Although it has its imperfections, as our personal Lisa Yin Zhang writes in her considerate evaluate, Sixties Surreal on the Whitney Museum can also be effectively value a go to, and also you’re certain to seek out one thing you like on this formidable group exhibition. Lastly, artist Paul Chan sings the praises of Marta Lee’s creations, which can doubtless turn into a favourite for a lot of artwork lovers. —Natalie Haddad, Opinions Editor
30 X 30: A Collection of Thirty Artists Over Thirty Years
Jane Lombard Gallery, 58 White Road, Tribeca, ManhattanThrough October 25
Mounir Fatmi, “Maximum Sensa:on Suspended” (2016) on view at Jane Lombard Gallery (photograph Aaron Quick/Hyperallergic)
“At a time when the contemporary art world appears to be swerving away from politics … Lombard knows that all politics are personal.” —Aaron Quick
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Nayland Blake
Matthew Marks Gallery, 522 and 526 West twenty second Road, Chelsea, ManhattanThrough October 25
Set up view of Nayland Blake, “Session” (photograph Lisa Yin Zhang/Hyperallergic)
“Blake’s rigorously conceptual work reroutes your expectations for both object and artwork, not merely implying but actively implicating your body.” —Lisa Yin Zhang
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Marta Lee: 11:11
Tappeto Volante, 126 thirteenth Road, BrooklynThrough November 2
Left: Marta Lee, “Rainbow (Around Her Neck)” (2024), acrylic, crayon, and graphite on linen over canvas; proper: Marta Lee, “Prisma” (2025), acrylic on linen (photograph by and courtesy Ruby Chan)
“Given the personal quality of the objects, I can’t help but imagine that Lee is building an ark of her own, one painting at a time.” —Paul Chan
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Sixties Surreal
Whitney Museum of American Artwork, 99 Gansevoort Road, West Village, ManhattanThrough January 19, 2026
Set up view of Sixties Surreal, feauturing Claes Oldenburg’s “Soft Toilet” (1966, heart) and Alex Hay, “Paper Bag” (1968; again left) (photograph Hrag Vartanian/Hyperallergic)
“The exhibition gathers the work of 111 artists across a wide range of media as evidence that the sexual, fantastical, and unconscious undercurrents of the psychologically fractured 1960s surfaced in art.” —LYZ
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Ruth Asawa: A Retrospective
Museum of Fashionable Artwork, 11 West 53rd Road, Midtown, ManhattanThrough February 7, 2026
Ruth Asawa, “Untitled (WC.187, Two Watermelons)” (Sixties), ink on technical paper (photograph Lisa Yin Zhang/Hyperallergic)
“Asawa’s works aren’t metaphorical, allusive, concerned with their own cleverness. They don’t stand in for other things, they become their own versions of them.” —LYZ
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