Histories and futures crisscross in a few of our favourite reveals in the intervening time. Paper sculptures by Rejin Leys ensconce themselves up to now, put in all through the historic King Manor Museum, whereas Christian Marclay imagines doorways as portals for transformation in his movie of the identical identify. And within the Thirties, Marian Spore Bush traversed the previous and future with highly effective symbolic work that look again on the First World Struggle and ahead to the looming World Struggle II.
In the meantime, Melissa R. Kerin writes about Tibetan shrines in artwork establishments in her incisive opinion piece, prompted by the Brooklyn Museum’s show of the Rubin Museum Tibetan Buddhist Shrine Room. Whereas Kerin addresses the issues with such shows, the Shrine Room remains to be effectively price a go to. —Natalie Haddad, Opinions Editor
Marian Spore Bush: Life Afterlife, Works c. 1919–1945
Karma Gallery, 188 East 2nd Avenue, East Village, ManhattanThrough September 6
Marian Spore Bush, “Seascape” (1943), oil on canvas (picture Natalie Haddad/Hyperallergic)
“Though [Spore Bush’s] automatic process might echo that of af Klint, Peavy, and others, defaulting to such comparisons defangs the art and erases its cultural context.” —NH
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Rejin Leys: Contact Jamaica
King Manor Museum, 153-03 Jamaica Avenue, QueensThrough October 31
Set up view of Rejin Leys: Contact Jamaica at King Manor Museum (picture Lisa Yin Zhang/Hyperallergic)
“Whereas a white cube induces you to suspend the broader context in favor of the here and now, Leys’s exhibition demands that you see these objects in relation to yourself and the larger world.” —Lisa Yin Zhang
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Christian Marclay: Doorways
Brooklyn Museum, 200 Jap Parkway, Prospect Heights, BrooklynThrough April 12, 2026
Set up view of Christian Marclay: Doorways on the Brooklyn Museum (© Christian Marclay, picture Paula Abreu Pita)
“In Doors, Marclay makes visible the mindless, forgettable actions of life indoors … while exploring the ways that doors serve as charged metaphors and well-worn cinematic devices and tropes.” —Julie Schneider
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Rubin Museum Tibetan Buddhist Shrine Room
Brooklyn Museum, 200 Jap Parkway, Prospect Heights, BrooklynThrough April 20, 2031
The Rubin Museum of Artwork’s “Tibetan Buddhist Shrine Room” in February 2025 (picture Melissa R. Kerin/Hyperallergic)
“Shrines have the potential to connect powerfully to a family’s history and ancestors, and their creation and maintenance are tied to a deep sense of cosmological order.” —Melissa R. Kerin
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