Spring Break Art Show Takes Over Old CBS News Offices

The Spring Break Art Show has returned to New York, landing this time on the 9th floor of 555 West 57th Street — the former CBS News offices on the north side of Hell's Kitchen, where 60 Minutes, CBS Sports, and Inside Edition were produced until earlier this year.

Visitors now weave through the abandoned newsroom's remnants. Fixtures of the network's branding and functions remain visible throughout the floor, and Spring Break's participating artists have taken full advantage of the setting, using the residue of a working news organization as a backdrop for work that touches on politics and current events.

The takeover is literal in at least one case. Everything Is Political, the independent media project launched by the climate justice nonprofit Slow Factory, has occupied one of the old CBS recording studios to create The People's Newsroom (2026), where visitors are encouraged to go on the record and broadcast their own news, political takes, and other pressing matters.

The fair's theme this year is "Hide 'n Seek" — a fitting label for a floor plan riddled with dead-ends, hidden nooks, and other unusual places for artwork to nestle. "This is actually the perfect venue for the theme," Andrew Gori, who co-founded Spring Break with Ambre Kelly, told Hyperallergic during a chance encounter on Thursday, September 24. "We had the chance to have the fair in TriBeCa again, but this felt better suited."

The organizers passed on a repeat engagement in TriBeCa in favor of the disused broadcast headquarters. The result plays equal parts playful and provocative: "Hide 'n Seek" brought in conversations about labor and equity, intimacy and privacy, intentionally obfuscated histories and their domino-effect impact, and — as one would expect from a fair staged in a former newsroom — the politics of the body.

Among the stands, curator Ryan Bock presents work by Luke Ivy Price, including "Miss Wilma Cleans the Dryers" (2026). Price's work focuses on unseen, quotidian, maintenance labor that is essential to a functioning society yet wholly under-appreciated, if not denigrated.

The choice of venue gives the fair's themes a pointed edge. Where journalists once reported the news, fairgoers now produce it themselves in The People's Newsroom; where broadcast branding once dominated the corridors, artists stage interrogations of privacy, labor, and obscured histories. As Spring Break continues to migrate between New York's vacated commercial spaces, its model of site-responsive curation — less white cube, more corporate aftermath — appears increasingly central to its identity.