As I walked into the Rubin Museum’s final exhibition, Reimagine: Himalayan Art Now, which marks the museum’s closure after two decades of showcasing Himalayan art in Manhattan, a thought struck me instantly: isn’t this the pinnacle that the most ambitious artists from the high Tibetan mountains in China could ever aspire to reach?

In the exhibition Familiar Like Skin at Transmitter Gallery, curators Sara Megdari and Lila Nazemian have placed the works and practices of two emerging New York-based artists, Anahita Bagheri and Bayan Kiwan, in an intimate dialogue. Through six new works, the exhibition suggests a pictorial and sculptural exchange about renewal, life cycles, patterns, decoration, interiority, and female agency.

Eternal Current is a sparse, elegant meditation on the power of what lies below the surface of things, with the articulated ability to bring the hidden into the open, lifting subconscious dreamscapes into conscious reality.

The inaugural edition of PHOTOFAIRS New York, a new contemporary art fair dedicated to photo-based works, digital art, and new media, took place on Manhattan’s West Side. Three galleries — Postmasters, bitforms, and Von Lintel Gallery — exhibited works that pushed the boundaries of lens-based media with a focus on the digital.

For the art fair’s latest iteration, SPRING/BREAK Art Show has returned to its past. Rather than introducing a new theme this year, applicants were able to choose from the fair’s previous themes for their curatorial projects. While one could imagine that such a setup might result in a rehash of past fairs, this year’s SPRING/BREAK is anything but ossified. Alongside many familiar faces are projects by artists and curators making their SPRING/BREAK debuts.

Invisible Hands at 601Artspace, curated by Emireth Herrera Valdés, spotlights immigrant laborers who chased dreams of a better life in affluent nations, trading their relentless physical labor for higher wages yet forever navigating the treacherous divides born out of economic progression.