{"id":261,"date":"2026-05-29T12:37:44","date_gmt":"2026-05-29T12:37:44","guid":{"rendered":"https:\/\/cityrelocationnews.com\/?p=261"},"modified":"2026-05-29T12:37:44","modified_gmt":"2026-05-29T12:37:44","slug":"greater-new-york-takes-the-pulse-of-the-city","status":"publish","type":"post","link":"https:\/\/cityrelocationnews.com\/?p=261","title":{"rendered":"\u201cGreater New York\u201d Takes the Pulse of the City"},"content":{"rendered":"
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You\u2019re reading the Goings On newsletter, a guide to what we\u2019re watching, listening to, and doing this week. Sign up to receive it in your inbox.<\/strong><\/em><\/span><\/div>\n<\/div>\n

One of my visits<\/strong> to the exhibition \u201cGreater New York,\u201d<\/strong> at MOMA<\/em> PS1, just so happened to be on the day of the museum\u2019s block party\u2014a proper urban carnival. Initially, I lamented the noise and the sweat, but then I thought, Isn\u2019t this the perfect occasion to honor the phenomenon of the swarm, to be among the rough exuberance and excess that organizes (and disorganizes) so much of life in New York? As it should, the quinquennial showcase (running through Aug. 17) reels with the density and difference that tessellate this city; the placid veneer holding together the hushed galleries of Chelsea and Tribeca is here shattered to expose the clamor of the nervous system underneath. The fifty-three artists in the show are all living and working in New York (though of vastly varied origins); many of them are young, doing their best in a city that seems to valorize yet beleaguer youth.<\/p>\n

Read more \u201cPower Ballad,\u201d Reviewed: A Bromantic Conflict Over a Hit Song<\/a><\/p>\n

The art works display the emotional range of the city, from ebullience to alienation. Some moments are ample with mirth: take, for example, the saccharine grit of a sculpture installation by Louis Osmosis, which includes assemblages of found objects and looks a bit like the dishevelled morning after a party, confetti dappling the gallery floor and several of the art works; or the vernacular realness of Piero Penizzotto\u2019s papier-m\u00e2ch\u00e9 sculptures, one of which depicts four women sitting in lawn chairs and shooting the shit\u2014all that\u2019s missing is a sidewalk underfoot and the humid clasp of New York summer. But there is also room for the sobriety and pain that sharpen the city\u2019s social economy: Kameron Neal\u2019s two-channel video utilizes surveillance footage from the N.Y.P.D.\u2019s archive, in which we repeatedly witness pedestrians realize that they\u2019re being watched. Kenneth Tam\u2019s video work dwells with a community of taxi-drivers struggling with the erosion of their trade in the wake of rideshare apps.<\/p>\n

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\u201cGreater New York\u201d\u2014like the city it is made in the image of\u2014leaves you drained and energized at once. It moves between oppositional realities: of a country suffocating beneath its own political weight, of a city still staggering from the thrill of November\u2019s mayoral turn, of an art world stuck in the exhausted jaws of the same old market. And yet, the show is blessed with the fortune of artists continuing to turn over the mercurial stone of curiosity, finding yet more questions underneath it.\u2014Zo\u00eb Hopkins<\/em><\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n

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About Town<\/h2>\n

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Dance<\/div>\n

In her first season as the artistic director of Alvin Ailey American Dance Theatre,<\/strong> Alicia Graf Mack is still finding her footing. The program for the company\u2019s spring engagement at BAM<\/em> centers on a revival of \u201cHymn,\u201d a 1993 tribute to the troupe\u2019s founder created by one of Mack\u2019s predecessors, Judith Jamison. Text assembled by the playwright Anna Deavere Smith voices the sentiments of past dancers while the current Ailey crew demonstrates its strength. Medhi Walerski\u2019s \u201cBlink of an Eye,\u201d an import set to Bach, is, in contrast, a flashy but shallow specimen of recent trends. And then, as ever, there\u2019s Ailey\u2019s \u201cRevelations.\u201d\u2014Brian Seibert (Howard Gilman Opera House; June 4-7.)<\/em><\/p>\n

Folk<\/div>\n

The singer-songwriter Anjimile<\/strong> budded in 2020 with the gentle, ruminative \u201cGiver Taker.\u201d Largely written while in rehab for drug and alcohol abuse, it\u2019s an album about coming out as trans and nonbinary, weaving both journeys into a folk story of self-realization. After signing to the label 4AD, in 2021, they underwent yet another transformation for \u201cThe King\u201d (2023), which brought the solitary, inward-looking acoustic music of its predecessor into a more dramatic context with a tenser, more imposing sound, robust in its expression of pent-up exasperation. The most recent Anjimile album, \u201cYou\u2019re Free to Go,\u201d is composed of resilient yet restrained songs teeming with activity beneath the surface.\u2014Sheldon Pearce (Union Pool; June 5.)<\/em><\/p>\n

Hip-Hop<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n
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Baby Keem<\/strong> was well on his way long before he made it known that he was kin to Kendrick Lamar, one of the defining rappers of his generation, but, since the Pulitzer winner has thrown his weight behind his talented little cousin, who joined Lamar\u2019s pgLang creative production company in 2020, Keem has levelled up to star in the making. His breakthrough album, \u201cThe Melodic Blue,\u201d from 2021, loosely outlined a technicolor style powered by its creator\u2019s megawatt personality and flashy performance sense, as a chaos agent who sees variability as his primary artistic ethic. After a five-year absence, the Las Vegas native\u2019s new album, \u201cCa$ino,\u201d brings narrative focus to a neon sound, assessing the Strip\u2019s emotional fallout to sobering effect.\u2014S.P. (Brooklyn Paramount; June 4.)<\/em><\/p>\n

Read more Postscript: Donald Newhouse<\/a><\/p>\n

Art<\/div>\n

Over thirty years ago, the American maverick David Hammons<\/strong> and the Greek-born visual poet Jannis Kounellis<\/strong> (1936-2017) developed a friendship at the American Academy in Rome. This show works to understand how those two minds\u2014both devoted to upending the art market by making work that\u2019s not easily categorizable\u2014entertain certain themes simultaneously. Although each creator is devoted to irony, especially Hammons, that love of play is often integral to their discussions of political theory, and of race. How and where do you assign value to any of this, the artists ask, a point driven home when we see a clear bowl containing water\u2014a reference to Hammons\u2019s famous snowballs\u2014and a note from potential buyers, saying that no insurance company would cover the now melted object.\u2014Hilton Als (White Cube; through June 13.)<\/em><\/p>\n

Dance<\/div>\n

In the past few years, Scottish Ballet<\/strong> has generated some buzz in Europe with its contemporary reimaginings of period narratives\u2014\u201cCopp\u00e9lia,\u201d \u201cThe Crucible\u201d\u2014choreographed by women. The first to arrive in New York is \u201cMary, Queen of Scots,\u201d by the company\u2019s resident choreographer, Sophie Laplane. She and the director, James Bonas (who was partly responsible for the murk of American Ballet Theatre\u2019s 2024 \u201cCrime and Punishment\u201d), have conceived the ballet as the fractured memories of Elizabeth I. Much of it is purposely anachronistic and self-seriously quirky, with a dancer on stilts and a baby represented by a balloon.\u2014B.S. (David H. Koch Theatre; June 4-7.)<\/em><\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n

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Movies<\/div>\n

The backstory of the Palestinian filmmaker Kamal Aljafari\u2019s documentary \u201cWith Hasan in Gaza\u201d<\/strong> is built into its simple but far-reaching action. In Gaza, in November, 2001, Aljafari used a small video camera to record his search for a man he\u2019d met in 1989, while he was imprisoned in Israel. The footage, which he only recently rediscovered, is an exploration of the daily lives of Gaza residents under occupation, as artillery fire from Israeli forces shatters homes and stokes fear. Amid his voyage, in cars and on foot, through markets and at beaches, visiting homes and perched in locations deemed safe during attacks, Aljafari creates what he described, to residents, as a time capsule meant to be seen in the distant future. The result is an audiovisual restoration of places and ways of life obliterated by Israel\u2019s war of destruction.\u2014Richard Brody (Metrograph.)<\/em><\/p>\n

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Bar Tab<\/h2>\n

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Taran Dugal stops by a bookish dive bar.<\/em><\/p>\n

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The advice \u201cdon\u2019t judge a book by its cover\u201d has never really applied to dive bars. In fact, the inverse logic is usually true: what you see is pretty much what you get. The Library,<\/strong> a delightfully ratty East Village hole-in-the-wall, is no exception. Recently, a newcomer locked eyes with a faux-bronze unicorn standing behind the bar\u2019s glass fa\u00e7ade, its neck bow-tied, its rump draped with a pride flag. The guest\u2019s entrance was soundtracked by the home-town wails of the Ramones\u2019 \u201cBlitzkrieg Bop,\u201d the de-facto national anthem for such establishments. Inside, the place was nearly empty, save for a half dozen tattooed regulars sporting the millennial-hipster uniform of thick-framed eyeglasses and scruffy beards in varying degrees of neglect. Joining them at the bar, the newcomer was confronted by a dizzying array of curios: a Darth Vader helmet, a miniature sasquatch, yellowing human skulls, a pastel painting of Jesus in his crown of thorns. A homemade sign advertising pickleback shots hung mere inches from a flyer warning against drinking while pregnant. The guest opted for a Guinness; it was served alongside a toy Brontosaurus, which, the bartender explained, was good for a free drink. On shelves in the back piled with tattered books, the newcomer was thrilled to find \u201cThe Complete Poems of D. H. Lawrence\u201d in close proximity to the 2005 classic \u201cBob Greene\u2019s Total Body Makeover.\u201d Elsewhere, \u201cFundamentals of Tibetan Buddhism\u201d and \u201cThe Communist Futures Trading Guide\u201d collected dust. Pint glass empty, the guest cashed in his Jurassic friend as Mot\u00f6rhead\u2019s \u201cStone Deaf in the U.S.A.\u201d began to play: \u201cOh Lord, thou who has seen the trouserless, and had compassion . . . thank you.\u201d Nursing his beer, the newcomer glanced around the room. Not one person, he realized, had yet picked up a book.<\/p>\n

Read more Should You Automate Your Life?<\/a><\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n

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P.S. Good stuff on the internet:<\/strong><\/p>\n

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  • London in the nineties<\/em><\/li>\n
  • The two Pauls<\/em><\/li>\n
  • Hanoi\u2019s humble beer glass<\/em><\/li>\n<\/ul>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

    Also: the megawatt hip-hop of Baby Keem, the buzzy period reimaginings of Scottish Ballet, the time-capsule documentary \u201cWith Hasan in Gaza,\u201d and more.<\/p>\n","protected":false},"author":1,"featured_media":260,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[45],"tags":[],"class_list":["post-261","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-goings-on"],"yoast_head":"\n\u201cGreater New York\u201d Takes the Pulse of the City - City Relocation News<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/cityrelocationnews.com\/?p=261\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"\u201cGreater New York\u201d Takes the Pulse of the City - 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