At Silver Art Projects, In the End, Everything Gives brings together more than thirty artists from the Women Sculptors Group (WSG), a New York–based network of women-identifying and non-binary sculptors that now includes over 350 members. Installed within the residency spaces at 4 World Trade Center, the exhibition carries the energy of a working community—artists connected through an ongoing commitment to sculpture and material inquiry.
ANISH KAPOOR: MIRROR WORKS EXHIBITION AT LISSON GALLERY 504 West 24th Street, Tue – Sat 10 am to 6 pm
February 11 – April 11, 2026
Anish Kapoor’s exploration of scale, color, volume, and materiality anchors this presentation of mirror works from 2010 to the present. Monumental stainless-steel sculptures and painted mirrors immerse viewers in destabilizing reflective environments shaped by spatial illusion. Highlights include Non Object (Plane) (2010), a folded steel form that blurs object and reflection; Double Vertigo (2012), whose concave surfaces disorient perception; Untitled (2023), structured around a reflective void; and Stave (Red) (2015), where lacquered color intensifies spatial presence. Wall-mounted mirror sculptures further collapse boundaries between painting, sculpture, and architecture. The exhibition follows Kapoor’s Jewish Museum show and coincides with his SCAD Museum of Art presentation.
Installation images of WARP Wood 2025: A Plank in a Shipwreck. Photo credit: John Carlano
Across the city, artists are focused on the meaning of visible labor and extracting the potential in the most innocent of found materials. Through unconventional mediums and reclaiming disregarded items like paper or rubber bands, artists are able to tap into universal experiences that inject value and sacredness into everyday objects. At PEEP Projects, Maria Ah Hyun constructs layered paper vessels to serve as ritual objects and gateways into cultural landscapes. Gabrielle Constantine transforms Blah Blah Gallery into a romantic archive of working class textures and sensibilities that honor the excesses of labor. Museum of Art and Wood presents the 2025 cohort for their Windgate Arts Residency program, inviting experimentation and individual perspectives in wood in A Plank in a Shipwreck.
FELLOW IMAGINARIES installation (three pieces), Carole d’Inverno and Susan Rostow, (left) Telling Bones, 21 x 19 x 15, paper, metal, bone, plastic, wood, pigments. Rostow, (middle) North-South, 42 x 71, vinyl emulsions, ink pens, inks on canvas, rod, d’Inverno, (right) Under Cover, 24 x 12 x 12, wood, sisal rope, wire. d’Inverno
Carole d’Inverno and Susan Rostow live a block apart. Over the past year, they passed sculptures between studios, texted images and material references, built paper maquettes, and revised their work without fixed goals. Fellow Imaginaries, now on view at Atlantic Gallery, result from this sustained exchange. The exhibition includes fully collaborative hybrid sculptures made jointly by d’Inverno and Rostow, alongside individual works by each artist: sculptures by Rostow and both sculptures and paintings by d’Inverno. Though distinct in authorship, all the works were developed in close dialogue. They respond to one another in form and material and in how they occupy space. Walking into the show feels like entering a toy store—joyous, playful, a place of invention. The visitor becomes a child again, wondering how things were made and how they might move.
Untitled (12 tubs), 2023, Socrates Sculpture Park, New York, NY.
Bat Ami Rivlin, who has lived in New York City for over a decade, finds her artistic practice profoundly shaped by the city’s relentless cycle of object turnover. The daily expulsion of waste from restaurants, buildings, and homes onto the streets, followed by the inevitable clear-out, is a stark reflection of urban existence. This phenomenon sparks contemplation on how these transient objects organize our spatial interactions, both during their use and after their disposal.
The artist withBig Yellow, 18″ x 11″ x 7.5”; ceramic; 2017. Photo Credit: Linda Cunningham
Ten years ago, Judy Hoffman became enthralled with clay and hand-building. The current exhibition Evolvers and Wildtypes at the Long Island City Sculpture Space is her first solo show of these ceramic sculptures. Hoffman’s ceramics’ imagery and forms tap into a previous installation work made from sculpted paper pulp, natural materials, and man-made debris. Paper clay techniques permit the bonding of wet clay to fired forms, enabling the construction of diverse configurations. These components are conjoined to initiate a dialogue between organic and mechanical elements, yielding imagery that defies expectation. The artwork evolves through a rhythm of construction and deconstruction, encapsulating cycles of creation, deterioration, and renewal. Viewers are meant to encounter an elemental rawness, surprise, and a touch of humor.
Jean Shin, Home Base, 2022. Installation at Laumeier Sculpture Park, St. Louis, MO. Photo Credit ProPhotoSTL. Courtesy of the artist and Laumeier Sculpture Park.
With her public sculptures, Jean Shin makes powerful statements about the climate crisis out of discarded and obsolete materials. She often engages communities in her materials sourcing, mixing social practice into her public sculpture practice to create platforms for discussion. Ingenious and esthetically considered, her works show novel ways to engage with the climate crisis.
Gut Feeling is a solo exhibition of hyper-tactile sculptures by sculptor, Kate Casanova, at Yi Gallery in Brooklyn. This is Casanova’s first solo show with the gallery. The exhibition will be on view May 14 through July 9.
Daniel Wiener, Six Custodians, 2021, Apoxie-Sculpt and dispersed pigments, 12.5” x 29” x 29”, photo courtesy of Daniel Wiener
The exhibition, At Home with Scallywags and Raspcallions, brings together Daniel Wiener’s work from the past 12 years. It focuses on his sculptures which also have a practical domestic use. As he says—the tables, stool, benches and bowl are familiar objects but in my hands, as with all of my work, they still uncover subconscious inner demons.
Jennifer Macdonald, We Met in Kaarthijenkia installation at Sala Projects, 2021, photo courtesy of Tania Cross
Jennifer Macdonald’s solo inaugural exhibition at Sala Projectsfeaturesa group of unique cast bronze sculptures, made by using prototypes that are built from textured wax and wax-coated materials such as card stock, pasta, balsa wood.
