Good morning. I’ve said it before and I’ll say it again: There’s regular summer and then there’s art-world summer, which officially ends the day after Labor Day, when Armory Week hits New York City and shows open across the country. Today’s holiday is the perfect time to reflect on the hundreds of workers who make your art-fair experience possible — from the gallery attendants (sometimes) greeting you at their booths to the employees preparing your expensive coffee and keeping those Javits Center floors sparkling. Without further ado, we bring you two stories to mark Labor Day: Staff Reporter Maya Pontone on the creativity of union banners and Sarah Bond on workers’ strikes in ancient art (because low pay and bad management are older than linear perspective).
And don’t miss Isabella Segalovich’s report from this year’s Minnesota State Fair, where seed art wins the day and Tim Walz fever is real. Much more below! — Valentina Di Liscia, News Editor
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Displayed at marches and strikes, these creative emblems of collective struggle convey specific values centered around fair wages, protest, and rights across industries. | Maya Pontone
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Though the term “strike” was coined in 1768, the history of work stoppages is much older and artists have been involved from the start. | Sarah E. Bond
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An exhibition revisits the ongoing legacy of Gallery 7, a space dedicated to Black artists experimenting with abstraction and minimalism in the 1970s. | Sarah Rose Sharp
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An exhibition brings together all of the artist’s surviving work, demonstrating the many ways he incorporated aspects of his illness into his practice. | Anna Souter
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Local artists get political in painstakingly crafted mosaics at the only state fair crop art display in the United States. | Isabella Segalovich
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