These are our top picks for the weekend of March 6th-8th. For more event listings and reviews, check out Goings On About Town.
The Whitney’s thumpingly great show “Vida Americana: Mexican Muralists Remake American Art, 1924-1945” picks an overdue art-historical fight. The usual story of those two decades revolves around young aesthetes striving to absorb European modernism. What to do with the mighty legacy of the era’s big three Mexican painters, Diego Rivera, José Clemente Orozco, and David Alfaro Siqueiros? As little as possible has seemed the rule, despite the seminal influence of Orozco and Siqueiros on the young Jackson Pollock. With some two hundred works by sixty artists and abundant documentary material, the curator Barbara Haskell reweaves the sense and sensations of the era to bring it alive.—Peter Schjeldahl
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The glamorously intelligent post-punk that was incubated in English art colleges forty years ago is reconstituted with panache in Dry Cleaning: it’s almost shocking to hear lyrics referencing not Margaret Thatcher but Meghan Markle. This young London quartet is effortlessly magnetic and impossibly British, with an ace card in Florence Shaw—a vocalist who rarely deigns to sing but, rather, presents her lyrics as if engaged in an apathetic phone conversation. After making its American début at Saint Vitus, on Friday, the band plays Union Pool the following night.—Jay Ruttenberg
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There has never been a better time to eat a meatless hamburger. The current surge of interest in plant-based diets has sparked an arms race of sorts. Since 2008, the chef Amanda Cohen has been the force behind Dirt Candy, the first vegetarian restaurant to hold its own in New York’s fine-dining landscape. Cohen had never served a veggie burger before Andrea Kerzner, a South African philanthropist looking for ways to fight climate change, cold-called her to propose that they collaborate on a restaurant built around one, but she was game to try. Last November, they opened Lekka Burger, in Tribeca.—Hannah Goldfield
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In 1997, a woman named Dana Higginbotham was abducted by an ex-convict and member of the Aryan Brotherhood. He dragged her from motel to motel around the South for five months, abusing her physically and mentally. Higginbotham happens to be the mother of the playwright Lucas Hnath, who turned the story into a play. And not just any play—“Dana H.” (at the Vineyard) is a channelling, an exorcism, and a tribute. The brilliant concept is that the actress Deirdre O’Connell, alone onstage, lip-synchs—with virtuosic precision—to edited segments of interviews with the actual Dana H. Directed by Les Waters with chilling precision and his usual skill for creating an eerie atmosphere, this production is as stunning as it is harrowing.—Elisabeth Vincentelli
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Alfred Hitchcock depended greatly on the art and the acumen of female collaborators, including his wife, Alma Reville, a screenwriter and editor, and Joan Harrison, a writer and producer. Their work is brought into the fore in Film Forum’s series “The Women Behind Hitchcock,” which also includes movies by other directors, including Robert Siodmak, a film-noir specialist whose harsh and cynical vision of wartime New York, “Phantom Lady,” from 1944, was produced by Harrison. It screens on Saturday and four more times before the series ends, on March 19th.—Richard Brody
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The Talea Ensemble performs the U.S. première of Toshio Hosokawa’s “Futari Shizuka,” a chamber opera based on a Noh play about a spirit that enters a woman’s body. It uses Western- and Noh-style singing to differentiate between the two characters, and it appears on a double bill with another chamber opera about possession: George Benjamin’s “Into the Little Hill,” a striking, minimalist setting of the Pied Piper legend in which two singers assume all the roles. On Saturday evening, James Baker conducts the cast and ensemble in a semi-staged concert at the 92nd Street Y.—Oussama Zahr
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Nederlands Dans Theatre, based in The Hague, is one of the most prestigious contemporary-dance ensembles in Europe, if not the world. Its reputation is rooted, in part, in the long artistic residency of the choreographer Jiří Kylián. The current program doesn’t include any Kylián, but the four choreographers on it are in many ways his heirs. Gabriela Carrizo, from Argentina, has created a fragmented Bergmanesque narrative, “The Missing Door,” revolving around a death and set in a bleak, hotel-like space. “Walk the Demon” is one of Marco Goecke’s twitchy, insect-like essays in movement. And, from the two in-house choreographers, Sol León and Paul Lightfoot, we get “Shut Eye,” a fantasy made of light and shadow.—Marina Harss
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