The Queens Museum is pleased to announce its Spring 2027 Exhibition Season featuring presentations by internationally acclaimed artists Maia Ruth Lee, Yagwang, eobchae, Rondi Park, Hyun Nahm, Eunseol Kim, Young-jun Tak, Christina Barrera, Keli Safia Maksud, and Alex Strada. The season begins on March 20, 2027 with five exhibitions spanning painting, sculpture, installation, photography, and video, and more. 

Spring 2027 Exhibitions:

Maia Ruth Lee: Glyphs for Reverie
Large Wall

For Maia Ruth Lee’s Large Wall Commission at the Queens Museum, the artist will revisit her glyph series, composed of salvaged steel architectural scraps fused together to create a new lexicon. Originally ornamental embellishments for fences, doors, and windows from the city’s landscape, these metal pieces found at Queens ironwork shops are transformed by Lee through an intuitive welding process.

The materiality of these glyphs speak to a diasporic experience: forged from steel mined abroad, the metal fragments each retain their decorative flair despite being removed from their former architectural structures. When re-configured together as glyphs, they metamorphose into something new, opening up narratives of perseverance and possibility. Installed in Queens where multilingual and immigrant communities are core to the borough’s identity, Lee’s Large Wall Commission proposes a new visual vocabulary of resilience.

DOOSAN International Exhibition in partnership with Queens Museum
QM Galleries

Inaugurating a biannual partnership with DOOSAN Art Center in Seoul, Korea, this exhibition aims to introduce young and emerging Korean contemporary artists to New York audiences. The six artists in this group exhibition utilize installation, video, painting, and sculpture to contend with questions of the body and embodied space through post-capitalist, feminist, and queer lenses. 

The artists selected for this iteration of the program are: Yagwang, eobchae, Rondi Park, Hyun Nahm, Eunseol Kim, and Young-jun Tak.

Christina Barrera: Cuando Me Acuesto Me Vuelvo Una Barrera (When I Lay Down I Become a Barrier)
QM Galleries

Cuando Me Acuesto Me Vuelvo Una Barrera (When I Lay Down I Become a Barrier) examines how the conditions surrounding labor, rest, and freedom of movement are determined by colonial and capitalist ideologies. Through weaving, sculpture, prints, and an accompanying zine, Barrera envisions alternative value systems that are informed by the power of withholding, a tactic common in labor strikes. The exhibition includes hand-knotted chinchorros (or hammocks) that defy their design and cannot bear weight, alongside works that contend with the extraction of labor, land, water, and other natural resources across the Americas. Flora and fauna, figures in motion, and archival research come together to draw connections between exploitation of the environment and the material experiences of the working class. In the face of social inequality and climate degradation, Cuando Me Acuesto Me Vuelvo Una Barrera proposes the liberatory possibilities of interdependence over oppressive conceptions of time, control, and productivity.

Keli Safia Maksud: In the beginning
QM Galleries

In her practice, Keli Safia Maksud considers the spatial politics of the line and threshold as a lens through which to examine the systems that shape the world around us, including architecture, cartography, science, religion, and the natural world. In the beginning reimagines doorways, arches, and passageways as sites of transition and transformation. Anchored by research on the Door of No Return, through which enslaved Africans were forced onto ships bound for the Americas from the fifteenth to nineteenth century, this multimedia installation features a series of interactive archways with motion sensor technologies that trigger and modulate sound. These sonic environments move between legibility and illegibility through the use of narration, vibration, and distortion, evoking states of rupture while reframing colonial lines of division as porous. Maksud’s practice also extends to constellation-like works on carbon paper, which interrogate the ways boundaries have been drawn to separate, negate, or erase. For the artist, the line operates as both a material and conceptual device, holding the tension between “inside” and “outside” while creating possibilities for transgression, entanglement, and movement across seemingly fixed boundaries.

Alex Strada: Public Address
Flushing Meadows Corona Park

Artist Alex Strada’s citywide public artwork, Public Address, will culminate in an installation for Flushing Meadows Corona Park and the Queens Museum in partnership with Storefront for Art and Architecture. The project debuted in Manhattan in 2025 and will have traveled to Brooklyn, The Bronx, and Staten Island before its final presentation in Queens.

Conceived through Strada’s tenure and ongoing role as the inaugural Public Artist in Residence with the New York City Department of Homeless Services and the Department of Cultural Affairs, Public Address centers the lived experience of those most impacted by housing insecurity. The project establishes a dialogue with the city, affirming access to temporary shelter as a basic right while also exposing the limits of such provision in addressing deeper crises of affordability, displacement, and care.

Public Address builds on three years of collaborative log-writing workshops hosted by Strada in shelters across the city. In this exhibition, handwritten reflections by shelter residents and frontline staff are translated onto upcycled aluminum street signs fabricated by the Department of Transportation’s Sign Shop. Transforming the bureaucratic tool of the logbook and the language of city infrastructure into public art, these signs invite public dialogues about housing insecurity, migration, caregiving, and resistance. Over 400 participants have contributed so far, with new entries continually integrated as the project expands.

By embedding testimony within the visual and spatial codes of the city, the project amplifies voices too often excluded from public discourse while foregrounding ways in which civic infrastructures can be reimagined as platforms for listening. Most importantly, the project’s public presence offers unhoused people and staff an unprecedented space for their voices to be centered and heard.

Funding and Support

The Queens Museum is housed in the New York City Building, which is owned by the City of New York. 

The Museum is supported, in part, by public funds from the National Endowment for the Arts, the Institute of Museum and Library Services, the New York State Council on the Arts with the support of Governor Kathy Hochul and the New York State Legislature, and the New York City Department of Cultural Affairs, in partnership with Mayor Zohran Mamdani, the Queens Borough President Donovan Richards, and the New York City Council under the leadership of Speaker Julie Menin.

Major funding is generously provided by Bloomberg Philanthropies, Ford Foundation, Hearst Foundations, Henry Luce Foundation, Jerome Foundation, MacMillan Family Foundation, Mellon Foundation, E.A. Michelson Philanthropy, and New York Community Trust.

About the Queens Museum

The Queens Museum is dedicated to presenting the highest quality visual arts and educational programming for people in the New York metropolitan area, and particularly for the residents of Queens, a uniquely diverse, ethnic, cultural, and international community.

The Museum fulfills its mission by designing and providing art exhibitions, public programs and educational experiences that promote the appreciation and enjoyment of art, support the creative efforts of artists, and enhance the quality of life through interpreting, collecting, and exhibiting art, architecture, and design.

The Queens Museum presents artistic and educational programs and exhibitions that directly relate to the contemporary urban life of its constituents, while maintaining the highest standards of professional, intellectual, and ethical responsibility.

Media Contact

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