What’s Happening: To celebrate its golden year, the art foundation is reflecting on its best moments and revealing a Steve McQueen installation at its museum in Beacon, New York.

The Download: Fariha Friedrich, Heiner Friedrich, and Helen Winkler Fosdick founded Dia Art Foundation in 1974 as a conduit for artists—particularly Land Artists or those in the Light and Space Movement—to realize their visions unbound by scale or scope. Though the institution operates three New York galleries in Beacon, Chelsea, and Bridgehampton, experiencing the full breadth of Dia’s catalog often means venturing outside the white cube and into far-flung locales. Dia commissioned and still maintains The Lightning Field (1977), a seminal Land Art installation by the late Walter De Maria, in rural New Mexico, and has acquired other genre hallmarks like Robert Smithson’s Spiral Jetty (1970) and Nancy Holt’s Sun Tunnels (1973–76) over the years.

To celebrate its 50th anniversary, the institution published an interactive digital timeline, designed by Pentagram and programmed by Area 17, that showcases pivotal moments throughout its history. Even avid Dia devotees may learn something new from the retrospective, which is peppered with virtual placards illuminating each project’s genesis. Dia’s beginnings, for example, can be traced back to the Dream Festival, a performance series that featured a sound-and-light environment by La Monte Young and the late Marian Zazeela. Since then, projects have varied in shape and scale, from tapping Jorge Pardo to clad its Manhattan gallery’s bookshop almost entirely in vibrant yellow tiles to transforming a derelict Nabisco factory into the beloved Dia Beacon.

This past weekend, nearly 600 art-world notables gathered on a balmy afternoon for the museum’s Spring Benefit, which included a family-style lunch in the newly installed Felix Gonzalez-Torres galleries where Dia Board Chair Nathalie de Gunzburg and Director Jessica Morgan reflected on five decades of achievements. The ceremony, which was supported by Bottega Veneta and raised more than $1.5 million, also gave guests a first look at a new immersive commission by filmmaker Steve McQueen in the basement. In the work, Bass, sixty ceiling-mounted lightboxes journey through the complete spectrum of visible light as a soundscape of bass instruments made by an intergenerational group of musicians—Aston Barrett Jr., Meshell Ndegeocello, Mamadou Kouyaté, and Laura-Simone Martin—reverberate off the cavernous gallery’s concrete walls.

In Their Own Words: “I’m particularly pleased that, for the first time, we’re able to share some of our rich archive that hasn’t been publicly available until now,” Morgan says. “I can think of no better way to mark 50 years of Dia.”

Surface Says: Another unofficial 50-year toast will soon arrive in the form of Sara Zewde’s reimagined gardens at Dia Beacon.

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From May 16-23, the definitive design festival of New York will get industry pros and well-versed enthusiasts outside and around town for a weeklong exploration of this year’s theme: “Design Is All Around Us.” Highlights include: NYCxDesignxSouvenir, along with an Emerging Designer Residency, both of which will bring 50 industry creatives to Hudson Yards; ICFF, which will take over the Javits Center from May 19-21; and the NYCxDesign Awards.

Far from the chain-smoking youths loudly spilling out of Le Marais’ late-night cafes with their umpteenth glasses of wine in hand, the 6th arrondissement creates a charming home base fit for discerning travelers seeking a quieter side of Paris. After a recent refit by Fabrizio Casiraghi, the 138-room Hôtel des Grands Voyageurs more than fits the bill.

The property welcomes guests with the architect’s signature palette of wood, velvet, leather, and bronze in the style of an art collector’s townhouse. Of course, the mix of Klimt and Chagall lithographs, bas-relief sculptures by François Gilles, and Olivier Kervern polaroids on view drives the point home. Intimate but plush rooms, as well as opulent mirrors custom made by Osanna Visconti di Modrone, round out the residential feel and transport guests back to an era of slow travel, when time was the biggest luxury we didn’t know we had.

Last year, Simone Bodmer-Turner uprooted herself from her longtime home and studio in Brooklyn and relocated to a farmhouse in rural Massachusetts. Such a dramatic change of scenery might make for a jarring adjustment, but it posed a particularly unique scenario for Bodmer-Turner, a sculptor of graceful ceramic vessels whose forms mimic the sinuous interiors of Savin Couelle and Valentine Schlegel. Her new home, though far more breathable than her apartment in New York, didn’t have a kiln.

Suddenly, she was stripped of the main tool she utilized to make her beloved clay creations, which had recently been increasing in size and ambition. Think a whimsical credenza with spherical drawers made from multiple fired components or wispy, gravity-defying chairs whose agile forms mimic brushstrokes crystallized in the air.

Fortunately, Bodmer-Turner was up for the challenge of forgoing ceramic and introducing new materials into her practice. “I’ve been dreaming of a moment when I had time to experiment with bronze, wood, lacquer, and silk,” she says. “That moment arrived as soon as I found distance between myself and my usual ways of working.” The pieces she created during this transitional period currently star in “A Year Without a Kiln,” a solo exhibition at Emma Scully Gallery in New York. Ranging from petite lacquered side tables and lily-inspired sconces to bronze floor lamps, they offer a peek inside her psyche during a period of creative metamorphosis.

Earlier this month, AmRef Health Africa’s annual ArtBall drew luminaries of the culture and entertainment industries out for a night in support of healthcare access and art of the African Diaspora. During the festivities, Kehinde Wiley received the organization’s Reese Visionary award and subsequently announced a $700,000 donation back to AmRef. Before the party, Wiley and New York Times managing director Marc Lacey hosted an invite-only salon and dinner. At the main event, attendees were treated to a performance by Les Ballet Afrik and the chance to acquire works via a Sotheby’s benefit auction.

When was it? May 4

Where was it? Industria, Brooklyn

Who was there? Storm Ascher, Indira Cesarine, Nadia Nascimento, Nadja Sayej, Carol Jenkins, Lindsay Peoples, Earl Nurse, Malik Roberts, Wanjiru Mwangi, Tariku Shiferaw, Quiana Parks.

Marin merges a decade-long fashion career with expertise in ceramics and paintings in an incisive exhibition that prods the boundaries between creative and maternal senses of self.

Here, we ask an artist about the essential details behind a recent work.

Bio: Parme Marin, 39, Lower East Side

Title of work: Behind the Curtain.

Where to see it: Chinatown Soup Gallery, New York.

Three words to describe this work: Vibrant, squeezed, mother(hood).

What was on your mind at the time: My goal was to capture the intimate experiences of motherhood through close-up depictions of breasts and hands. I aimed to convey the sensations of being pulled, pressed, and squeezed, inherent in the maternal journey. The balance of making viewers slightly uncomfortable yet maintaining an elegant aesthetic amused me. As a mother myself, my thoughts often revolve around my children. Even in the studio, I find myself immersed in articles and essays exploring the intersection of art and motherhood.

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Flavor Paper is a Brooklyn-based wallpaper company that specializes in hand-screened and digitally printed designs. Flavor Paper is eco-friendly, using water-based inks and PVC-free materials when possible. All products are print-to-order for easy customization. Residential, commercial, and specialty products are available.

Surface Says: This studio’s colorful creations are a feast for the eyes, and sometimes even the nose: Their range of clever and often humorous designs includes Pop Art–inspired scratch-and-sniff options.

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