“It all started with my band breaking up,” artist Taraka Larson started. We’re sitting on a marble-patterned bedspread draped over a blow-up mattress positioned on fake grass mats at New York’s Spring Break Artwork Present. A vaguely Rolling Stones-esque tune wafts within the background.
“I was in this band with my sister for 10 years, and when it ended I was homeless, broke, didn’t know what the fuck I was gonna do with my life,” she continued. “I didn’t really feel like I could go on creating as a jaded, heartbroken adult. So I thought — where did I first find that inspiration, that lost innocence, that joie de vivre? And it was in high school, when I discovered my first power chord and I was so excited about music.”
That’s how Larson discovered herself on this “alternate-reality version of my teenage bedroom fused with the Garden of Eden,” as she described her durational efficiency and set up at Spring Break, born out of an album she wrote exploring her inside adolescent. Donning a studded bracelet within the aesthetic lineage of Scorching Matter, posing languidly with a replica of John Milton’s Paradise Misplaced, she defined that her objective wasn’t to sugarcoat the drama and trauma of these early years, however slightly to lean into the ego dying that accompanied them — with slightly assist from Inexperienced Day and Fred Durst.
Ceramics by Yuka Nishihisamatsu, introduced by Eunoia
It’s a becoming analogy for the spirit of this yr’s Spring Break, whose 14th version is on view via Sunday, Could 10, with the theme “PARADISE LOST + FOUND.” It’s additionally a resonant picture for our present political second, as many people root round our reminiscences for a cause to really feel hopeful and energized.
For the second yr in a row, the truthful is taking on residence within the Tenth-floor former places of work at 75 Varick Road in Hudson Sq. — having beforehand occupied St. Patrick’s Outdated College, a publish workplace, the Condé Nast headquarters, and Ralph Lauren’s deserted Madison Avenue bureaus, amongst different unlikely properties. Spring Break has a repute for being scrappy, DIY, experimental, and slightly chaotic, form of like your enjoyable, childless aunt who splashes champagne at each household reunion. However in a bouncy sea of 120 tasks by impartial curators and artists, a great chunk of the works have been much less slapdash and extra put-together, proving that Spring Break can clear up properly — and is a worthwhile cease on a collector’s jam-packed spring truthful itinerary.
Work by Enio Arroyo Gomez curated by Viljon Caka
I’m pondering of, for instance, Kyoto-based artist Yuka Nishihisamatsu’s mesmerizing glazed porcelain vessels impressed by the Buddhism and lotus flowers, which guests admired obsessively on opening night time, gushing as they identified the elegantly stacked varieties and Swarovski crystal particulars. Or the work of Costa Rican artist Enio Arroyo Gomez in a lush wallpapered room curated by Viljon Caka; this exhibition’s title, The Burden Which We Carry, is a reference to the best way by which Gomez works via violent generational histories. Evocative of folkloric youngsters’s tales stuffed with mythic beasts and charming characters, the canvases elicit an odd sense of the acquainted.
Artist Kesh carrying a skirt lined in her prints and drawings, curated by MooncalfNYC & Celine Cunha
In the event you’re anticipating a neat row of completely sq. and contained truthful cubicles, neglect it. Artist Kesh, as an illustration, wore an enormous billowing skirt lined in her quasi-abstract prints and drawings in a presentation co-curated by Celine Cunha and MooncalfNYC’s Ryan Bock. A part of what makes such an unconventional show potential is the rebellious ethos that’s a part of the Spring Break Artwork Present’s DNA, Bock informed me — and he’s seeing the technique replicated elsewhere.
“It’s not as risk-adverse here — people are encouraged to be immersive,” Bock stated. “Over the last five or so years, you go to the Armory and other fairs that are traditionally very white cube, and they’re implementing the language of Spring Break and other smaller shows. They’re peepin’ what’s happening here, and they’re emulating it.”
Victoria Martinotti together with her portray “Virgin Tempted” (2025)
One other draw for extra exploratory work is the truthful’s monetary mannequin, whereby members pay a refundable $500 deposit and share a portion of paintings gross sales with the organizers — no up-front sales space charge, defined artist Victoria Martinotti. Her hyperrealistic oil on linen work, curated in a solo presentation by Zachary Lank, have been born out of a inventive rut, echoing Larson’s teenage dreamscape.
“I was in an art block, so I decided to sketch my biggest fantasy — I’m lactose- and gluten-intolerant, so I started drawing, like, bread having a fun time,” Martinotti said. These early tributes to prohibitive indulgences, similar to brioche or baguette, gave strategy to eerily spiritual portraits of whipped cream. Martinotti was impressed. In “Virgin Tempted” (2025), a lady carrying a black lace chapel veil prays longingly to the gods of dessert, her eyes gazing upward in a mid-fantasy expression of candid need.
“I love that feeling of really wanting something and not getting it, I like painting that — it’s a feeling I love to work with,” the artist stated.
Artist Aiza Ahmed and curator Indira A. Abiskaroon at their presentation Border Play
Artist Aiza Ahmed, a latest Rhode Island College of Design MFA graduate, collaborated with impartial curator Indira A. Abiskaroon to current Border Play, an intricate theatrical set up inspecting the each day ceremony on the Attari-Wagah border between Pakistan and India. The ceremony, which has taken place each afternoon since 1959, entails dance-like marching, flag-lowering, and handshakes in a mixture of nationalistic pageantry and army present of pressure. Towards the backdrop of heightened tensions between the 2 nations within the wake of a lethal assault in Indian-administered Kashmir, Ahmed tackles the darkish absurdity of the custom with picket cutouts of stomping troopers kicking their legs excessive within the air, rows of mustached militants painted on cloth, and a video projection in a fort-like room flanked by plush, silky curtains. The set up responds to Spring Break’s “maximalist, site-specific” strategy, Abiskaroon informed me, however it’s also purposely ambiguous: “You don’t know which side of the border you’re on — you don’t know if there’s a border at all,” she stated.
A customer admires work by Juliane Hundermark.
It might be true that the Spring Break Artwork Present is getting extra “normie,” like one artist informed me on the truthful. Which may draw potential consumers in search of one thing to placed on their partitions and translate to gross sales for an rising class of artists — and that doesn’t sound so horrible, now, does it? From what I’ve seen this yr, Spring Break is ready to scale up its recreation with out sacrificing its founding rules of oddity and creative liberty. It stays a present delightfully unconfined, the place it’s unclear the place one show of artworks ends and the subsequent begins.
Larson’s makeshift adolescent digs at Spring Break
Work by Audrey Bialke
“Ego Escape” by Colin Roberts
Stone meals sculptures by Louis Sarowsky 
A part of Dave Alexander’s artist highlight presentation
