The crowd lining up to get into Tabitha Arnold’s exhibition in New York City last fall wasn’t full of the older, moneyed types one might expect to find at a Chelsea gallery opening. Instead, the small space was packed with twenty- and thirtysomethings wearing Zohran Mamdani pins, Democratic Socialists of America hats and SEIU T-shirts.
If the crowd might have seemed unusual in the context of the city’s fancy gallery district, they looked right at home next to the art that had drawn them there. The exhibition on display, called Gospel of the Working Class, featured monumental handmade tapestries highlighting working-class struggles from both recent and distant history. In one, textile workers carry bolts of fabric and wield scissors, while people dodge bullets from strike-breakers outside the factory. In another, angels walk behind autoworkers carrying picket signs above a row of hands holding drills and other tools.
