1. Chelsea Art Galleries Current Exhibitions

All art pictured is property of the artist/gallery.For requests regarding advertising, listings, corrections, or subtractions please contact MS@art-chelsea.com. Marlborough Gallery is one of the world's leading modern and contemporary art dealers with major galleries and offices in New York City, London, Madrid, Barcelona and Monte Carlo. Marlborough Gallery - Chelsea: Exhibitions.

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An epic street art show is coming to NYC this summer

Street art was born in NYC during the 1970s, a time when the city was bankrupt and wracked by crime. Almost as a response to the chaos, young kids from the Bronx and Brooklyn began bombing subway cars and buildings with graffiti tags. It was an illegal and sometimes dangerous activity, but it created an art form that would spread around the world, and find its way into NYC galleries and art museums. Photograph: © Martha Cooper Now an epic new show coming to NYC will revisit the storied history of street art with contributions by just every name ever associated with the genre. Starting June 21, “Beyond The Streets” will be taking over two floors of 25 Kent, a creative hub and office space in Williamsburg. The massive exhibit debuted in Los Angeles to critical raves and features 150 artists from around the world. Photograph: Courtesy Husk Mit Navn The participants include graffiti pioneers such as CORNBREAD, CRASH, DAZE and FUTURA 2000, as well as artists who connected the worlds of street art and fine art—among them Jean-Michel Basquiat, Keith Haring, Kenny Scharf, Jenny Holzer, Takashi Murakami and Charlie Ahearn, producer and director of seminal graffiti and hip-hop film, Wild Style, from 1983. BANKSY puts in an appearance, as does Shepard Fairey, who is the subject of a survey covering his 30-year career. A special Beastie Boys installation featuring artifacts and ephemera from the band’s history will be there, along with a working tattoo parlor staffed b

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Dumbo just got a lot more colorful. As the launch date draws closer for Time Out Market, artist Tom Fruin has brightened up the courtyard outside the soon-to-open venue with one of his signature brightly-colored glass houses. The installation allows visitors to step through and experience shimmering light in a bold spectrum of vivid colors. It also makes for some pretty killer pics. (Trust us. We shot the duo behind High Maintenance last year at one of the artist's installations at North Brooklyn Farms.) View this post on Instagram #maxikiosco Today’s install @empirestoresdumbo @timeoutmarketnewyork !! A post shared by Tom Fruin (@tomfruin) on May 1, 2019 at 8:44am PDT The newly-installed house is a bit of a homecoming for Fruin who worked out of a studio in the neighborhood for years. The Time Out Markets and editorial team visited his studio a few months ago to facilitate the new installation in anticipation of the upcoming launch of Time Out Market (date announcement coming soon!) But you don't have to wait to check out this piece which is already on view. The house is Fruin's first work to appear on the site, but he's definitely not a stranger to the surrounding area. The artist also has a number of pieces installed at theatrical powerhouse St. Ann's Warehouse just next door.

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So here you are, in the thumping nucleus of the $45 billion global art market, home to 250 or more galleries of contemporary art. But why does the floor feel so unsteady?

Rumblings of a market correction are everywhere in Chelsea lately, and the one-two punch of slowing sales and rising rents — note the garish condos rising above your head — has begun to knock out galleries large and small. Dealers have decamped downtown (Derek Eller, Alexander and Bonin) and uptown (Anton Kern). And there have been closings, too: Mike Weiss Gallery, Murray Guy and, most shockingly, the stalwart Andrea Rosen Gallery, which was an anchor of this neighborhood’s main drag of 24th Street.

But Chelsea’s still here, and still the best place in town to see lots of art in not a lot of time. This tour visits seven commercial galleries, as well as three of Chelsea’s nonprofit spaces, which can sometimes be overlooked. (Happily, the Dia Art Foundation is back; its 22nd Street home, currently hosting Hanne Darboven’s titanic installation “Kulturgeschichte,” is an essential stop.)

When you’re done, adjourn to the newly renovated Bottino, the Chelsea art world’s unofficial canteen on 10th Avenue. Buy a couple of dealers a drink; they might need it more than you.

[ More spring gallery guides: Highlights Brooklyn TriBeCa, SoHo and the West Village Lower East Side Upper East Side and Harlem ]

303 GALLERY Back in 1996, the astute dealer Lisa Spellman was among the first dealers to relocate from SoHo to Chelsea; now, 303 Gallery makes its home on the ground floor of one of the many brassy towers that have arisen in Highlineville. On view now is a sharp, droll exhibition of exactingly staged self-portraits by Rodney Graham, the slipperiest of the half-dozen conceptual photographers who came of age in 1980s Vancouver. In large lightboxes, the artist appears as a media studies professor in bell-bottom corduroys, smoking in class; as a sleeping antiques dealer surrounded by tchotchkes from British Columbia; and as a private detective peeping from behind a 19th-century newspaper. Like all the best wits, Mr. Graham is a tragic figure at heart — these photographic performances are all elegies for an age when artists had deeper convictions than we today can muster.

TYLER ROLLINS FINE ART Up on the 10th floor, quietly doing its thing for a decade, this gallery specializes in contemporary art from Southeast Asia and is one of the most reliably interesting spaces in Chelsea. “Mats and Pillows and Vessels,” its current show, features superb works on paper by the Thai artist Pinaree Sanpitak, who uses charcoal, pastel, candle wax and gold leaf to delineate curvaceous forms that could be breasts, bowls or stupas. Some of these dense and alluring drawings recall the best works of Louise Bourgeois — and Ms. Pinaree, like her, also has a strong interest in domesticity. A good third of the gallery has been given over to bamboo and rattan mats gathered from across Thailand, on which gallerygoers can chill out for a spell; just make sure to take off your shoes first. (The artist has also installed a large, undulating canopy in the Brookfield Place winter garden, down in Battery Park.)

ANDREW KREPS GALLERY The larger of this gallery’s two spaces has been dimmed to screen four moving-image works by the Ohio-born artist Kevin Jerome Everson, whose laconic films explore the quotidian passages of African-American life and, more recently, the everyday consequences of the Midwest’s economic downturn. In three bluntly metaphorical projections here, dating from 2011 to 2015, he films busted automobiles as they’re torn apart for scrap: One is pancaked in a car crusher, while another is gripped by a giant claw and tossed like a rag doll. The more surprising work here is a double projection shot at a lunar observatory. The moon appears, in one frame-filling shot, as a riot of pockmarks; in another, it’s just a wash of monochrome silver. (Mr. Everson’s work is also included in this year’s Whitney Biennial, just down the High Line from here.)

ALEXANDER GRAY ASSOCIATES The poetic potential of scrap metal has long occupied another African-American artist: the veteran sculptor Melvin Edwards, who works in upstate New York but also keeps a studio in Dakar, Senegal. Chains, hooks, locks and horseshoes are welded into dense knottings of steel, which hang from the wall in this gallery like malevolent sconces; skeins of barbed wire stretch from one wall to the next, and are (a little melodramatically) suspended from the ceiling to form a large tent. Mr. Edwards’s fiercely welded hunks and chains in this show, titled “In Oklahoma,” certainly call forth the history of slavery and discrimination: Many are from a continuing series known as “Lynch Fragments.” But they are also careful exercises in abstract form, in harmony with the metal sculptures of his contemporaries Mark di Suvero and John Chamberlain.

THE WALTHER COLLECTION In 2011 the photography collector Artur Walther opened this small nonprofit space as a New York satellite to his sizable private museum in southern Germany. African photography has been its principal focus, but the current show, “Body, Self, Society: Chinese Performance Photography of the 1990s,” is an excellent tour d’horizon of Chinese photographers, including Ai Weiwei, Zhang Huan and Song Dong. T he last of these photographers is represented by his renowned series “Printing on Water,” in which Mr. Song is pictured waist-deep in a Tibetan river, futilely stamping the surface with a printing block marked with the Chinese character for water. The Chinese government isn’t exactly easygoing about the question of Tibetan sovereignty; Mr. Song’s polyvalent performance is a quietly political act of cheek.

P.P.O.W. This gallery opened more than 30 years ago in the East Village, moved to Chelsea in 2002 and took over a second floor of its building last September. The principal space features “Virgins,” a capacious exhibition by the feminist painter Betty Tompkins, whose soft-edged black-and-white canvases depict, in sometimes murky close-up, acts of heterosexual coitus. Their titles are not publishable in The New York Times, but don’t be prudish: These pictures of penetration are more forensic than pornographic, and they resolve, when you move toward them, into delicate spumes of blue and gray. Their rigor is further affirmed by the associated drawings Ms. Tompkins shows here, in which ravenous kisses and engorged members are partitioned by the same grid designs used by Renaissance painters.

THE KITCHEN This is one of New York’s most august venues for performance art and dance, but a less trafficked art gallery, one steep flight up from the Kitchen’s black-box theater, consistently stages some of Chelsea’s smartest shows. The current exhibition, “Yield Point,” by the sly Japanese artist Aki Sasamoto, explores various kinds of elasticity: A high-definition video features a tensile testing machine that stretches plastic like bubble gum, while a baffling installation displays an upright trampoline and electroluminescent wire stretched across a Dumpster. (There are also walnuts. Search me.) Ms. Sasamoto has been performing within the exhibition throughout the run: Catch her solo this Saturday at 6 p.m., or next week with the polished Sudanese singer Alsarah.

INTERNATIONAL PRINT CENTER NEW YORK This scrappy nonprofit is New York’s only space devoted to etchings, woodcuts, monotypes and all sorts of printed images. Its current show, “Other Hats: Icelandic Printmaking,” features two dozen Icelandic artists, working in veins from gloomy landscape (the aquatints of Georg Gudni) to surrealistic Pop (the etchings of Arnar Herbertsson). Björk herself is here, represented by an early book of punk fairy tales, and you may know a couple of other names: the New York-based Katrin Sigurdardottir, say, or the Iceland-based foreigners Dieter Roth and Roni Horn. But many deserve greater recognition, above all Runa Thorkelsdottir, whose dozens of offset prints of flowers are as restorative as the first day of spring.

MICHAEL ROSENFELD ART Hard by the West Side Highway, this gallery moved here from Midtown in 2012 — and is the only significant space in Chelsea that regularly plays background music. One of its focuses is abstraction by African-American artists, among them the painter William T. Williams, who’s got a mini-retrospective, “Things Unknown: Paintings 1968-2017,” up now. In the late 1960s and early 1970s, Mr. Williams made hard-edged geometric compositions in which diamonds and S-curves intersected in shallow planes. Later, the diamond shapes were absorbed into stuttering, overlapping fields of gray or mauve. If some ’80s experiments with drippy handprints went decidedly awry, two fine works from 2007, in which white curlicues disrupt oceans of blue, reassure that Mr. Williams has never stopped exploring.

DAVID NOLAN GALLERY The air starts to get thinner once you go north of 26th Street, but one of the few significant galleries in Chelsea’s upper stretches is this one, whose mullions are painted an unmissable taxi cab yellow. Up now is an intriguing, biting-its-own-tail show, “All Images From a Book..,” by Ciprian Muresan, one of several prominent artists from Cluj, Romania — an unlikely new European art capital whose other hometown heroes include the painter Adrian Ghenie and the video artist Mircea Cantor. Mr. Muresan, who’s taking part in next month’s Venice Biennale, makes allusive “palimpsest” drawings, for which he copies every image from a book of Holbein paintings, or from an issue of Artforum magazine, into dense webs of images and information. But a better and more inventive example of creation through duplication is a cast-resin sculpture, with forms that draw on multiple busts and statues in Cluj’s art museum, lying on the floor like a casualty of history.