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Looking for things to do in Hendersonville, NC? Whether you’re a local or just passing through we’ve got loads of great tips and events to help you find your perfect adventure.
Interested in adding an event to our calendar? Please click the green “Post Your Event” button below.
In the Mediterranean city of Ephesus, two sets of identical twins — both separated from their other halves at birth — unknowingly cross paths, and chaos, mishaps and misunderstandings abound. Experience the joy and hilarity of one of Shakespeare’s earliest plays, a slapstick comedy about mistaken identities, through a new and contemporary lens: a 21st century translation that reinterprets antiquated slang, metaphor and double entendre with updated jokes and clever, modern wordplay.
Connect with the art and artists in pre-show discussions.
Calling all organizations! Join us for Camp Connect and help families gear up for an unforgettable summer. Whether your specialty is outdoor adventures, educational fun, arts and crafts, or action-packed sports, we want you to be part of this exciting event!
Ages 5+
Suitable for Beginners to Advanced Birders
This outing takes place at Lake Julian Park from 8:30-11:30 am. Get to know the birds of Lake Julian, one of Buncombe County’s birding hotspots! We will start with a walk along the shore of Lake Julian and ends with birding on the lake from Lake Julian’s pontoon boat. Free, Registration Required. Binoculars are available upon request but supplies are limited. Dress for the weather!
Registration opens 30 days prior to activity.
For more information email [email protected] or call 828-250-4260.
Pieces made from nylon fabric ripstop, which keeps tears from spreading, invite viewers into created, fantastical worlds, only to highlight the complex—even impossible—architectures of their construction. Before the pandemic, Adrian primarily focused on personal experiences and interrogations of queerness, identity, and sexuality. Since then, the work has zoomed out in its scope, still centering identity but placed in larger infrastructure and surveillance systems that mediate, manipulate, and control desire.
Adrian counts queer fiber art, BDSM and kink culture, theatre, camp horror, puppetry, and drag among his many influences. Works in RIPSTOP, like the modernist bounce house sculpture A Fallible Complex (2021), evoke spaces for play, beckoning visitors in through their alluring aesthetic and then blocking their entrance or revealing structural instabilities, like missing floors. Others, like The Sensational Inflatable Furry Divines (2017-19), use sensual materials, like faux fur, spandex, and pleather, which connect to theatrical performance and counterculture. The materials “play on people’s initial associations and serve as a gateway into greater conversations about identity construction, performance, desire, and technology,” he shares.Pieces also nod to the history of quilting, including the AIDS Memorial Quilt, another influence on Adrian’s work. “Even when pieces aren’t explicitly making quilt references, I want the history of quilting and sewing-based craft to be part of the conversation of the work,” he says. “Craft is so much about the processes and histories behind materials. It’s about connecting with communities of people who practice those techniques. It’s about material and technique being a doorway into a greater relationship with an object.”
Themes of transformation—of structures, identities, and bodies—run throughout the show. “What I love about drag and puppetry is the sense of transformation and play, specifically with bodies,” Adrian says. “Within these art forms, a body can become mutable and capable of performing and becoming in unexpected states.” The sculptures also transform throughout viewers’ experiences, going through stages of inflation and deflation and existing in many different states.
RIPSTOP’s constant interplay between surface and depth, assumption and reality, are all a part of what Adrian describes as “looking behind the curtain,” which they trace back to the theatre. “When I’m thinking about systems, and the systems desire fits into, I’m thinking of stage construction, the backstage, the things that go on behind the show, and performance of our desires,” they explain.
As a craft artist, Adrian’s philosophy “comes down to having an intentional relationship with material, process, and technique,” he says. “Those aspects of art making are just as – if not more – important than an intellectualized concept being illustrated by an artwork.”
“Broadened definitions of craft that highlight communities of practice are foundational for the Center for Craft’s new strategic direction,” explains Executive Director Stephanie Moore. “Max Adrian’s work in RIPSTOP exemplifies the expansive and meaningful forms craft can take.” The Center for Craft is an institution Adrian credits for their professional growth. “The Center for Craft has felt like such a supporting institution for me specifically and for so many other craft artists I know,” they note. “To be able to bring this amount of work to Asheville is pretty cool.”
See Max Adrian: RIPSTOP at the Center for Craft Beginning July 26. A reception will be held on August 15. RIPSTOP is organized by Houston Center for Contemporary Craft and curated by Sarah Darro.
The Asheville Art Museum is proud to present Asheville Strong: Celebrating Art and Community After Hurricane Helene, a poignant and inspiring exhibition on view February 13–May 5, 2025, in the Appleby Foundation Exhibition Hall. This non-juried exhibition
showcases the works of artists from the Helene-affected Appalachia region, celebrating their
resilience, creativity, and strength while highlighting the power of art to inspire and bring communities
together.
This exhibition explores how the land, the people, and the built environment of Asheville and its surrounding environs were interpreted through early 20th century vintage postcards. Some images show the sophisticated architecture of the region, including views of downtown Asheville, the Biltmore Estate, and Grove Park Inn. Other images show views of the scenic mountains and landscapes that first drew tourists and outdoor enthusiasts to the region.
Camp Connect – The Adventure Starts Here—a mall-wide showcase designed to connect families with a variety of local summer camps. From sports and arts to education and adventure, this event offers everything parents need to plan an exciting and memorable summer for their kids. Families can explore camp options, gather key details like dates and registration steps, and enjoy an afternoon of fun, all for free! Visitors can register to win a Summer Fun Backpack packed with goodies!
Journey into Sherwood Forest and the days of kings and crusades as this original adaptation of the classic story brings Robin Hood, his Merry Men, and all the beloved characters to life in a dynamic and thrilling way! Join Robin and all of his band as they face impossible choices and unspeakable dangers in their quest for justice in their beloved England!
“Oh, What a Night!” Don’t miss your chance to see this Tony Award-winning, blockbuster musical. Discover the true story behind legendary recording artist, The Four Seasons and their chart-topping hits “Sherry,” “Big Girl Don’t Cry,” “Walk Like a Man,” “Can’t Take My Eyes Off You,” and more!
This show is rated R for language, mature themes, and adult content.
with Nina Shippen
ON-SITE | Sundays, February 16, 23, + March 2 | 10 am – 1 pm
Ecological gardening is a way of thinking in which gardens are no longer seen as a collection of plants, but as an interdependent community of plants, soils, environment and animals. The class introduces ecology-based methods employed in the design process of site assessment, design, installation, and maintenance. A variety of garden conditions are covered in this comprehensive overview. Gardeners of all levels of interest and ability will find this class valuable for learning ecologically-sustainable practices that can be adapted and applied in a variety of landscapes.
The Asheville Art Museum is proud to present Asheville Strong: Celebrating Art and Community After Hurricane Helene, a poignant and inspiring exhibition on view February 13–May 5, 2025, in the Appleby Foundation Exhibition Hall. This non-juried exhibition
showcases the works of artists from the Helene-affected Appalachia region, celebrating their
resilience, creativity, and strength while highlighting the power of art to inspire and bring communities
together.
This exhibition explores how the land, the people, and the built environment of Asheville and its surrounding environs were interpreted through early 20th century vintage postcards. Some images show the sophisticated architecture of the region, including views of downtown Asheville, the Biltmore Estate, and Grove Park Inn. Other images show views of the scenic mountains and landscapes that first drew tourists and outdoor enthusiasts to the region.
“Oh, What a Night!” Don’t miss your chance to see this Tony Award-winning, blockbuster musical. Discover the true story behind legendary recording artist, The Four Seasons and their chart-topping hits “Sherry,” “Big Girl Don’t Cry,” “Walk Like a Man,” “Can’t Take My Eyes Off You,” and more!
This show is rated R for language, mature themes, and adult content.
Pieces made from nylon fabric ripstop, which keeps tears from spreading, invite viewers into created, fantastical worlds, only to highlight the complex—even impossible—architectures of their construction. Before the pandemic, Adrian primarily focused on personal experiences and interrogations of queerness, identity, and sexuality. Since then, the work has zoomed out in its scope, still centering identity but placed in larger infrastructure and surveillance systems that mediate, manipulate, and control desire.
Adrian counts queer fiber art, BDSM and kink culture, theatre, camp horror, puppetry, and drag among his many influences. Works in RIPSTOP, like the modernist bounce house sculpture A Fallible Complex (2021), evoke spaces for play, beckoning visitors in through their alluring aesthetic and then blocking their entrance or revealing structural instabilities, like missing floors. Others, like The Sensational Inflatable Furry Divines (2017-19), use sensual materials, like faux fur, spandex, and pleather, which connect to theatrical performance and counterculture. The materials “play on people’s initial associations and serve as a gateway into greater conversations about identity construction, performance, desire, and technology,” he shares.Pieces also nod to the history of quilting, including the AIDS Memorial Quilt, another influence on Adrian’s work. “Even when pieces aren’t explicitly making quilt references, I want the history of quilting and sewing-based craft to be part of the conversation of the work,” he says. “Craft is so much about the processes and histories behind materials. It’s about connecting with communities of people who practice those techniques. It’s about material and technique being a doorway into a greater relationship with an object.”
Themes of transformation—of structures, identities, and bodies—run throughout the show. “What I love about drag and puppetry is the sense of transformation and play, specifically with bodies,” Adrian says. “Within these art forms, a body can become mutable and capable of performing and becoming in unexpected states.” The sculptures also transform throughout viewers’ experiences, going through stages of inflation and deflation and existing in many different states.
RIPSTOP’s constant interplay between surface and depth, assumption and reality, are all a part of what Adrian describes as “looking behind the curtain,” which they trace back to the theatre. “When I’m thinking about systems, and the systems desire fits into, I’m thinking of stage construction, the backstage, the things that go on behind the show, and performance of our desires,” they explain.
As a craft artist, Adrian’s philosophy “comes down to having an intentional relationship with material, process, and technique,” he says. “Those aspects of art making are just as – if not more – important than an intellectualized concept being illustrated by an artwork.”
“Broadened definitions of craft that highlight communities of practice are foundational for the Center for Craft’s new strategic direction,” explains Executive Director Stephanie Moore. “Max Adrian’s work in RIPSTOP exemplifies the expansive and meaningful forms craft can take.” The Center for Craft is an institution Adrian credits for their professional growth. “The Center for Craft has felt like such a supporting institution for me specifically and for so many other craft artists I know,” they note. “To be able to bring this amount of work to Asheville is pretty cool.”
See Max Adrian: RIPSTOP at the Center for Craft Beginning July 26. A reception will be held on August 15. RIPSTOP is organized by Houston Center for Contemporary Craft and curated by Sarah Darro.
Arboretum visitors will witness some of the most surprising animal behavior in the new National Geographic exhibition, “The Greatest Wildlife Photographs.” The very best wildlife pictures from the pages of National Geographic magazine have been chosen to be displayed in this exhibition. Curated by renowned nature picture editor, Kathy Moran, this exhibition is a celebratory look at wildlife with images taken by National Geographic’s most iconic photographers such as, Michael “Nick” Nichols, Steve Winter, Paul Nicklen, Beverly Joubert, David Doubilet and more. Showcasing the evolution of photography, the images convey how innovations such as camera traps, remote imaging, and underwater technology have granted photographers access to wildlife in their natural habitat.
For 115 years, National Geographic has pioneered and championed the art of wildlife photography, and captivated generations of engaged audiences with a steady stream of extraordinary images of animals in nature. From the very first such image to appear – a reindeer in 1903 – National Geographic Society’s publications have broken new ground and push the bar higher again and again, establishing an unmatched legacy of artistic, scientific, and technical achievement. These are the Greatest Wildlife Photographs. This is included with admission to NC Arboretum.
ON-SITE | Tuesday, March 4 | 9 – 10:30am
Join us on this birding walk around the NC Arboretum gardens and trails in search of a very common year round resident of North Carolina: Carolina wren. We will take an in-depth look at these noisy and “mousey” birds to observe their behaviors while also looking for other common winter bird species in our area. Bring your own binoculars but if you do not have a pair we have some loaner binoculars available to use during the program.
This program will take place outside and will follow easy trails and paved walkways. Dress for the weather and prepare to be outside for the entire program time.
Pieces made from nylon fabric ripstop, which keeps tears from spreading, invite viewers into created, fantastical worlds, only to highlight the complex—even impossible—architectures of their construction. Before the pandemic, Adrian primarily focused on personal experiences and interrogations of queerness, identity, and sexuality. Since then, the work has zoomed out in its scope, still centering identity but placed in larger infrastructure and surveillance systems that mediate, manipulate, and control desire.
Adrian counts queer fiber art, BDSM and kink culture, theatre, camp horror, puppetry, and drag among his many influences. Works in RIPSTOP, like the modernist bounce house sculpture A Fallible Complex (2021), evoke spaces for play, beckoning visitors in through their alluring aesthetic and then blocking their entrance or revealing structural instabilities, like missing floors. Others, like The Sensational Inflatable Furry Divines (2017-19), use sensual materials, like faux fur, spandex, and pleather, which connect to theatrical performance and counterculture. The materials “play on people’s initial associations and serve as a gateway into greater conversations about identity construction, performance, desire, and technology,” he shares.Pieces also nod to the history of quilting, including the AIDS Memorial Quilt, another influence on Adrian’s work. “Even when pieces aren’t explicitly making quilt references, I want the history of quilting and sewing-based craft to be part of the conversation of the work,” he says. “Craft is so much about the processes and histories behind materials. It’s about connecting with communities of people who practice those techniques. It’s about material and technique being a doorway into a greater relationship with an object.”
Themes of transformation—of structures, identities, and bodies—run throughout the show. “What I love about drag and puppetry is the sense of transformation and play, specifically with bodies,” Adrian says. “Within these art forms, a body can become mutable and capable of performing and becoming in unexpected states.” The sculptures also transform throughout viewers’ experiences, going through stages of inflation and deflation and existing in many different states.
RIPSTOP’s constant interplay between surface and depth, assumption and reality, are all a part of what Adrian describes as “looking behind the curtain,” which they trace back to the theatre. “When I’m thinking about systems, and the systems desire fits into, I’m thinking of stage construction, the backstage, the things that go on behind the show, and performance of our desires,” they explain.
As a craft artist, Adrian’s philosophy “comes down to having an intentional relationship with material, process, and technique,” he says. “Those aspects of art making are just as – if not more – important than an intellectualized concept being illustrated by an artwork.”
“Broadened definitions of craft that highlight communities of practice are foundational for the Center for Craft’s new strategic direction,” explains Executive Director Stephanie Moore. “Max Adrian’s work in RIPSTOP exemplifies the expansive and meaningful forms craft can take.” The Center for Craft is an institution Adrian credits for their professional growth. “The Center for Craft has felt like such a supporting institution for me specifically and for so many other craft artists I know,” they note. “To be able to bring this amount of work to Asheville is pretty cool.”
See Max Adrian: RIPSTOP at the Center for Craft Beginning July 26. A reception will be held on August 15. RIPSTOP is organized by Houston Center for Contemporary Craft and curated by Sarah Darro.
As people all over the country start to grow their own gardens, plant prices continue to rise. These price increases quickly add up when growing your own garden. Starting your own seeds is a much more economical way to grow a large number of plants. Believe it or not many plants also do better when you grow them from a seed. Starting seeds can seem like a very scary task but it doesn’t have to be. Join our education coordinator, Isaac Wyatt, for a course all about starting your own seeds. From what you need to get started to how to get your seedlings in the garden.
*We will also have a selection of seeds to trade. Please feel free to bring any seeds you may be interested in trading!
March 4th, 2025, 1:00-3:00 pm. Fee: $20.00.
Try Tennis for Kids at Hendersonville Racquet Club: A Fun, Affordable Way to Get Into the Game!
Looking for a fun, active way to introduce your child to tennis? Try Tennis for Kids is the perfect program
for children ages 5–14 who are new to the sport or have had minimal experience. Over the course of six
weeks, your child will learn the fundamentals of tennis, including basic strokes, how to rally, and most
importantly, have fun learning a new sport!
For $40, each child will receive a free racquet and instruction from our coaches. This is a fantastic
opportunity to develop important skills in a supportive, welcoming environment.
Program Highlights:
● Ages: 5–14
● Dates: March 4th – April 15th (No class on March 18th for Spring Break)
● Sessions: 4–5 PM and 5–6 PM
● Duration: 6 weeks
● Cost: $40 (includes racquet)
● Location: Hendersonville Racquet Club indoor courts
Spaces are limited! Grab a friend and sign up today at https://www.trytennis.net to secure your spot.
Come join us on the court and watch your child develop new skills, confidence, and a love for tennis. We
can’t wait to see you there!
For more information, call 828-693-0040 or email Kaitlyn at [email protected].
