Julia Whitney Barnes’s organic paradise, Emily Nomer’s mystical geometric paintings, Maria Molteni’s conversations with the divine, and more
As autumn unfolds across the East Coast, people around the United States are visiting the polls. May we strip the monsters of power and steer this nation out of its ghoulish ambiance and toward soulful care, not continued scare. In step with the changing times, a robust round of exhibitions in Upstate New York invites you to experience the treats of the season. At Ipso Facto Gallery in Hudson, artists explore creative modalities for surviving the technological hellscape of contemporary life, while Public Private Gallery presents outrageous sculptural works by legendary artists Judy Pfaff and Michael David. Ann Street Gallery features dynamic works by the three artists chosen for their 2026 Emerging Artist Fellowship, and Tyte Gallery showcases a series of lush botanical works on paper by Julia Whitney Barnes. Geometrically inspired paintings by Emily Nomer at Gallery 40 yield bright mystical visions, while a group show at Yellow Studio Arts Center celebrates the commonplace as muse. To all those who fear these hellish times, no more tricks! We conjure our determination and perseverance in the face of ghastly evil!
The TV Glow Sees Me
Ipso Facto Gallery, 362 ½ Warren Street, Hudson, New York
Through November 22
Remember life before the internet and obsessive screen time? The TV Glow Sees Me presents the work of five artists who consider how to find themselves amid the “technological hellscape of rapid expansion,” as curator Hannah Studnick puts it in the press release. Featuring mixed-media artworks that reflect a digital culture overflowing with miscellaneous mayhem, Jesse Morsberger’s painting “Up Late” (2026) is a faithful embodiment of our current society: A boy sits alone in a dark room facing the eerie glow of an empty screen. In a crimson-hued scene by Mina Watanabe DeVore, “Look Up” (2026), two youthful figures take a selfie in a graffiti-laden bathroom reminiscent of the legendary Manhattan music club CBGB. Other highlights include Jackson Daughety’s “Where is MrBeast When You Need Him” (2023), a gestural abstract work on stitched canvas, and Allyson Packer’s “Subtropolis 02” (2025), a mash-up sculptural work that includes an LED tube behind a sublimation print in which braces-heavy mouths above a car smash into an unknown object in a bizarre vision that defies explanation.