Taryn Simon’s ambitious exhibition at the Guggenheim delves into the real life of a federal agent, offering a poignant reflection on systemic injustice. Meanwhile, Hyperallergic reviews The Wreck of the Unbelievable, a play that explores infatuation and the costs of artistic desire. The article also highlights the return of Liu Wei’s work to the Metropolitan Museum and the unveiling of new exhibitions by Borusan Contemporary, including Olivo Barbieri’s exploration of perception and intelligent technologies.

Meanwhile, Congress votes to hold billionaire Leon Black in contempt over the Epstein scandal, and a new book reveals his plans for a museum in Manhattan. Hyperallergic members in New York are invited to studio visits on September 30. The title of the play, The Wreck of the Unbelievable, speaks volumes about the ephemeral nature of celebrity and the enduring quest for fame and fortune.

Elsewhere, the Met’s Genesis Facade Commission features new works by Beijing-based artist Liu Wei, while Borusan Contemporary presents exhibitions that delve into the act of looking and the interplay of images. Alex Strada’s public art project in the Bronx amplifies the voices of unhoused New Yorkers, while Hyperallergic members can explore the studio spaces of Alicia Grullón, Zoë Pulley, Erick Hernandez, and Kara Springer.

The archive includes a fascinating insight into the life of Julia Warhola, the mother of Andy, and the calligraphy and illustration she pursued alongside her son. Finally, the Harry Ransom Center will offer fellowships to support on-site archival projects.