Gaetano Donizetti. The opera tells the story of a young man named Nemorino who is in love with a beautiful and wealthy woman named Adina. In order to win Adina's heart, Nemorino buys a love potion from a traveling salesman named Dulcamara. The potion turns out to be fake, but Nemorino's belief in its power and the jealousy it inspires in Adina ultimately leads to their union. L'Elisir d'Amore is known for its beautiful arias and duets, as well as its lighthearted and humorous plot.

Kim is a bright and funny Jersey teen, who happens to look like a 72-year-old lady. And yet her aging disease may be the least of her problems. Forced to maneuver family secrets, borderline personalities, and possible felony charges, Kim is determined to find happiness in a world where not even time is on her side.

Eminent American composer John Adams returns to the Met after a decade-long hiatus for the company premiere of his acclaimed opera-oratorio, which incorporates sacred and secular texts in English, Spanish, and Latin, from biblical times to the present day, in an extraordinarily dramatic retelling of the Nativity. El Niño brings together three of contemporary opera’s fiercest champions, all of whom make highly anticipated company debuts: Marin Alsop, one of the great conductors of our time, who has led more than 200 new-music premieres; soprano Julia Bullock, a leading voice on and off stage; and pathbreaking bass-baritone Davóne Tines. Radiant mezzo-sopranos J’Nai Bridges and Daniela Mack take turns completing the principal trio.

Based on the award-winning HBO documentary, How to Dance in Ohio is a heart-filled new musical exploring the need to connect and the courage it takes to step out into the world.

features 53 emerging artists who have participated in The Bronx Museum’s flagship artist professional development program from years 2020 through 2023. Since 1980, The Bronx Museum has supported New York’s artist community through its Artist in the Marketplace (AIM) Fellowship, which has provided pivotal career support to a diverse roster of over 1,200 of New York’s most promising artists. Themes addressed in this two-part exhibition include contemporary and critical issues, such as capitalism and colonialism, as well as speculative futures.

Over the course of sixty years, British artist Howard Hodgkin (British, London 1932–2017 London) formed a collection of Indian paintings and drawings that is recognized as one of the finest of its kind. A highly regarded painter and printmaker, Hodgkin collected works from the Mughal, Deccani, Rajput, and Pahari courts dating from the 16th to the 19th centuries that reflect his personal passion for Indian art. This exhibition presents over 120 of these works, many of which The Met recently acquired, alongside loans from The Howard Hodgkin Indian Collection Trust. The works on view include stunning portraits, beautifully detailed text illustrations, studies of the natural world, and devotional subjects. The exhibition will also display a painting by Hodgkin, Small Indian Sky, which alludes to the subtle relationship between his own work, India, and his collection. The exhibition is made possible by the Florence and Herbert Irving Fund for Asian Art Exhibitions and the Friends of Islamic Art.

Gordon Parks. Jean-Michel Basquiat. Lorna Simpson. Kehinde Wiley. Nina Chanel Abney. These names loom large in the past and present of art—as do many others in the collection of musical and cultural icons Swizz Beatz (Kasseem Dean) and Alicia Keys. Giants is the first major exhibition devoted to the couple’s world-class holdings of works by multigenerational Black diasporic artists. The Deans, both born and raised in New York, champion a philosophy of “Black artists supporting Black artists.” As Swizz Beatz told Cultured magazine, “The collection started not just because we’re art lovers, but also because there’s not enough people of color collecting artists of color.” “Giants” refers to several aspects of their collection: the renown of legendary artists, the impact of canon-expanding contemporary artists, and the monumental works by such creators as Derrick Adams, Arthur Jafa, and Meleko Mokgosi. Immense pieces—including the largest ever by Mokgosi—are paired with standouts such as Parks’s seminal photographs, Wiley’s revolutionary portraits, and Esther Mahlangu’s globe-bridging canvases. The term also evokes the strength of the bonds between the Deans and the artists they support, and among the artists themselves. Along with examining these links and legacies, the exhibition will encourage “giant conversations” inspired by the works on view—critiquing society and celebrating Blackness.

Creator of unforgettable animal characters like Peter Rabbit, Mr. Jeremy Fisher, and Mrs. Tiggy-Winkle, the beloved children’s book author and illustrator Beatrix Potter (1866–1943) rooted her fiction in the natural world. Childhood summers spent in Scotland and the English Lake District nourished Potter’s love of nature, while her famous menagerie of pets inspired her picture letters and published tales. Her study of botany and mycology established an abiding interest in the life sciences, a passion she would bring to rural life at Hill Top Farm in Cumbria, England. There, she enjoyed a second act as a sheep breeder and land conservationist, ultimately bequeathing four thousand acres of farmland to the National Trust. Beatrix Potter: Drawn to Nature brings together artwork, books, manuscripts, and artifacts from several institutions in the United Kingdom, including the Victoria and Albert Museum, the National Trust, and the Armitt Museum and Library. Paired with the Morgan’s exceptional collection of her picture letters, these objects trace how Potter’s innovative blend of scientific observation and imaginative storytelling shaped some of the world’s most popular children’s books.

Aspects of Appearance: Portraits from the Collection in Context features thirty-one works in a range of media by twenty-seven artists. The artworks in this exhibition span more than a century, from William Auerbach-Levy’s (b. Brest-Litovsk, Russian Empire, now Brest, Belarus, 1889–d. Ossining, New York, 1964) rigorously naturalistic depictions of types encountered on New York’s Lower East Side to Maryna Bilak’s (b. Rakhiv, Ukraine, 1984) hauntingly beautiful, contemporary portrait of her aging mother-in-law. From strangers to intimate portraits of family members, the artists included here reveal the character of their subjects, while at the same time positioning them in wider social and cultural contexts. A portrait, at its essence, is a matter of identity and identification. Yet they also may be great works of imagination—opportunities for artists to explore their own memories and fantasies—as exemplified by Romare Bearden’s (b. Charlotte, North Carolina, 1911–d. New York, New York, 1988) mythic vision of a royal figure related to African American culture. Hyman Bloom (b. Riga, Latvia, 1913–d. Nashua, New Hampshire, 2009) depicts a rabbi, whose personal identity is less important than the enduring traditions of the religion he represents. Similarly, Max Weber (b. Bialystok, Russian Empire, now Poland, 1881–d. Great Neck, New York, 1961) focuses on expressing the spiritual solemnity of Judaism in a portrait of an unknown sitter. Like Auerbach-Levy, both David Levine (b. Brooklyn, New York, 1926–d. New York, New York, 2009) and Abraham Walkowitz (b. Tyumen, Russian Empire, now Russia, 1878–d. New York, New York, 1965) focus on types—the ordinary people they might observe on New York City streets, though during two very different eras. Portraits typically represent a unique individual, their character, inner life, and place in society. Artists such as Milton Avery (b. Altmar, New York, 1885–d. Bronx, New York, 1965), Ilarion Golitsyn (b. Moscow, Russian SFSR, now Russia, 1928–d. Moscow, Russia, 2007), Gerta Nemenova (b. Berlin, Germany, 1905–d. Leningrad, Russian SFSR, now Saint Petersburg, Russia, 1986), Georgy Vereisky (b. Proskurov, Russian Empire, now Khmelnitsky, Ukraine, 1886–d. Leningrad, Russian SFSR, now Saint Petersburg, Russia, 1962), Andy Warhol (b. Pittsburgh, Pennsylvania, 1928–d. New York, New York, 1987), and Shai Zurim (b. Israel, 1972) portray their friends, members of their artistic circles, and cultural icons. Others focus on self-identity, like Menashe Kadishman (b. Tel Aviv-Yafo, Mandatory Palestine, now Israel, 1932–d. Ramat Gan, Israel, 2015) and Bill Sullivan (b. New Haven, Connecticut, 1942–d. Hudson, New York, 2010). Still others, for example, Rifka Angel (b. Kalvarija, Russian Empire, now Lithuania, 1899–d. New York, New York, 1988), Alex Katz (b. Brooklyn, New York, 1927), and Joan Linder (b. Ossining, New York, 1970), explore the nuances of family relationships. Some, like Raphael Soyer (b. Borisoglebsk, Russian Empire, now Russia, 1899–d. New York, New York, 1987) and Benjamin Levy (b. Tel Aviv, Mandatory Palestine, now Israel, 1940)—both from immigrant families—are inspired by old family photographs, while Till Freiwald (b. Lima, Peru, 1963) bases his paintings directly on his own photographs of other people. Portraiture also provides a lens onto politics and history, for example in Chaim Gross’s (b. Ökörmező, Hungary, now Mizhhirya, Ukraine, 1904–d. New York, New York, 1991) commemorative print of Martin Luther King, Jr., following his death in 1968, and Oskar Kokoschka’s (b. Pöchlarn, Austria, 1886–d. Montreux, Switzerland, 1980) portrait of Golda Meir. Other works demonstrate modernism’s impact on portraiture, from expressionistic and semi-abstract paintings and prints by Harold Baumbach (b. New York, New York, 1904–d. San Francisco, California, 2001), Moïse Kisling (b. Kraków, Austria-Hungary, now Poland, 1891–d. Sanary-sur-Mer, France, 1953), and Pablo Picasso (b. Málaga, Spain, 1881–d. Mougins, France, 1973) to conceptual examples by Dan Witz (b. Chicago, Illinois, 1957). This exhibition gives viewers an opportunity to consider the varied ways in which portrait subjects are represented. As artists fashion resemblance, they also construct meaning and connect viewers with aspects of their own identities.

In February 2024, The Metropolitan Museum of Art will present the groundbreaking exhibition The Harlem Renaissance and Transatlantic Modernism. Through some 160 works of painting, sculpture, photography, film, and ephemera, it will explore the comprehensive and far-reaching ways in which Black artists portrayed everyday modern life in the new Black cities that took shape in the 1920s–40s in New York City’s Harlem and nationwide in the early decades of the Great Migration when millions of African Americans began to move away from the segregated rural South. The first art museum survey of the subject in New York City since 1987, the exhibition will establish the Harlem Renaissance and its radically new development of the modern Black subject as central to the development of international modern art. Featured artists include Charles Alston, Aaron Douglas, Meta Warrick Fuller, William H. Johnson, Archibald Motley, Winold Reiss, Augusta Savage, James Van Der Zee, and Laura Wheeler Waring. These artists will be shown in direct juxtapostion with portrayals of international African diasporan subjects by European counterparts ranging from Henri Matisse, Edvard Munch, and Pablo Picasso to Germaine Casse, Jacob Epstein, and Ronald Moody. A significant percentage of the paintings, sculpture, and works on paper on view in the exhibition come from the extensive collections of Historically Black Colleges and Universities (HBCUs), including Clark Atlanta University Art Museum, Fisk University Galleries, Hampton University Art Museum, and Howard University Gallery of Art. Other major lenders include the Smithsonian American Art Museum and the National Portrait Gallery, with pending loans from the Schomburg Center for Research in Black Culture. The exhibition will include loans from significant private collections and major European lenders. The exhibition is made possible by the Ford Foundation, the Barrie A. and Deedee Wigmore Foundation, and Denise Littlefield Sobel.

will be the first major drawing retrospective of Joan Jonas, one of the most experimental and significant voices in American art of the postwar period. Although Jonas’s work has received critical attention and acclaim over the past few decades, her voluminous drawing oeuvre, which constitutes the backbone of her video, performance, and sculpture practices, has never been surveyed. This exhibition will be a definitive look at the integral place of drawing in the career of this pioneering feminist artist. will occupy the entirety of The Drawing Center's gallery spaces and will feature more than three hundred individual drawings dating from the 1960s to the present as well as a recent drawing environment that will be presented in the United States for the first time.

Flapping from fence to post in the yard, an injured white bird was pursued by feral cats (I once counted seventy). I put out some oatmeal and a bowl of water on the windowsill. The oatmeal blew away so I replaced it with rice. Around five next morning a loud tapping on the metal fire window woke me. A white blur was visible through the frosted wire glass. When I opened the window, he flew up but returned, and I replenished his food and water. Later, after shopping, about to drop the grocery bag in my chair, I was startled by a loud flutter - the white bird was sitting there (I'd left a side window ajar). The Italian bookie down the block told me what pigeons ate and recommended a good source. Milton named this unusually large bird (19 inches - as long as a raven) Morgan, for J. P. Morgan, because like J.P. he had a large formation on his beak. Morgan's dinner arrangement - all in a row - consisted of a bowl of water, a cracked wooden salad bowl holding his food, and a large dirt-filled tub meant for a tree. He learned to rock the salad bowl to and from his water bowl to save getting down and walking. Sated, he'd hop on the tub, peck around in the grit I had sprinkled there, and curl up for his after-dinner nap. The trouble was that an after-dinner urge would awaken him; he'd back up politely, poop, and lay down again in it. One day, idly watching this procedure, without expecting any response, I motioned for him to back up some more. He peered at me and did as I asked. So I motioned him back and up onto the rim, which pleased him no end, because from there he could poop overboard. I put newspaper down, and Morgan was paper trained. The whole neighborhood loved that bird. When Morgan felt like showing off, the fire escapes filled with admirers—even Esteban (Vincente), sunning on his roof across the street, would stand up to watch. Added to his impressive size was the glow of his plumage (healthy birds develop a fine protective powder against mites which literally glows in the sun). Morgan's acrobatics – he would fly loops around other birds and execute amazing maneuvers, taking him in a figure eight from the spire atop St. Marks around the Con Ed clock on Fourteenth Street. Indoors, he explored every inch of the loft and chose the highest place, the front stovepipe, as a sleeping perch. When my friends visited, he liked to swing on top of the bathroom door, which meant you couldn't close it without chasing him. Herman Cherry got a kick out of this chase: he'd pull out a large handkerchief and flick it at Morgan, the two of them running and skidding around the loft. As the conversation picked up, Morgan would begin to coo. The louder we talked, the louder he cooed. Perhaps the sound resembled the soothing sounds of the coop. Anne Arnold wanted to sculpt him and tried to make some drawings. This attention made him self-conscious, and he curled up more tightly in his grit tub, leaving Anne with an uninteresting pose — just a cushion of white feathers. Fall chill brought a new problem: the draft from the open window. I had to build a window extension with a swinging door—and teach Morgan how to use it. By winter, he was flinging himself in and out expertly. From his bedtime perch on the stovepipe, Morgan looked straight across the room at my painting wall. One painting in particular excited him. He would coo, bow, and try a little strut on the short length of stovepipe. One day he took off and flew directly into my painting, sliding down the six-foot height of it and smearing inharmonious oranges, blacks, and greens over his pure white bosom. I cleaned him enough so that his feathers didn't adhere. After the painting was finished, a few of Morgan's contributions incorporated, I stretched it and leaned it against a corner. He flew right to it and spent hours strutting along its top edge, courting the lady in the picture: bowing, crowing, and fanning his tail. I called the painting, Promenade For a Bachelor.

“There is design in everything,” wrote Clara Porset, the innovative Cuban-Mexican designer. She believed that craft and industry could inspire each other, forging an alternative path for modern design. Not all of Porset’s colleagues agreed with her conviction. This exhibition presents these sometimes conflicting visions of modernity proposed by designers of home environments in Argentina, Brazil, Chile, Colombia, Mexico, and Venezuela between 1940 and 1980. For some, design was an evolution of local and Indigenous craft traditions, leading to an approach that combined centuries-old artisanal techniques with machine-based methods. For others, design responded to market conditions and local tastes, and was based on available technologies and industrial processes. In this exhibition, objects including furniture, appliances, posters, textiles, and ceramics, as well as a selection of photographs and paintings, will explore these tensions. The home became a site of experimentation for modern living during a period marked by dramatic political, economic, and social changes, which had broad repercussions for Latin American visual culture. For nearly half a century, the design of the domestic environment embodied ideas of national identity, models of production, and modern ways of living. The home also offered opportunities for a dialogue between art, architecture, and design. Highlights of the exhibition include Clara Porset’s Butaque chair; Lina Bo Bardi’s Bowl chair; Antonio Bonet, Juan Kurchan, and Jorge Ferrari Hardoy’s B.K.F. Chair; and Roberto Matta’s Malitte Lounge Furniture.

In the Now unites nearly fifty women artists who are resisting traditional ideas of gender and nationality, as well as of photography itself. The first museum survey of photography-based works by women artists born or based in Europe, this exhibition interrogates the continent’s legacies of nationalism and patriarchal power structures—which continue to shape everyday life, particularly for women. In the Now highlights the expansive nature of the Sir Mark Fehrs Haukohl Photography Collection at the Brooklyn Museum and Los Angeles County Museum of Art. Made entirely after 2000, the exhibition’s more than seventy artworks offer a window into the first decades of the twenty-first century. In the section titled “Gender,” photographers such as Bettina von Zwehl and Elina Brotherus contend with (mis)representations of women’s bodies and experiences, bucking against oppressive beauty standards and the male gaze. “Nation” unpacks the promises—and realities—of contemporary Europe and the ongoing fallout of European nationalism and colonialism. The controlled explosion in Sarah Pickering’s Landmine (2005), for example, underscores the relative peace in England as British troops supported the U.S. invasion of Iraq. And in “Photography,” women artists upend this male-dominated medium with experimental approaches—as in Shirana Shahbazi’s Farsh-13-2006 (2006), a Vermeer-inspired photographic portrait translated onto a carpet hand-knotted in her native Iran. Together the works defy outdated definitions of a woman, an artist, a nation, and a photograph.