Events Calendar

Open Saturdays, year-round
Market Hours: 8:00 a.m. - 4:00 p.m.
This location also open Thursdays.
Schedule Changes: Market closed 12/25 for Christmas Day and 1/1 for New Year's Day.​

Cash, SNAP/EBT, Debit/Credit, WIC & Senior FMNP coupons accepted.
New! Changes to Health Bucks in 2021 -- Spend $2 in SNAP / EBT / P-EBT, get bonus $2 Health Buck, up to $10 per day. 

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Greenmarket's gateway to the Upper West Side, the Tucker Square Greenmarket, offers locally grown produce just across the street from Lincoln Center. Seasonal vegetables range from fresh staples like corn and greens to delicacies like squash blossoms and fairtytale eggplant. Orchards boast sweet berries, stone fruit, and over 80 varieties of apples. Knowledgeable growers are at market to explain just how to care for their plants, flowers, and herb pots indoors and out.  Impeccable farmstead cheeses, fresh seafood, grass fed beef, eggs, artisanal baked goods, and New York’s only producer of both sorghum and maple syrup round out the offerings.  

During the past decade, Chris Schanck has emerged as a leading figure in the design world for his otherworldly fusion of sculpture and furniture. Skirting the line between refinement and camp, the strange, unfamiliar forms of Schanck’s chairs, sofas, lighting, mirrors, and more suggest coral reefs, extraterrestrial worlds, and artifacts from ancient civilizations, to name just a few of the designer’s inspirations. Each piece is meticulously handcrafted in Schanck’s Detroit-based studio, where his community of artists, students, and Bangladeshi craftspeople plays a key role in the designer’s egalitarian studio practice. Deftly melding innovative material experiments with an expressive yet rigorous refinement of form, Schanck’s elaborately carved, colorfully hued, and lustrous objects are contemporary talismans of stories from the past, present, and future.

Wake Up, Daisy! tells the story of Daisy, a lively little girl living in the heart of New York City in an apartment overlooking Central Park. At Daisy’s much-anticipated birthday party, she encounters three special guests, known as her “Squad-parents”, from Brooklyn, Queens, and the Bronx who grant her the gifts of courage, knowledge, and a second chance. When an unwelcome guest shows up and casts a curse on her, Daisy’s life is forever changed. But through the support of her friends and an adventure throughout the city, Daisy’s strong self-determination and vivid imagination may be all she needs to break the curse.

Queer Maximalism x Machine Dazzle is the first solo exhibition dedicated to the genre-defying artist Matthew Flower (US, b. 1972), better known as Machine Dazzle. A provocateur commanding an expanding repertoire of stagecraft, design, performance, and music, Machine Dazzle is a virtuoso practitioner of queer maximalism’s aesthetic language of gay liberation.

The exhibition brings together more than 80 of the artist’s creations for stage, spectacles, and street theater, alongside a variety of environments, ephemera, material samples, photography, and video. Together they chronicle the metamorphosis of Flower, a closeted suburban kid from Upper Darby, Pennsylvania, into “Machine Dazzle,” the queer experimental theater genius.

On view will be both Machine Dazzle’s famous collaborations with drag and performance luminaries such as the Dazzle Dancers and Mx Justin Vivian Bond, among others, as well as the artist’s recent emergence from behind the scenes to center stage of his own artistic life. Installed on two floors of the Museum, the multimedia exhibition also includes the first public installation of the more than two dozen tour-de-force costumes created by the artist for himself and his long-time collaborator, Taylor Mac, to wear in the queer performance art concert production, Taylor Mac’s A 24-Decade History of Popular Music (2016), a finalist for the Pulitzer Prize in Drama.

Excessive in scale, color, surface, texture, and movement, Machine Dazzle’s living sculptures constantly transform as the designer combines the familiar embellishments of drag and burlesque, such as sequins, glitter, and feathers, beads, with found fantastical and found objects, such as ping pong balls, hoop skirts, slinkies, soup cans, and more, to build and deepen the work’s narrative intent. The result is an explosive “queer maximalism” aesthetic that joyfully counters the prejudices of high culture regarding extravagance and the overly decorated and embraces these associations as queer for affirming hybridity over purity, rejecting cultural hierarchies, and valuing different kinds of bodies.

Image: Machine Dazzle photographed by Gregory Kramer, 2019.

Join the New York Society for Ethical Culture for The Fire Next Time: Creating Brave Spaces, a free seven-Saturday course taught by NYU adjunct lecturer and Social Justice Network Founder Terrence Coffie. This course will take a deep and thoughtful dive into James Baldwin's 1963 book, The Fire Next Time.

Terrence L. Coffie, MSW, is a public speaker, reentry consultant, and a criminal justice reform advocate.  He is an adjunct Lecturer at New York University and the Founder of Social Justice Network. 

Course Schedule: Saturdays Beginning September 17 - October 29, 11:30am-1:00pm

Registration is required.

Morris Hirshfield Rediscovered will reintroduce a singular self-taught artist of the 1930s and 1940s to contemporary audiences. As the sole venue for this exhibition, AFAM’s presentation is the most comprehensive gathering of Hirshfield’s work ever assembled. Featuring loans from private and public collections, the exhibition features over 40 of the self-taught artist’s paintings, including iconic works such as Girl with Flowers, Stage Beauties, Parliamentary Buildings, and Inseparable Friends.

The recognition Hirshfield enjoyed from individuals such as Marcel Duchamp and Andre Breton is brought to life in a room dedicated to First Papers of Surrealism. Like Hirshfield, artists including Kay Sage, William Baziotes, and Yves Tanguy were featured in the 1942 exhibition, and their works will be displayed at AFAM alongside Hirshfield’s Girl with Pigeons.

Hirshfield’s career as a tailor maker will be represented by reproductions of the technical drawings that accompanied his patents for shoes, slippers, and “foot appliances.” His slipper designs were variously adorned with pompoms, rosettes, buckles, tassels, or figure eights and speak to the originality and ornamental design that would find full expression in Hirshfield’s later paintings. In recognition of this important facet of Hirshfield’s life, contemporary artist Liz Blahd has fabricated boudoir slippers to the specifications of Hirshfield’s patented designs of the 1920s and 14 will be on view in the galleries.

Jazz at Lincoln Center opens its 35th concert season in Rose Theater with Wynton Marsalis: The Shanghai Suite, which Wynton Marsalis composed to celebrate the opening of Jazz at Lincoln Center Shanghai, and premiered at that club with the Jazz at Lincoln Center Orchestra on March 16, 2019, amid a two-week tour of mainland China. The Orchestra will interpret Marsalis’ “tone parallel” to the mythology, folklore, cuisine and architecture of the enormous Chinese entrepot and financial hub. Shanghai Suite joins such iconic Marsalis works as Congo Square, Vitoria Suite and Marciac Suite, that refract impressions gleaned on his travels, as Duke Ellington did on such late-period masterpieces as The Far East Suite, The Latin American Suite and The New Orleans Suite.

NYC's most unique curated shopping event!

Get ready to be wowed by 125 of America’s finest craft people at Artrider's newest show! Shop for items that you can't find anywhere else in the city!

This fine craft show features many perennial favorites as well as new artists never seen at this location and is held at the same site that the previous craft show was held at for over forty years.

Find wearable art like clothing, jewelry and handbags; home decor such as functional and sculptural works in ceramics, glass, metal, wood and mixed media; as well as fine art painting, printmaking and photography; and more. All handmade and all unique! Also, make sure to visit the expanded gourmet foods and specialties boutique including distillery and winery tastings.

Grammy Award-winning vocalist Catherine Russell is known for interpreting the American songbook with soul and humor. Her repertoire features an off-the-beaten-path selection of gems from the 1920s through the present, enhanced by her stunning vocal approach and virtuosic swing band. Russell has constantly delivered elegance and unmatched vocal skill at Jazz at Lincoln Center, where she’s led various groups in the Appel Room and Dizzy’s Club, guested with the Jazz at Lincoln Center Orchestra with Wynton Marsalis, and mentored jazz’s next generation as a host for multiple Jazz For Young People concerts. These nights at Dizzy’s will be no exception. She is sure to demonstrate why the Los Angeles Times said that Russell “virtually stands alone on today’s jazz landscape.”

During the past decade, Chris Schanck has emerged as a leading figure in the design world for his otherworldly fusion of sculpture and furniture. Skirting the line between refinement and camp, the strange, unfamiliar forms of Schanck’s chairs, sofas, lighting, mirrors, and more suggest coral reefs, extraterrestrial worlds, and artifacts from ancient civilizations, to name just a few of the designer’s inspirations. Each piece is meticulously handcrafted in Schanck’s Detroit-based studio, where his community of artists, students, and Bangladeshi craftspeople plays a key role in the designer’s egalitarian studio practice. Deftly melding innovative material experiments with an expressive yet rigorous refinement of form, Schanck’s elaborately carved, colorfully hued, and lustrous objects are contemporary talismans of stories from the past, present, and future.

Wake Up, Daisy! tells the story of Daisy, a lively little girl living in the heart of New York City in an apartment overlooking Central Park. At Daisy’s much-anticipated birthday party, she encounters three special guests, known as her “Squad-parents”, from Brooklyn, Queens, and the Bronx who grant her the gifts of courage, knowledge, and a second chance. When an unwelcome guest shows up and casts a curse on her, Daisy’s life is forever changed. But through the support of her friends and an adventure throughout the city, Daisy’s strong self-determination and vivid imagination may be all she needs to break the curse.

Queer Maximalism x Machine Dazzle is the first solo exhibition dedicated to the genre-defying artist Matthew Flower (US, b. 1972), better known as Machine Dazzle. A provocateur commanding an expanding repertoire of stagecraft, design, performance, and music, Machine Dazzle is a virtuoso practitioner of queer maximalism’s aesthetic language of gay liberation.

The exhibition brings together more than 80 of the artist’s creations for stage, spectacles, and street theater, alongside a variety of environments, ephemera, material samples, photography, and video. Together they chronicle the metamorphosis of Flower, a closeted suburban kid from Upper Darby, Pennsylvania, into “Machine Dazzle,” the queer experimental theater genius.

On view will be both Machine Dazzle’s famous collaborations with drag and performance luminaries such as the Dazzle Dancers and Mx Justin Vivian Bond, among others, as well as the artist’s recent emergence from behind the scenes to center stage of his own artistic life. Installed on two floors of the Museum, the multimedia exhibition also includes the first public installation of the more than two dozen tour-de-force costumes created by the artist for himself and his long-time collaborator, Taylor Mac, to wear in the queer performance art concert production, Taylor Mac’s A 24-Decade History of Popular Music (2016), a finalist for the Pulitzer Prize in Drama.

Excessive in scale, color, surface, texture, and movement, Machine Dazzle’s living sculptures constantly transform as the designer combines the familiar embellishments of drag and burlesque, such as sequins, glitter, and feathers, beads, with found fantastical and found objects, such as ping pong balls, hoop skirts, slinkies, soup cans, and more, to build and deepen the work’s narrative intent. The result is an explosive “queer maximalism” aesthetic that joyfully counters the prejudices of high culture regarding extravagance and the overly decorated and embraces these associations as queer for affirming hybridity over purity, rejecting cultural hierarchies, and valuing different kinds of bodies.

Image: Machine Dazzle photographed by Gregory Kramer, 2019.