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As Ruth Jean-Marie notes in her review of Pamela Phatsimo Sunstrum’s exhibition, it’s an interesting time to highlight intimacy in art, with so much turmoil in the world. But maybe that’s just what we need right now to offer us solace. Sunstrum’s art centers women caring for each other. A group exhibition at 12 Franklin in Greenpoint addresses intimacy from a different angle, by focusing on the innermost parts of our bodies and our own relationships with them. Meanwhile, Kader Attia’s deeply personal artwork invites audiences to share in his life experience as the son of immigrants in France. And Shellyne Rodriguez’s new public artwork in The Bronx is a tribute to her beloved borough. Make sure to check out some great painters, too, including Karin Davie and the always enchanting Monet. —Natalie Haddad, Reviews Editor
soft weapons: Keep Your Fucking Hands off My Body
12 Franklin, 12 Franklin Street, Greenpoint, BrooklynThrough November 22
Installation view of soft weapons: Keep Your Fucking Hands Off My Body, featuring works by Airco Caravan (photo Lisa Yin Zhang/Hyperallergic)
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“I pushed through the heavy doors of 12 Franklin to look at photographs of the inside of a vagina taken by a sex toy camera. Whew.” —Lisa Yin Zhang
Read the review.
Kader Attia: Shattering and Gathering Our Traces
Lehmann Maupin, 501 West 24th Street, Chelsea, ManhattanThrough December 20
Installation view of Kader Attia: Shattering and Gathering Our Traces at Lehmann Maupin (photo Hakim Bishara/Hyperallergic)
Kader Attia was born into a colonial ordeal but dreamt his way out of it, one artwork at a time. This show continues the French-Algerian artist’s career-defining meditations on repairing and healing collective and personal histories. Suitcases filled with mirror shards lead you to a film in a basement space featuring Attia’s mother, feminist decolonial author Françoise Vergès, and artist Jean-Jacques Lebel. Each one of them has a story to tell about a certain suitcase. Ultimately, the artist’s message is optimistic: Through the bruising splinters of memory shines the light of life. The most pulled-together among us are often the ones who had once been shattered into pieces. —Hakim Bishara
Karin Davie: It Comes in Waves
Miles McEnery Gallery, 525 West 22nd Street, Chelsea, ManhattanThrough December 20
Karin Davie, “Trespasser no. 5” (2025), oil on linen over shaped stretcher (courtesy the artist and Miles McEnery Gallery)
“As much as Davie controls what happens in her compositions, complete command escapes her, creating a sense of tension.” —John Yau
Read the review.
Pamela Phatsimo Sunstrum: Parabellum
Galerie Lelong, 528 West 26th Street , Chelsea, ManhattanThrough December 20
Installation view of Pamela Phatsimo Sunstrum, “How do we know if we are loved” (2025), oil on cradled wood panel (photo Ruth Jean-Marie/Hyperallergic)
“It feels like a particularly interesting time to be highlighting moments of intimacy amid backdrops of strife, given that we live in a time rife with famine, war, and genocide.” —Ruth Jean-Marie
Read the review.
Monet and Venice
Brooklyn Museum, 200 Eastern Parkway, Prospect Heights, BrooklynThrough February 1, 2026
Claude Monet, “The Red House” (1908), oil on canvas (photo Natalie Haddad/Hyperallergic)
“For all the wall texts and archival materials … nothing justifies celebrating this sliver of his oeuvre more than the paintings themselves.” —NH
Read the review.
Shellyne Rodriguez: “Phoenix Ladder: Monument to the People of the Bronx”
Grand Concourse and Morris Avenue, Concourse Village, The BronxOngoing
Detail of Shellyne Rodriguez’s “Phoenix Ladder: Monument to the People of the Bronx” (2025) (photo Andrés Rodríguez von Rabenau)
“[The artwork] portrays an ascending ladder with no end, in an artistic testament to the resilience of the borough in the face of adversity.” —Isa Farfan
Read the report.
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Become a member Tagged: New York
Natalie Haddad
Natalie Haddad is Reviews Editor at Hyperallergic and an art writer and historian. Natalie holds a PhD in Art History, Theory and Criticism from the University of California San Diego and focuses on World... More by Natalie Haddad
Hakim Bishara
Hakim Bishara is Hyperallergic's Editor-in-Chief. He is a recipient of the 2019 Andy Warhol Foundation and Creative Capital Arts Writers Grant and he holds an MFA in Art Writing from the School of Visual... More by Hakim Bishara
Lisa Yin Zhang
Lisa Yin Zhang is Associate Editor at Hyperallergic, based in Queens, New York. More by Lisa Yin Zhang
Isa Farfan
Isa Farfan is a staff reporter for Hyperallergic. In May 2024, she graduated from Barnard College, where she studied Political Science and English and served as the Columbia Daily Spectator's Arts &... More by Isa Farfan
John Yau
John Yau is an award winning poet, critic, curator, and publisher of Black Square Editions. He has published over 50 books of poetry, fiction, and art criticism. More by John Yau
Ruth Jean-Marie
Ruth Jean-Marie, philanthropist, strategist, and freelance writer, is a Haitian-American Brooklyn native. Her most recent project turns a collection of Haitian stories into a coffee table book. She is... More by Ruth Jean-Marie
