Name: Second Sundays: March 2025
Start: 2025-03-09
End: 2025-03-09
Location: Pioneer Works

Let Pioneer Works come to you. Subscribe to our newsletter.

PW Closure 10/25-10/26

Pioneer Works's galleries and garden are closed to the public on Friday, October 25th and Saturday, October 26th for the United Sounds NYC Festival 2024. 

Bottom [Test]

Own the Archive Sale

This week only, we’re heavily discounting our #PWPress publications to make way for new projects. Find artist-created books for $5, $10, & $15—sales raised from the PW Store are reinvested into funding new, ambitious projects by emerging and underrepresented artists and writers.

Gift Guide

From November 28 through December 14, take 20% off products in the Gift Guide with code: ULTRAFESTIVE. 

Ragas 

Pioneer Works will be closed for normal gallery hours this October 14 & 15 for Ragas Live Festival 2023, learn more 

June closing

Please note, Pioneer Works will be closed for daily admissions until July 7th. We 

open for ticketed programs, view our calendar 

Newsletter Signup

Test Test Test Test Test Test Test Test Test Test 

Bottom

Celebrate 10 years of Pioneer Works by shopping the PW Press Archive Sale! Through October 31, take 10% off Pioneer Works Press items with code 

Flash Flood Closures

Building Closures Due to Flash Floods

Due to weather conditions, Pioneer Works is suspending open gallery hours for Friday, September 29. MHYSA's performance has been rescheduled for Sunday, October 1, with all tickets being transferred to the new date.

April PW Store Banner

Shop the PW Store Spring Sale!

 for the entire month of April and receive an automatic 20% off books, records, apparel, and more. Members save 35%—learn more about membership 

Aura Closure 5/27

Please note:

 will close early at 5pm on Saturday, May 27. Learn more and plan your visit 

CEO Announcement

Just Announced: Pioneer Works Names Mara Manus Chief Executive Officer

The Board of Directors of Pioneer Works is pleased to announce that Mara Manus, former Executive Director for New York State Council on the Arts (NYSCA), has been appointed as the organization’s new Chief Executive Officer. 

We are grateful for your engagement and support of Pioneer Works over the last year. Now through December 31st, we’re fundraising to meet our end of year goal and close out 2024.

85% of our programming is free or accessibly-priced and we rely on our community of supporters to make that possible. Give now to ensure that we can continue nurturing artists and audiences through 2025.


Support our Annual Appeal

Annual Appeal [Action]

PW Closed 11/11

We're closed all day Friday, November 11 for our annual Village Fête Benefit. To learn more about the After Party and get tickets, visit 

Donate [Test]

[TEST] Segmented Signup Form 

Let Pioneer Works come to you                                    

Our galleries and garden are closed to the public today for a United Sounds NYC Festival 2024. Learn more about the festival 

Closure Announcement [TOP]

We’re making Pioneer Works accessible to all! While our building is temporarily closed until this September, we are continuing to host offsite programming. See upcoming programs 

PW Newsletter

[Test] [Dev] Modal Detailed Form

[TEST] Top Preview 

Lorem ipsum dolor sit amet, consectetur adipiscing elit, sed do eiusmod tempor incididunt ut labore et dolore magna aliqua. Ut enim ad minim veniam, quis nostrud exercitation ullamco laboris nisi ut aliquip ex ea commodo consequat.

Top Banner [Broadcast]

 takes place at PW to celebrate this digital experiment and the artists, scientists, musicians, writers, and readers who’ve made it possible. RSVP 

Aura Closure 6/3

 will close early at 5pm on Saturday, June 3. Learn more and plan your visit 

[Test] [Dev] Top Text

Test Header

We're pleased to announce the first major renovation of Pioneer Works! To accommodate the first phase of our construction, we're temporarily relocating to 133 Imlay Street opening in Spring 2022.

Early Closure 5/10/23

Due to programming, Pioneer Works will be closed to the public on Wednesday, May 10. We will be open from Thursday through Sunday for the remainder of the week. Learn more and plan your visit 

Winter Break Closure

Pioneer Works will be closed between December 16, 2024–January 24, 2025 for a winter break.

Since 2013, Pioneer Works has hosted Second Sundays, a free monthly open house. Highlighting our programs, artists-in-residence, and Red Hook community members, Second Sundays features open studios, exhibitions, workshops, live music, and food across all three floors and our garden. 

Pioneer Works is supported in part by public funds from the New York City Department of Cultural Affairs in Partnership with the City Council and the New York State Council on the Arts with the support of the Office of the Governor and the New York State Legislature.

(they/them) that culminates a multi-year and multidisciplinary project inspired by the life and work of science fiction writer Octavia E. Butler (b. 1947, Pasadena, CA). Building upon previous exhibitions of this project at REDCAT, Kadist and LACMA, this presentation will be the most comprehensive to date, and be accompanied by a monograph published by Pioneer Works Press, providing a new vantage point into an expansive project rooted equally in biography and fiction.

 derives its title from an epitaph found in a religious text written by Lauren Oya Olamina, the protagonist of Butler’s 

(1993)—a novel set in a post-apocalyptic America. Threatened by dire instability caused by climate change, corporate greed and wealth inequality, Olamina and her community flee their breached city of Robledo and trek across a dystopian California, eventually starting a new religion that calls on its followers to depart Earth in the pursuit of a new beginning. As Artist notes in their monograph, “[Butler] continues to influence artists—especially Black, feminist, queer, and politically engaged speculative artists—who are drawn to her empathetic yet stark narratives about humanity’s perilous patterns and blindspots… The 

 series, set in Los Angeles in 2024, suggests that building community is [our] best chance for survival. It warns that when demagogues and oligarchs hold power and oppose everything you value, you’d better have an escape plan.”

 is the resonance between the speculative worlds of Butler’s fiction and the intimate details of her personal life. Artist examines biographical details from Butler’s lived experiences to understand how the radical political possibilities in her fiction were made possible, for example, by the support provided by her mother and grandmother. In 

(2024)—exhibited at Pioneer Works for the first time—Artist used AI tools to generate an image of Butler’s grandmother’s chicken coop, which then became a visual reference for the sculptural installation they created. The work also nods towards the extensive research that Artist conducted at the Octavia E. Butler Collection at the Huntington Library by situating rows of archive file folders within its interior.

Rather than treat the Butler Collection solely as a reference, Artist incorporates archival materials into the exhibition by recreating them in their own hand. Using stationary from the Huntington Library, they meticulously hand-traced over documents and ephemera found in the archive. Presented in vitrines that recall the library’s decor, these drawings reanimate details and objects from Butler’s life by bringing them into dialogue with the artworks in the exhibition.

Notably, Artist shares biographical kinship with Butler in that both grew up in Pasadena, California, attended the same high school there and are descendants of Black Southern families who migrated westward to California. This shared connection manifests in a pair of sculptures within the exhibition, in which regional species of agave plants appear as bases of Los Angeles municipal bus stop signage that Butler once waited next to on her way to John Muir High School, Pasadena City College and the Los Angeles Public Library. 

 was born out of Artist’s interest in understanding how the specificities of their birthplace, from the roads to the institutions, fauna and political climate, impacted Butler as an adolescent who aspired to be a full-fledged writer.

Similarly, the four videos on view mine the history of Pasadena—the site of NASA’s Jet Propulsion Lab—and its influence on Butler’s writings about space exploration in her novels. Pasadena’s history as a hot-bed of the rocket science industry is inflected with references to the attempts by present-day billionaires to remake space exploration in their own image. In 

 (2024), Artist combines a two-channel video, birthed from a performance commissioned by LACMA’s Art + Tech Lab, with a sculptural installation to consider the spiritual, political and material necessity of leaving Earth—not in search of a new colonial frontier, but as a response to the planet’s destruction.

 extends through Artist’s first monograph, which expresses their process of engaging with Butler’s life and creative output. Edited and designed by 

 and featuring original essays and reprinted writings by 

, the publication combines scholarly insights with images culled from Artist’s own archive of artworks, text message exchanges, desktop screenshots, sketches and research materials. The book will be a hallmark of a reading room environment set within the exhibition, where audience members can further engage with volumes about Butler—provided by the Brooklyn Public Library—and other related topics.

Like the reading room and the monograph, the exhibition’s related programming series will offer visitors a variety of ways to engage with the material and conceptual landscapes of 

, inspired by the titular, conceptual card game created by 

 and Pioneer Works, the program will pitch Artist and 

 in a dialogue about Afropocalypse. Contemporary science fiction author 

 will also engage with Janna Levin, Director of Sciences at Pioneer Works, in a new iteration of the ongoing series 

American Artist makes thought experiments that mine the history of technology, race and knowledge production, beginning with their legal name change in 2013. Their artwork primarily takes the form of sculpture, software and video.

Artist is a recipient of the 2024 Trellis Art Fund and the New York City Artadia Award. They are a grantee of Creative Capital and the Herb Alpert Award in Visual Art. They are a former resident of Smack Mellon, Red Bull Arts Detroit, Abrons Art Center, Recess, EYEBEAM, Pioneer Works and the Whitney Museum Independent Study Program. They have exhibited at the Solomon R. Guggenheim Museum, the Whitney Museum of American Art, the Museum of Modern Art, the Studio Museum in Harlem, Kunsthalle Basel, Switzerland and the Nam June Paik Art Center, Seoul. Their work has been featured in The New York Times, Cultured, Artforum and Art in America. Artist is on the board of the School for Poetic Computation and is a faculty at the Yale School of Art.

 is curated by Vivian Chui, and is made possible with support from Creative Capital Foundation, KADIST, LACMA Art & Tech Lab, and United States Artists. The exhibition at Pioneer Works is made possible with support by the Jacques and Natasha Gelman Foundation, and production support by Onassis ONX and Brooklyn Public Library. It is also made possible, in part, by public funds from the New York City Department of Cultural Affairs in Partnership with the City Council, as well as the New York State Council on the Arts with the support of the Office of the Governor and the New York State Legislature.

Shaper of God

American Artist: Shaper of God

is the first institutional solo exhibition by 

, a PW resident alum known for creating websites which critically reshape the ‘user-friendly,’ yet ultimately hostile, interfaces that have overtaken the internet at the expense of genuine agency or freedom.

Through a disorienting installation comprising video projections and kinetic sculptures that have been placed within clusters of grid-like structures, 

suggests that the internet is no longer a space designed for users or attentive to their needs. Instead, it has evolved into a closed, self-reinforcing system fueled by corporate interest while imposing surveillance and control upon individuals. Song explores the transformation facing modern internet users, who now rely heavily on platform-driven algorithms and looping, targeted content as opposed to exercising genuine agency. This interface contrasts starkly with earlier iterations of the internet that were less obviously shaped by state and corporate interests, which allowed users to more freely ‘surf’ the web.

Fascinated by the way water is often used as a metaphor for the internet, Song investigates how terms such as ‘web surfing’, ‘port,’ ‘stream’ and ‘cloud’ work to mythologize the technology while perpetuating illusions of anonymity, freedom of speech and limitless exploration as well. Unlike traditional user-interactive installations, the artist’s work is self-driven and autonomous. 

generates its own inputs, materializing the stagnant and confined experiences beneath the idealized surface of the web. Whirlpools—holes where water is trapped without forming waves—appear here in conglomerations of screens. Water drips from copper pipes, while projected websites trigger the movement of the two, creating a dizzying, closed feedback loop.

The intentional flow of the whirlpool, designed to serve commercial interests, mirrors the web’s disregard for individual agency. This installation does not listen to or rely on the user—it is neither user-built nor user-controlled. Instead, it embodies the self-sustaining, algorithmic system intentionally designed to immerse, stagnate and overwhelm.

 is a Korean-born web artist who specializes in the creation of anti-user-friendly, non-user-centric, unconventional, and diverse independent websites. Her work—spanning virtual spaces, physical installations, web tools, and user interfaces—satirizes and critiques the overgeneralization of users and the prevalence of templated websites. The primary focus of Song's artistic endeavors lies in exploring the discomfort and insecurity experienced by marginalized users hidden beneath the facade of technological utopianism, excessive comfort, speed, and ease of use. Her practice attempts to address digital discomfort stemming from a lack of consideration for diversity and a dearth of empathy. Through the act of exposing this discomfort and crafting non-generic web interfaces, Song aims to shed light on the inequalities pervasive within the digital environment.

is curated by Gabriel Florenz. It is made possible, in part, by public funds from the New York City Department of Cultural Affairs in Partnership with the City Council, as well as the New York State Council on the Arts with the support of the Office of the Governor and the New York State Legislature.

Are We Still (Surfing)?

DUE TO OCCASIONAL PROGRAMMING, THIS EXHIBITION WILL BE CLOSED ON THE FOLLOWING DATES:


Yehwan Song: Are We Still (Surfing)?

is an immersive audio installation by artist and composer 

. Rooted in the creative subcultures of the Lower East Side, Hprizm’s practice spans a wide array of genres, including music, performance and multimedia installations. He is a co-founder of the seminal hip hop group Antipop Consortium, an experimental collective known for their lyrical approach to electronic music.

Centered on a sonic score that moves between abstract noise and melodic interludes, 

 collapses vinyl records, tape loops and granular synthesis with audio footage captured by Hprizm over the past few years. Wielding his phone as a primary recording device, the artist took notice of his sonic environment while traversing New York City and western Pennsylvania, where he partially resides. In his own words, “The sound of the city, in a literal sense, is dense. Buried histories rumble beneath the foundation of brick. Crate digging and knowledge of self unearthed a cultural medium that informs my process.”

For Hprizm, sound carries strong implications—not only about personal narrative, but about socioeconomic conditions and resources as well. He writes, “Within the throughline for most of my work is an interrelation between memory and sonic imprints. Over the course of the last few years, with global events in mind, I noticed how much the sonic landscape changed. During the pandemic, the streets were quiet. Then there was the sound of unrest and protest. Things went silent again, and then there was a slow crescendo back to normalcy.”

 is a meditation on migration and gentrification while also historicizing moments in time that exist auditorily. Among the noises heard within the work are soul records that the artist and his father once listened to during long road trips, heavily gated drums echoing off New York City Housing Authority tiles and the mechanical grinds of Eastern Ohio and Western Pennsylvania steel factories, to name only a few. These components are then processed and reinterpreted through tape loops and Ableton Live, both of which are widely accessible tools that helped liberate musical production from corporate and academic infrastructures.

This work was originally inspired by the curriculum that Hprzim taught at William Paterson University, which encouraged students to document their environment and, in turn, introduce themselves through sound. The coursework tapped into early electronic music—where tape, voice and environment each factored heavily—and later evolved into 

, a multimedia work that was first presented as a work-in-progress by ISSUE Project Room (2013) and then more formally by Penn University (2018) and The Kitchen (2019). Whereas these prior iterations presented a visual component as its centerpiece, 

 isolates and concentrates viewers’ attention on a score. In doing so, the work amplifies our awareness of the ways in which noise shapes memory, identity and perception.

, the creative moniker for Kyle Austin, is an American avant-garde artist and composer whose work spans performance art, pop music, and multimedia projects. Formally trained as a visual artist, he developed his practice from the axis of poetry, Hip hop and the experimental arts community of the Lower East Side during the early 1990s. Noted for evoking images of “Sun Ra and Afrika Bambaataa at once” (Jesse Sewer XL8R Magazine), Hprizm—also known as High Priest—is a founding member of the critically acclaimed, hip hop collective Antipop Consortium, as well as a cited figure in the Afrofuturist canon. Over the past two decades, he has shared stages with a wide array of artists, including The Roots, Radiohead, MF Doom, DJ Shadow, Matthew Shipp, Vijay Iyer, and Steve Lehman. As a composer, his works have been presented at venues such as the Whitney Museum of American Art, the Solomon R. Guggenheim Museum, MoMA PS1, the Walker Museum, the New Museum, SXSW and CalArts. As the creative director of PRIZMLABS, his client base includes Kehinde Wiley, Simone Leigh, Moor Mother, Ursula Rucker and Meredith Monk, among many others.

is a creative strategic agency founded by Remi Abbas and Nan Collymore. Their collaborative practice is dedicated to realizing ambitious artistic visions across all scales and mediums, by providing promotional, creative, and production support to help artists bring their ideas to life.

 is organized by Material. It is made possible, in part, by public funds from the New York City Department of Cultural Affairs in Partnership with the City Council, as well as the New York State Council on the Arts with the support of the Office of the Governor and the New York State Legislature.

Sound of the City

Hprizm: Sound of the City

Zainab “Zai” Aliyu is a Nigerian-American artist, designer and cultural worker living in Lenapehoking (Brooklyn, NY). Her work explores the cybernetic and temporal entanglements within societal dynamics to understand how all sociotechnological systems of control are interconnected, and how we are all materially implicated through time. She draws upon her body as a corporeal archive and site of ancestral memory to craft counter-narratives through sculptures, videos, installations, virtual environments, publications, archives, and social practice. Zai is a 2023–24 NYSCA/NYFA Artist Fellow and former co-director of the School for Poetic Computation. Her work has been shown internationally at Gardiner Museum (Toronto, Canada), Vienna Design Week (Vienna, Austria), Film at Lincoln Center (New York, NY), Smack Mellon (Brooklyn, NY), Museum of Modern Art Library (New York, NY), Miller ICA (Pittsburgh, PA), Centre for Heritage, Arts and Textile (Hong Kong, China), among others. She has been awarded residencies at MASS MoCA (North Adams, MA), Haystack Mountain School of Crafts (Deer Isle, ME), The Luminary (St. Louis, MI), Casa do Povo (São Paulo, Brazil), Aktuelle Architektur der Kulturimages (Murcia, Spain), and Pocoapoco (Oaxaca, Mexico), among others.

Zainab Aliyu

Zalika Azim is a New York based interdisciplinary artist and educator with ancestral roots in South Carolina and Trinidad and Tobago. Her conceptual practice explores the tensions between personal and collective narratives—both known and indecipherable—in order to explore Black migration, movement, and belonging.
Azim received a BFA in Photography & Imaging and a BA in Social and Cultural Analysis from New York University in 2014, and an MFA in Photography from the University of California Los Angeles in 2023. She has presented solo exhibitions with Baxter Street at The Camera Club of New York, and Soho20 Gallery, New York, NY; and has participated in group exhibitions with Prospect 6., New Orleans, LA; Island Gallery and Gagosian, New York, NY; The Mistake Room and Various Small Fires, Los Angeles, CA; Milwaukee Art Museum, Milwaukee, WI; and African American Museum, Philadelphia, PA. Residencies include Bemis Center for Contemporary Arts, Pratt>FORWARD, NXTHVN, Shandaken Projects, and BRIC. Azim was the recipient of the 2023-24 St. Elmo Teaching Artist Fellowship at The University of Texas at Austin, and was recently named the 2024 NYSCA/NYFA Artist Fellow for Interdisciplinary Work, and a 2024 Deutsche Bank New York Foundation for the Arts Fellow. She currently serves as Adjunct Professor in the Department of Photography & Imaging at the Tisch School of the Arts, NYU.

Zalika Azim

Maya Jeffereis is an artist and filmmaker whose work in video, performance, and installation seeks to expand upon overlooked histories and acknowledge archival gaps through counter narratives, personal histories, and speculative fictions. Jeffereis’ work has been presented in the United States and internationally, most recently at the Aldrich Contemporary Art Museum, the Brooklyn Museum, and The Noguchi Museum, among other institutions. Jeffereis has been a Bronx Museum of the Arts AIM Fellow, an artist-in-residence at Lower Manhattan Cultural Center (LMCC), Banff Centre for Arts & Creativity, and Bemis Center for Contemporary Arts. She is a recipient of the Foundation for Contemporary Art Emergency Grant, A.I.R. Gallery Fellowship, and Cisneros Initiative for Latin American Art. She teaches art, art history, and Asian American Studies at Parsons School of Design at The New School and Hunter College (CUNY). She earned an MFA from Hunter College and BA and BFA from the University of Washington.

Maya Jeffereis

Researcher Miina Kaartinen and creative producer Sanna Ritvanen represent 

, a postdisciplinary, non-profit association founded in 2010. Mustarinda is a forerunner of ecological thinking-doing in the art and cultural field, by developing both practical solutions and theoretical frameworks towards post-fossil culture. 

Mustarinda’s activities combine contemporary art, boundary-crossing research, practical experimentation, communication, pedagogy and community work. Currently there are two bigger initiatives steering the association’s program: 

 project which works through art-based environmental education to strengthen and raise awareness of eco-social wellbeing and Vaara-Kainuu Art National Park campaign that aims to protect the old spruces, lush reed beds, flowing streams, and the mosaic of bogs of the Northern Kainuu area, same time increasing the knowledge and understanding of the role of art in the ecological transition and bringing people and communities together working towards it.

This residency is organized in collaboration with the

Miina Kaartinen & Sanna Ritvanen

 is an experimental artist whose practice is grounded in queer, DIY, and liberatory frameworks. Their work utilizes electroacoustic composition, sampling/collage, improvisatory modes, and consideration of relational aesthetics. Cultivation of care and intimacy, post-genre collaboration, and accessibility are priorities of their artistic ethos. Yaz frequently performs solo sets with violin/voice and electronics that comprise improvisations, songs, and composed music; and with their ambient/noise duo project 

They've had the opportunity to perform at Lincoln Center, The Shed, MoMA, National Sawdust, Public Records, Roulette Intermedium, MASS MoCA, The Poetry Project, and Trans-Pecos; and they've worked with artists including claire rousay, Dorothy Carlos, Leilehua Lanzilotti, Lisel/Eliza Bagg, Miss Grit, Nyokabi Kariuki, and Sean Pecknold. Yaz has been recently commissioned by Asia Stewart/The Shed, International Contemporary Ensemble, and the 2025 Gaudeamus Festival.

Yaz is also a poet and (music/arts) writer, organizer, and amateur powerlifter. They created + curate HEAVY HEARTS, a live performance series celebrating vulnerability in harsh sonics. Their sun, moon, and rising signs are all Aquarius.

Yaz Lancaster

Armando Rosales is a sculptor and experimental percussionist whose work explores the intersections of the intimate, institutional, and political. Through sculpture and installation, he examines materiality, sound, and performance, questioning how forces shaping behavior connect to the body as a site of learning and transformation. Drawing from psychology, science, sound, kinetics, and textiles, his practice investigates self-representation and its ties to cultural frameworks, creating spaces of fusion, tension, and speculation.

Born in Cabimas, Venezuela, Rosales studied Design at the University of Zulia and participated in programs such as SOMA (2016), the Art & Law Program by Sergio Muñoz Sarmiento at AAP Cornell (2019), and the Skowhegan School of Painting and Sculpture (2024). He has exhibited internationally at venues such as Westwerk in Hamburg, TEA Tenerife in Spain, Museo de Chopo, Museo Tamayo in Mexico City, N.A.D.A. in New York and Miami, NASAL, Abra Caracas, and Oficina #1. His residency experiences include the Bemis Center for Contemporary Arts (2024) and Westwerk BKM (2022), among others. Since 2015, he has lived and worked in Mexico City.

Armando Rosales

Kara Springer is particularly concerned with armature—the underlying structure that holds the flesh of a body in place. She works with photography, sculpture, and site-specific interventions to explore systems of structural support through engagement with architecture, urban infrastructure, and systems of institutional and political power. Springer holds degrees from the University of Toronto, ENSCI les Ateliers in Paris, and the Tyler School of Art in Philadelphia. Her work has been exhibited at the Museum of Contemporary Art and the Art Gallery of Ontario in Toronto, Artists Space in New York, the Institute of Contemporary Art and Moore College of Art & Design in Philadelphia, the National Gallery of the Bahamas and the National Gallery of Jamaica. She currently holds a Chalmers Fellowship with the Ontario Arts Council and is an alum of the Independent Study Program at the Whitney Museum of American Art Independent Study Program and the Museum of Fine Arts Houston Core Program.

Kara Springer

Ping Wang is a Chinese mixed-media artist based in New York, working with ceramics, textiles, and digital media to explore themes such as identity, feminism, and cultural alienation. By deconstructing and distorting motifs of the human body and cultural symbols, she creates conceptual portals that bridge the unseen forces shaping both internal and external realities—emotions, memories, and cultural histories.

, Ping integrated light, sound, and motion into sculptural forms to explore the state of being in-between, embodying a continuous process of manifestation and transformation. This experience expanded her creative approach beyond traditional mediums, inspiring her to develop more interactive, multi-sensory installations.

This residency is organized in collaboration with Brooklyn College. Since 2022, Pioneer Works has partnered with Brooklyn College to select one recent graduate from their MFA program, with the aim of supporting an intergenerational cohort of emerging artists who demonstrate artistic excellence in work outside existing models and norms of their fields.

Ping Wang

Learn more about the practices of our current artists-in-residence by engaging with their work.

Inspired by Yehwan Song’s kinetic sculptures from Are We Still (Surfing)? participants will experiment with shape and color to create unique moving paper sculptures. Afterwards create a 5 frame gif to project onto your sculpture.

Kinetic Paper Sculpture Design

Discover the fascinating world of fungi as The New York Mycological Society takes over the science studios inviting all to explore mycology basics with a mushroom ID table and fungal microscopy. 


Close up or Up close with the World of Fungi with The New York Mycological Society

Join us for a hands-on study of mushrooms through drawings and watercolor painting, guided by artists from The New York Mycological Society. With a microscope and a selection of foraged fungi specimens, participants can observe, learn about, and capture the intricate details of fungi through different illustration approaches. 
12-2pm: Watercolor session with interdisciplinary artist Farah Marie Velten, offering a fluid, painterly approach.
2-4pm: Observational sketching with Lindsay Robbins, co-founder of the NYC Nature Drawing Club, using pencils, pens, and crayons.
All skill levels are welcome, and materials will be provided. Drop in and explore mycology! 


Mushroom Observations: Drawing & Watercolor Sessions 

Phoenix Botanicals Mushroom Perfumes

21st Century Frankenstein is a multimedia installation comprising screen recordings of performative chatbox interactions by Carrie Sijia Wang, a PW resident alum and Rockefeller Working Artist Fellow. As part of her Whose AI? Series, public school students (aged 14 to 20) were prompted to write hypothetical conversations between a human and an imagined AI. These scripts were then fed into a JavaScript chatbot template provided by the artist. Using the interactive template, the students performed their staged conversations by typing the ‘human lines’, while the program matched them with the corresponding ‘AI lines’ they wrote. Here, the ‘AI responses’ are not generated by Large Language Models, but perceived through the eyes of students, capturing their views on AI’s social implications in this critical moment of change and uncertainty. One student’s writing compared AI to Frankenstein, a fictional character described as “a man-made creature that represents desire to be superior and the danger of knowledge.”

Carrie Sijia Wang: 21st Century Frankenstein

Eco-Exploration Walk with The New York Mycological Society

After a 2 year hiatus, the Red Hook Regatta is coming back to Valentino Pier Saturday, May 31st! Step into the 2nd floor classroom annex to celebrate its return and to learn about Red Hook Regatta’s mission and history. Sign up to reserve your own boat kit to participate in one of the public 3D printed or DIY boat races. Boat kit reservations are limited on a first come first serve basis. Interested in volunteering at Red Hook Regatta 2025? Let us know on Second Sunday!


Red Hook Regatta Time Capsule

Learn more about the practices of our artists-in-residence during open studio hours. 


Open Studios

Join artist Hprizm for a walkthrough of his exhibition Sound of the City—an immersive installation that meditates on migration and gentrification, while also historicizing moments in time that exist auditorily. Hprizm’s practice, rooted in the creative subcultures of the Lower East Side, spans a wide array of genres, including music, performance and multimedia installations. He is a co-founder of the seminal hip hop group Antipop Consortium, an experimental collective known for their lyrical approach to electronic music.


Gallery Dialogue ft. Hprizm

Noted music journalists and sisters Liz and Jenn Pelly discuss Liz's acclaimed new book on Spotify, Mood Machine, the state of music and music journalism, and a world beyond streaming.

Please Note: Space is very limited, and the conversation will be published at a later date.

Broadcast Radio Hour: Liz Pelly + Jenn Pelly

Join Hprizm for a special musical performance, staged in celebration of his exhibition Sound of the City. 

Hprizm, the creative moniker for Kyle Austin, is an American avant-garde artist and composer whose work spans performance art, pop music, and multimedia projects. Formally trained as a visual artist, he developed his practice from the axis of poetry, hip hop and the experimental arts community of the Lower East Side during the early 1990s. Noted for evoking images of “Sun Ra and Afrika Bambaataa at once” (Jesse Sewer XL8R Magazine), Hprizm—also known as High Priest—is a founding member of the critically acclaimed, hip hop collective Antipop Consortium, as well as a cited figure in the Afrofuturist canon. 