After the Fire is a participatory mural project by artists Nanibah Chacon, Tatyana Fazlalizadeh, and Layqa Nuna Yawar.

Over the last several decades, Gillian Wearing’s work has chronicled confessions, taboos, and voyeuristic tendencies. Her videos and photographs often confront separations between private and public realms. Shot in a southeast London shopping mall, Dancing in Peckham depicts Wearing freely dancing alone, without headphones and unaccompanied by music.

Offerings for Escalante marks the first major US museum exhibition of artist duo Enzo Camacho (Filipino, b. 1985) and Ami Lien (American, b. 1987). For over a decade, Camacho & Lien’s multidisciplinary practice has addressed the localized effects and forms of resistance within globalized economies of labor, particularly in the context of the Philippines.

The first US survey of artist Sohrab Hura (Indian, b. 1981) showcases more than one hundred works from the last two decades of his experimental practice. Sohrab Hura: Mother weaves together bodies of work across photography, film, sound, drawing, painting, and text that have never before been shown together.

The Fortune Society: Future Freedoms marks the second exhibition at MoMA PS1 by the Long Island City-based non-profit organization that supports successful reentry from, and promotes alternatives to, incarceration.

This major exhibition of artist Ralph Lemon (b. 1952, Cincinnati) features more than forty artworks made over the last decade across disciplines and marks the debut of several collaborative performances. One of the most significant figures to emerge from New York’s downtown scene, Lemon engages deeply with the legacies of postmodern dance in the US and the capacity for storytelling through movement.

For these gallery talks, invited guests respond to Ralph Lemon’s narrative epic, Untitled (The greatest [Black] art history story ever told. Unfinished) (2015–), a layered and colorful series of works on paper. Lemon notes: “It is clear to me that the series will never be finished. … I’ve found something that will take the rest of my life to do, because [the work] is dealing with charged places, architecture, and people historically and presently, and also in some sort of illusory future, and none of that is going to stop.”