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But they are actually robotic sculptures that are programmed to behave in reaction to the visitors in the gallery. Walk towards one and you might find it shies away from you; stand watching their uncanny movements for too long and you might find a group slowly turn and head your way in a Hitchcockian scene. “The chairs choreograph you as you choreograph the chairs,” Fischer told us, adding that the idea for the show came out of his “frustrations” with art. “You want art to do more than it does,” he said. “I want it to give me a little more.” So, with a team of software engineers and the choreographer and artist Madeline Hollander, Fischer conceived of this interactive installation, which comes with a big, block-lettered warning: “COLLISIONS MAY OCCUR.” Tiring of cynicism, and eager to harness righteous indignation about rampant abuses of power? This is your last weekend to bear witness to an activist oeuvre in Sue Coe: Graphic Resistance at MoMA PS1 (until 9 September). A mix of drawings, prints, large-scale collages and newspaper op-ed illustrations, the show samples the British-American artist’s varied calls to action, beginning with her 1980s works documenting the effects of Reagan-era policy and social conservatism as well as sexual violence. (Take in her 1983 mural-size collage painting Woman Walks into Bar — Is Raped by Four Men on the Pool Table — While 20 Watch, which helped establish her reputation.) “Neutrality is no longer a position we can afford,” the museum quotes her as saying, and the works on view also include rousing indictments of sexism, racism, economic inequality, xenophobia and animal cruelty. (Coe grew up near a slaughterhouse in England, and some of her most powerful work takes aim at industrialised animal slaughter.) The show is refreshingly direct, while also reminding the viewer that the artist fits into a tradition of politically engaged artists stretching from Goya to Ai Weiwei. Remind yourself that summer is not (technically) over with a trip to see Maren Hassinger: Monuments (until 10 June 2019) at Marcus Garvey Park. The outdoor exhibition is part of inHarlem, the Studio Museum in Harlem’s off-site programming focussed on community engagement while their new galleries are under construction, co-presented with the Marcus Garvey Park Alliance and NYC Parks.

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The decline of phosphorus levels in some watersheds could be attributed to Harvey, but it is too early to tell, Gonzalez said. How Harvey affected the bay may become apparent in the future, Kinney said. “I think we’re going to continue to see the effects of Harvey in next year’s report card,” she said. The foundation is an advocacy organization with a goal of improving the bay’s health, and HARC has aligned with that mission. “The primary goal of Galveston Bay report card is to provide information that can help people make decisions and also to inspire them to take action to improve the grade of the report card,” Gonzalez said. As such Stokes shared several ways residents can help make the bay better from home, work and on the water. Residents can properly dispose of pet and other waste so it does not end up contaminating rivers or bayous. Installing rain barrels or planting a rain garden can help retain stormwater. The Galveston Bay Action Network app allows residents to easily report waterway pollution to get cleaned up. “It’s really just simplifying things, and it allows people an opportunity to get involved,” Stokes said.

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