Worldbuilding and building better worlds — these are idealistic notions that can become indulgences in the art world. But, to paraphrase Hyperalleric’s Editor-in-Chief, Hrag Vartanian, in his review of artist Saya Woolfalk’s current survey, when executed well, they can be powerful. All of the artists below have endeavored to build ethical worlds and improve our own. While Woolfalk’s futuristic installations and hybrid creatures toy with the concept of hyperreality, Umber Majeed merges the analog world of the past with forward-facing technologies. On the other hand, Ben Shahn spent his career collaborating and organizing with others to create a world that is more just for all, and for almost half a century, Magali Lara has championed feminism and carved out a space for women in Mexico’s art world and beyond. —Natalie Haddad, Reviews Editor
Magali Lara: Stitched to the Body
Institute for Studies on Latin American Art, 142 Franklin Street, Tribeca, Manhattan
Through August 16
“Lara’s sinuous trees, in sync with a mosaic of blue and indigo brushstrokes, are not overtaken by the elements but rather move with them; their roots and branches seemingly shape the world around them through sheer psychical force.” —NH
Saya Woolfalk: Empathic Universe
Museum of Arts and Design, 2 Columbus Circle, Columbus Circle, Manhattan
Through September 7
“In her aesthetic universe, the artwork moves beyond realism to a more psychological state of being, and she mines pop culture and historical allusions at every turn.” —Hrag Vartanian
Ben Shahn, On Nonconformity
Jewish Museum, 1109 Fifth Avenue, Upper East Side, Manhattan
Through October 12
“If we are to learn from his work — as well we should — we must understand that ‘nonconformity’ is not, and cannot be, a solo venture.” —Isabella Segalovich
Umber Majeed: J😊y Tech
Queens Museum, Flushing Meadows, Corona Park, Queens
Through January 18, 2026
“This one-room exhibition is one of the most technically inventive I’ve seen, and is a fresh and exciting excavation of the fertile physical/digital intersection between diasporic Asian and early internet aesthetics.” —Lisa Yin Zhang
