The view from the top of the hill on Governor’s Island.
When I was touring Governors Island for my blog, “MywalkinManhattan.com”, I explored the Fort Jay complex which is located on the northern end of the island just past Castle Williams. This fort is mostly in a state of ruin and is currently being restored at various stages all around the complex. The decorative entrance with its statuary is being cleaned and the entrance fixed on one side of the fort and the walls and some of the interior space is being repaired inside the fort.
The main entrance to Fort Jay (currently under restoration)
This fort and Castle Williams were built to protect the City of New York between the Revolutionary War and the War of 1812. After that these forts fell out of use as the times and technology changed .
The decorative statuary is being repaired on the fort (currently under restoration)
Now the fort is used for art exhibitions in some of the interior hallways and grass has grown over most of the walkways. Still it is interesting to walk along the pathways near the walls of the fort and see how they were once used. It is interesting to see how far we have progressed in warfare.
The entrance to Fort Jay
The History of Fort Jay:
Fort Jay is located on Governors Island in New York Harbor, one half-mile from the southern tip of Manhattan. No defensive works are known to have been erected on the island during its early history. Defensive earthen works were first erected on the highest point of Governors Island by Continental troops in 1775-76. The island and its fort were occupied by the British during the American Revolution until 1783, when it surrendered, along with several buildings to the Governor of New York.
More than ten years passed before renewed tensions with Great Britain resulted in funding from both the New York Legislature and the United States Congress in 1794 to reconstruct the works on Governors Island. This part of a larger national effort to fortify ports that later became known as the First American System of coastal fortifications.
Design of the New York Harbor defenses was assigned to French engineer Charles Vincent. The works on Governors Island had been completed by 1796, described in January of that year by the Secretary of War as “a fort made of earth and two batteries under its protection, partly lined with brick masonry, two air furnaces, a large powder magazine and a barrack for the garrison.”
The inside of Fort Jay.
Fears of a French invasion in 1797 resulted in a second phase effort funded by additional appropriations to complete and enhance the coastal fortifications, including those on Governors Island. The fort is said to have acquired the name “Fort Jay” in 1798 for John Jay, then the Governor of New York State. Governors Island and its fort were conveyed to the federal government two years later in 1800, by an Act of the New York State Legislature.
The inside of Fort Jay
A plan of the fort as it existed that year shows it as a four-bastioned form surrounded by a ditch with a parapet having 51 embrasures, a gate and bridge on the east side and a large magazine in the northeast bastion. The fort was still incomplete and incapable of defense in 1802 according to a written report, although it was then equipped with a “handsome Gateway with a Corps de Garde” or guardhouse, that survives today.
Fort Jay had fallen into ruinous condition by 1806 when a second national campaign to strengthen the coastal defenses of the country, now known as the Second American System of fortifications, was implemented. This effort differed from the first by employing American engineers and using more durable masonry construction.
The outside wall of the fort.
The engineer chosen to design and oversee the defenses of New York Harbor was Colonel Jonathan Williams, Chief Engineer of the Corps of Engineers and first Superintendent of the Military Academy at West Point. Reconstruction of Fort Jay, renamed Fort Columbus about this time, began in July 1806 and was completed by December 1809. The only components of the old fort judged worth saving were “the walled Counterscarp, the Gate, the Magazine and the Barracks,” according to Colonel Williams in a report dated November 1808.
The completed fort was described in a later report to Congress as “an enclosed pentagonal work, with four bastions of masonry, calculated for one hundred guns, fifty-five mounted with brick barracks for two hundred and thirty men, including officers. The earliest known plan of the completed fort is a plan by Joseph Mangin drawn in 1813.
The walkway between the forts.
The first significant repairs and alterations were made to Fort Columbus in the 1830’s, resulting in the overall appearance of the fort as it exists today. The stone retaining walls were extensively rebuilt at this time, including the scarp that was faced with granite and topped with a new brickwork parapet. The old magazine in the northeast bastion was demolished and replaced by four new magazines erected in the north ravelin. Finally, the four existing brick were replaced by four new barracks with flanking triangular structures and outdoor courtyards.
Later changes have been made to the barracks by the U.S. Army over the years, including interior remodeling and replacement of the flat roofs with hipped roofs in 1855-57, incorporated of five of the triangular buildings as additions in the 1860’s and 1898-99 and reconfiguration of the buildings as officers’ apartments in 1921-22 and again in the 1930’s. Paint was stripped from the exterior brick buildings in the 1930’s, the sodded glacis of the fort was converted to recreational use as a golf course by 1940 and the flagstaff was moved from the northwest bastion to the north ravelin by 1953.
The lawn on Governor’s Island overlooking Lower Manhattan.
Jurisdiction of Governors Island passed from the U.S. Army to the U.S. Coastguard in 1966. Improvements made by the Coast Guard to Fort Jay, whose name was officially reinstated in 1904, included expansion of the golf course; remodeling of the barracks with new kitchens, bathrooms, heating and electrical systems and storm windows and doors and erection of chain-link fencing on the glacis. Fort Jay sat vacant with minimal upkeep since the closure of the Coast Guard in 1997.
Fort Jay was recorded by the Historic American Buildings survey in 1934 and in 1982-83. The fort was individually listed in the National Register of Historic Places in 1974. It was included in a National Historic Landmark District designated in 1985 and a New York Historic District designated in 1996. The fort is also located within the boundaries of the Governors Island National Monument, established by Presidential Proclamations in 2001 and 2003.
(This information I credit to the National Park System-Division of Culture website)
Castle Williams Fort as you enter from the main walkway
I have toured Castle Williams several times when visiting Governors Island over the last two years. The fort sits at a strategic site on the island facing Manhattan. The fort was originally built to protect New York City from the British during the War of 1812. The British knowing that the City had been fortified for battle never attacked New York.
The historic plaque
The tour takes place twice a day for about an hour and you tour the first two levels of the fort. There are all sorts of signs around to show the history of the fort and its uses over the years. The one thing they don’t like is you touching the walls as the fort is still pretty fragile.
The entrance to this historic fort.
The nicest part of the tour is the observation deck at the top of the fort and the views of the Lower Manhattan skyline. It is a spectacular view of the harbor. You can see by the view why the fort was built where it was built and for its purpose before the War of 1812.
The sign welcoming you to the fort.
It really is a treat to see how fortifications mattered for cities in this time of history in this country.
The History of Castle Williams:
The model of Castle Williams inside the fort.
Castle Williams is a circular defensive work of red sandstone on the west point of Governors Island in New York Harbor. It was designed and erected between 1807 and 1811. It was designed by the Chief Engineer of the U.S. Army Corps of Engineers, Lieutenant Colonial Jonathan Williams for whom the fort was named after. It was considered a prototype for new forms of coastal fortification.
The fort from the outside
The castle was one component of a larger defensive system for the inner harbor that included Fort Jay and the South Battery on Governors Island, Castle Clinton at the tip of Manhattan, Fort Gibson at Ellis Island and Fort Wood, which is now the base of the Statue of Liberty on Liberty Island. This system of forts came to be known as the Second American System of coastal defense and existed to protect harbors like the one in New York from British interference with American Shipping.
The inside courtyard of the fort.
Its usefulness as a fort began to end in the 1830’s, so Castle Williams subsequently served as barracks for the island’s garrison and new and transient troops. The castle was then remodeled by the U.S. Army for use as a prison in various forms during the Civil War and through the first half of the 20th Century.
In 1901, Secretary of War Elihu Root, who worked hard to modernize the Army, made a commitment to preserve the castle and overruled army leaders who wanted to demolish both it and Fort Jay. By 1903, the castle was fitted up as a model, state of art prison facility. In 1947, extensive renovations were carried out with the wooden catwalks replaced by concrete enclosed walk ways, hiding the beautiful stone arches on the third level and resulting in the industrial appearance of the courtyard today. Castle Williams ceased operations as a military prison in 1965 just before the U.S. Army left Governors Island.
The inside of the prison cell.
The Castle again faced a demolition challenge as Coast Guard officials in Washington DC, who took control of Governors Island in 1966, wanted to demolish it. Instead, the castle was remodeled as a youth community center with a nursery, meeting rooms for Scouts and clubs, a woodworking shop, art studios, a photography laboratory and a museum. By the late 1970’s, the community center moved to another location and the fort became the grounds-keeping shop for the Coast Guard base.
Over time, the roof failed and broken windows allowed serious water damage to occur inside the castle. In the mid-1990s, the roof was replaced and new windows stopped further water damage to the structure but the interior remains closed until it can be made safe for public access. The National Park Service proposes to stabilize and restore the castle and eventually provide access to the roof, allowing the public to admire the harbor and the modern skyline of the great city (this has since opened on my last visit).
The view from the top of the hill on Governor’s Island.
Castle Williams was individually listed in the National Register of Historic Placed on July 31, 1972. It was recorded by the Historical American Buildings Survey in 1983. It was designated a National Historic Landmark in 1985 and the New York City Landmarks Historic District in 1996. It has been part of the Governors Island National Monument by Presidential Proclamations signed in 2001 and 2003.
(This information was provided by the National Park System Division of Cultural Affairs).
The lawn of Governor’s Island overlooking Lower Manhattan.
I recently visited the Leslie-Lohman Museum to see the second half of the “Art After Stonewall” exhibition that I saw at the Grey Gallery at New York University. The art is from just before the Gay Rights Movement just before the Stonewall Uprising and into the depths of the AIDS crisis of the early to mid-80’s.
It was interesting to see the perspective of people ‘coming out’ after the suppression of the 50’s and early 60’s and the wanting to conform to societies standards. People gravitated to the cities to find themselves and found an embracing community that was not always accepted by the status quo of the City. It was that suppression building up on conformity to be a certain type person that lead to riots, that being tired of being harassed all the time.
‘Art After Stonewall’ (picture of Devine)
There was a lot of lesbian art and the changes women felt at the time. Some was the changes in attitude and some of it was militant to the way the outside community treated these women. It was interesting to see the changes in less than a decade of how people saw themselves and the changes that people were capable of making.
‘Art After Stonewall’
The show closed on July 21st, 2019 but there are more shows in the future. The best part of the museum is that they have a suggested donation so if you do not have a lot of money it is a nice way to spend the afternoon and then explore SoHo and Chinatown.
History of the Leslie-Lohman Museum:
We can trace the origins of the Leslie-Lohman Museum back to the civil rights movement of the late 1960’s. In the moment of the Woodstock Music and Art Fair and the Stonewall Inn Uprising, gay art collectors Charles Leslie and Fritz Lohman presented their first exhibition in their SoHo loft in the summer of 1969. This weekend show featured downtown gay artists and was a complete success in attracting over 300 visitors-it because a seminal moment in the history of the Leslie-Lohman Museum and LGBTQ arts and culture.
In the midst of the 70’s gay liberation movement, our founders continued to collect and display the work of gay artists in various storefronts in SoHo while advocating for the preservation of the neighborhood, its unique architecture and the nascent community of artists living and working in its spacious lofts. Finally, settling in a basement gallery at 127-B Prince Street, this space became host to many art exhibitions and various cultural programs.
During the AIDS pandemic of the 80’s, Charles and Fritz created a refuge for ailing artists and their work. Along with providing care and lodging for them, they rescued the work of dying artists from families who, out of shame ignorance, wanted to destroy it. This led to the creation of the Leslie-Lohman Art Foundation in 1987 and to its ever-expanding collection of art. Through perseverance against the federal government, averse to approving a “gay art” organization, the foundation was finally granted tax-exempt in 1990.
Today, thanks to the hard work of generations of activities and artists, our community has gained greater visibility. However, the fight for our rights is not over. The foundation has transitioned into a museum that aims to preserve LGBTQ cultural identity and build community, reclaim scholarship from a queer artists and cultural workers. As we continue to stand at the intersection of art and social justice, we act as a cultural hub for LGBTQ individuals and their communities.
I am finding more and more that the university art galleries are mounting very interesting and clever exhibitions and some as edgy as their large museum counterparts. I recently attended the ‘Art After Stonewall’ exhibition which is created as a two part exhibition with the Leslie-Lohman Museum of Gay and Lesbian Art to showcase the post Stonewall riots to the beginning of the AIDS crisis.
“Art After Stonewall” exhibition
The exhibition was an interesting mix of pictures, video, graphic paintings and posters and documentary work combined to show the mood of the times. Some of the most impressive works came from clips of documentaries on Andy Warhol’s ‘Factory Movies’, and the documentaries on ‘Tongues Untied’ and ‘Paris is Burning’ about the gay crisis about men of color and the racism that they faced even within the Gay Community.
The East Village Art Community from the 1980’s “Art After Stonewall”
Some of the photos of then fringe neighborhoods are funny to see as they have been gentrified beyond what anyone could have thought thirty years ago from the early 1980’s. The East Village of back then and of today are world’s apart.
The College did a good job mounting the show and telling the story that is both humorous and sad at the same time. Also, the Grey Gallery is small so you can get through the exhibition in about an hour.
The Grey Gallery exhibition “Art After Stonewall” This is a Keith Haring poster.
The most recent exhibition that I visited “Mudd Club 1978-1983: The Stephen Mass Papers” and the people who had visited the club at that time.
The Broadway Windows of the “The Mudd Club” exhibition in the NYU Broadway building.
In collaboration with NYU Fales Library and Special Collections, 80WSE Gallery presents an exhibition featuring materials from The Stephen Mass Papers, focusing on the legendary Mudd Club venue in New York City (1978-1983) through photographs and extensive notes. Located at the street-level Broadway Windows gallery and Project Space, the exhibition materializes the file structures of the archive and select visual documents contained within the collection.
The Broadway Windows of “The Mudd Club”.
The archival extracts provide rare insight into an important epicenter of downtown art, music, fashion, and culture at a transitional point in New York City and American life marked by rapid urban gentrification and the dawn of The Reagan Era. Within this atmosphere, post-punk musicians, independent designers, contemporary artists, and celebrities coalesced to animate the Mudd Club ‘cabaret’.
The Broadway windows of the “The Mudd Club”.
Acquired by Fales in 2019, the Stephen Mass Papers spans 16.75 Linear Feet in 24 manuscript boxes, 3 half manuscript boxes, 2 small flat boxes, 2 oversize flat boxes, 1 media box, 1 oversize folder in shared housing, and 1 sound reel in shared housing, including 33.92 Megabytes in 167 computer files, 1 sound tape reels , 1 videocassettes (u-matic), 10 audiocassettes, and 6 film reels.
The Broadway Windows of the “Mudd Club”.
“Stephen Mass is an entrepreneur who co-founded the Mudd Club located at 77 White Street in downtown New York City in 1978 along with art curator Diego Cortez and Anya Phillips. The venue became a focal point of the downtown music, art, and cultural scene in the late 20th century, showcasing the intersections of popular and avant-garde performance culture, gender and sexuality, celebrity culture, music, visual art, fashion, film, and nightlife.
The opening sign from the Grey Gallery on the NYU Campus.
The Stephen Mass Papers (inclusive dates 1940-2019, bulk dates 1978-2009) documents the founding and operation of the Mudd Club in New York City, Mass’s other entrepreneurial ventures in New York, and his nightclubs and restaurants in Berlin, as well as his personal life and family history. Consisting of both paper and electronic formats, the collection includes extensive notebooks and notes containing the planning and working notes for Mass’s various endeavors, financial and legal documents, promotional materials for events (such as posters, flyers, and newsletters), ephemera (differentiated from promotional material, as promotional material Mass collected from other clubs or organizations), press coverage, and photographic materials such as prints, negatives, and slides.”
The Grey Gallery exhibition of the “Mudd Club 1978-1983: The Stephen Mass Papers”.
—Fales Library and Special Collections
The Fales Library & Special Collections comprises 350,000 volumes of book and print items, over 11,000 linear feet of archive and manuscript materials, and about 90,000 audiovisual elements.
In 2024, the Grey Gallery moved to its new home at 18 Cooper Square and has a whole new contemporary look to it.
The history of the Grey Gallery on the NYU Campus.
Works from the permanent collection at the new “Grey Gallery” at 18 Cooper Square.
The front of the gallery for the “Americans in Paris” exhibition
I was invited to a new exhibition open to students at NYU “American’s in Paris”, an exhibition of American artists who had been living and creating their art in the City of Lights after WWII until the 1960’s.
The sign for the “American in Paris” exhibition.
The entrance to the new Grey Galleries.
The back Galleries for the “Americans in Paris” exhibition.
The works of the artist “Kimber Smith” in the “American in Paris” exhibition.
The exhibition “American’s in Paris” with artist Joan Mitchell’s work.
The exhibition “American’s in Paris” work by artist Ed Clark.
The works of artist Henry Cousin’s in the exhibition “American’s in Paris”.
The galleries of the Grey Art Galleries
Peter Saul’s “Man in Electric Chair”
“Man in Electric Chair”
The Jazz band entertaining us at the opening of the “Americans in Paris” exhibition.
As an Alumnus of NYU, I now come for the exhibitions and just enjoy myself. I came in for the newest exhibition.
The exhibition in 2024 was “Make Way for Berthe Weill”: Art Dealer of the Parisian Avant-Garde
The main sign from the exhibition
(from the Grey Gallery website)
Make Way for Berthe Weill: Art Dealer of the Parisian Avant-Garde surveys the groundbreaking career of the first woman modern art dealer. Berthe Weill (1865–1951) championed many fledgling masters of modern art early on—such as Pablo Picasso, Henri Matisse, and Amedeo Modigliani—as well as numerous others who did not achieve wide acclaim. Yet her role in early 20th century modernism has been omitted from most historical accounts.
The exhibition will feature some 110 paintings, drawings, prints, and sculpture—many of which were shown at her gallery during the first four decades of the 20th century. Examining Weill’s contributions to the history of modernism as a gallerist, a passionate advocate of contemporary art, and a Jewish woman, it brings to light the remarkable achievements of a singular figure who overcame sexism, antisemitism, and economic struggles in her quest to promote emerging artists (From the NYU-Grey Gallery website).
The timeline of her career
The gallery that night
The art featured were artists promoted by the art dealer
The artwork by female artist Emilie Charmy
The work by artist Mark Chagall
One of my favorite pieces in the show by Mark Chagall
The Mission of the Grey Art Gallery:
The Grey Art Gallery is New York University’s fine arts museum, located on historic Washington Square Park in New York City’s Greenwich Village. As a university art museum, the Grey Art Gallery functions to collect, preserve, study, document, interpret and exhibit the evidence of human culture. While these goals are common to all museums, the Grey distinguishes itself by emphasizing art’s historical, cultural and social contexts, with experimentation and interpretation as integral parts of the programmatic planning. Thus, in addition to being a place to view the objects of material culture, the Gallery serves as a museum-laboratory in which a broader view of an object’s environment enriches our understanding of its contribution to civilization (NYU Grey Gallery History)
The History of the Grey Art Gallery at New York University:
The Grey Art Gallery is located within New York University’s Silver Center-the site of NYU’s original home, the legendary University Building (1835-1892). Winslow homer, Daniel Huntington, Samuel Colt, George Innes and Henry James all lived and worked there, as did Professor F.B.Morse, who established the first academic fine arts department in America on the site now occupied by the Grey Art Gallery.
Demolished in 1892, the original building was replaced by the Main Building (renamed the Silver Center in 2002). Here was located, from 1927 to 1942, A. E. Gallatin’s Museum of Living Art, NYU’s first art museum and the first institution in this country to exhibit work by Picasso, Leger, Miro, Mondrian, Arp and members of the American Abstract Artists group. Gallatin aspired to create a forum for intellectual exchange, a place where artists would congregate to acquaint themselves with the latest developments in contemporary art. In 1975, with a generous gift from Mrs. Abby Weed Grey, the Museum’s original space was renovated, office and a collection storage facility were added and the doors were reopened as the Grey Art Gallery (Museum history).
Exhibitions organized by the Grey Art Gallery encompass aspects of all the visual arts: painting, sculpture, drawing and printmaking, photography, architecture and decorative arts, video, film and performance. In addition to originating its own exhibitions, some of which travel throughout the United States and abroad, the Gallery hosts traveling exhibitions. Award-winning scholarly publications, distributed worldwide are published by the Grey Art Gallery. In conjunction with its exhibitions, the Grey also sponsors public programs including lectures, symposia, panel discussions and films (Museum history).
The new Gallery is at 18 Cooper Square.
(This was taken from the Museum’s website).
Enjoying a evening at the Grey Gallery
The new exhibition in the spring of 2025 was ‘Anonymous was a Woman’ , an execution on the ‘Anonymous was a Woman’s and the great programs effects on mid-Career female artists in the Unit.
The information sign in the front gallery
The entrance of the gallery the night of the exhibition
The entrance to the Grey Art Museum
This was the sign inside for the exhibition
The inside gallery at the start of the show showcasing the collection on display
The main gallery at Grey Gallery
These were the pieces from the show that I found most impressive:
One of the more unusual paintings from the exhibition ‘Monalisa’ by artist Ida Applebroog
The sign for ‘Monalisa’ by Artist Ida Applebroog
The sculpture ‘Rom’s Delhi’ by artist Judy Pfaff
The sign for ‘Rom’s Delhi’
The painting ‘Svati: Now and Then’ by Artist Chita Ganesh
The sign for ‘Svanti: Now and Then’
The sculpture ‘Untitled #1242’ by Artist Petah Coyne
The sign for the sculpture
The sculpture ‘Bones 2000’ by Artist Polly Apfelbaum
The sign for the sculpture
The painting ‘Flamethrower’ by Artist Carrie Moyer
The sign for the painting
The crowd at the end of the evening at the
‘Opening Night’
This unusual sculpture in the middle of the room
Astor Court at the end of the evening at the Grey gallery
I recently attended the ‘Irrititja Kuwaiti Tjungu‘ exhibition on Aboriginal art. It was a very interesting look at Native Art from Australia. This exhibition opened in February of 2026 and the artists were in attendance to talk about their works.
Irriṯitja Kuwarri Tjungu celebrates fifty years of Papunya Tula Artists. It features nearly 120 paintings, including some of the most iconic works of Indigenous Australian art. Rather than being arranged chronologically, the paintings are displayed according to Indigenous principles of genealogy, place, and ancestral travels. In doing so, the show reveals the deep, ongoing relationship between Aboriginal artists, the places they paint, and Tjukurrpa, which exists in a constant state of past and present together—or, in Pintupi, irrititja kuwarri tjungu.
The exhibition also recognizes the long association between Papunya Tula Artists and New York University forged by Professor Emeritus of Anthropology Fred Myers. Since 1973 Myers has served as one of the movement’s most prominent international advocates. His continued involvement with the community brought the exhibition Icons of the Desert to the Grey Art Museum in 2009. While that exhibition showcased early works from Papunya, Irrititja Kuwarri Tjungu honors and extends the legacy of the company’s founding artists.
The promotion sign for the exhibition
The art exhibition in the main gallery
Some of the works in the main gallery
(from the NYU/Grey Gallery website):
Fifty years ago, a painting movement emerged at Papunya in Australia’s Central Desert. It arose with such force and conviction that one could be forgiven for thinking it had existed forever, as though etched from the earth by the slow passage of time. In fact, formed in the aftermath of colonization, the enduring art movement is as much a product of recent historical circumstances as the ancient traditions on which it draws.
Now widely recognized in global contemporary art, painting at Papunya began in 1971 when a small group of Aboriginal men in the community started to represent once-secret ancestral designs of ceremony and ritual, using acrylic paint on scraps of cardboard, linoleum, and Masonite. Their seemingly abstract paintings revealed living ancestral connections known as Tjukurrpa (Dreaming), which fueled powerful artistic experiments with color, line, and space. The following year, in an act of unprecedented corporate sovereignty, the artists formed Papunya Tula Artists Pty Ltd., the first Aboriginal-owned arts enterprise in Australia. The company’s economic success has allowed generations of men and women artists to stay on their ancestral lands, and continues to provide vital opportunities for local community development.
These were some of my favorite pieces of art from the exhibition:
One of the pieces I admired in the exhibit
‘The Men’s Dreaming at Iloilo’
I thought this colorful work was interesting
The work ‘Lupuinga’
I loved the powerful colors of this painting
The ‘Karilywarra’ work is very colorful
This painting I thought would be interesting in textiles
The painting ‘Travels of Kutungu from Papunnga to Muruntji’
