With over 800,000 people passing through her Venice Biennale last year, Alemani fell into the groove of in-demand curator, albeit not of the airport-hopping kind. While her Biennale remains a touchstone of how to handle a largescale, in-depth exhibition, this year she has collaborated with various commercial sidelines within spitting distance of the High Line, New York, where she is director. Alemani’s commissions at the latter include work by Pamela Rosenkranz, Yu Ji and Gabriel Chaile, among others. At Gagosian, just a block from the linear sculpture park’s entrance, Alemani curated a Tetsuya Ishida retrospective, featuring more than 80 of the late Japanese artist’s nightmarishly surreal paintings. And a mere two blocks further on, at the old Dia Chelsea premises, Alemani staged an exhibition of work by 70 women artists owned by collectors Komal Shah and Gaurav Garg (which will travel to California’s Berkeley Art Museum & Pacific Film Archive and the Kemper Art Museum in St Louis). Whether the carbon-footprint-conscious Alemani left Chelsea to sit on the jury of Canada’s Sobey prize is unknown.