TUESDAY, FEBRUARY 19
Concert: Tim Hecker at National Sawdust
Tim Hecker makes electronic music that seizes and seethes, with a sense of moodiness and menace that leads to restorative spells of serenity too. It’s ambient music in its amorphousness and the way it oozes and slides, but the timbres and tones he plays with are more dynamic than the word “ambient” usually suggests. Here Hecker will perform with the Konoyo Ensemble, a group of Japanese musicians whose processed woodwind and percussion sounds figure into the spectral sweep of Konoyo, an excellent album from 2018. Though the event is currently sold out, National Sawdust has set up a waitlist.
National Sawdust, 80 North 6th Street, Brooklyn, 10 p.m.
WEDNESDAY, FEBRUARY 20
Exhibition: Siah Armajani at Met Breuer
After a showing at the Walker Art Center in Minneapolis, “Follow This Line,” the first major U.S. retrospective for Iranian-American artist Siah Armajani, comes to New York. The exhibition features never-before-seen pieces by Armajani—including works on paper and computer-generated animations on film—from the 1960s and 1970s, many of them drawing on Minimalism and vernacular architecture in equal measure. Most of the works from the artist’s “Dictionary for Building” series, which is comprised of thousands of small-scale architectural models, will also be displayed. The festivities surrounding the retrospective also extend beyond the Met’s walls. In conjunction with the show, the Public Art Fund is presenting Armajani’s famed public art installation Bridge Over Tree (1970) at Brooklyn Bridge Park in New York.
Met Breuer, 945 Madison Avenue, 10 a.m.–5:30 p.m.
THURSDAY, FEBRUARY 21
Exhibition: Rosalyn Drexler at Garth Greenan Gallery
Rosalyn Drexler is most famous for the Pop paintings she made in the 1960s, though this exhibition shines a light on a lesser-known part of her oeuvre—her canvases from the 1980s and 1990s, when she took a renewed interest in narrative. One notable piece in the show show, 1989’s Woman Sawed in Half, depicts a classic magician’s trick as though frozen in time.
Garth Greenan Gallery, 545 West 20th Street, 11 a.m.–6 p.m.
Opening: Jae and Wadsworth Jarrell at Skoto Gallery
Last year Jae and Wadsworth Jarrell’s work received prominent placement in “Soul of a Nation,” a Tate Modern–organized survey of the Black Power movement and art-making at the Brooklyn Museum, and in a Museum of Contemporary Art North Miami show about AfriCOBRA, the short-lived Chicago-based collective that the Jarrells helped found. That group helped shape the aesthetics of the Black Art Movement of the 1960s and 1970s, with Wadsworth’s eye-popping paintings and Jae’s radical clothing offering inspiration for black artists across America. For this exhibition, the duo will present a survey of works they’ve made between 1972 and the present. Wadsworth, a painter, and Jae, a furniture and textiles designer, will show drawings, paintings, prints, sculptures, and fashion designs.
Skoto Gallery, 529 West 20th Street, #5FL, 6–8 p.m.
Opening: Laura Lima at Tanya Bonakdar Gallery
Brazilian artist Laura Lima’s first exhibition at a U.S. gallery, “I hope this finds you well.,” aims to explore how objects get classified. Her show will include her installation Tailor Shop (2014/19), in which workers produce garments that are displayed in the gallery. (A similar version of this work was shown at the Pinacoteca do Estado de São Paulo last year.) Alongside the installation will be Lima’s “Wrong Drawings,” which are composed of cotton and charcoal, and works from her “Nomads” series, for which a copyist created replicas of famous landscape paintings.
Tanya Bonakdar Gallery, 521 West 21st Street, 6–8 p.m.
Opening: “Magic Ben Big Boy” at Matthew Marks Gallery
In 1994 sculptor Vincent Fecteau staged the exhibition “Ben” at San Francisco’s Kiki gallery. Named for Michael Jackson’s pet rat, the show featured absurdist photo-collages crafted from cut-up advertisements featured animals. That surrealist spirit continues at this three-person show, an homage of sorts to “Ben.” Included are Fecteau’s collages, sculptures made from shoeboxes, and painted eggshells, as well as a classic assemblage by Nayland Blake and a sculpture by Lutz Bacher—both of which were created in San Francisco around the time of “Ben.”
Matthew Marks Gallery, 526 West 22nd Street, 6–8 p.m.
FRIDAY, FEBRUARY 22
Opening: Cruising Pavilion at Ludlow 38
Cruising Pavilion—a curatorial project focused on gay sex, architecture, and cruising, curated by Pierre-Alexandre Mateos, Rasmus Myrup, Octave Perrault, and Charles Teyssou—made a splash last year when it debuted at the Venice Architecture Biennale. Now the curators have created a second iteration of the project, and they have set out to map New York using the architectural spaces of the city’s cruising cultures as a guide. The curators have aimed to reframe the act of cruising as one that transcends previous definitions and inspires cultural change.
Ludlow 38, 38 Ludlow Street, 6–8 p.m.
SATURDAY, FEBRUARY 23
Exhibition: Sarah Charlesworth at Paula Cooper
Paula Cooper Gallery’s first exhibition of work by Sarah Charlesworth, a leading figure of the Pictures Generation who died in 2013 and has since been added to the enterprise’s roster, will focus on the artist’s output between the late 1970s and early 1980s. The show will include Charlesworth’s “Modern History” series, which explores images reproduced in newspapers, sans the text that once surrounded them. Works from the series “In-Photography” and a selection of her “Red Collages” will also figure in the presentation.
Paula Cooper Gallery, 524 West 26th Street, 10 a.m–6 p.m.
SUNDAY, FEBRUARY 24
Talk: Wendy Red Star at Brooklyn Museum
In tandem with the Brooklyn Museum exhibition “Half the Picture, A Feminist Look at the Collection,” artist Wendy Red Star will discuss her work, which is informed by her history growing up on the Apsáalooke (Crow) reservation in Montana. (Red Star’s work can also now be seen at the Metropolitan Museum of Art show “Artistic Encounters with Indigenous America,” where she has created labels for works on view.) The artist’s multidisciplinary approach, which includes photography, sculpture, fiber arts, video, and performance, focuses on Native American ideology within oppressive structures through history.
Brooklyn Museum, 200 Eastern Parkway, 2–3 p.m. Tickets $14/$16