Parked:
Willie Cole: The H20, Harlem Coupe, by Willie Cole, is made from 2,000 recycled water bottles and serves as a commentary on recycling, oil production, mass consumption, and the concept of luxury. In his work, Willie Cole similarly engages with environmental and social issues by transforming discarded plastic water bottles into large-scale sculptures, drawing attention to waste and the scarcity of clean water in underserved communities.
Traci Johnson’s “The Safe Space installation” will transform a van into an intimate sanctuary lined with faux fur walls, soft sculptures, and tactile furniture that invites audiences to wrap themselves in comfort. Adorned with tapestries and mirrors from her creatures of desire series, this modular environment reimagines how women and non-binary individuals might exist freed from external judgement and impossible standards. The mobile installation democratizes access to sanctuary.
BALONEY (Z Behl & Kim Moloney): Baloney—the collaborative pseudonym of artists Z Behl and Kim Moloney—rolls into STAY FROSTY with a red pickup truck that looks like it barely survived a demolition derby. Hood up, engine ablaze in welded steel and cheesecloth flames, the vehicle is under siege from three piggies in the back—armed with oversized props: a grinder, a wrench, and a tire-piercing shiv. Are they fixing it? Breaking it? Or just hell-bent on chaos? To top it off, a monumental sow sprawls across the cab roof, her leaking udders trailing ribbons of tattered red cheesecloth that both tether and implicate her unruly offspring. At once grotesque and comic, PIGGIES UNDO THE WORLD continues Baloney’s exploration of allegory, absurdist pageantry, and the politics of undoing. As in earlier works (Thatcher the Snatcher; SS Imperial Slop), the duo transforms salvaged materials into anarchic tableaux that interrogate power, inheritance, and collapse. The installation asks: are the piggies builders, destroyers, or both—and what world emerges in their wake?
Field Projects presents Kate Corroon Skakel. Skakel will use her car to create “Baller (For Ray)” is a distorted crocheted basketball net and backboard that serves as an ode to New York City’s favorite sport. The elongated form and familiar materials reference themes of play, community, and childhood comforts.
BOB’S Gallery presents artist Bradley Milligan Untitled (2005 Dodge Caravan) In a leaf-strewn patch of grass sits Bradly Milligan’s 2005 Dodge Caravan, its side door and hatchback left open to reveal a wooden sculpture spilling from the rear. Inside, plaster-cast replicas of Milligan’s personal CD and tape collection — spanning from Hank Williams Jr. to Sabbath — are scattered throughout the van, transforming a vehicle of memory into a sculptural archive of sound, nostalgia, and disarray.
Curator Debra Simon commissioned multi disciplinary artist Amy Rose Khoshbin Altar to Agency Award-winning public art curator Debra Simon presents Brooklyn and LA-based artist Amy Rose Khoshbin. For Stay Frosty, Khoshbin transforms a car into a living altar inspired by Allan Kaprow’s “Happenings”, where everyday actions become collective art. Throughout the exhibition, visitors help build the altar by covering the car with fruit, flowers, and sculptural forms made from organic materials purchased from local street vendors or foraged by participants. All materials will later be composted, shifting the car’s charged past into an act of renewal. On Friday at 6pm, Khoshbin leads an opening ritual of shared gestures and collective release, consecrating the altar for the weekend. Watermelons—symbols of fertility and liberation—are carried in procession and adorned with flowers. By sourcing directly from local vendors, the project redistributes resources back into the community while honoring their place in New York street life. Altars to Agency invites participants to claim agency together—transforming an ordinary car into a durational site where collective action and imagination take root.
Leah Dixon and Jack Henry: Sculptors Leah Dixon and Jack Henry will be presenting out of the back of Jack's pickup truck. The artists will be building out the truck bed as a sort of gallery diorama, which will hold two side-by-side sculptures - one of Leah's and one of Jack's. Both artists' works, via different materials, bring formal shape to the accumulation of time - fitting for the mythic space of an urban parking lot, where forgotten cars, trash, and real estate value all quietly simmer. Leah Dixon's painted wooden tower is crowned with a planet-like time wheel - the god Apollo of the sunken lot. Jack Henry's resin sculpture captures and elevates the crystalline harmony of a city's refuse.
Laurie De Chiara presents ArtPort Kingston: Jeila Gueramian, Roxanne Faber Savage, Stefan Saffer, Dasha Bazanova, Becca Van K
Surreal Tailgate - Tailgating is typically a ritual of the ordinary cars lined up, coolers cracked open, folding chairs gathered in circles of familiarity. Dreamfield Rituals It is a surreal tailgate that turns this familiar scene on its head, transforming a roadside gathering into a dreamlike installation of uncanny objects, textures, and sounds. The exhibition borrows the language of the tailgate—station wagons, coolers, flags, chairs, figurines—but veers wildly off course, opening a space where mystery and play displace expectation. Jeila Gueramian outfits her 1982 Volvo station wagon with a textile environment, turning the vehicle itself into a vessel of soft wonder and intricate detail. Roxanne Faber Savage reimagines the cooler’s usual cargo, replacing ice and drinks with quivering bubble sculptures that vibrate between humor and unease. Becca Van K adds a splash of quirkiness with her woven chairs, hand-crafted perches that turn the casual act of sitting into an intimate exchange with materiality. Stefan Saffer extends a flagline into the air, punctuating the scene with symbolic banners and collaborating on a sound piece that drifts through the gathering like a strange signal. Dasha Bazanova adds her kitsch figurine sculptures, uncanny stand-ins for party guests whose frozen gazes linger between camp and charm. Together, these works create a disorienting tailgating tableau where the mundane morphs into the marvelous. Visitors are invited not to spectate from the sidelines, but to step into a surreal zone where hospitality and estrangement intermingle, and the everyday transforms into a ritual of imagination.
Gallery Lucida presents: Michael Paris Mazzeo, Chris McCaw, Michael Flomen, Anne Arden McDonald, Robert Flynt, Gerald Slota, Terry Towery and Andreas Rentsch. Michael Mazzeo, a photo curator and photographer curates a show of analog photography from the early days of the medium to its persistence in the digital age. Mazzeo will be making tintypes on site, the process that democratized the medium of photography and made portraits accessible to all.
BravinLee programs presents: BravinLee’s Subaru Forester contains a group show entitled The Sisyphus Complex, including work by Tracy Grayson, Kumasi J. Barnett, Charles Ritchie, Fabian Marcaccio, Archie Rand, Philip Akkerman, Douglas Florian and Alexandria Deters. Tied to the roof-rack is Guy Richards Smit‘s inflatable sculpture S1SY-PHU5.
Eric Doeringer presents Eric Doeringer's Flea Market, a curated selection of art and "stuff" from Doeringer and friends. The Flea Market will feature live appearances from special guest artists and low, low prices throughout the weekend!! Artists: Alfred Steiner, Chris Bors, Cary Leibowitz, Darren Bader, Greg Allen, Gary Kachadourian, Guy Richards Smit, Ellen Jong, Hermann Zschiegner, Jen Catron & Paul Outlaw, Jennifer Dalton, Josh Levine, Joe Nanashe, Kenny Schachter, Lisa Levy, Loren Munk, Lane Twitchell, Meegan Barnes, Michael Bühler-Rose, Marilyn Minter, Michael Scoggins, Mark Dean Veca, Noah Lyon, Phil Buehler, Rebecca Chamberlain, sTo Len, Sucklord, Todd Kelly, Tom Sanford, Jim Kempner, and Eric Doeringer
Christina Massey and Kate Rusek: Rooted in shared ecological concerns, our collaborative installation transforms a car into a biomorphic spectacle. Kate Rusek contributes an imagined carbon-capture organism, scaling up micro marine life to propose remediation through abundance. Christina Massey interlaces woven aluminum surfaces from consumer waste as counterpoints to these exaggerated forms, while a soundscape emanates from the vehicle—evoking the fragility of a body under strain and the resilience of ecosystems adapting to change. Together, we reimagine the car as a living body pulsing with rhythm, vulnerability, and transformation.
JAG Projects presents the works of Riddle's, an interactive collaborative that blurs the line between artist and audience. Collaborative duo Riddle's will present JAG Projects car plated and served, with each wheel resting on dishes. Sculptor Gracelee Lawrence’s small-scale, 3D-printed works that intermesh food, technology, and the human body. Video art by Theodore Sefcik, whose ethereal animations use primitive graphics that captivate empathy. And Patrick Carlin Mohundro’s vibrant "stained-glass" flowers crafted from shards of glass.
Connie Lee / Art Lives Here presents Jim Richards. Jim Richards’s photo-based practice incorporates handmade lenses like the straw camera made with approximately 4,000 straws which will be onsite for anyone who would like to pose for a portrait. His car will feature a rooftop sculpture “The Window” and inside the car images that are presented on wall mounted or tabletop boxes that he designs and crafts in his studio.
Gracie Mansion Gracie Mansion presents Buster Would Have Loved This. A new iteration of her 1981 inaugural exhibition, from 1981, the Limo Show . Gracie parked a limousine on the corner of West Broadway and Spring Streets exhibiting the work of Buster Cleveland. The exhibition channels his Dada/Fluxus sensibility in works by Buster Cleveland and Mail Artists, as well as Mark DeMuro, Stephen Lack, Al Hansen, Rodney Alan Greenblat, George Condo, and Flèchemuller.
Amy Ritter presents her Mobile Home Archive. Ritter’s truck has traveled thousands of miles across 18 states, visiting more than 300 mobile home communities across the U.S. In this installation, she presents the video Happy Birthday Dean, which takes viewers on a drive through her father’s mobile home park in Eastern Pennsylvania and into his home. Drawing from her father’s experiences, Ritter examines nostalgia, the American Dream, and the fears that shape everyday life. The truck is filled with cast concrete soccer balls, symbolizing the weight of nostalgia and our personal histories.
Atelier4 / 17 foot truck donated by Atelier4:
LC Armstrong’s painting depicts a West Harlem parking lot returning to nature, with female Gremlins restoring a 1976 Gremlin car after regaining their wings through good deeds. Armstrong drew on her experience customizing vehicles in Venice, CA, to add technical details. According to Armstrong, “Ultimately, I believe that both nature and our better instincts will triumph.”
Resurrect Studio: Resurrect Studio (Nancy Wu and Jean Davis, Co-Founders) create sculptures from Victorian-era NYC landfill glass that collectively narrate a tale of hope and inspiration, blending elements of the sacred and the profane. They collect glass fragments decomposing in the bay that have been tumbling for a century. Depending on the tide, the inventory varies greatly like the catch of the day. Fragments are sculpted into “3D watercolors.” How has one generation’s garbage become another’s gemstones? What will our children be mining? Resurrect Studio’s non-traditional approach to glasswork is aimed at finding the transcendent in the everyday.
Pete Dudek: Lee/Farnsworth, Positioned in a manner similar to caryatids, Man Ray’s photos of Lee Miller flank Mies van der Rohe’s Farnsworth House. Miller’s image brackets Mies’s house for Ms. Farnsworth, withholding any structural responsibility.
Woofy Bubbles (Chris Hodge): Totem II, 1980
Walter Robinson (1950-2025) WWII Romance 1 and Embrace I, 2023
May Ray, Rayograph (greater film reel),1929-1930, rayograph and Les champs delicious (No. 3), 1922, rayograph courtesy Robert Klein Gallery, Boston,
Raymond Pettibon, X-Ray Spex….1991 courtesy Robert Berman Gallery, Los Angeles
James Welling courtesy David Zwirner
Perimeter:
Tom Sanford: painter and New York City car owner, channels frustrations with the hassle, expense and stress of navigating parking, into an ersatz parking attendant and booth, rich with references to the culture, lore and history of NYC parking.
Lola Lefrancois (east wall): Inspired by billboard signage, this installation questions the role of landscape painting and its representation. Playing with the layered interaction between painted scenes and the actual environment visible through the screen, these pieces ask « Where is the boundary between nature and object, between constructed space and the natural world?
Ellie Murphy (north fence): Door Arch Gate. Colonnade for a parking lot. Inspired by the Ribblehead Viaduct in Yorkshire which was inspired by actual Roman viaducts, and colonnades and arches throughout human history, Ellie Murphy’s “Pink Door - Green Arch - Blue Gate (Indoor Outdoor),” 2023-2024-2025, is a piece which reconfigures two existing sculptures with a third new one into an original installation created just for the fences at Stay Frosty. Made of non-woven and macramé fiber, “Indoor Outdoor” hopes to activate the space between object and environment, between wearable and architecture, and between intimate and public. What is the fabric of society?
Kate Dodd: “Shared Air”, a series of lunglike silhouettes made of plastic strapping, suggests our air intake is filled with microplastics. On the other hand, our dependence on trees to provide the air we breathe, as the "lungs of the world", relies on the foliage in the midst of urban density, on whatever is able to sprout up in the quasi public/private open spaces that still exist, such as parking lots. In this upside down ecosystem, the need to store cars ends up storing some of the carbon dioxide that we need to breathe, sprinkled with the by-products of the petroleum industry.
Sammy Bennett: Building on the principles of Wabi-Sabi, Bennett’s work explores the deconstruction and reconstruction of materials into cohesive forms. The industrial fencing sourced from my studio and neighborhood signify construction, concealment and gentrification. The fabrics represent debris—the remnants blowing around streets, temporary shelters to the chaos of nature. “By using materials often deemed trash, I challenge the hierarchy of artist materials while evoking a spectrum of associated values. This piece examines invisibility, obscuring representational elements behind mesh fencing that disrupts our viewing experience”.
Sarah George: George will include three of her needle-felted sculptures--The Mother (Opossum), The Opportunist (Fox), The Guest (Raccoon) The original natives of the northeast show their adaptability through real and imaginative ways to civilization/gentrification. Instead of being displaced by us, George wanted to show the spectrum of their instincts, from the basic hunting of penned prey, to adopting our more hedonistic human behaviors.
George Cochrane Books: George Cochrane curates a selection of his artist books in subjects ranging from Dante to demonstrations. Made over the past ten years, they function as objects of record, resistance, and resilience in troubled times. Cochrane will debut his latest resistance project with artist books from his collection.
Charlotte Bravin Lee: Visitors will have the opportunity to sit for a ten-minute watercolor portrait with Lee’ who’s portraits capture the essence and spirit of each sitter in a quick, expressive style.
Brian Whiteley: THE VLADIMIR PUTIN PRESIDENTIAL PORTRAIT by Brian Andrew Whiteley. The portrait was created in the style of famous presidential portraits, except with Vladimir Putin in the position of authority with an ominous red sky over the White House. The painting portrays the state of the world during Trumps presidencies with a subservient USA playing buddy buddy with Putin and other authoritarians. THE PAINTING WAS INITIALLY HUNG IN THE PRESIDENTIAL SUITE AT TRUMP’S DC HOTEL. It was Installed on August 1st, 2018 and remained in place for three weeks.
Kumasi J. Barnett: The Question asks viewers to confront their roles without directly revealing the subject. Their mind immediately jumps to where they should be working. Using the imagery of comic books Kumasi J. Barnett takes the familiar childhood memories of superheroes and creates true stories relevant throughout American history by obscuring the previous imagery. Blown up to monumental scale this project invites viewers in with nostalgia and rewards them with the question. Are you doing your part?
Fabian Marcaccio: Neural Paintant 2025, 10 x 20 feet, 3D printed polyurethane, acrylic, silicone on climbing ropes and camouflage net (Variable instalation )