If you were in the room Friday night at The New School, you caught Matteo Pasquinelli throwing down ideas that lit up the crowd with his keynote “AI and Madness: On the Disalienation of the General Intellect.” It kicked off the Vera List Center Forum 2025: Matter of Intelligence—a weekend asking who gets to define intelligence and what happens when machines, bodies, and institutions all start claiming a piece of it. Later, over a community dinner, we met artists, curators, journalists, researchers, and assorted brainiacs who traded stories about neural nets, algorithms, kimchee, pulled pork, and tarot card readings that were available at many tables.
The rest of the weekend unfolded in forums with titles that could’ve doubled as concept-album tracks: “Embodied Intelligence: The Art of Sensing,”“Artificial Agency and Autonomy,”“Collective Intelligence and the Politics of Data,” and “Unlearning Intelligence.” If the weekend has a takeaway, it’s that intelligence isn’t something we own; it’s something we’re swimming in. Like all the street art and graffiti that city dwellers are surrounded by daily on walls, trains, doorways, and fences – it’s not exactly organized by algorithm, but patterns do emerge if you care to decode them.
So here’s our weekly interview with the street, this week featuring CKT Crew, Dain, Dmote, Dream, Famen, King157, KNOT!, Luch, Mr. Cenz, OptimoNYC, Phetus88, SHOCK, Skulz, Staino, Stevie Dobetter, and Sweater Bubble.
Welcome to BSA Images of the Week. This fall in New York institutional museum offerings, people are checking out “Sixties Surreal” at the Whitney, “Robert Rauschenberg: Life Can’t Be Stopped” at the Guggenheim, “Coco Fusco: Tomorrow, I Will Become an Island” at El Museo del Barrio, Yvette Mayorga’s “PLEA$URE GARDEN$” Midnight Moment in Times Square, “Monet and Venice” and “Seydou Keïta: A Tactile Lens” at the Brooklyn Museum.
The Whitney offers all Fridays free from 5–10 p.m., every second Sunday free, and if you’re 25 or under, it’s always free. The Museum of Modern Art welcomes New York State residents free of charge every Friday from 5:30–8:30 p.m. (proof of residency required). The Solomon R. Guggenheim Museum invites visitors to pay what they wish on Mondays and Saturdays from 4–5:30 p.m., with a suggested minimum of one dollar. The New-York Historical Society follows suit with pay-as-you-wish admission on Fridays from 5–8 p.m. And for those who prefer art in the Bronx, the Bronx Museum of the Arts remains free every day of the week. And right here in Brooklyn, the Brooklyn Museum opens its doors every First Saturday of the month from 5–11 p.m. for free admission with registration, and visitors are always welcome to pay what they can at the desk.
Meanwhile, much of our street art is busy with cats, pop icons, ambient dread, and general sweetness. For anyone assuming the scene remains activist or subversive, evidence is not plentiful. Still, it photographs beautifully.
Here is our weekly interview with the street, this week featuring Chloe, I Am Frankie Botz, Jappy Agoncillo, Jeff Rose King, Kam S. Art, Lucia Dutazaka, Mad Villian, Man in the Box, Manuel Alejandro, Nandos Art, Rommer White, Sonni, Sophia Messore, and Tone Wash.
Spring 2025: Growth creeps in — leaf by leaf, blade by blade, decree by decree. You barely notice the buildup, but gradually it gathers, until suddenly, you’re surrounded.
On New York walls right now, you’ll spot a mix of collage-style cut-and-paste work, aerosol rendered full fantasy – and a surge in vertical graffiti done while hanging from ropes. This high-risk approach echoes Brazil’s Pixação scene, where writers have been scaling buildings since the ’80s to get their monikers out there running north to south; a technique later amplified by crews like 1UP and Berlin Kidz in Europe. Now, numbers of New York graffiti writers are embracing this daring vertical style — a radical shift that some see clearly, while others barely register. Across styles and mediums, there often appears a recurring presence of scarlet, crimson, rose, magenta, purple, pink, and fuchsia. These grab attention an resonate at deeper undercurrents — power, sacrifice, passion, and perhaps even the stirrings of revolution.
Here are some images from this week’s visual conversation from the street, including works from Werds, Humble, EXR, Great Boxers, Dzel, Meres One, Go, Man in the Box, DK, Luch, 1440, Fridge, El Souls, Natural Eyes, Lisart, Ilato, YOSE, Miki Yamato, HypaArtCombo, Senator Toadius Maximus, HOH22, Hound, Mr. Must Art, Lucia Dutazaka, and Tess.
Welcome to BSA Images of the Week. Happy Easter, bunny.
Great stuff is out on the streets today, whether you are wandering aimlessly through the city or touring with a sense of purpose. Street art continues to evolve, even as it repeats. Can anyone doubt that there is a more relevant artform that can be instantly responsive to current events and take the longer view?
The city’s buzzing with art this spring—start with these must-sees, in addition to hitting the Botanical Gardens in Brooklyn and the Bronx and the local park and your neighbor’s tulip bed: At White Columns, Gordon Matta-Clark: NYC Graffiti Archive 1972/3 offers a rare look at early graffiti culture through the artist’s archival photographs (whitecolumns.org). Over in Industry City, Brooklyn native Michael “Kaves” McLeer presents Brooklyn Pop – A Brooklyn Dream, an immersive homage to the borough’s style and swagger, complete with full-scale subway replicas and vintage ephemera (brooklynbuzz.com). At the Whitney, Amy Sherald’s American Sublime brings together nearly 50 of her portraits in a commanding solo show that focuses on Black life with quiet power and elegance (whitney.org). Meanwhile, the Guggenheim hosts Rashid Johnson: A Poem for Deep Thinkers, filling the iconic rotunda with more than 90 works exploring Black identity, masculinity, and emotional depth (guggenheim.org). And at the Brooklyn Museum, Breaking the Mold: Brooklyn Museum at 200 celebrates the institution’s bicentennial with a wide-ranging exhibition that reflects its rich, complex legacy and commitment to representation (brooklynmuseum.org).
We continue with our interviews with the street, this week including Citty Kitty, Homesick, JerkFace, Eternal Possessions, Chupa, Android Oi, Staino, Masnah, Jaek El Diablo, Jay Diggz, Washington Walls, BC NBA, Busy, and Pytho.
Welcome to BSA’s Images of the week. Mockingbirds are bringing sprigs from the cold, grey, churning East River to build nests on the banks of abandoned lots of Williamsburg/Greenpoint before further ugly gentrification paves it over. Up and down the Brooklyn waterfront, it’s a procession of architectural mediocrity—glass boxes and bland slabs posing as progress. With few exceptions, these vertical office parks evoke visions of photocopier showrooms or surplus staplers stacked in a supply closet.
Magnolias and cherry blossoms are starting to bust out all over Brooklyn. Spring is here, and it’s coming in hot—and cold. April’s throwing weather tantrums like a toddler on espresso, bouncing us around like a pinball between heatwaves, cold snaps; all while dodging the political side-swipes we read and hear on social media and the press room. Add in soaring grocery bills (despite what the “official” numbers say), and it’s no wonder everyone’s feeling a little punch-drunk.
In a notable week for New York’s graffiti and street art scene, Dutch artist Tripl, also known as Furious, unveiled his decade-long project, Repainting Subway Art. This ambitious endeavor meticulously recreates the iconic 1984 book Subway Art by Martha Cooper and Henry Chalfant, with Tripl reproducing each original piece on European trains and re-enacting the accompanying photographs. The project culminated in the publication of the 196-page book that was featured Friday night and feted Saturday night.
Friday to a packed auditorium the Museum of the City of New York hosted a panel discussion on featuring Tripl, Cooper, Chalfant, and artist John “Crash” Matos. Moderated by graffiti scholar Edward Birzin and introduced by MCNY’s Sean Corcoran, the conversation delved into the evolution and global impact of graffiti and street art culture and the powerful reverberation of the book’s influence on generations of writers and artists.
Last night, Crash’s gallery WallWorks New York in the Bronx inaugurated the Repainting Subway Art exhibition, offering an immersive experience juxtaposing pages from the original Subway Art with Tripl’s reinterpretations. As word gradually spreads about this project, the graffiti and related communities will undoubtedly debate its significance—as homage, reinterpretation, and artistic intervention—while celebrating the obsessive dedication it took to recreate one of graffiti’s foundational texts from a contemporary, transnational perspective.
We continue with our interviews with the street, this week including stuff from Homesick, Kobra, Humble, Sluto, Wild West, V. Ballentine, Bleach, Toast, CAMI XVX, Vew, Tover, Dreps, Leaf!, Aneka, Kam S. Art, and John Sear.
BROOKLYN STREET ART LOVES YOU MORE EVERY DAY
