Eliana Willis

LGDR, the powerhouse gallery jointly formed by dealers Dominique Lévy, Brett Gorvy, Amalia Dayan, and Jeanne Greenberg Rohatyn in late 2021, has thrown open the doors of a stunning new flagship gallery on East 64th street.
The sprawling six-floor Beaux-Arts-style townhouse was built in the early 1930s and in addition to being one of the oldest gallery buildings in New York, was also the longtime headquarters of the Wildenstein art dealing dynasty.
The inaugural show, “Rear View,” is sure to make a splash. It includes dozens of artworks spanning two floors by a dynamic mix of blue-chip artists ranging from established masters such as Rene Magritte and Francis Bacon, to later stars such as Eric Fischl, Barkley Hendricks, and Yoko Ono, to contemporary stars including Urs Fischer, Jenna Gribbon, Jenny Saville, and Issy Wood. All of the works explore representation of the human figure as seen from behind, including no shortage of depictions of buttocks.
Installation view of “Rear View” at LGDR with work by Jenny Saville Juncture (1994) (top) and Domenico Gnoli Back View (1968) (bottom). Photo: Jason Schmidt. Courtesy LGDR.
Author Dieter Roelstraete, who wrote an essay about the show for an accompanying zine, opened his remarks at the preview on April 17 by acknowledging the often “humorous” nature of the exhibition. And in his essay, he wrote: “Backs and behinds: it is cause for some mirth that leafing through the checklist for ‘Rear View’ made me realize that in all my long years of looking at and thinking about [Caspar David] Friedrich’s Rückenfiguren, I had never seriously considered these pictures of people seen from the back to be pictures of backsides as well.”
Another author, Alison Gingeras, also contributed an essay appropriately titled “Bad Asses.” It swings from an in-depth look at Felix Valloton’s seminal Étude de fesses (c. 1884), chosen as the feature image for the show, to butt-related jokes made by Chris Rock (“Show your ass!” he urged anyone seeking attention) in his recent stand-up comedy Netflix show, to Kim Kardashian’s famous “moneymaker.”
Installation view of “Rear View” at LGDR, with Urs Fischer, Divine Interventions (2023). Photo: Jason Schmidt. Courtesy LGDR.
The show also features a so-called “pendant” presentation in a single room, titled “Full Frontal” that features more explicit front-facing works by artists including Miriam Cahn, Gribbon, and Hendricks. “As the idiom of the title suggests, debates around moral propriety and censorship in art and popular culture often ascribe a confrontational value to front-facing nudes,” according to a statement accompanying the show.
All four founding partners were on hand to inaugurate the show, with Lévy seeming to address many of “mission” questions that have swirled around the partnership since it was first announced in late 2021.
Noting that they have been flooded with questions and rumors on what the partnership is about, she said they were previously “a bit homeless,” running separate gallery spaces including Lévy Gorvy’s former home at 909 Madison. There’s also the massive uptown space overhauled by Rohatyn for Salon 94 Design and opened in spring 2021, which just debuted LGDR’s much-buzzed-about show of Marilyn Minter’s work.
René Magritte, Sans famille (1958). Photo by Andreas Zimmermann. Image courtesy of LGDR.
Lévy said it was important to the four of them to “create a home” and further to choose a space that has history, as the 64th Street building does, noting that it was originally built as a gallery in 1932. Moving forward, following the Minter exhibition, all LGDR projects will be hosted at this new space, while Rohatyn will run her separate projects at Salon 94 Design.
Of the new exhibition, Lévy said it reflects “the togetherness of what we can do when we want to,” adding that exhibition-making is their passion. In terms of deciding on which works to include, she said, “it’s not about liking or not liking. It’s a conversation about what does it stir in terms of emotion and critical thinking.”
Installation view of “Rear View” at LGDR. Aristide Malliol, Flore drapée (avec guirlande de fleurs) (1911) and Fernando Botero The Bathroom (1989). Photo Jason Schmidt. Courtesy LGDR.
In addition to exhibition-making, she also re-emphasized some of the initial activities that LGDR had highlighted around the time of its formation, including offering strategic services to collectors, artists, institutions, philanthropic organizations, and private companies, including family offices.
“Rear View” is on view at LGDR, 19 East 64th Street, New York, through June 1.
Follow Artnet News on Facebook: Want to stay ahead of the art world? Subscribe to our newsletter to get the breaking news, eye-opening interviews, and incisive critical takes that drive the conversation forward. More

One glance at Lauren Halsey’s monumental rooftop commission at New York’s Metropolitan Museum of Art, and you’ll begin to understand why the exhibition was bumped back by a year due to logistics.
Using 750 glass-fiber-reinforced concrete tiles, the 35-year-old artist has managed to construct a 22-foot-tall structure that resembles an Egyptian-style temple. Four large-scale sphinx statues—their faces portraits of Halsey’s immediate family members and her life partner—serve as guardians, standing watch outside the open-sided space, which visitors can walk through.
Like the pyramids, the piece is designed with permanence in mind, and it will transported across the country following the run of the show, to a new home in Halsey’s native South Central Los Angeles, where she lives and works. The artist hopes the sculpture will become a civic monument at her Summaeverythang community center, as well as a record of the place in the face of increasingly encroaching forces of gentrification.
Delaying the show which was first announced last March meant that “it became more ambitious, more meaningful, more important,” according to Met director Max Hollein, speaking at the exhibition press preview. The off-white cube and its surrounding free-standing columns loom over Central Park in an atmospheric mist. (Last summer was the first time since 2013 the Met did not host a rooftop commission.)
Lauren Halsey. Photo by Russell Hamilton. Courtesy of David Kordansky Gallery, Los Angeles/New York.
The walls of the cube are decorated with carved imagery pulled from Black-owned businesses, graffiti tags, and other street signage from Halsey’s home in South Central Los Angles. The references may stem from California, but they resonate from their perch overlooking the urban jungle of New York City. There are protest signs, advertisements for Black hair styles, as well as images pulled from objects in the Met collection that mesh the ancient with the present-day.
“It’s a dense collage of phrases and images all drawn from a local vernacular,” said Abraham Thomas, the curator of Modern architecture, design, and decorative arts. He described the piece, titled the eastside of south central los angeles hieroglyph prototype architecture (I), as “an Afrofuturistic, ancient, funkified space ship that’s just landed here at the Met.”
Lauren Halsey, the eastside of south central los angeles hieroglyph prototype architecture (I) (2022). Installation view at the Roof Garden Commission. © Lauren Halsey. Courtesy of the artist; David Kordansky Gallery, Los Angeles/New York. Photo by Hyla Skopitz, courtesy of the Metropolitan Museum of Art, New York.
This otherworldly vessel’s tiles recall the graffiti scrawled on the Met’s Temple of Dendur, but it also serves as a present-day archive of her own time and place, elevating the history of her local Black community and celebrating the neighborhood’s vitality.
“My installation for the Met’s Roof Garden reflects my interest in conflating narratives from contemporary South Central Los Angeles with those evoked in ancient pharaonic architecture,” Halsey said in a statement. “My hope is that viewers in New York feel the connections intuitively.”
“The Roof Garden Commission: Lauren Halsey” is on view at the Metropolitan Museum of Art, 1000 Fifth Avenue, New York, New York, April 18–October 22, 2023. See more photos of the installation below. 
Lauren Halsey, the eastside of south central los angeles hieroglyph prototype architecture (I) (2022). Installation view at the Roof Garden Commission. © Lauren Halsey. Courtesy of the artist; David Kordansky Gallery, Los Angeles/New York. Photo by Hyla Skopitz, courtesy of the Metropolitan Museum of Art, New York.
Lauren Halsey, the eastside of south central los angeles hieroglyph prototype architecture (I) (2022). Installation view at the Roof Garden Commission. © Lauren Halsey. Courtesy of the artist; David Kordansky Gallery, Los Angeles/New York. Photo by Hyla Skopitz, courtesy of the Metropolitan Museum of Art, New York.
Lauren Halsey, the eastside of south central los angeles hieroglyph prototype architecture (I) (2022). Installation view at the Roof Garden Commission. © Lauren Halsey. Courtesy of the artist; David Kordansky Gallery, Los Angeles/New York. Photo by Hyla Skopitz, courtesy of the Metropolitan Museum of Art, New York.
Lauren Halsey, the eastside of south central los angeles hieroglyph prototype architecture (I) (2022). Installation view at the Roof Garden Commission. © Lauren Halsey. Courtesy of the artist; David Kordansky Gallery, Los Angeles/New York. Photo by Hyla Skopitz, courtesy of the Metropolitan Museum of Art, New York.
Lauren Halsey, the eastside of south central los angeles hieroglyph prototype architecture (I) (2022). Installation view at the Roof Garden Commission. © Lauren Halsey. Courtesy of the artist; David Kordansky Gallery, Los Angeles/New York. Photo by Hyla Skopitz, courtesy of the Metropolitan Museum of Art, New York.
Lauren Halsey, the eastside of south central los angeles hieroglyph prototype architecture (I) (2022). Installation view at the Roof Garden Commission. © Lauren Halsey. Courtesy of the artist; David Kordansky Gallery, Los Angeles/New York. Photo by Hyla Skopitz, courtesy of the Metropolitan Museum of Art, New York.
Lauren Halsey, the eastside of south central los angeles hieroglyph prototype architecture (I) (2022). Installation view at the Roof Garden Commission. © Lauren Halsey. Courtesy of the artist; David Kordansky Gallery, Los Angeles/New York. Photo by Hyla Skopitz, courtesy of the Metropolitan Museum of Art, New York.
Lauren Halsey, the eastside of south central los angeles hieroglyph prototype architecture (I) (2022). Installation view at the Roof Garden Commission. © Lauren Halsey. Courtesy of the artist; David Kordansky Gallery, Los Angeles/New York. Photo by Hyla Skopitz, courtesy of the Metropolitan Museum of Art, New York.
Lauren Halsey, the eastside of south central los angeles hieroglyph prototype architecture (I) (2022). Installation view at the Roof Garden Commission. © Lauren Halsey. Courtesy of the artist; David Kordansky Gallery, Los Angeles/New York. Photo by Hyla Skopitz, courtesy of the Metropolitan Museum of Art, New York.
Lauren Halsey, the eastside of south central los angeles hieroglyph prototype architecture (I) (2022). Installation view at the Roof Garden Commission. © Lauren Halsey. Courtesy of the artist; David Kordansky Gallery, Los Angeles/New York. Photo by Hyla Skopitz, courtesy of the Metropolitan Museum of Art, New York.
Lauren Halsey, the eastside of south central los angeles hieroglyph prototype architecture (I) (2022). Installation view at the Roof Garden Commission. © Lauren Halsey. Courtesy of the artist; David Kordansky Gallery, Los Angeles/New York. Photo by Hyla Skopitz, courtesy of the Metropolitan Museum of Art, New York.
Lauren Halsey, the eastside of south central los angeles hieroglyph prototype architecture (I) (2022). Installation view at the Roof Garden Commission. © Lauren Halsey. Courtesy of the artist; David Kordansky Gallery, Los Angeles/New York. Photo by Hyla Skopitz, courtesy of the Metropolitan Museum of Art, New York.
Lauren Halsey, the eastside of south central los angeles hieroglyph prototype architecture (I) (2022). Installation view at the Roof Garden Commission. © Lauren Halsey. Courtesy of the artist; David Kordansky Gallery, Los Angeles/New York. Photo by Hyla Skopitz, courtesy of the Metropolitan Museum of Art, New York.

More Trending Stories:
Archaeologists Studying an Enigmatic Stone Structure in the Saudi Arabian Desert Have Turned Up Evidence of a Neolithic Cultic Belief
A Young Couple in York Renovated Their Kitchen Cabinets and Found 17th-Century Frescoes Painted Underneath
A TikToker Freaked Out When He Found a Painting of His Living Room Displayed in a London Gallery. Here’s How It Ended Up There
A Museum Has Located a Missing Figure That Was Cut Out of This 17th-Century Family Portrait
‘This Is Her Reality’: The First-Ever Biography on Hilma af Klint Unearths How the Swedish Artist Lived, Worked, and Communed With Spirits
Sotheby’s Has Paused Its Latest NFT Auction After an Artist Withdrew His Work in Protest of the All-Male Line-Up
Ai Weiwei Has Recreated Claude Monet’s Iconic ‘Water Lilies’ Using 650,000 Multi-Colored Lego Bricks
London Will Honor the Victims of the Transatlantic Slave Trade With a New Memorial in the Docklands
In Pictures: See Inside the Museum of Failure, a Touring Exhibition of Historical Product Flops and Tech Misfires
Follow Artnet News on Facebook: Want to stay ahead of the art world? Subscribe to our newsletter to get the breaking news, eye-opening interviews, and incisive critical takes that drive the conversation forward. More

For a show designed to spotlight its latest hardware, Google’s new exhibition at Salone del Mobile Milano takes as its starting point a natural, fluid element. 
“Shaped by Water,” which opens April 18 at Garage 21, is a multi-room immersive installation that dives deep into our connection with water. Co-created by Google Design Studio in collaboration with light and water artist Lachlan Turczan, the show invites viewers to experience water in all its optical and sonic qualities within a highly sensorial environment.
“We wanted to give guests a first-of-its-kind experience that reveals the hidden qualities of water when acted upon by sound and light,” Ivy Ross, Google’s vice president of hardware design, told Artnet News. “Water is easily recognized in its various forms, yet it has distinct and unique qualities that are not always evident—qualities that we caught glimpses of during our design process.”
Installation view of “Shaped by Water” at Garage 21. Photo courtesy of Google.
It’s apt, then, that Google found a fellow traveler in Turczan, whose mediums for a decade have been water, light, and sound. Across his dynamic fountains and public sculptures, the L.A.-based artist has aimed to capture the “kinetic expression” of water as much as sculpt it with cymatics, a vibrational phenomenon. 
“My goal for ‘Shaped by Water’ was to create novel experiences of water that challenge our understanding of this ubiquitous medium,” he told Artnet News. “Oftentimes, water is understood only in relation to its surroundings, but for this exhibition, I wanted to celebrate the unique materiality of water itself.”
To do so, Turczan and the Google team relied on what he called a “natural algorithm,” which goes: “Sound shapes water. Water shapes light. Light shapes perception.” 
One of Turczan’s artworks at the exhibition, Sympathetic Resonance (2023), features shallow mirrored bowls holding pools of water. These shimmering sculptures emit a hum in response to a viewer’s proximity—thus illustrating the link between water and humans—which further creates wave patterns across the pools.  
Another piece, titled Wavespace (2023), emerges from Turczan’s “long-held dream.” It invites audiences to recline on bespoke furniture, created by Google’s designers, and have their field of vision filled with water reflections. “The overall result is an integrated artwork,” he said, “where every element contributes to a cohesive experience—including scent! 
Lachlan Turczan, Wavespace (2023), installed at “Shaped by Water” at Garage 21. Photo courtesy of Google.
Throughout the exhibition, viewers will also learn how water inspired the latest Google hardware designs, said Ross. “This includes videos that show how a drop of water served as the inspiration for the shape of our watch. Along with the focus on form, the products can be viewed through an array of flowers that reflect the seven color stories used across the hardware assortment,” she added. 
“Shaped by Water” marks Google’s third exhibition at the Milan fair, following 2018’s “Softwear” and 2019’s “A Space for Being.” It’s all part of an effort to emphasize the design-first approach of Google’s hardware offerings—much like how the tech company has leaned into the arts to showcase its software.  
“Because Google Hardware is a relatively new business, Salone gives us a chance to show up as thought leaders in design and share critical aspects of our creative process,” said Ross. “Through ‘Shaped by Water,’ we continue to share what’s on our mind by expanding on something we appreciate as designers—that the power of the natural world, whether easily seen or hidden below the surface, offers fresh ways to feed our imagination.” 
For Turczan, the hope is that viewers, immersed as they are by the exhibition’s sound and light, might be similarly awakened to the presence and power of water. 
“Much like the experience of staring into a fire or gazing up at the clouds, the natural phenomena of sound through water provides a visual stimulus that invites viewers to project themselves into the experience,” he said. “This is my favorite aspect of this work—creating opportunities that invite audiences to engage with their imaginations or to dream with open eyes.”
“Shaped by Water” is on view at Garage 21, Via Archimede, 26, Milan, Italy, from April 18–23. 
Follow Artnet News on Facebook: Want to stay ahead of the art world? Subscribe to our newsletter to get the breaking news, eye-opening interviews, and incisive critical takes that drive the conversation forward. More

Scholars of Islamic art have accused New York’s Asia Society and Museum of censorship over a virtual tour of its exhibition that blurred out two artworks featuring depictions of Muhammad. The museum has called that decision a mistake, and announced a plan to restore the artworks to the online version of the show.
“The virtual tour was created by an outside contractor without sufficient oversight,” Asia Society interim vice president for global arts and culture Peggy Loar told the New York Times. “Our goal with this exhibition has always been to display these historic works fully while also including necessary context and information. The images should not have been blurred, and we take responsibility for this error, but this was not an active choice to censor and is being corrected.”
The society’s website now states that “the virtual tour is currently being updated and will be reposted soon.”
Many Muslims believe that to create a depiction of Muhammad is idolatrous—although there is no prohibition against doing so in the Koran. Though figurative Islamic art is quite rare today, there is also a well-documented tradition of devotional art featuring Muhammad, and many museums hold examples of this work in their collection.
“Day of Judgment,” a folio from a manuscript of the Falnama or Book of Omens (ca. 1555). Collection of the Arthur M. Sackler Museum at the Harvard Art Museums, Cambridge, Massachusetts.
Two of those pieces are on loan to the Asia Society for “Comparative Hell: Arts of Asian Underworlds,” the first exhibition to offer a comprehensive view of depictions of hell in Buddhist, Jain, Hindu, and Islamic faiths.
One, from the David Collection in Copenhagen, shows Muhammad ascending into heaven, the gates of hell behind him filled with burning flames. The other, on loan from the Arthur M. Sackler Museum at the Harvard Museums in Cambridge, Massachusetts, shows Muhammad on the Day of Judgement, kneeling to advocate for mercy for the deceased. His face is obscured with a white veil.
In the Asia Society galleries, there is wall text warning viewers ahead of time, in case they do not wish to see the artworks. The written descriptions contextualize these images, noting that “they were created at a time when such images were acceptable within the realms they were made,” and signs ask that visitors not photograph those pieces.
The Prophet Muhammad at the Gates of Hell from a manuscript copy of al-Sara’i’s Nahj al-Faradis or Paths of Paradise (ca. 1465). Collection of the David Collection, Copenhagen.
But such warnings are not always enough to prevent offense. In December, Hamline University in St. Paul, Minnesota, declined to renew the contract of an adjunct professor who showed two images of Muhammad in an online art history class, describing the lesson in a university-wide email as “Islamophobic.” Students were told ahead of time and given the opportunity to turn off their display, but one still filed a complaint with the school.
The university’s decision made national news, attracting widespread censure as a breach of academic freedom. Its president, Fayneese Miller announced her retirement last month, and the professor, Erika López Prater, is suing the university for religious discrimination and defamation.
The Asia Society exhibition opened in February, in the wake of the Hamline controversy, so it makes sense that its organizers would be sensitive to the potentially offensive nature of the depictions of Muhammad on loan to the museum.
The David Collection director, Kjeld von Folsach, told the Times that his museum had not been told that the artwork would be blurred in the virtual tour, and that he was surprised by the decision. So was Christiane Gruber, a professor of Islamic art at the University of Michigan who was an advisor on the Asia Society show—and helped publicize the Hamline University incident.
She had told the Times that blurring the artworks was “a breach of ethics” but is glad the Asia Society is now changing course.
“Besides the fact that these paintings are freely available online, they also should be shown and taught in an integral and contextually accurate manner,” Gruber wrote in an email to Artnet News. “Additionally, since these paintings represent the creative output of Muslim patrons and artists in premodern Sunni Turkic Central Asia and Shi’i Iran, it is critical that they not be visually excised from the historical corpus, which cannot and must not be retroactively altered to fit the view of some individuals. If such artworks are omitted or censored, Islamic art—in all its richness and diversity—will be flattened into but a mere Colonialist-Orientalist cliché.”
“Comparative Hell: Arts of Asian Underworlds” is on view at the Asia Society, 725 Park Avenue, New York, February 28–May 7, 2023.

More Trending Stories: 
An Australian Man Using a Budget Metal Detector Discovered a 10-Pound Chunk of Gold Worth $160,000 
A Rolls-Royce Driver Plowed Over a $3 Million Damien Hirst Sculpture on the Palm Beach Lawn of a Prominent Collector Couple 
The First Stained-Glass Depiction of Jesus as a Black Man Has Been Discovered in the Window of a Small Rhode Island Church 
‘It’s Heartbreaking Work’: How Kehinde Wiley Recreated the Light of Renaissance Art to Reflect on America’s Dark Legacy of Racism 
A 1,400-Year-Old Mural of Two-Faced Men Bearing Hummingbirds Has Just Been Excavated in Peru 
Artist Sarah Sze’s New Guggenheim Show of Kaleidoscopic Sculptures Offers a Fascinating—and Frustrating—Contemplation of Time 
An Auctioneer Has Confessed to Playing a Major Role in Producing Fake Basquiats Displayed at Orlando Museum of Art 
Follow Artnet News on Facebook: Want to stay ahead of the art world? Subscribe to our newsletter to get the breaking news, eye-opening interviews, and incisive critical takes that drive the conversation forward. More

“When you’re sad and when you’re lonely and you haven’t got a friend / just remember that death is not the end,” Bob Dylan sang in 1988, offering listeners a comforting reminder that mystery awaits us after our time on Earth. 
Fittingly, the Rubin Museum of Art’s new exhibition shares the song’s title—and its central message.
On view now through January of next year, “Death Is Not the End” looks at depictions of the afterlife across the art of both Tibetan Buddhism (the museum’s thematic focus) and Christianity. It’s an idea with which the two religions share a fascination, even if they otherwise differ in many respects.
“I wanted to show the universality of this topic,” the show’s curator, Elena Pakhoutova, told Artnet News. “My intention was to pair the most familiar cultural framework in the United States, Christianity, with a lesser known, Tibetan Buddhism, so that visitors could see the consistent inquiry of these themes across cultures and time periods—the willingness to continue to exist and refute the permanence of death with the belief that there is something after.”
Installation view of “Death Is Not the End,” at the Rubin Museum of Art. Photo: David de Armas. Courtesy of the Rubin Museum of Art.
Included in Pakhoutova’s presentation are paintings, prints, illuminated manuscripts, ritual objects, and dozens of other objects that collectively span 12 centuries. They’re organized into three themes: “The Human Condition,” “States In-Between,” and “(After)life.” 
As an experience, the curator explained, the show is both heavy and hopeful. 
“The themes of the show, death and the afterlife, can be difficult to think about, emotionally as well as intellectually, Pakhoutova said. “Among the emotions that I imagine visitors would feel could be grief, fear, uncertainty, surprise, curiosity.” 
But, she went on, “as they move through the space, I hope that they feel lighter, and hopeful when they leave, because so much of the show is also about life, about living a good and aware life.”
Installation view of “Death Is Not the End,” at the Rubin Museum of Art. Photo: David de Armas. Courtesy of the Rubin Museum of Art.
That sentiment is echoed in the design of the show, too. At the beginning is a box of sand where visitors are encourage to write something that they’ve lost, then rake it away. From there, the gallery walls progressively lighten in hue, and near the end of the show is a partition made of only fabric. 
The latter structure implies “that there is something beyond the veil,” the curator noted. “The two portals it creates indicate a transitional space, indicating it is not the final destination.”
Pakhoutova didn’t bring up Dylan’s song, but she did mention a related quote—one so universal that it’s been attributed (erroneously, in most cases) to figures as varied as John Lennon, Oscar Wilde, and Fernando Sabino. (Where the quote actually came from remains the subject of debate.)
“Ideally, when [visitors] leave the exhibition, I want them to think along these famous lines: “In the end it’s going to be okay. If it’s not okay, it’s not the end,’” Pakhoutova said. “We could have used this as an unofficial subtitle of the exhibition.“
See more images from “Death Is Not the End” below.
Lords of the Charnel Ground, Tibet (18th century). Photo: David De Armas, courtesy of the Rubin Museum of Art.
Peaceful and Wrathful Deities of the Bardo, Tibet (18th-19th century). Photo: David de Armas, courtesy of the Rubin Museum of Art.
The Wheel of Life, Tibet or Mongolia (19th century). Photo courtesy of the Rubin Museum of Art.
Installation view of “Death Is Not the End,” at the Rubin Museum of Art. Photo: David de Armas, courtesy of the Rubin Museum of Art.
Memento mori prayer bead, Germany or the Netherlands (c. 1500–50). Photo courtesy of the Rubin Museum of Art.
Installation view of “Death Is Not the End,” at the Rubin Museum of Art. Photo: David de Armas, courtesy of the Rubin Museum of Art.
“Death Is Not the End” is on view at the Rubin Museum of Art, 150 W 17th St, New York, through January 14, 2024.
Follow Artnet News on Facebook: Want to stay ahead of the art world? Subscribe to our newsletter to get the breaking news, eye-opening interviews, and incisive critical takes that drive the conversation forward. More