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The exhibition’s opening gallery suggest a fiesta atmosphere, as do the paintings gathered there: Alfredo Ramos Martínez’s 1929 image of an itinerant flower vendor; a 1928 painting by Rivera of Oaxacan dancers in orchidaceous gowns; and, from the same year, a scene, in Rivera’s smooth-brushed, Paris-trained style, of women harvesting cactus by the American artist Everett Gee Jackson.

For all parties, the model was an exhilarating one, and the bright pink walls of the exhibition’s opening gallery suggest a fiesta atmosphere, as do the paintings gathered there: Alfredo Ramos Martínez’s 1929 image of an itinerant flower vendor bending under her load of calla lilies; a 1928 painting by Rivera of Yucatán dancers in orchidaceous gowns; and, from the same year, a scene, in Rivera’s volumetric, smooth-brushed, Paris-trained style, of women harvesting cactus by the American artist Everett Gee Jackson.

This TriBeCa show, subtitled “Orchidaceous,” has been organized by Carrie Moyer, a professor at Hunter College, and Sarah Watson, director of exhibitions and chief curator at the Hunter College Art Galleries, who collaborated with two Agnes Gund curatorial fellows, Evan Bellantone and Sophia Ma, and 12 Hunter students working toward an advanced curatorial certificate.

The syntax is snappy but the vocabulary is orchidaceous.

His orchidaceous strangeness made Bowie perfect casting for Nic Roeg’s 1976 movie The Man Who Fell To Earth — his film debut, in fact — based on the Walter Tevis novel, about the extraterrestrial creature who comes to Earth looking for water and natural resources for his own stricken planet.