Materialized in varying ways, kinship and cultural inheritance are frequent touchstones for many of these artists. William Eric Brown’sworks — the source images for which were taken in Antarctica in the 1960s by the artist’s father while serving in the US Navy and stationed on an icebreaker — are instilled with new significance through his manipulation and reconceptualization, which address the current reality of climate change and its effects on the arctic. Sophia Chai explores her memory of learning the Korean alphabet as a child through her work. By drawing and painting the shapes and lines of the characters on the walls and floor of her studio, Chai reimagines them in space, thereby abstracting written communication into an embodiment of the sensation of each word being formed inside the mouth. 
Sheida Soleimani stages elaborately constructed tableaux to address interwoven narratives of family, politics, and caregiving that trace both personal and public histories. Her carefully fabricated scenes demonstrate her commitment to approaching her practice with measured sensitivity; rather than divorcing her subjects from their own realities, Soleimani creates a contemplative space in which each incorporated object or image conveys an intentional message. Similarly, Shaun Pierson’s work illuminates the complex dynamics in the relationship between photographer and subject. Entwining conflicting sensations of inhibition and desire, Pierson lays bare the often simultaneously transactional and vulnerable apparatus and process of making photographs. Kevin Landers’ photographs, taken on the streets of New York, are rooted firmly in the here and now. He documents a collection of seemingly unnoticed moments, paying careful attention to unexpected details that, more often than not, most people would simply walk past — ephemera such as an abandoned shopping cart or an intricately woven spider web.
Queer desire and a longing for another space and time are explored through the re-authoring of found or archival images in the works of Gonzalo Reyes Rodriguez and Brittany Nelson. Rodriguez pairs images from his own history with a series of photographs he purchased from a bookshop in Mexico City — dated between 1987 and 1993, the found snapshots evidence the personal experiences of a young, presumably queer, man known to us as “Technoir.” By combining the two archives, Rodriguez invites us to dwell in a space of merged memories, neither of which we can fully inhabit, and of the desire to know more. While at first glance Brittany Nelson’s use of archival materials is less overtly personal, her work considers themes of otherness, isolation, and the desire for connection. In one of the series on view, she perceived a sense of romantic devastation in the images taken by , the Mars rover, which she amplifies by re-printing them using the 1920s analog bromoil photographic process, thereby infusing them with an added eerie, otherworldly quality.
Though varied in their approaches to photographic practice, what unifies these artists is their investigation of longing, care, and lineage—familial and otherwise—and the way in which they use the medium and the process of making the work as a means to engage with others, with themselves, and to challenge expectations. Generating a constellated conversation that draws upon photography’s history, yet turns toward something altogether new, the artists included in imbue the seemingly unknown with flashes of recognition.

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Lowell Hotel

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The Metropolitan Museum of Art

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Metropolitan Museum of Art: Inception Space for Human Civilization This 130,000 square-metre maze hides a larger landscape than the New York skyline. It is recommended to start your time-travel from the Greek and Roman exhibition halls - the sun shines through the glass dome on the 6th century BC marble statues, the lines of the muscles of the gods are still breathing. The temple of the Danyu Temple in the Egyptian Pavilion is the most breathtaking. The complete 15th century BC temple was moved by the wealthy in 1965 and is now soaked in artificial pools, the water reflects the modern tourists, forming a absurd space-time shadow. The &quot;Pharmacist&#39;s Changing Map&quot; in the Asian exhibition hall on the second floor always sits with a thoughtful oriental face, and the Tiffany glass window in the American Wing Courtyard is always a collection of selfie net reds. The real magic happens half an hour before the closing. As the crowd disperses, you can be alone with Van Gogh&rsquo;s self-portrait on the empty European Painting Corridor, watching the twisted brush strokes of the canvas awaken in the dusk. The $25 suggested ticket is a bargain - here you buy not a ticket but a night flight permit for the human civilization of 3,000 years.

Statue of Liberty

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The Statue of Liberty: Green Rust Mottled American Fable This bronze sculpture presented by the French has long been the most expensive postcard in New York. As you take the crowded ferry near Liberty Island, you will see the goddess&#39; rusty abrasive glow in the sun - an inch thick layer of oxide, just like the hard-to-ignore years of pulp on the surface of the American Dream. The experience of the crown is full of metaphors. The process of climbing the 354-level spiral staircase is like the struggle of new immigrants: the more up space the more forced, the final look out from the 25 small windows of the crown, the Manhattan skyline becomes a cut-out fragment. In front of the poem tablet of the new giant on the pedestal, tourists from all over the country took turns taking pictures with the verses of &quot;Give me your tired&quot;, and the number of strollers in the security team suggested that the migrant story was still being written. The most moving moment was at dusk. When the sun set on the torch, the saxophonists on the cruise ship began to play &quot;America the Beautiful&quot;. At this time, the goddess turned back to Wall Street and faced the Atlantic Ocean - a position that has been held for 137 years, whether to welcome or farewell.

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The Empire State Building is one of the tourist attractions in New York City, receiving a large number of tourists every year. Visitors can enjoy the view of New York City from the 86th and 102nd floor observation decks. On a clear day, you can see up to 100 kilometers away and even five states. The lights on the top of the building will change color according to different festivals.

The Museum of Modern Art

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a must mustsee in new york! such a nice and big museum to learn about history and art! arrive early though

Rockefeller Center

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A must-visit spot in NYC! Rockefeller Center is not just iconic&mdash;it&rsquo;s also incredibly functional. Walking through the building is a great experience, with beautiful architecture, vibrant public spaces, and plenty of food options in and around the concourse. One of the best features is the subway station right in the lower level, making it super easy to get to. And of course, it&rsquo;s home to my favorite observation deck in the city&mdash;Top of the Rock. The views are unbeatable!

Time:	Apr 26–Jun 15, 2024 (UTC-5) ENDED
Location:	531 West 24th Street, NY 10011

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