Kat Ryals and Kate Stone once described their two-person exhibition at Ortega y Gasset, Swallowed into the Soft Underbelly, as theme park meets haunted house. The intoxication of excess cannot permanently hide the creeping decay in our interiors.

As many of you reading this may already know, I am an art world person who loves, makes, curates, and advocates for queer art in its many splendorous forms. And I ardently believe that our spring season for queer art in New York is nothing short of visionary.

On March 5th, Grace Exhibition Space and Creatrix Magazine joined forces to host a day-long event to raise money for — and bring attention to — the Russian Federation invasion of Ukraine: an unprovoked, violent and vicious attack.

Dowell’s current exhibition at Miles McEnery Gallery transforms the space into a sanctuary for the experiential. Inviting in their idiosyncrasies, they generate a warm respite against the seemingly endless turmoil we find ourselves in these past few years.

Yoko Ono is finally being recognized as a highly capable installation and performance artist whose mysterious durational gestures—which I often call frozen music—masterfully impersonate simplicity.

Figure and Form, curated by Paul Laster — an exhibition of paintings by the late Nassos Daphnis (1914-2010) and sculptures by George Petrides (b. 1964) — facilitates a contemporary visual dialogue between two Greek-American artists who reference their place of origin.