Arrival Art Fair

Tourists Hotel, North Adams, MA

June 13-15 | VIP Preview June 12

If Frieze Week makes you want to run for the hills, good news: Arrival is already there. Nestled in the Berkshires at the stylishly understated Tourists hotel, this first-time art fair stakes its claim as a slower, smarter, more generous alternative to the mega-fairs. Think: fireside Lodge Talks on the future of art publishing and artist residencies, studio visits with Jenny Holzer, poolside kikis DJ’d by April Hunt, and regional satellite shows from Powerhouse Arts, Fall River MoCA, and others. The curatorial firepower is real—Arrival’s lineup includes thinkers and doers from MASS MoCA, the Clark, VIA Art Fund, Creative Capital, and beyond—but the vibe is refreshingly analog: walkable, talkable, and threaded through with community. Free and open to the public, with room to breathe. —Brian K. Mahoney

“A Room of Her Own: Women Artist-Activists in Britain, 1875-1945”

The Clark Art Institute, Williamstown, MA

June 14-September 14

With a nod to the sentiment behind Virginia Woolf’s A Room of One’s Own and the need for women to discover their own creativity in their own space, the Clark in Williamstown presents “A Room of Her Own: Women Artist-Activists in Britain, 1875–1945” and the work of 25 professional women artists who were active during Woolf’s lifetime. Curated by the Clark’s associate curator, Alexis Goodin, and featuring paintings, drawings, prints, stained glass, embroidery and other decorative art forms, this exhibition explores the private spaces that afforded these women a place to discover their talents, including their studios, art schools, clubs and the public venues that gave them opportunities to exhibit, protest, and cultivate community.
—Taliesin Thomas

“Harold Stevenson: Less Real Than My Routine Fantasy”

ArtOmi, Ghent

June 28–October 26

This is the first institutional solo exhibition of Stevenson’s work in New York. The show offers a comprehensive look at Stevenson’s career, highlighting his exploration of identity, desire, and the human form. Known for his monumental painting The New Adam, Stevenson challenged traditional norms and celebrated queer aesthetics in his art. The exhibition features a selection of Stevenson’s works that reflect his personal perspective and contributions to contemporary art. Visitors can expect to engage with pieces that are both provocative and deeply personal, offering insight into Stevenson’s artistic journey and the cultural context of his time.—Jamie Larson

Jessica Hargreaves: “Girls at the End of the World”

Elijah Wheat Showroom, Newburgh

Through June 29

Bad-feminist apocalypse meets domestic installation art in “Girls at the End of the World,” Jessica Hargreaves’s solo show at Elijah Wheat. The exhibition—a sumptuous, end-times boudoir bristling with primal energy and painterly precision—features oil and acrylic reliefs alongside artist-designed household objects: the final decor of a doomed patriarchy. Drawing on her background in fashion and textile design, Hargreaves reimagines feminine archetypes in collapse and bloom, embedding them in soft surfaces and sharp critiques. Known for curatorial projects like 49.5 and her Germantown project space Mother-in-Law’s, Hargreaves brings her overtly political sensibility to bear on themes of power, identity, and aesthetic rupture. The results are feral, funny, and beautifully unsettling—just like the future. —BKM

“Trees Never End and Houses Never End”

Sky High Farm, Pine Plains

June 29-October 31

This summer the pastoral Sky High Farm in Pine Plains (a nonprofit organization devoted to food security and community-centered research) will present their first-ever biennial featuring a range of artworks by over 50 international artists, including Felix Gonzalez-Torres Foundation, Tschabalala Self, and Rirkrit Tiravanija. Curated by SHF founder and seasoned artist Dan Colen, “Trees Never End and Houses Never End” promises a fresh experience of the cross-pollination between art, climate activism, and agriculture. As SHF further expands into its 560-acre property, this ambitious exhibition is rooted in Colen’s commitment to land stewardship and long-term impact with art as a driving force for positive transformation and sustainability. —TT

Upstate Art Weekend 2025

July 17-21

Multiple locations in the Hudson Valley and Catskills

This summer, Upstate Art Weekend again transforms the rolling hills and river towns of the Hudson Valley and Catskills into an opendoor art extravaganza, unfolding over five days for its sixth edition, UAW now includes more than 150 participants—from storied institutions like Dia: Beacon, Storm King, and Bard’s Hessel Museum, to underground studios at Bull Farm and Art. Visitors chart their own course: gallery hop historic Main Streets, drop in on residencies at Kaatsbaan Cultural Park, PS21 performances in Chatham, or wander the grounds of Manitoga. With bespoke itineraries, a dynamic Google map, and a spirit of regional discovery, UAW is less fair than festival—a living portrait of the region’s artistic ecosystem. —BKM

Jon Kinzel: “Hudson Terminus”

Hudson Hall, Hudson

July 18-August 17

“Hudson Terminus” marks the return of Jon Kinzel to the liminal edges of movement and meaning, in an ambitious, multi-floor takeover of Hudson Hall. Equal parts installation, drawing practice, performance score, and body-time experiment, the work extends Kinzel’s “Terminus” series—an ongoing interrogation of aging, gesture, and digital decay. Downstairs, visitors traverse a landscape of mark-making and sculptural residue; upstairs, a kinetic trio (Kinzel, Anne Iobst, and Fabio Tavares) performs twice daily on July 19-20, blurring the line between compositional rigor and improvisatory spasm. “It’s about the body as both instrument and archive,” says Kinzel. Commissioned by Hudson Hall and running just 25 minutes per showing, the live performance lands somewhere between a fugue state and a transmission from the near future. —BKM

“So It Goes”

Wassaic Project, Wassaic

Through September 13

The fun-loving team at Wassaic Project in Wassaic consistently pulls together terrific installations that fill the oldie Maxon Mills and the surrounding grounds with exciting visions of contemporary art practices and projects. This season, the So It Goes group exhibition employs the notion of the “desensitized ways in which we cope with recurring horrors” as the emotional ethos of this provocative show (a concept culled from Slaughterhouse-Five, a semi-autobiographic science fiction anti-war novel by the late Kurt Vonnegut). Featuring diverse artworks by 43 artists, these objects reflect conceptual responses to our collective dread, everything from “play” and anarchist upbringings to “disconnect” and mega-floods, and thus the “so it goes” of art shakes us from dormancy and inspires us to face terror with valor. —TT

“Lens on the Hudson: Photographs by Joseph Squillante”

Hudson River Museum, Yonkers

Though October 19

For over five decades, Joseph Squillante has chronicled the Hudson River’s evolving story—from its pristine headwaters in the Adirondacks to the bustling harbor of New York City. In “Lens on the Hudson,” the Hudson River Museum presents 30 of Squillante’s evocative photographs, many never before exhibited, capturing the river’s natural beauty, seasonal moods, and the communities along its banks. Beyond picturesque landscapes, the exhibition delves into the river’s environmental narrative, highlighting Squillante’s documentation of pivotal moments such as the PCB dredging operations and the resurgence of bald eagles in the mid-Hudson Valley. His lens also turns to the human element, portraying figures like singer-activist Pete Seeger and the dedicated crews of the sloop Clearwater, emphasizing the intertwined relationship between people and this vital waterway. As Squillante reflects, “Photography stops time, preserving moments for posterity.” —BKM

“American Masterworks”

Fenimore Art Museum, Cooperstown

Through December 31

In a bold stroke of curatorial ambition, Fenimore Art Museum has unveiled “American Masterworks,” a landmark exhibition showcasing 27 newly acquired paintings by titans of American art. This $33.8 million expansion, funded by the Eugene V. and Clare E. Thaw Charitable Trust, bridges the museum’s 19th-century holdings with works spanning the 1850s to the early 20th century. Visitors can now encounter Georgia O’Keeffe’s Brown and Tan Leaves, Mary Cassatt’s Madame de Fleury and Her Child, and John Singer Sargent’s luminous Portrait of Laurence Millet, alongside pieces by Childe Hassam, Thomas Moran, and Joshua Johnson—the first known professional African American portraitist. The exhibition not only enriches Fenimore’s collection but also offers a profound narrative of American art’s evolution. —BKM

Thomas Cole National Historic Site, Catskill

June 21-December 14

Best known for her sensuous paintings of flowers, Georgia O’Keeffe once stated, “to see takes time” regarding her focus on the extraordinary beauty of her blossomy muses. Pairing O’Keeffe with Cole, “On Trees” at the Thomas Cole National Historic Site in Catskill presents the work of these two artists side-by-side for the first time. This modest show features the pairing of two important paintings: Hunters in a Landscape (1825) by Cole, a vision of his first visit to Catskill, and Dead Tree Bear Lake Taos (1929) by O’Keeffe, a vision of her first visit to New Mexico. These respective sojourns mark a turning point for Cole and O’Keeffe alike, and these two painters embody the significant effect of these locales on the creative practice of each. —TT