MoMA PS1

50 years of daring, artist-centered work, now with free admission for all! Experience exhibitions including Ayoung Kim’s “Delivery Dancer Codex”—where videogame engines, generative AI, and live-action footage collide—and Vaginal Davis’s “Magnificent Product,” where performance, visual art, music, and counterculture take center stage. What are you waiting for? Plan your visit to MoMA PS1 today at the link in bio. 🎥 : @arjununcle

"The Council of las Tías (Mary, Milagros, Cynthia, Nereyda)" is the unofficial welcoming committee at MoMA PS1 this season. Piero Penizzotto's four life-size, hand-painted figures made from papier-mâché and foam, gathered on beach chairs, caught mid-gossip, immortalize a scene that you'd stumble into on city stoops and sidewalks on a summer day in Queens. For the artist, the work is an offering, "a way to give my mother-in-law and my tías their flowers while they're still here and, as an extension, give all of the mothers-in-law and tías out there their flowers." The ladies will be here all summer, on view in Greater New York through August 17. Admission is free for all. — Piero Penizzotto (@piero.penizzotto ). "The Council of las Tías (Mary, Milagros, Cynthia, Nereyda)," 2026. Papier-mâché, foam, metal, and acrylic. Courtesy the artist

In 1976, Alanna Heiss transformed an abandoned Queens schoolhouse into a place where artists could experiment freely. PS1 opened with “Rooms,” as much an exhibition as an artist takeover. Our building has belonged to daring artists ever since. For our 50th Anniversary Gala, we gathered to honor Alanna and also Glenn D. Lowry, two individuals who shaped our history by bringing MoMA and PS1 together in 2000, the year Greater New York launched. None other than Laurie Anderson and Ralph Lemon introduced our honorees, and we were excited to celebrate alongside other daring artists, former staff, longtime supporters, over five decades of collaborators. In a setting featuring iconic posters from our history, executive chef @devonnfrancis created a wonderful meal before our big birthday celebration ended as it should: with cake. Special thanks to our sponsors @robertmondavi  @suntoryglobal @acquapannausa  @sanpellegrino_us  @maisonperrierusa  @essentiawater @brooklynbrewery   — 📸: @bfa & @nyceventphotography

Ahead of @momaps1 ’s annual gala, celebrating its 50th anniversary, critic @johannafateman took us through the museum’s latest show: this year’s edition of “Greater New York,” a quinquennial survey spotlighting artists working in and around the city. Moving floor by floor through the exhibition, Fateman traces a noticeable shift away from slick spectacle and toward something more handmade and local: delivery bikes treated as conceptual sculpture, installations built from foil and found materials, and immersive works created with distinctly DIY means. Watch along, then head to the link in bio for Fateman’s full review.

Born and raised in Flushing, Devlin Claro works from a home darkroom in the same borough he photographs. He samples much the way musicians do, lifting from the authorless, context-free Tumblr archive, scenes from Gauguin, and the psychological conditions of post-Y2K suburbia. @devclaro restages it all in parking lots and street corners in Queens, until the images belong in his pocket of the world. Living through the dizzying acceleration of life mediated by the internet, alongside economic booms and crashes, Claro’s work raises the curtain on Queens as the stage where the pressures of 21st-century Americana play out in everyday life. “blades of glory” is on view in Greater New York through August 17. __ Devlin Claro (@devclaro ). “blades of glory.” 2026. C-print. Courtesy the artist and @donald_ryan_gallery

What has your mom given you? 🦷 Ripping through family ephemera with her mother’s handheld cake mixer, Nickola Pottinger uses pulped book reports, old assignments, and shredded documents to form the bodies of her sculptures. By pressing teeth she collected from her mother’s dentistry practice into their heads, fastening casts of her own limbs onto theirs, and adorning them with frankincense and black soap, Pottinger reimagines the forms as “duppies” — figures from Caribbean folklore said to haunt the living, recast here as protective beings inhabiting a transitional space between life, afterlife, and rebirth. Experience Pottinger’s work in person. “Genkle Jesus meek and mild II” and “guh live long” are on view in Greater New York through August 17. — “Genkle Jesus meek and mild II,” 2026 Paper pulp, pigment, frankincense, mushroom, spores, teeth, hair, heliconia, and doily cloth 23 x 26 x 13 inches (58.4 x 66 x 33 cm) “guh live long,” 2026 Paper pulp, hair, frankincense, pigment, spores, and doily cloth 34 x 17 x 35 inches (86.4 x 43.2 x 88.9

Teeth, brain waves, carnivorous plants, moths, sphinxes, solar panels: these are just some of the objects that make up artist Akira Ikezoe's taxonomy of chaos. Ikezoe's classifications organize icons both horizontally and vertically, tracing hidden correspondences across time, cultures, and belief systems. When Ikezoe arrived in New York with limited English, he began to communicate through objects and images, developing elaborate systems of classification based not on chronology or medium but on affinity. Borrowing the visual language of museology, he exposes categorization itself as a contingent and ideological act. "Chart of Darkness," 2025, now on view in Greater New York, presents a chart that organizes the unruly in a luminous palette. — Akira Ikezoe (@imakira ), Chart of Darkness, 2025. Oil on canvas. 66 x 132" (167.6 x 335.3 cm). Courtesy of the artist and Proyectos Ultravioleta, Guatemala City Photo: Kris Graves

James Turrell jackhammered through four and a half feet of concrete to make "Meeting," his PS1 commission that took a decade to realize ☁️ 🚧 One of Turrell's earliest Skyspaces, the work pursues what he called the juncture between inside and outside—a visceral, almost physical sensation, as though something material were suspended there. In the work, the sky advances, flattens, and rests on the aperture like a lid. Visit MoMA PS1 to experience one of the last uninterrupted frames of sky in New York City. Admission is free for all. — 📸: @pablo.enriquez @kevinliangphotos @neotericslate @moshearaujo

Artist Kenneth Tam approached Bilal Elcharfa in the bathroom line at the JFK taxi lot with an unusual pitch: “I’m not an activist, but I do want to tell your story, in a different way.” Their collaboration became “I’m Staying Hopeful and Strong (for Bilal and Salah),” a video installation in Greater New York based on Tam’s ongoing work with drivers affected by the taxi medallion crisis in New York City. Once considered by many immigrant communities as a guaranteed route to the middle class, the medallion system became compromised by deceptive dealing, predatory lending, and the arrival of corporate ride-sharing platforms. The video follows Bilal and Salah Elcharfa—two taxi drivers, who are also brothers—as they engage in a series of choreographed activities: a box dance, lyrical duets with folding chairs, and movement paired with spoken text. See the full work on view in Greater New York, and read the story of how this work all came together in “Medallions, Movement, and Mamdani” by @emmaewallen in @newyorkermag ’s Talk of The Town.

On view in Homeroom as part of Greater New York, step inside Queens-based collective @redcanarysong ’s “Touch the Heart” with Homeroom Curatorial Fellow Jolene Fernandez. Formed in 2017 in response to the death of Yang Song, a migrant Chinese massage worker killed during a police raid in Queens, Red Canary Song is led by migrant massage workers, sex workers, and allies across the Asian diaspora, and has since grown into a mutual aid network grounded in care, survival, and the ongoing fight for decriminalization of unlicensed massage labor and sex work. “The dim sum table is where organizing gets done,” Jolene explains, where food, care, and resources circulate as part of everyday acts of support and survival. In “Touch the Heart,” four dim sum tables structure spaces for grieving, storytelling, nourishment, and resource-sharing. Across the exhibition, portraits, objects, and materials illustrate migration, labor, and lived experience, holding memory and loss alongside the infrastructures of collective care that sustain the community. Music: “Haze” by Scott Holmes Music, Free Music Archive, CC BY.