Frank Lloyd Wright, Little Dipper School and Community Playhouse, Los Angeles. 1923. Perspective from the west, pencil and colored pencil on tracing paper.

THE FRANK LLOYD WRIGHT FOUNDATION ARCHIVES (THE MUSEUM OF MODERN ART | AVERY ARCHITECTURAL & FINE ARTS LIBRARY, COLUMBIA UNIVERSITY, NEW YORK)

MONDAY, JUNE 12

Opening: “Frank Lloyd Wright at 150: Unpacking the Archive” at Museum of Modern Art
Although any time seems good to celebrate the architect Frank Lloyd Wright, now feels especially right since, as of last week, he was born 150 years ago. The Guggenheim Museum feted Wright by offering admission for just $1.50 for a day, and now the Museum of Modern Art will pay homage to the modernist master by dedicating an entire show to his models, drawings, films, archival materials, and more. But don’t expect a retrospective, or even a straightforward monograph: the show’s curators—MoMA’s architecture curator Barry Bergdoll, working with Jennifer Gray—consider the exhibition an “anthology” in 12 parts. On view will be drawings related to Fallingwater, Wright’s famed blocky 1934–37 house built over a waterfall in Pittsburgh, Pennsylvania.
Museum of Modern Art, 11 West 53rd Street, 10:30 a.m.–5:30 p.m.

Stephen Shore, Eddie’s Wagon Wheel, Bridge Street, Struthers, Ohio, October 27, 1977, from the series “Stephen Shore: Selected Works, 1973–1981,” published by Aperture.

©STEPHEN SHORE/COURTESY 303 GALLERY, NEW YORK

TUESDAY, JUNE 13

Book Signing: Stephen Shore at Dashwood Books
With a MoMA retrospective of Stephen Shore on the horizon, Aperture will give viewers a chance to see the Californian photographer’s work with Stephen Shore: Selected Works, 1973–1981, a book that collects some of his early photographs. Many are from a series known as “Uncommon Places,” for which Shore traversed America, shooting vernacular architecture and small-town lifestyles. Like William Eggleston’s work, Shore’s photographs are brightly colored, and often dryly funny too—they poke fun at the absurdities of American life while also genuinely marveling at its weirdness and warmth. Shore will be on hand to sign his new book, which features portfolios of works selected by Wes Anderson, Hans Ulrich Obrist, and others.
Dashwood Books, 33 Bond Street, 6–8 p.m.

Screening: Performance and Stage-Set Utilizing Two-Way Mirror and Video Time Delay at Light Industry
When Dan Graham and Glenn Branca’s Performance and Stage-Set Utilizing Two-Way Mirror and Video Time Delay was first performed in 1983, at the Kunsthalle Bern in Switzerland, an audience and a group of musicians were placed in front of a two-way mirror. Through the mirror, a video screen that projected the audience’s image back at them could be seen. The image appeared to be live, but it wasn’t—it was delayed by six seconds. At this screening, video documentation of the work, which Graham describes as a reorientation of the traditional gaze, will be shown alongside William Raban’s 2’45” (1972), a ten-minute film about the production of film.
Light Industry, 155 Freeman Street, Brooklyn, 7:30 p.m. Tickets $8

William Raban, 2’45” (still), n.d.

COURTESY THE ARTIST AND LUX, LONDON

THURSDAY, JUNE 15

Opening: “Tomorrow Tomorrow” at Canada
This group show zeroes in on a set of nine artists, all of whom hail from Portland, Oregon, and work in abstraction. Curated by Stephanie Snyder and Wallace Whitney, the exhibition focuses on artists whose process-based work alludes both to political issues and spiritual mindsets. Among the artists in the show are Demian DinéYazhi’, who, with Noelle Sosaya, contributes scrappy work that alludes to the histories of punk and mysticism. Also featured will be MK Guth, Jessica Jackson Hutchins, Kristan Kennedy, Evan La Londe, Charlie Perez-Tlatenchi, Michelle Ross, Storm Tharp, and Heather Watkins.
Canada, 333 Broome Street, 6–8 p.m.

Teju Cole, Sasabe, printed 2017, archival pigment print.

COURTESY STEVEN KASHER GALLERY, NEW YORK

Opening: Teju Cole at Steven Kasher Gallery
Teju Cole’s photographs aren’t only pictures—they also sometimes come with text. Cole may be an accomplished novelist, but as of late, he’s also known for his New York Times column “On Photography,” which earned him a National Magazine Award nomination last year. With this show, a survey of his own works from his latest photo book, Blind Spot, and a new series called “Black Paper,” Cole will present over 30 works that are accompanied by poetic text. These new works ponder sights and sites, both seen and unseen, partially in reaction to a brief period where Cole went briefly was blinded in 2011.
Steven Kasher Gallery, 515 West 26th Street, 6–8 p.m.

Talk: Jordan Wolfson at New Museum
Few will forget Jordan Wolfson’s Whitney Biennial virtual-reality piece Real Violence (2017) anytime soon. Like it or not, this disturbing work, which features the artist beating to death what appears to be a real human being (it’s actually a dummy), is hard to shake. One could say the same of Wolfson’s sculptures that include animated dolls that dance and get dropped in ways that test viewers’ empathy. At this talk, Wolfson will discuss his work with Rhizome assistant curator Aria Dean and screen several videos, including Riverboat Song (2017), which debuted at Sadie Coles HQ gallery in London earlier this year.
New Museum, 235 Bowery, 7 p.m. Tickets $10/$15

Donald Moffett, He Kills Me, 1987, poster, offset lithography.

©DONALD MOFFETT/COURTESY THE ARTIST AND MARIANNE BOESKY GALLERY, NEW YORK, ASPEN

Opening: “Voice = Survival” at the 8th Floor
Taking the famed 1987 activist project “Silence=Death” as a jumping-off point, this group exhibition looks at the legacy of the HIV/AIDS crisis. Organized by Claudia Maria Carrera and Adrian Geraldo Saldaña for Visual AIDS, the show will feature work by figureheads of late-’80s AIDS activism, such as ACT UP, a loosely held-together coalition that promoted speaking up about HIV and AIDS as an activist strategy through radical—and sometimes polarizing—demonstrations, among other tactics. Alongside these veterans will be work by newcomers, such as Kameelah Janan Rasheed, whose work typically incorporates the written word and often addresses repressed histories. Gran Fury, Donald Moffett, Mykki Blanco, Marlon Riggs, and more will also have work in this exhibition.
The 8th Floor, 17 West 17th Street, 8th Floor, 6–8 p.m.

FRIDAY, JUNE 16

Performance: Elizabeth Orr at Bodega
Last year, Elizabeth Orr debuted MT RUSH, a bizarre video about a park ranger who explores a world filled with election emails, sexts, and strange digital interfaces. Although this world may not look like our own, and even if it may seem somewhat dystopian, the ranger seems not to mind. Orr’s newest performance, 9 PLAYS 9, promises to be similarly offbeat. To some degree, Orr’s newest work is a retelling of Dante’s Inferno, although a description of the work doesn’t give away much. Per that short write-up: “9 Circles of wrongdoings by the Christian soul / 9 Fellows met along the way / The afterlife through the power of pop music, a light hard touch, gay, and video.”
Bodega, 167 Rivington Street, 7 p.m.

Work by Elizabeth Orr.

COURTESY BODEGA

SUNDAY, JUNE 18

Opening: Maja Čule at Company Gallery
Maja Čule’s photographs and videos tackle the relationship between internet users and the systems they’re knowingly—or perhaps not so knowingly—a part of. Whether in the form of stock-photography parodies for DIS or as videos that mock the utopianism of AirBnB and other sharing-economy websites, Čule’s work incisively looks at how, in a digital world, work and fun are often one and the same. This show, titled “A Feature Shared By All,” appears to be about airports and travel. “There are no good stories of air travel,” Čule notes in a statement accompanied by a digitally image of a leaf smoking a cigarette. That much, one must admit, is true.
Company Gallery, 88 Eldridge, 5th Floor, 6–8 p.m.