It’s been a big year in New York City — and not just because we (thankfully) got a new mayor. New and updated museums are everywhere you turn: The Studio Museum in Harlem is back and better than ever after a seven-year sabbatical, and the Frick’s spent some of its hefty endowment on an expansion and facelift. A new New Museum will soon follow (we hope). And of course, the gallery landscape has shifted beneath our feet: We bid adieu to some, we say hello to others.
Beyond that, 2025’s been a blockbuster year. It includes shows that will make art history — Amy Sherald at the Whitney, Rashid Johnson at the Guggenheim, and Wifredo Lam at The Met being just a shortlist. We’ve got shows that remake it, from a survey on Indigenous design lineages at the Ford Foundation Gallery to New York’s introduction to 20th-century Malian photographer Seydou Keïta at the Brooklyn Museum. We’ve got surveys of hometown heroes, including the late Queens native Jack Whitten at MoMA, Coco Fusco at El Museo del Barrio, and Reverend Joyce McDonald at the Bronx Museum.
And, of course, as is always the case here, in the city of everything, we’ve got more still. My fellow New Yorkers, I present to you — in no particular order — the best shows of the year.—Lisa Yin Zhang, associate editor
Amy Sherald: American Sublime
Whitney Museum of American Art, April 9–August 10
Curated by Sarah Roberts and Rujeko Hockley with David Lisbon
Amy Sherald, “Breonna Taylor” (2020) in Amy Sherald: American Sublime (photo Hrag Vartanian/Hyperallergic)
Amy Sherald’s road to greatness passes through her own heart. In searching for herself in Black portraiture, she invented a unique style of American realism. She also stood up to the Trump administration when it tried to water down her show at the National Portrait Gallery. By doing both, she solidified her place in art history. —Hakim Bishara, editor-in-chief
Read Jasmine Weber’s review and Seph Rodney’s opinion on the exhibition
Saya Woolfalk: Empathic Universe
Museum of Arts and Design, April 12–September 7
Curated by Alexandra Schwartz
Saya Woolfalk, “Chimera” from the Empathics series (2013) (photo Hrag Vartanian/Hyperallergic)
Inject Woolfalk’s hybridized, colorful visual plays straight into my veins. This is a fiercely personal world that you feel lucky to experience, complete with toy-like wonder and verdant imagery. If any exhibition prods you to wonder what the future might look like, it’s this one. As I wrote this past summer, “Everywhere you turn, you encounter her curious tactile creations that merge the playful techno-optimism of mecha with mascot culture, DIY fan culture, and the transformative energy of theater.”—Hrag Vartanian, editor-at-large
Read the review
Nayland Blake
Matthew Marks Gallery, September 12–October 25
Organized by the gallery and the artist
Installation view of Nayland Blake, “50 Minutes” (2025), leather, steel, aluminum, PVC, plastic, fabric, glass, mirror, microphone, sound machine, wood, paint, and hardware (photo Aruna D’Souza/Hyperallergic)
An exhibition in three parts, Nayland Blake: Sex in the 90s, focused on Blake’s work in the wake of the AIDS crisis amid the culture wars, while Inside: curated by Nayland Blake next door put his art in dialogue with that of 14 other artists. Finally, Session, an installation of new sculpture, fused a psychiatrist’s office with an S&M chamber. Sexy, funny, edgy, concise, and generous — pure Blake.—Aruna D’Souza
Read Lisa Yin Zhang’s review
Ben Shahn: On Nonconformity
Jewish Museum, May 23–October 26
Curated by Laura Katzman with Stephen Brown
Ben Shahn, “Liberation” (1945), gouache on board (photo Aruna D’Souza/Hyperallergic)
The exhibition started with Shahn’s “The Passion of Sacco and Vanzetti” (1931–32), and went on to demonstrate his ability to leverage art to engage with injustice writ large — poverty, xenophobia, authoritarianism, biased courts, and censorship, among other wrongs. That alone made the show especially timely, but his 1945 gouache painting “Liberation” — of children playing among the ruins of post-war Europe — was impossible to separate from the heartbreaking images coming out of Gaza.—Aruna D’Souza
Madalena Santos Reinbolt: A Head Full of Planets
American Folk Art Museum, February 12–May 25
Organized by Museu de Arte de São Paulo Assis Chateaubriand – MASP and curated by Amanda Carneiro and André Mesquita; this iteration was curated by curated by Valérie Rousseau with Dylan Blau Edelstein
Madalena Santos Reinbolt, “Untitled (Last Supper)” (1965–76), acrylic wool on burlap (photo Debra Brehmer/Hyperallergic)
An electric joy wrapped my heart like a strand of twinkle lights as I pored over the expressive scrawl of stitches that tumbles across every speck of Madalena Santos Reinbolt’s quadros de lã (wool paintings). Using some 150 needles threaded with a vivid palette of acrylic yarns, she embroidered lively scenes filled with people and animals, trees and suns, celebrations and daily life, in dense patches of color. This exhibition marks the first museum presentation outside of the Black Brazilian artist’s home country — far overdue recognition.—Julie Schneider
Read Debra Brehmer’s review
Johanna Seidel: Salamander
Gaa Gallery, December 13, 2024–January 25, 2025
Organized by the gallery
Johanna Seidel’s “The third return” (2024) and “October” (2024) at Gaa Gallery (photo Hrag Vartanian/Hyperallergic)
A perfect little painting exhibition that showed us a world that I described earlier this year as “luxurious, urbane, and elegant,” complete with a fairytale atmosphere and a sense of timelessness. Each picture is a world that branches out in many directions. Paintings for dreamers and those who love them.—Hrag Vartanian
Caspar David Friedrich: The Soul of Nature
The Metropolitan Museum of Art, February 8–May 11
Curated by Alison Hokanson and Joanna Sheers Seidenstein
Caspar David Friedrich, “Monk by the Sea” (1808–10), oil on canvas; Nationalgalerie, Staatliche Museen zu Berlin (photo bpk Bildagentur / Nationalgalerie, Staatliche Museen zu Berlin / Andres Kilger / Art Resource, NY)
The Romantic painter’s depictions of nature’s awe-inspiring beauty, and how little and insignificant we are in comparison, still captivate audiences more than 180 years after his death. Kudos to The Met for this well-curated retrospective, the largest yet in the US, and for all it taught us about today’s rising neo-romanticism.—Hakim Bishara
Read the review and an interview with scholar Joseph Leo Koerner
Jack Whitten: The Messenger
Museum of Modern Art, March 23–August 2
Curated by Michelle Kuo with Helena Klevorn, Dana Liljegren, and David Sledge
Jack Whitten, “Mirsinaki Blue” (1974) (courtesy the Herbert F. Johnson Museum of Art, Cornell University)
This elegant survey of Jack Whitten’s painting and sculpture manages the difficult feat of toeing some quite thin lines. It’s thorough without feeling academic, and educational without feeling ploddingly didactic. Still, I did gather one main lesson from it: Even while working predominantly in abstraction, Whitten is perhaps the best history painter this nation has produced. The thunderous “9.11.01,” his 2006 homage to the September 11 attacks, convincingly makes that argument with its mosaic of dried acrylic paint chips forming a black pyramid rising from the rubble of broken spires, ash, blood, and hair.—Seph Rodney
Coco Fusco: Tomorrow, I Will Become an Island
El Museo del Barrio, September 18, 2025 –January 11, 2026
Curated by Susanna V. Temkin and Rodrigo Moura
Installation view of Coco Fusco, “Two Undiscovered Amerindians Visit the West” (1992/2025), multimedia installation (photo Clara Apostolatos/Hyperallergic)
I walked into the exhibition assuming I would be the one looking, but a CCTV monitor made me double back. On it, I caught a filmed reenactment of the interrogation of a maquiladora accused of starting a union. Then I stepped into a gilded cage, and sat between a Mickey Mouse rug and a British tea set to watch Fusco’s iconic “Two Undiscovered Amerindians” (1992) performance loop on a box TV — and suddenly I felt like the one on display. That uncanny sense of being watched as you watch threads through the whole show, pushing you to adopt the acute gaze Fusco has been sharpening for years.—Clara Apostolatos
Read the review
Serena Chang: Sweet Water
Island Gallery, January 10 – February 15
Organized by the gallery
Detail of Serena Chang’s “Sweet Water” (2024) at Island Gallery on the Lower East Side (photo Hrag Vartanian/Hyperallergic)
I really liked the slow drip of Chang’s exhibition Sweet Water. In February, I wrote:
“That idea of covering, or even uncovering, which could denote the opposite, is at the heart of Serena Chang’s [exhibition] exploring her father’s memories of working in a pantyhose factory in Taiwan. His recollections of his youth on the island nation are rendered in the form of drawings of sugar cane and videos of a factory, often superimposed on one another. At the center of this display is the exhibition’s namesake artwork, a sugarcane ghost forest composed of 60 stalks that stretch sheer nude hosiery across plastic and steel rod armatures. The suggestion of a field evokes the memory of a historical time and place, utilizing a product that was once ubiquitous for working women as a way to conform to corporate standards, encouraging them to cover up for propriety’s sake.”
—Hrag Vartanian
Read the review
Reverberations: Lineages in Design History
Ford Foundation Gallery, March 4–May 3
Curated by Brian Johnson and Silas Munro
Jeffrey Gibson, “Because Once You Enter My House, It Becomes Our House” (2020), foam board, glue, inkjet prints (photo Hrag Vartanian/Hyperallergic)
Curators Brian Johnson and Silas Munro helped forge a new syllabus of BIPOC design history with this landmark show that highlighted the energy that binds movements and influences identities around the world. As much a celebration of new languages as a taxonomy of established ones, this is sure to be an exhibition that is revisited again and again.—Hrag Vartanian
Read Petala Ironcloud’s review
Enzo Camacho & Ami Lien: Offerings for Escalante
MoMA PS1, Oct 10, 2024–Feb 17, 2025
Enzo Camacho and Ami Lien, still from Langit Lupa (2023), high-definition video (color, sound), 56:21 mins. (courtesy the artists and 47 Canal, New York)
Generational trauma sits at the heart of artists Enzo Camacho and Ami Lien’s film, which follows children in Negros, Philippines, as they collect sugarcane and jump into the ocean. The introduction of sugarcane spelled devastation to the jungle; in 1985, the titular Escalante Massacre saw the killing of dozens in the region by paramilitary troops during a rally in commemoration of martial law. In this show, watercolors mixed with beeswax, abacá pulp and banana stalk brought the earth to life, and Filipino-American ephemera such as posters round out the exhibition, tying sites of struggle across the Pacific.—AX Mina
Read the review
Acts of Art in Greenwich Village
Bertha and Karl Leubsdorf Gallery, November 7, 2024–March 29, 2025
Curated by Howard Singerman with Katie Hood Morgan and MA and MFA students enrolled in the Advanced Curatorial Certificate Seminar
Ben Jones, “Stand/Funk Elegance” (1975), silkscreen on paper (© Ben Jones, courtesy the artist)
This exhibition shone a necessary spotlight on Acts of Art, a short-lived but consequential gallery of the 20th-century Black Arts Movement. From Dindga McCannon to Benny Andrews, the artists on view work across mediums, including printmaking, collage, sculpture, and painting. The selection illuminated their mutual preoccupations, from pan-Africanism to religion to jazz music. The exhibition is accompanied by a timeline of the gallery’s prolific output from 1969 to 1975, showcasing solo and group shows, including historic exhibitions co-organized by artist-activist groups Where We At and the Black Emergency Cultural Coalition.—Jasmine Weber
Read the review
Guerrilla Girls: Discrimi-NATION
Hannah Traore Gallery, January 16–March 29
Organized by the gallery
Guerrilla Girls, “Top Ten Signs That You’re an Artworld Token” (1995) (photo Hrag Vartanian/Hyperallergic)
This show perfectly coincided with Inauguration Day, and its no-holds-barred attitude was just the fire some of us needed to warm our hands before a tough year. The anonymous coalition of artists that is the Guerrilla Girls continues to poke us out of the comfort of our armchairs. A very small but impactful show — as I wrote in a February review, “not all superheroes wear capes; some don gorilla masks.”—Hrag Vartanian
Read the review
Steve McQueen
Dia Chelsea and Dia Beacon, September 20, 2024–July 19, 2025
Dia Art Foundation and Laurenz Foundation, Schaulager, and organized by Donna De Salvo, Emily Markert, and Randy Gibson
Film still of Steve McQueen, “Exodus” (1992–97), Super 8mm color film, transferred to video, no sound, 1 min 5 sec (courtesy the artist, Marian Goodman Gallery, and Thomas Dane Gallery)
The heart of Steve McQueen’s solo show was a striking two-channel video, “Sunshine State” (2022), that completely enraptured me. The film is mostly in black and white, alternating between photographic negative and positive, aside from the image of an orange sun, its surface roaring with flames. The video stitches together clips from the infamous 1927 film The Jazz Singer, but McQueen removes the protagonist’s head after he paints himself in blackface. The deed erases actor Al Jolson’s gross display of minstrelsy and instead renders him haunting and almost spectral. In a voiceover that resonates through the gallery, the artist tells the story of the violent racism his father and other Black men endured in Florida. The exhibition’s impact lingered for days.—Jasmine Weber
Read Alex Jen’s review
Alexis Rockman: Naples: Course of Empire
Magenta Plains, January 16–March 1
Organized by the gallery
Detail of Alexis Rockman’s “Plague in the Kingdom of Naples, 1656-1658” (2024) (photo Hrag Vartanian/Hyperallergic)
Taking on Thomas Cole’s epic The Course of Empire (1833–36), this ambitious series by Alexis Rockman asks if humanity had a good run, and after some consideration, you might agree. As I wrote in my review of the show:
“… each of these paintings suggests that the larger plague is us, and the pot of gold at the end of the rainbow … will only arrive when we disappear. That dystopic tone seems fitting as we look ahead — we may be beginning to realize that this version of humanity doesn’t deserve to be renewed for another season.”
Sometimes the best art is a mirror that shows us our ugliness.—Hrag Vartanian
Read the review
Kelly Sinnapah Mary: The Book of Violette
James Cohan Gallery, February 14–March 22
Curated by Andil Gosine
Kelly Sinnapah Mary, “The Book of Violette: Auntie Maryse” (2025), acrylic on canvas (photo Aruna D’Souza/Hyperallergic)
The artist’s paintings and ceramics constituted an imaginative universe rooted in the artist’s home of Guadeloupe, a place marked by African, South Asian, and Indigenous cultures thanks to the violences of slavery and colonization. Centered on the shape-shifting Violette, Sinnapah Mary drew upon mythology, science fiction, and thinkers like Édouard Glissant and Suzanne Césaire to create a fully Caribbean sense of place, a poetics of relation.—Aruna D’Souza
Read Seph Rodney’s review
Video After Video: The Critical Media of CAMP
Museum of Modern Art, February 21–July 20
Installation view of Video After Video: The Critical Media of CAMP (photo Aruna D’Souza/Hyperallergic)
For almost two decades, the Mumbai collective CAMP has been asking us to think about who has the power to make images. For “From Gulf to Gulf” (2013), one of the three film pieces in this concise, brilliant show, they created a film from cell phone photos and videos obtained from sailors plying the Indian Ocean, creating a crowdsourced account of life at sea during the height of media scaremongering about Somali pirates.—Aruna D’Souza
Deborah Kass: The Art History Paintings 1989-1992
Salon 94, February 19–March 29
Organized by the gallery
Deborah Kass, “How Do I Look” (1991) (photo Hrag Vartanian/Hyperallergic)
This was the first time Deborah Kass’s complete series of Art History paintings (1989–92) went on view (minus one), and they are as brash and clever as when they were first painted over 30 years ago. The artist probes our urge to belong, whether to art history or something else, and pushes us to focus “on the power of the systems that challenge us and can take away our agency in the act of viewing.”—Hrag Vartanian
Read the review
Nolan Oswald Dennis: overturns
Swiss Institute, January 22–April 20
Curated by KJ Abudu
Detail of Nolan Oswald Dennis, “Articulated globe (pair)” (2024), black primer, cowry shell veil, steel armature (all photos Hrag Vartanian/Hyperallergic)
In their NYC debut, Dennis sits in the zone of in-betweenness, a place where pre- and postcolonial worlds are contemporaneous and interlocking. Using visual metaphors, the artist gives us renderings of a reality that is as pliable as it is certain. “That invitation to reimagine — and the ability to withhold — is an apt way to see how art can promise the unattainable, creating spaces that have never existed before while demanding we follow certain rules to be granted access.”—Hrag Vartanian
Read the review
Salman Toor: Wish Maker
Luhring Augustine, May 2–July 25
Curated by Rachel Cieśla
Salman Toor, “Collection” (2025), oil on panel (photo Lakshmi Rivera Amin/Hyperallergic)
Paint is a shapeshifting medium in the hands of Salman Toor. His surreal figures seem composed of blades of emerald-hued grass, streaks of light, and shades of darkness all at once. Wish Maker hasn’t left my brain since I visited over the summer, when seeing his work for the first time in person made me want to crawl out of my skin and reexamine what it means to live in a body.—Lakshmi Rivera Amin, associate editor
Nanette Carter: Shifting Perspectives
Montclair Art Museum, September 28, 2024–August 5, 2025
Curated by Mary Birmingham
Nanette Carter, “Egg in Bowl” (c. 1971–72) (photo Hrag Vartanian/Hyperallergic)
I love a classic “hometown girl does good” story, and it made me happy that Nanette Carter, who grew up near the museum, was fêted by the same institution that helped rear her artistic worldview. From shadows that embrace their own objecthood to bouquets orchestrated out of chaos, Carter’s decades of work convey a sense of optimism. We were given a glimpse of everything from her early experiments in high school to her more recent lingerings over totem-like figures, and left relishing the works’ formal playfulness and how they dance on the wall.—Hrag Vartanian
Read the review
Superfine: Tailoring Black Style
Metropolitan Museum of Art, May 10–October 26
Curated by Monica L. Miller and Andrew Bolton
Installation view of “Respectability” section of Superfine: Tailoring Black Style (photo Imani Williford/Hyperallergic)
Superfine: Tailoring Black Style presented an expansive assembly of dandy representations, from early self-fashioning that unsettled White audiences to the sharp leather looks of the Black Panther Party, stylistic flair at Historically Black Colleges and Universities (HBCUs), Grace Wales Bonner’s menswear, Virgil Abloh’s impact on luxury, and even a few Telfar bags. Black mannequins wore these looks beside wall texts shaped by Black voices on beauty, respectability, and fashion, including co-curator Monica L. Miller’s historical overview of the dandy, Slaves to Fashion.—Aly Thomas
Read Imani Williford’s review
Jennifer Packer: Dead Letter
Sikkema Malloy Jenkins, October 18–December 20
Organized by the gallery
Jennifer Packer, “Nate, Chey” (2025), oil on canvas (photo Aruna D’Souza/Hyperallergic)
I can’t stop thinking about this show, in which Packer — to my mind, the best painter in the game — offers up a master class in what it means to really see the people we love, and how to translate that insight into oil and pigment. The mood is heartbreakingly tender — the show marks a shift in the painter’s practice since the death of her partner, the poet April Freely, in 2021.—Aruna D’Souza
Read the review
Ministry: Reverend Joyce McDonald
Bronx Museum of the Arts, September 5, 2025–Jan 11, 2026
Installation view of Ministry: Reverend Joyce McDonald at the Bronx Museum (photo by Argenis Apolinario, 2025, courtesy the Bronx Museum)
Reverend Joyce McDonald: Ministry brought together nearly 80 small clay sculptures by the self-identified testimonial artist, each carrying the intimacy of her touch. Arranged on a tiered display that recalled an altar, the works offered a tender view of Black kinship, care, and prayer rendered through a medium often treated as “traditional,” yet alive here with the textures of contemporary life. Her first major museum exhibition, nearly three decades into a practice that began during an art therapy program as she navigated her HIV diagnosis, felt overdue, yet deeply welcome.—Aly Thomas
Read the review
Rashid Johnson: A Poem for Deep Thinkers
Solomon R. Guggenheim Museum, April 18, 2025–January 19, 2026
Curated by Naomi Beckwith and Andrea Karnes with Faith Hunter
Installation view of Rashid Johnson’s “Sanguine” (2025), with “God Painting ‘The Spirit'” (2023), oil on linen (photo Seph Rodney/Hyperallergic)
The smell of shea butter, a motif and medium in Johnson’s work, is my strongest memory from this career-spanning show. A video at the top of the Guggenheim Museum’s ramp, featuring the artist with his son and father, is another. Both signify how deeply personal the exhibition is, despite its many historical and literary references. It’s also deeply compelling for that reason.—Hakim Bishara
Wifredo Lam: When I Don’t Sleep, I Dream
Museum of Modern Art, November 10, 2025 – April 11, 2026
Curated by Christophe Cherix with Damasia Lacroze and Eva Caston
Wilfredo Lam, “Harpe astrale/Astral Harp/Arpa astral” (1944), oil on canvas (photo Aruna D’Souza/Hyperallergic)
This exhibition would have been worth it merely for the opportunity to see the Afro-Chinese Cuban artist’s iconic “The Jungle” (1943) hanging somewhere other than MoMA’s coat check, but beyond that, the show is revelatory. Lam spent 18 years as a refugee in Europe, and upon his return, fused his modernist training (lots of Klee, Surrealism, Cubism) with the syncretism of Afro-Caribbean culture, in an approach he deemed “decolonizing.” Stunning.—Aruna D’Souza
Seydou Keïta: A Tactile Lens
Brooklyn Museum, October 10, 205–May 17, 2026
Curated by Catherine E. McKinley with Imani Williford
Installation view of Seydou Keïta: A Tactile Lens (photo Jasmine Weber/Hyperallergic)
This retrospective at the Brooklyn Museum offers more than just a look at Keïta’s photography, displaying it alongside jewelry, clothing, and textiles resembling those worn by his beautifully adorned sitters, who appear empowered and innovative in their self-fashioning. Their style — and Keïta’s innovations in studio portraiture — defined the shifting culture of Bamako as Mali navigated colonialism and liberation throughout the 20th century, the country’s political life reflected through its fashion history. A Tactile Lens situates Keïta as one of the genre’s greats, and simultaneously presents an intensive history of Mali’s journey to independence.—Jasmine Weber
Activist New York
Museum of the City of New York, Ongoing
Curated by Steven H. Jaffe and Sarah Seidman
Unknown Maker, “RENT STRIKERS, HARLEM” (1919) (photo courtesy Bettmann via Getty Images)
For those who immigrated to New York from conservative communities, this city might feel like a haven of social and political freedom. This show looks at the gritty work required of its residents to make it so. Sustained, organized social and political activism and protest over time are the primary tools we’ve used to devise more humane policies around housing, employment, access to healthcare, women’s rights, and racial justice. This exhibition is a vivid reminder that we need to keep doing this work right now.—Seph Rodney
Special Mentions
The Frick Collection’s Reopening
Frick Collection, April 17–ongoing
Visitors tour the West Gallery featuring works by Rembrandt, Titian, and other Old Masters at the Frick (photo Hrag Vartanian/Hyperallergic)
The Robber Baron mansion-turned-museum is baaaaaacckk! And it looks better than ever with expanded second-floor galleries, a few new acquisitions (including a treasury of coins and medallions), and more space for eating, looking, and schmoozing. I took the museum to task for not addressing the awful history of its founder and benefactor, but that doesn’t mean there isn’t stuff to see and enjoy, including those wonderful Vermeers, Rembrandts, Turners, Whistlers, and that spectacular Bellini. And, added bonus: If you hate kids, this may be your utopia, since no one under 10 is allowed.—Hrag Vartanian
Read the feature
Jeffrey Gibson, The Animal That Therefore I Am
The Metropolitan Museum of Art, September 12, 2025–June 9, 2026
Organized by the institution
Detail of Jeffrey Gibson, “The Animal That Therefore I Am” (2025) (all photos Isa Farfan/Hyperallergic)
They’re wise and proud, and they’ve been here long before us. Gibson’s quartet of regal animals for The Met’s Facade — a squirrel, deer, coyote, and hawk dressed in finery inspired by the food they consume or what they leave behind after death — is absolutely unforgettable.—Hakim Bishara
Read Lisa Yin Zhang’s feature
Iván Argote: Dinosaur
The High Line, October 2024–Spring 2026
Organized by the institution
Artist Iván Argote holds a pigeon in front of his 2,000-pound, almost 16-foot-tall (~907 kg and ~5 m) bird statue at the High Line. (photo Isa Farfan/Hyperallergic)
I’m of the opinion that pigeons are among the city’s most underappreciated residents, and our unofficial mascot (no disrespect to the rats). If the crowds around Iván Argote’s hyperrealistic monument to the bird lording over 30th street and Tenth Avenue is any indication, the people of New York City feel similarly. “Dinosaur” makes my day every time I catch a glimpse of it to or from gallery-hopping in Chelsea. I think that’s what art is at its simplest, and its finest — something that re-enchants the everyday, even for just a second. —Lisa Yin Zhang
Read Staff Writer Isa Farfan’s report
