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It’s been almost 25 years since author Candace Bushnell published a little book of columns titled Sex and the I Love Michael Keaton Shirt in addition I really love this City, which would soon turn into one of the most beloved TV series of all time (and a few less-than-perfect movies, but we won’t dwell on those). While Sex and the City will soon be revived on HBO Max, Bushnell has been busying herself with theater; her new one-woman show, Is There Still Sex in the City?, runs through July 18 at the Bucks County Playhouse. Vogue recently spoke to Bushnell about her show, the Carrie-worthy real-life wardrobe she repurposes onstage, and her feelings about the upcoming Sex and the City reboot. Read the full interview below.Vogue: First off, how did you get the idea for the one-woman show?Candace Bushnell: Well, I first got the idea in 2018, when I was writing Is There Still Sex in the City? I sold the book to Paramount, but I realized that I wanted to keep the stage rights to my work, so I carved out a one-woman show from what was in that book.What has it been like, reexamining that time in your life?Well, it’s a show with a beginning, middle, and end, so that’s been interesting. I’ve learned some things about my life and about how life works in general. It’s been a great, exciting experience. We had our second preview yesterday, and we got a standing ovation. I’ve been working on it for a while, and it’s something that I’ve never done before.** You’ve written a lot about your life, but does this feel like a departure in terms of sharing directly with an audience?**Yes, it’s definitely different. It’s a different form, so there are different requirements. Still, it’s not the first time I’ve gotten up on a stage—I’ve done a lot of lectures and book events since 1996— but the difference is that this is scripted, which makes it a little bit easier.Is there anything you’ve learned about yourself in the process of putting this show together?Gosh, what have I learned about myself? One of the things I’ve learned is that I probably could have been an actress. [Laughs.] One of the things I’ve learned is that acting is a hell of a lot easier than writing a novel, really.Are you looking forward to the Sex and the City reboot?I am. I’m looking forward to seeing what Michael Patrick King will do with it. I’m not involved in the show, and Darren Star is not involved in the show; it’s really more of a series, but they call everything a reboot now, right? But yes, I am looking forward to it. Those kinds of shows are hard to do, and they need a much bigger audience than they had initially for Sex and the City. It’s certainly a different animal than it was when it first started out.Have you done an SATC rewatch since it went off the air?I haven’t watched it in a really long time. I don’t watch a lot of TV. It’s so passive. I don’t understand people who sit there and binge-watch; it’s just not me. I’m not going to sit on my couch.What do you like to do instead?God, just about anything else. I do occasionally binge-watch something, but I’m much more likely to be working or reading or cooking.What has the process of mounting the show in Pennsylvania been like?Amazing. It’s the Bucks County Playhouse in New Hope, Pennsylvania, and the town is beautiful, and it’s charming. The theater itself is very historic—Grace Kelly made her first appearance here, I think Neil Simon staged his first production here, and the list goes on.Does the show look more or less like what you had envisioned at first?I mean, it’s a full-on production. Originally we were thinking, oh, it might just be me and a script because it’s really kind of a workshop, but it’s evolved into a set. We’ve got music, video clips, all kinds of things. My costumes are my old clothes, which I wear onstage.Amazing.

I Love Michael Keaton Shirt, hoodie, tank top, sweater and long sleeve t-shirt

How, in 2021, do Black people occupy and interact within personal, public, institutional, and psychic space? This is the I Love Michael Keaton Shirt in addition I really love this central concern of “Social Works,” a new show at Gagosian curated by the writer and art critic Antwaun Sargent. Comprised of works from 12 leading and emerging artists—David Adjaye, Zalika Azim, Allana Clarke, Kenturah Davis, Theaster Gates, Linda Goode Bryant, Lauren Halsey, Titus Kaphar, Rick Lowe, Christie Neptune, Alexandria Smith, and Carrie Mae Weems—the exhibition, Sargent’s first since joining the gallery as a director in January, mines the fertile intersection between art and social practice within the Black community.“It’s a pretty ambitious and involved exhibition,” Sargent admits on a recent call. “It’s 12 artists thinking about space aesthetically, politically, culturally, socially, historically, and they’re thinking about that space in painting and sculpture and installation and photography.” As the show relates “to the moment that we’re in”—namely, the pandemic and protests that shaped the last year—“Social Works” “is in consideration of those things, but it’s also a consideration of a longer sweep of history,” he says. Before Black Lives Matter made a case for Black creatives, Black Power gave rise to the Black Arts Movement in the 1960s and 1970s; and from the Civil Rights Movement sprang the Kamoinge Workshop and Spiral. Black aesthetics, sociopolitics, and culture have long been intimately intertwined, and “Social Works” hones in on that fact. “It’s connected to a rich lineage of Black artists who have thought about working inside the community, as opposed to just having normal studio practices,” Sargent says.In fact, several key figures from that lineage are part of the show. Bryant, for instance, opened the gallery Just Above Midtown (or JAM) in 1974—a place where Black creatives like David Hammons, Lorraine O’Grady, and Howardena Pindell had free rein to show and create—and even now, as the founder and president of the urban farming initiative Project EATS, established in 2009, she keeps questions of space, representation, and inclusion at top of mind.“The goal of Project EATS is to supply fresh produce to under-resourced communities, and this has been going on for the last decade,” Sargent says. “That’s what I mean when I say the show is about this moment, but it’s also about history. Yes, in this moment a lot of great communal efforts are happening, but there’ve been communities that have had to band together and do that work for a very long time. This show is about acknowledging the ingenuity of these artists who took their practices and enacted them in a community.” Bryant’s installation for “Social Works,” Are we really that different? (2021), pairs an aeroponic and soil garden with live video feeds to probe the parasitic relationship between humankind and nature in our industrial era. “I want to create spaces that are contextual so that we are constantly aware not just of our narrow vision, but of all the things that are influencing and affected by that,” Bryant says. “By conforming to a corporate model of departments, we have increasingly, in my lifetime, lost our ability to understand how we are responsible for the world we live in.”Figures like Weems, Adjaye, and Gates feel similarly foundational in their perspectives. In her series Roaming (2006) and Museums (2006), Weems—celebrated since the 1990s for her narratively resonant portraits of women of color—pictures herself in Roman piazzas, on side streets and stone steps, and near the façades of the world’s great museums, interrogating architecture and landscape as “edifices of power.” Those spaces, Weems has explained, “are, of course, monumental and they are beautiful … but I’m not confused about what they’re supposed to mean and what they’re supposed to do. Maybe most people are aware of them, too—they just sort of submit to them—[but] I’m of course more interested in challenging them.” For his part, Adjaye—the Ghanaian-British architect behind the National Museum of African American History and Culture in Washington, D.C.—is presenting Asaase (2021), his first large-scale autonomous sculpture, which teems with references to buildings like the Cour Royale de Tiébélé in Burkina Faso and Agadez, Niger’s historic city center; and Gates—a potter, installation artist, musician, and urban planner based on the South Side of Chicago—has fashioned a kind of shrine to DJ Frankie Knuckles, a pioneer in Chicago’s house music scene.While Sargent had already been friendly with many of these artists for years—he began his career in New York as a critic a decade ago—he was pleased to discover, as he assembled “Social Works,” the sticky web of influence and collegiality that linked them to each other. “I called Rick Lowe—a Houston-based artist who’s presenting a series of abstract paintings that commemorates and questions the Tulsa Race Massacre of 1921—and I said, ‘Rick, I’m thinking about this show,’ and I named some of the artists I was thinking about,” Sargent recalls, “and he goes, ‘I spoke to so-and-so last week.’ So there are these networks of artists that communicate with other artists working in other communities, so that they can share in trying to build communities that are more equitable and more just that through art.”Yet a new generation of artists also plays an important role in “Social Works,” looking hopefully toward the future of Black social and creative practice. Five of them are former Studio Fellows at NXTHVN, a New Haven-based nonprofit founded by Kaphar, Jason Price, and Jonathan Brand that advances an “alternative model of art mentorship and career advising.” Positioned as small business owners, Fellows are coached in—among other things—the fundamentals of marketing, networking, and filing their taxes.Alexandria Smith, a NXTHVN alumna who now leads the M.A. program in painting at London’s Royal College of Art, describes her practice as a constant re-evaluation of selfhood through a panoply of genderless humanoid figures. “They’re like physical manifestations of the various experiences that people face as they’re trying to understand and develop their identities,” she explains. Her contribution to “Social Works,” Iterations of a galaxy beyond the pedestal (2021), is a work of assemblage named after a poem by her friend and sometimes-collaborator t’ai freedom ford. In it, blue limbs and breasts and the spectral silhouettes of two disembodied heads frame a dusky seascape, mounted above a grid of wooden panels. At a glance, the effect is almost theatrical; like a staging of Black life in all its (surrealist, fragmentary) forms. “Alexandria is showing a painting where she’s thinking about her own world-building, and [asking], Okay, if I could step outside the realities of this moment, what sort of world is possible?” Sargent says. “There’s sort of an Afrofuturistic aspect in some of the logic of the artwork on display.”For Smith, it’s a thrill to be included in the show. “I studied some of these artists when I was in grad school.” she says. “Some of them were my first introductions to what the possibilities were for being a Black artist—that you didn’t have to be this one type of artist making this one type of work; that we could be expansive, complicated, and not monolithic in our approach.”Christie Neptune, another former NXTHVN Fellow, uses photography, film, and sculpture to consider how race, class, and gender all converge within her “internalized experiences.” “I look at the body of work as a way to explore how I personally navigate this space as a Black female living on the margins,” Neptune says. For Constructs and Context Relativity — Performance II (2021), her three-channel video installation in “Social Works,” Neptune trained her attention both on her immediate surroundings, in the New Haven neighborhood of Dixwell, and on certain psychological structures. The work has “a lot of internal reflections, asking, How do you know you exist? or, What is Blackness? How do you define these things?” Neptune notes. “It reflected a great deal of what I was reading this time: I was looking a lot at Descartes’s Meditations, I was very interested in Nick Bostrom’s simulations, and then tying those two things into Blackness and these socio-political systems that govern our modes of perception and don’t really have a sense of physicality to them, but are very real and have very real impacts.”Like Smith, Neptune doesn’t take her placement in the Gagosian show for granted. “Being a part of this is definitely a humbling experience. It is a reflection of all of the efforts of artists who have come before me, and who have worked so diligently to open the doors and pave the path for younger artists like myself to have a chance to be seen within this field,” the says. In its way, the experience is “very surreal, out-of-body, otherworldly—very sci-fi. It’s Blackness of the future, Blackness progressing, Blackness defying these myths and limitations and asserting itself.”There is, of course, another side to Sargent’s directorship, too: the business of actually selling art. Yet even in that area, Sargent is committed to empowering the Black community. “When I took on this job, I wanted to engage all aspects of it. I wanted to think about what it means to place works inside museum collections; to make museums more reflective of the communities and societies in which they are,” he says. “I was also thinking about doing exhibitions and thinking about younger collectors—particularly younger collectors of color—and how to get them engaged and get them access to works.”It’s one thing to stage a show like “Social Works,” he adds, and “quite another to be a shepherd of where that work is placed, and make sure that that placement continues a cultural engagement.”Still, that process begins with allowing a wide cross-section of artists to articulate their distinct visions—something that the new show most certainly does. “It’s not just focusing on one type of engagement; I think you get engagement from all these spaces because the realities have changed across generations,” Sargent says. “I wanted to make sure that all of those realities and all of those perspectives were represented. And thank God we have a big gallery on 24th Street.”“Social Works” is up at Gagosian’s 555 West 24th Street gallery through August 13.