Name: Second Sundays: May 2026
Start: 2026-05-10
End: 2026-05-10
Location: Pioneer Works

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Own the Archive Sale

This week only, we’re heavily discounting our #PWPress publications to make way for new projects. Find artist-created books for $5, $10, & $15—sales raised from the PW Store are reinvested into funding new, ambitious projects by emerging and underrepresented artists and writers.

Gift Guide

From November 28 through December 14, take 20% off products in the Gift Guide with code: ULTRAFESTIVE. 

Ragas 

Pioneer Works's galleries and garden will be closed this Sunday, October 19 for Ragas Live Festival 2025. Learn more 

June closing

Please note, Pioneer Works will be closed for daily admissions until July 7th. We 

open for ticketed programs, view our calendar 

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Celebrate 10 years of Pioneer Works by shopping the PW Press Archive Sale! Through October 31, take 10% off Pioneer Works Press items with code 

Flash Flood Closures

Building Closures Due to Flash Floods

Due to weather conditions, Pioneer Works is suspending open gallery hours for Friday, September 29. MHYSA's performance has been rescheduled for Sunday, October 1, with all tickets being transferred to the new date.

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Shop the PW Store Spring Sale!

 for the entire month of April and receive an automatic 20% off books, records, apparel, and more. Members save 35%—learn more about membership 

Our galleries and garden are closed to the public today for a United Sounds NYC Festival 2024. Learn more about the festival 

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Pioneer Works will be closed for public visiting hours until May 9, 2026. 

Aura Closure 5/27

Please note:

 will close early at 5pm on Saturday, May 27. Learn more and plan your visit 

CEO Announcement

Just Announced: Pioneer Works Names Mara Manus Chief Executive Officer

The Board of Directors of Pioneer Works is pleased to announce that Mara Manus, former Executive Director for New York State Council on the Arts (NYSCA), has been appointed as the organization’s new Chief Executive Officer. 

We are grateful for your engagement and support of Pioneer Works over the last year. Now through December 31st, we’re fundraising to meet our end of year goal and close out 2024.

85% of our programming is free or accessibly-priced and we rely on our community of supporters to make that possible. Give now to ensure that we can continue nurturing artists and audiences through 2025.


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PW Closed 11/11

We're closed all day Friday, November 11 for our annual Village Fête Benefit. To learn more about the After Party and get tickets, visit 

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Deinstall Closure

Early Closure

Aura Closure 6/3

 will close early at 5pm on Saturday, June 3. Learn more and plan your visit 

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We're pleased to announce the first major renovation of Pioneer Works! To accommodate the first phase of our construction, we're temporarily relocating to 133 Imlay Street opening in Spring 2022.

Early Closure 5/10/23

Due to programming, Pioneer Works will be closed to the public on Wednesday, May 10. We will be open from Thursday through Sunday for the remainder of the week. Learn more and plan your visit 

Our galleries and garden are currently closed for installation. We will reopen on 

Friday, September 12, 2025, from 7–9 PM

Raúl de Nieves, Tega Brain, and Sam Lavigne

Since 2013, Pioneer Works has hosted Second Sundays, a free monthly open house. Highlighting our programs, artists-in-residence, and Red Hook community members, Second Sundays features open studios, exhibitions, workshops, live music, and food—with programming across all three floors and in our garden.

At May Second Sundays, see our newly opened exhibitions and meet our artists-in-residence. We'll also have workshops and activations that expand our upcoming programs, including the upcoming 

Second Sundays is funded in part by a grant from the New York City Tourism Foundation. Pioneer Works is supported in part by public funds from the New York City Department of Cultural Affairs in partnership with the City Council and the New York State Council on the Arts with the support of the Office of the Governor and the New York State Legislature.

NYC Cultural Affairs

New York State Council on the Arts

New York City Tourism Foundation

, the archive and publishing platform founded by filmmaker and archivist Saad Khan, has preserved and digitized censored, banned, and underrepresented media from a geography spanning North Africa to South Asia. Khajistan reveals what modern knowledge systems leave out.

 takes its name from the U.S. government agency founded during World War II to manage public perceptions of the war through news, films, posters, and leaflets, at home and abroad. In this installation, that machinery of messaging is reimagined as an office in decay: printers continually produce copies of American military propaganda leaflets distributed across Afghanistan, Iraq, and Libya between 1990 and 2022. Computer terminals invite visitors to explore a digital archive of these leaflets and their translations. Extending back into history, the exhibition traces the enduring military actions enacted by the United States against foreign nations.

Outside this office recreation, a selection of original US war propaganda ephemera including leaflets dropped over Japan during World War II is displayed, linking contemporary conflicts to earlier campaigns of psychological warfare. Shifts in graphic style and rhetoric become visible in the installation, yet an underlying logic remains constant: wars are framed as reluctantly waged, necessary, and even humane. Operating as both a bureaucratic machine and an archive, 

 shows how language and design are used to justify war in advance.

Khajistan: O.W.I. is designed by Joey Chriqui, curated by Saad Khan, with technology support by Amad Ansari and curatorial support by Herbert A. Friedman and Ray Camp.The exhibition is supported, in part by the Andy Warhol Foundation for the Visual Arts and by public funds from New York City Department of Cultural Affairs in Partnership with the City Council and the New York State Council on the Arts with the support of the Office of the Governor and the New York State Legislature.

Office of War Information (O.W.I.) 

 is a solo exhibition by New York–based artist 

 that uses baseball, a sport long mythologized as “America’s pastime,” to examine ideas of team, identity, and belonging in contemporary American culture. Since the late 1990s, Eagles has explored the aesthetic power and ethical stakes of blood as a material across installation, sculpture, photography, and painting, using it to probe embodiment, spirituality, and social norms.

A lifelong New York Mets fan, Eagles was struck by the slogan printed on T‑shirts given to blood donors at Citi Field: “The Mets are in our blood.” While his love of the team was inherited from his family, he himself is barred from participating in these blood drives by policies that discriminate against gay men. The phrase became a prompt for him. What is in our blood, and who is allowed to belong: to a team, a family, a nation?

, Eagles sourced these giveaway T‑shirts, cropped them, and splattered each with blood drawn from an HIV‑positive gay man, confronting ongoing prejudice against queer bodies and sexual practices. Grouped by color in formations that echo offensive and defensive lines on a baseball diamond, the shirts also evoke the division of the United States into “red” and “blue” camps, underscoring how seemingly neutral fandom is entangled with politics and identity.

The exhibition further considers how baseball and queer cultures share a charged language of bodies and roles. Euphemisms like “first base” and “second base” frame early sexual experience through the sport, while positions such as pitcher and catcher double as metaphors for sexual roles. Eagles’s work threads these associations into a broader narrative of identity formation, desire, and stigma, asking how metaphors shape who is marked as inside or outside the norm.

Surrounding the shirts is a series of resin works cast in the shape of home plate, embedding family ephemera and medical detritus: black nitrile gloves, baby‑blue scrubs, and face guards that recall an umpire’s gear; childhood photographs of Eagles in Mets apparel with his father; and vials of blood drawn from the artist, his father, and a friend. Large, wall‑mounted reproductions of 

 covers extend these themes into the realm of popular media, reframing sensational headlines about Mets star Mike Piazza’s sexuality and intercity baseball rivalries as part of a broader culture of speculation, spectacle, and bias. In bringing together the intimate and the institutional, 

 exposes the blood, labor, and prejudice beneath the polished image of team sports.

(b. 1977) is an artist who has been exploring the aesthetics and ethics of blood as an artistic medium since the late 1990s. His works are held in numerous private and public collections, including the Addison Gallery of American Art, Everson Museum of Art, Peabody Essex Museum, Princeton University Art Museum, University of Michigan Museum of Art, and Wellcome Collection. Based in New York, Eagles has presented exhibitions, installations, and public programs at institutions that include the Getty (Los Angeles, CA), High Museum of Art (Atlanta, GA), The Andy Warhol Museum (Pittsburgh, PA), Birmingham Civil Rights Institute (Alabama), The High Line (New York, NY), and Hammer Museum (Los Angeles, CA). The artist also collaborated with the NYC Department of Health and Mental Hygiene on NYC Blood Sure and—in partnership with GMHC and FCB Health—is a co-founder of Blood Equality.

 is made possible with generous support from R. Martin Chavez, Jon Stryker & Slobodan Randjelović, and Donald Capoccia & Tommie Pegues. The exhibition is also supported, in part, by the Andy Warhol Foundation for the Visual Arts and by public funds from the New York City Department of Cultural Affairs in partnership with the City Council, and the New York State Council on the Arts with the support of the Office of the Governor and the New York State. 

Bases Loaded

Aapo Nikkanen is an artist, researcher, and hypnotherapist whose performative and photographic practice uses hypnosis to guide guests into speculative realities His work addresses the development of new technologies, their asymmetrical power concentration, and their political, ecological, and psychological impacts. In the process, he aims to open up spaces for understanding how these mechanisms operate and for evoking a sense of agency and resistance. Nikkanen’s works have been shown in numerous European institutions, including Palais de Tokyo and Fondation Ricard,Paris; the Rotterdam International Film Festival, Rotterdam; Casa Encendida, Madrid; The Living Art Museum, Reykjavik; and De Appel Art Centre, Amsterdam.

This residency is organized in collaboration with the

Aapo Nikkanen

Alice Wang is a Chinese-born American artist based in New York. She received a B.Sc. in Computer Science and International Relations from the University of Toronto, a BFA from CalArts, and an MFA from New York University. Wang has presented solo exhibitions at the UCCA Dune Art Museum, China; Vincent Price Art Museum, Los Angeles; Capsule Shanghai; and 18th Street Arts Center, Santa Monica, among others. Group presentations include the Hammer Museum, Los Angeles; Galleria Continua; Para Site, Hong Kong; Fotografiska, New York; and the 14th Shanghai Biennale. Wang was an artist-in-residence at the International Studio & Curatorial Program (ISCP). Upcoming exhibitions include 

 at the New Museum. Her first institutional solo show in New York will open in February 2026 at ISCP.

Alice Wang

Andros Zins-Browne works at the intersection of performance and dance, extending choreographic practice towards non-dancers, vocalists, objects, and text. His work 

 (2016-), which “de-hearses” previous performances, was presented at the ICA, London; The Whitney Museum, New York; RAM, Shanghai; and Fondation Galeries Lafayette, Paris. 

(2019), a cycle of collaborative exhibitions and performances, was included in PERFORMA19 and is currently streaming online on Criterion Channel and Triple Canopy. His “Vocal Choreographies” that activate intimacy through dissonance include 

 (Canal Projects, 2024 and Pioneer Works, 2025, both in New York). Performance “Remixes” include 

(Berlin Biennale, 2018; Dia Art Foundation, New York, 2023) and 

 (MoMA, 2019). Zins-Browne is the recipient of awards from the Goethe-Institut, Graham Foundation for Advanced Studies in the Fine Arts, Ministry of Culture of the Flemish Community, and New York State Council on the Arts.

Andros Zins-Browne

Barnett Cohen is a visual artist and choreographer whose work proposes a kaleidoscopic, queer surrealism. Select venues include Amant, Canal Projects as part of Performa 2023, The Center for Performance Research, The Exponential Festival, Judson Memorial Church, and RYAN LEE, all in New York; The Institute of Contemporary Art, JOAN, LAXART, REDCAT, and Human Resources, all in Los Angeles; The Centre Wallonie Bruxelles, Paris; Kunsthalle Trondheim, Norway; Rupert, Lithuania; and The Onassis Foundation (online). In 2021, Open Space/SFMoMA published a collection of their poems alongside those of artist and collaborator Simone Forti. Residencies include Skowhegan, MacDowell, NARS, Rupert, and Denniston Hill. Their work has been reviewed and featured in 

Barnett Cohen

Colin Self is an artist, composer, and puppeteer based between Brooklyn and Berlin. They create music, performances, and new systems for interfacing with the human spirit on a spectrum between the living and deceased. Their practices revolve around the temporary assembly of communities and envelop collaborative and dialogical experiments into play. Self has been running the collective of group singers XOIR since 2013, and co-founded TIAPS, a performance school in Lincolnville, Maine, in 2023, with their collaborator Monica Mirabile. They were a 2023 Resident Artist at Callie’s Berlin and a Presidential Fellow at La Becque in Autumn 2024. Their third LP, 

Colin Self

As a collaborative duo, Gabriela Ruiz and Emmett Palaima create multisensory work where technology, memory, and fantasy intersect. Ruiz explores surveillance capitalism and mass consumerism across sculpture, performance, digital media, painting, and installation. Her works manifest inner psychological experience through synthetic materials, saturated color, and psychedelic visual distortions. Palaima creates work with electronics and esoteric processes of sound creation. He is conceptually rooted in the idea that technology and magic are one and the same, and that electricity is a manifestation of elemental forces underlying physical reality. His instruments explore sound as a physical process and embody the sculptural beauty of sound-creation systems. Together, the duo build charged spaces that explore the tensions between desire, control, mysticism, and contemporary digital life.

Gabriela Ruiz & Emmett Palaima

Julian Chehirian is a Philadelphia- and Sofia-based multimedia artist and PhD Candidate in the History of Science at Princeton. His installations tune objects and spaces to surface their latent histories. He represented the Bulgarian Pavilion at the 2024 Venice Art Biennale.

D. Graham Burnett is a New York City-based scholar, writer, and maker. A longstanding editor at 

 magazine, he teaches at Princeton and was recently a visiting artist at the Academy of Fine Arts, Helsinki.

Julian Chehirian & D. Graham Burnett

Mae Howard is an artist and organizer calling upon lineages of disabled labor economies rooted in collective exchange and relational dependency. Their practice utilizes endurance to underscore long-form debilitation. Howard's work dwells in leather histories, sadomasochistic protocol, and practice as aesthetic, haptic, and material foils to the medical-carceral industrial complex. They received an MFA and Certificate in Gender, Women, and Sexuality Studies from the University of Pennsylvania in 2023. Howard is a 2026 Queer Art Mentorship Fellow, a 2025-2026 A.I.R. Gallery Fellow, and a 2023-2024 Whitney Independent Study Program Fellow. They have taught multiple courses at the University of Pennsylvania and facilitated Disabled Erotics at The School of Making Thinking in 2024 and 2025.