Alfred Jensen: Diagrammatic Mysteries

Alfred Jensen Physical Optics, 1975 PAINTING oil on canvas 7' 2" x 12' 9" (218.4 cm x 388.6cm), overall installed 7' 2" x 4'3" (218.4 cm x 129.5 cm), 3 panels, each © Estate of AlfredJensen/ArtistsRightsSociety (ARS), NewYork

New York – 125 Newbury presents Alfred Jensen: Diagrammatic Mysteries, an exhibition of paintings, studies, and works on paper by the influential Expressionist painter Alfred Jensen, which opened on January 16 and will conclude on February 28. Selected from the collection of the Estate of Alfred Jensen, many of the works on view will be publicly exhibited for the first time. Born in 1903, the same year as his close friend Mark Rothko, Jensen is recognized for his enigmatic universe of grids, diagrams, and fantastic calculations rendered in brilliant, prismatic color. Before settling in New York in the early 1950s, Jensen spent much of his young adult life moving from place to place. He lived in Guatemala until his mother’s death when he was seven years old and moved to Denmark to complete his education. Following many years traveling as an itinerant worker of odd jobs on ships and farms, he found his calling studying art in Munich under Hans Hofmann and later at the

Académie Scandinave in Paris. These experiences informed his lifelong interest in the philosophies, systems, and aesthetics of cultures around the world, which became basic to his art.

Alfred Jensen: Diagrammatic Mysteries 395 Broadway, NewYork, NY 10013 January 16–February 28, 2026 Photography courtesy Peter Clough

Strongly influenced by Guatemalan textiles and pre-Columbian art, Jensen also drew inspiration from sources ranging from the intuitive to the theoretical and scientific. James Clerk Maxwell’s formulation of electromagnetism and foundational texts like the I Ching, Johann Wolfgang von Goethe’s Theory of Color (Zur Farbenlehre) (1810), and J. Eric S.

Thompson’s Maya Hieroglyphic Writing (1960) were key to his art. The Mayan calendar and the Chinese alphabet held special meaning for Jensen and appear in many of his paintings.

Though Jensen’s grids often take on the familiar appearance of games secreting solutions, these works do not serve as maps toward any unified meaning or objective endpoint. While many of the works in Diagrammatic Mysteries have titles that point to their origins, like The Pythagorean Theorem (1964), or symbols with recognizable meanings, as with the arrows in Physical Optics (1975), these psychic footholds only go so far in orienting us within the compositions, which are ultimately guided by essential mystery. As Donald Judd, who himself was inspired by Jensen, observed in 1963, “The theories are important to him and completely irrelevant to the viewer.”

Jensen’s place in contemporary art is perplexing, and, in many ways, he can be viewed as a link between Abstract Expressionism and Pop art. Generationally, he was working in the arena of Abstract Expressionism and was a part of that community. Unlike the Abstract Expressionist’s rejection of Pop art, Jensen developed strong friendships with the next generation. He attended the

Happenings and was a fixture at the Pop openings and parties that took over the scene in the early 1960s. The toy store colors and formats suggesting games in his paintings link him to this scene. However, the Pop artists’ denial of surface was completely opposite to Jensen’s embrace of pigment as thick as frosting on cupcakes. His paintings are as comfortable juxtaposed with Adolph Gottlieb’s Pictographs as they would easily blend into their place on the shelves of Claes Oldenburg’s Store. These challenging works, at once accessible and secret, make us realize that Jensen himself is his greatest mystery.

Alfred Jensen: Diagrammatic Mysteries 395 Broadway, NewYork, NY 10013 January 16–February 28, 2026 Photography courtesy Peter Clough

Diagnosed with terminal brain cancer in the late 1970s, Jensen, then one of the stars of the contemporary art world, went into seclusion, and his work disappeared from the scene for decades after his death. Alfred Jensen: Diagrammatic Mysteries is a reawakening of his extraordinary contributions.

Jensen has been the subject of various museum retrospectives, including those at the Solomon R. Guggenheim Museum in 1985, Dia Center for the Arts in 2001, and 1978’s traveling retrospective at institutions including the Albright-Knox Art Gallery in Buffalo, New Museum, Museum of Contemporary Art in Chicago, and San Francisco Museum of Modern Art. His work is held in numerous collections throughout the United States and abroad, including the Museum of Modern Art, Solomon R. Guggenheim Museum, and Whitney Museum of American Art in New York; the Los Angeles County Museum of Art; the San Francisco Museum of Modern Art; the National Gallery of Art in Washington, D.C.; the Kunsthaus Zürich and Kunstmuseum Bern in Switzerland; the Louisiana Museum of Modern Art in Humlebæk, Denmark; and the Art Gallery of Western Australia in Perth.

125 Newbury is a project space in New York City founded in 2022 and helmed by Arne Glimcher, Founder and Chairman of Pace Gallery. Named for the gallery’s original location, which Glimcher opened at 125 Newbury Street in Boston in 1960, the venture is located at 395 Broadway in Manhattan’s Tribeca neighborhood, at the corner of Walker Street. Occupying a 3,900-square-foot ground-floor space in a landmark building with 17-foot ceilings, the interior of 125 Newbury has been fully renovated by Enrico Bonetti and Dominic Kozerski of Bonetti/Kozerski Architecture.

Guided by Glimcher’s six decades of pioneering exhibition-making and steadfast commitment to close collaboration with artists, 125 Newbury presents up to five exhibitions per year. Directing and shaping 125 Newbury’s program, Glimcher organizes exhibitions of work by artists—both within and beyond Pace’s roster—who inspire him, often highlighting a specific aspect or focused period of their practice.

Pace is a leading international art gallery representing some of the most influential contemporary artists and estates from the past century, holding decades-long relationships with Alexander Calder, Jean Dubuffet, Barbara Hepworth, Agnes Martin, Louise Nevelson, and Mark Rothko. Pace enjoys a unique U.S. heritage spanning East and West coasts through its early support of artists central to the Abstract Expressionist and Light and Space movements.

Since its founding by Arne Glimcher in 1960, Pace has developed a distinguished legacy as an artist-first gallery that mounts seminal historical and contemporary exhibitions. Under the current leadership of CEO Marc Glimcher, Pace continues to support its artists and share their visionary work with audiences worldwide by remaining at the forefront of innovation. Now in its seventh decade, the gallery advances its mission through a robust global program— comprising exhibitions, artist projects, public installations, institutional collaborations, performances, and interdisciplinary projects. Pace has a legacy in art bookmaking and has published over five hundred titles in close collaboration with artists, with a focus on original scholarship and on introducing new voices to the art historical canon.

Today, Pace has seven locations worldwide, including European footholds in London and Geneva as well as Berlin, where the gallery established an office in 2023. Pace maintains two galleries in New York—its headquarters at 540 West 25th Street, which welcomed almost 120,000 visitors and programmed 20 shows in its first six months, and an adjacent 8,000 sq. ft. exhibition space at 510 West 25th Street. Pace’s long and pioneering history in California includes a gallery in Palo Alto, which was open from 2016 to 2022. Pace’s engagement with Silicon Valley’s technology industry has had a lasting impact on the gallery at a global level, accelerating its initiatives connecting art and technology as well as its work with experiential artists. Pace consolidated its West Coast activity through its flagship in Los Angeles, which opened in 2022. Pace was one of the first international galleries to establish outposts in Asia, where it operates permanent gallery spaces in Hong Kong and Seoul, along with an office and viewing room in Beijing. In spring 2024, Pace will open its first gallery space in Japan in Tokyo’s new Azabudai Hills development.

 
For more information about this exhibition and others, please visit the Pace Gallery’s website here. Pace Gallery can be found on Instagram and Artsy, too.

Hilary Harnischfeger: Songs for Clouds

Installation View: Hilary Harnischfeger: Songs for Clouds 170 Suffolk Street New York, NY 10002 January 16 – March 7, 2026 Photography Credit: JSP Art Photography

Uffner & Liu is pleased to present Songs for Clouds, Hilary Harnischfeger’s fifth solo exhibition at the gallery. Marking a significant development in her multimedia sculptural practice, the exhibition debuts three new wall-based works at the largest scale Harnischfeger has produced to date. The exhibition opened on January 16  and will run through March 7, 2026. There was an opening Reception on  Friday, January 16, 6 – 8 pm

Harnischfeger’s work is grounded in a sustained engagement with material transformation and the slow processes of the natural world. Drawing inspiration from specific landscapes—often mountain peaks—her works evoke geological formations shaped over vast spans of time. Rather than presenting direct representations of place, Harnischfeger constructs forms that appear weathered, stratified, and eroded, as if shaped by tectonic pressure, sedimentation, and mineral accretion rather than by human hands.

Installation View: Hilary Harnischfeger: Songs for Clouds 170 Suffolk Street New York, NY 10002 January 16 – March 7, 2026 Photography Credit: JSP Art Photography

Her material vocabulary includes ceramic, pigment, paper, ink, quartz, mica, wood, and hydrostone. Among these, paper plays a particularly central and unexpected role. Painted cardstock is meticulously cut, stacked, and adhered in layers, creating dense surfaces that resemble sedimentary rock strata. These paper formations are then embedded into cast ceramic and hydrostone bodies, where they function both as structural components and as material interruptions.

Installation View: Hilary Harnischfeger: Songs for Clouds 170 Suffolk Street New York, NY 10002 January 16 – March 7, 2026 Photography Credit: JSP Art Photography

Compressed planes of color and texture blur distinctions between drawing, sculpture, and relief, transforming fragile materials into final forms that are weighty, durable, and geological.

Installation View: Hilary Harnischfeger: Songs for Clouds 170 Suffolk Street New York, NY 10002 January 16 – March 7, 2026 Photography Credit: JSP Art Photography

In the newly scaled works presented here, this process becomes increasingly immersive. Expanded surfaces allow Harnischfeger to push her stratigraphic constructions further, building complex topographies that oscillate between abstraction and landscape. Veins of mineral material punctuate layered fields of paper and pigment, while fissures, cavities, and protrusions suggest natural forces at work beneath the surface.

Installation View: Hilary Harnischfeger: Songs for Clouds 170 Suffolk Street New York, NY 10002 January 16 – March 7, 2026 Photography Credit: JSP Art Photography

Across these works, time operates as both subject and method. Harnischfeger’s practice embraces accumulation, repetition, and slow construction, mirroring the rhythms of the environments that inspire her. The resulting forms feel simultaneously ancient and immediate—objects that seem to carry the memory of the earth while remaining resolutely handmade.

For more information about this exhibition and others at Uffner & Liu, please visit their site here. The gallery can also be found on Facebook, Instagram, YouTube, and X. The magazine did an interview with Hilary, which can be found here.

Richard Pousette-Dart: Geometry of Summer

Richard Pousette-Dart: Geometry of Summer 540 West 25th Street, New York, NY 10001 January 16–February 28, 2026 Photography courtesy Pace Gallery

New York— Pace will present Richard Pousette-Dart: Geometry of Summer at its 540 West 25th Street gallery in New York, which opened on January 16 and will be open until February 28, 2026. The show will spotlight a selection of works created by Richard Pousette-Dart between 1974 and 1992 within the light-filled, natural environs of his home and studio in Rockland County, New York.

Richard Pousette-Dart: Geometry of Summer 540 West 25th Street, New York, NY 10001 January 16–February 28, 2026 Photography courtesy Pace Gallery

Building on the gallery’s 2022 exhibition Richard Pousette-Dart: 1950s Spirit and Substance in New York, this presentation focuses on the final two decades of the artist’s life, in which he continued to explore the complex relationships between light and form, the physical and the visual, and the body and the spirit. Geometry of Summer will be the seventh exhibition dedicated to Pousette-Dart mounted by Pace since the gallery began representing his estate in 2013.

Richard Pousette-Dart: Geometry of Summer 540 West 25th Street, New York, NY 10001 January 16–February 28, 2026 Photography courtesy Pace Gallery

These large-scale paintings emerged from Pousette-Dart’s decades-long exploration of “significant form”— introduced by Clive Bell in his book Art (1914)—as well as his deep interest in signs and symbols derived from a broad range of cultural histories and his own improvisational methods of building up paint surfaces that are at once both highly physical and evocatively illusionistic. Despite their seemingly simple compositions, the works are all arrived at through intuitive and intensely painterly explorations.

Richard Pousette-Dart Golden Door, 1989-90 acrylic on linen 72" × 72" × 2" (182.9 cm × 182.9 cm × 5.1 cm)

 Pousette-Dart’s process always centered on investigations across media, and he refused to reduce his practice to a single style or format. This allowed him to work with various materials in a range of scales that would enrich and enlarge the meaning of his works, from the most elaborately detailed to the most reduced.

Geometry of Summer brings together a selection of paintings in which Pousette-Dart dramatically reduced structural complexity to investigate the generative manifestations of specific forms: triangles, circles, stadia, rectangles, and squares. These vibrant compositions offer a window into his protean, richly diverse output while underscoring his examination of simplified geometric shapes and their ability to carry universal meaning. In Pousette-Dart’s own words, “It does not matter how an artist works, whether he uses circles or squares or flowers or people. . . it is the inner life of the work which breathes and truly means.”

Richard Pousette-Dart Geometry of Summer, 1992 acrylic on linen 40-1/2" × 80-1/4" (102.9 cm × 203.8 cm)

As a young artist, Pousette-Dart began experimenting with elemental forms by hand-cutting and polishing talismanic shapes from plates of brass. These intimate sculptures—his Brasses, which he continued to produce throughout his life— would serve as a lexicon for his painted imagery. The works in Pace’s exhibition combine singular forms, rich gestural surfaces, highly personal mark-making, and subtle gradations of color to imbue geometry with resonant emotion and to celebrate its inherent connection to the natural world. They give form to the way in which we locate ourselves in the world, how we experience it, and, ultimately, how we create meaning from it.

Richard Pousette-Dart Illumination Square, 1983 acrylic on linen 80" x 80" (203.2 cm x 203.2 cm)

The paintings on view in the gallery’s presentation depict pulsating textured surfaces elaborately built up from staccato brush strokes across the color spectrum that converge into confidently assertive forms, as in The Burning Square (1979– 80). These central shapes are stated with bold clarity in some works, while in others, forms emerge slowly to the viewer, as in the painting from which the exhibition takes its name, Geometry of Summer (1992).

On the paintings’ textured surfaces, flecks of white paint move like plays of pulsating light, highlighted with titles like Golden Door (1989–90) and Rising Light (1987–90). The light that emanates from these works, as well as the energized clarity that emerges from seeming fragmentation, links them to the tradition of American Transcendentalism and the writings of Ralph Waldo Emerson and Henry David Thoreau. “I strive for penetration, illumination, a significance of form according to my own changing experience in the universe,” Pousette-Dart once said. These works create a range of tonal and spatial effects evoking nature and its harmonies, a constant source of inspiration throughout his life. The presentation at Pace will run concurrently with Altered States: The Etchings of Richard Pousette-Dart, on view at the New Britain Museum of American Art in Connecticut through April 26, 2026. The artist was also recently the subject of the exhibition Poetry of Light at the Museum Frieder Burda in Baden-Baden, Germany.

Although he avoided affiliation with any particular movement, Richard Pousette-Dart (b. 1916, Saint Paul, Minnesota; d. 1992, New York) is closely associated with the first generation of Abstract Expressionist painters and forged his own path throughout his long career, achieving a cohesive body of work with expressive form, color, and gesture. He participated in the pivotal Subjects of the Artists and Studio 35 groups, which were key to defining the New York School. Pousette-Dart was the first of these artists to create a mural-sized easel work (Symphony No. 1, The Transcendental, 1941–42, now at The Metropolitan Museum of Art, New York), prior to other Abstract Expressionists’ adoption of large formats. He drew inspiration from varied sources including Native American and Oceanic art, as well as Asian philosophy and American Transcendentalism. Never embracing action painting and instead pursuing his own aesthetic, Pousette-Dart aspired to universal significance in his art, expressed through nonobjective means.

Pousette-Dart’s work is held in over seventy public collections worldwide, including the Art Institute of Chicago; Buffalo AKG Art Museum, New York; Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, D.C.; The J. Paul Getty Museum, Los Angeles; Los Angeles County Museum of Art; The Metropolitan Museum of Art, New York; Musée d’Art Moderne et Contemporaine de Strasbourg, France; Museo Nacional Thyssen-Bornemizsa, Madrid; Museum of Fine Arts, Boston; Museum of Fine Arts, Houston; The Museum of Modern Art, New York; mpk – Museum Pfalzgalerie Kaiserslautern, Germany; National Gallery of Art, Washington, D.C.; Peggy Guggenheim Collection, Venice; Philadelphia Museum of Art; Schirn Kunsthalle, Frankfurt; Solomon R. Guggenheim Museum, New York; Tel Aviv Museum of Art, Israel; Vatican Museums, Vatican City; Whitney Museum of American Art, New York; and Yale University Art Gallery, New Haven, Connecticut, among many others.

Pace is a leading international art gallery representing some of the most influential contemporary artists and estates from the past century, holding decades-long relationships with Alexander Calder, Jean Dubuffet, Barbara Hepworth, Agnes Martin, Louise Nevelson, and Mark Rothko. Pace enjoys a unique U.S. heritage spanning East and West coasts through its early support of artists central to the Abstract Expressionist and Light and Space movements.

Since its founding by Arne Glimcher in 1960, Pace has developed a distinguished legacy as an artist-first gallery that mounts seminal historical and contemporary exhibitions. Under the current leadership of CEO Marc Glimcher, Pace continues to support its artists and share their visionary work with audiences worldwide by remaining at the forefront of innovation. Now in its seventh decade, the gallery advances its mission through a robust global program— comprising exhibitions, artist projects, public installations, institutional collaborations, performances, and interdisciplinary projects. Pace has a legacy in art bookmaking and has published over five hundred titles in close collaboration with artists, with a focus on original scholarship and on introducing new voices to the art historical canon.

Today, Pace has seven locations worldwide, including European footholds in London and Geneva as well as Berlin, where the gallery established an office in 2023. Pace maintains two galleries in New York—its headquarters at 540 West 25th Street, which welcomed almost 120,000 visitors and programmed 20 shows in its first six months, and an adjacent 8,000 sq. ft. exhibition space at 510 West 25th Street. Pace’s long and pioneering history in California includes a gallery in Palo Alto, which was open from 2016 to 2022. Pace’s engagement with Silicon Valley’s technology industry has had a lasting impact on the gallery at a global level, accelerating its initiatives connecting art and technology as well as its work with experiential artists. Pace consolidated its West Coast activity through its flagship in Los Angeles, which opened in 2022. Pace was one of the first international galleries to establish outposts in Asia, where it operates permanent gallery spaces in Hong Kong and Seoul, along with an office and viewing room in Beijing. In spring 2024, Pace will open its first gallery space in Japan in Tokyo’s new Azabudai Hills development.

For more information about this exhibition and others, please visit the Pace Gallery’s website here. Pace Gallery can be found on Instagram and Artsy, too.

Wang Guangle: Delayed Gravity

Wang Guangle: Delayed Gravity 540 West 25th Street, New York, NY 10001 January 16–February 28, 2026 Photography courtesy Pace Gallery

New York - Pace is pleased to announce an exhibition of ten new paintings by Wang Guangle at its 540 West 25th Street gallery in New York. The exhibition opened on January 16 and will be on view until  February 28, 2026, this will be the artist’s first solo exhibition in New York since 2019, when he presented Wang Guangle: Duo Color at Pace.

A pioneer of conceptual and abstract painting in China, Wang is known for his process-based works that he builds up layer-by-layer over the course of days and months. He sees the act of painting as a spiritual practice; creating mesmeric color gradations and textures in systematic layers of acrylic paint, he uses repetition as a means of expressing persistence and transcendence through time.

Wang Guangle, Untitled II – 251205, 2025 PAINTING acrylic on canvas 78-3/4" × 78-3/4" (200 cm × 200 cm) © Wang Guangle, courtesy Pace Gallery

Wang has long been interested in the tension between form and meaning, a relationship that informs his unique syntax of abstraction. Much of his work originates from deeply personal and existential ideas about temporality, physicality, and mortality—though he trained in academic oil painting, the artist is guided by an intention to center these abstract subjects in viewers’ embodied experiences of his paintings. In recent years, Wang has mounted solo exhibitions at Pace’s Seoul and London galleries, Cai Jin Space in Beijing, and Fosun Foundation in Shanghai, among other institutions.

Wang Guangle: Delayed Gravity 540 West 25th Street, New York, NY 10001 January 16–February 28, 2026 Photography courtesy Pace Gallery

Delayed Gravity, the title of his upcoming show in New York, speaks to the durational processes and devotional labors that define his practice. It will bring together ten new compositions, almost all of which are large in scale. These works are part of his new series Untitled 2, a continuation of the Untitled series, which he began in 2007. While the compositions in the Untitled works were built up in layers towards the center of the canvas, laid flat on the floor, his Untitled 2 paintings are produced with the canvas propped up vertically, responding to the limits and possibilities of the conditions of his new studio. With this body of work—which can be understood in relation and opposition to enactments of fading—the artist layers disparate colors from the top of the composition down, producing illusionistic effects in depth and perspective. This process further exaggerates the downward fade of his horizontal bands of pigment and exposes the canvas’s edge. His finished compositions give the impression of simultaneously receding into and protruding from the walls on which they hang.

Wang Guangle, Untitled 240706, 2024 PAINTING acrylic on canvas 27-9/16" × 19-11/16" (70 cm × 50 cm) © Wang Guangle, courtesy Pace Gallery

Rife with visual contradictions, Wang’s new works take on a distinctly sculptural quality. These engrossing, almost hypnotic paintings draw viewers into their monumental surfaces and seemingly illimitable depths. In this way, the artist invites us into his ineffable, contemplative, and liminal world of color and space.

Wang Guangle, Untitled II - 251126, 2025 PAINTING acrylic on canvas 44-7/8" × 57-1/2" (114 cm × 146cm) © Wang Guangle, courtesy Pace Gallery

In addition to the paintings in the exhibition, Wang will also present a new sculptural installation, titled One Layer a Day, on the gallery’s second-floor outdoor terrace. With this participatory work, colorful pigments will be added to a body of water contained in a silicone mold. Overnight, after a new color is added, the water will freeze, producing a vibrant slab of ice. The artist will stack each of the slabs throughout the run of the show, creating an installation that reflects his enduring interest in ephemeral, performative, architectural, and community-minded works of art.

Wang Guangle: Delayed Gravity 540 West 25th Street, New York, NY 10001 January 16–February 28, 2026 Photography courtesy Pace Gallery

Wang Guangle (b. 1976, Songxi, Fujian Province, China), a pioneer of abstract and conceptual painting among his generation, studied at the Central Academy of Fine Arts in Beijing, where he began exploring the potential of the painting surface as integral to his work. In 2003, he co-founded N12, a collective of twelve fellow graduates who began showing together as a means of securing exhibition space at a time when emerging Chinese art had yet to assert its place in the art market or critical discourse. The group came to represent a generation of diverse artists who developed their work two decades after the Cultural Revolution, unified by a break from formal representation toward individual expression. Wang quickly garnered critical praise for his process-based paintings, wherein the artist translates abstract qualities of the world—such as the passage of time—into paint, simultaneously referring to the materiality of the medium and the act of painting through abstraction and repetition.

Wang’s work is held in numerous collections, including the Burger Collection, Hong Kong; CAFA Art Museum, Beijing; He Xiangning Art Museum, Shenzhen, China; Long Museum, Shanghai; M+, Hong Kong; M+ Sigg Collection, Hong Kong; Rubell Museum, Miami; Sammlung Goetz, Munich; Shanghai Minsheng Art Museum; Taikang Art Museum, Beijing; TANK Shanghai; White Rabbit Gallery, Chippendale, Australia; and Yuz Museum Shanghai, among others.

Pace is a leading international art gallery representing some of the most influential contemporary artists and estates from the past century, holding decades-long relationships with Alexander Calder, Jean Dubuffet, Barbara Hepworth, Agnes Martin, Louise Nevelson, and Mark Rothko. Pace enjoys a unique U.S. heritage spanning East and West coasts through its early support of artists central to the Abstract Expressionist and Light and Space movements.

Since its founding by Arne Glimcher in 1960, Pace has developed a distinguished legacy as an artist-first gallery that mounts seminal historical and contemporary exhibitions. Under the current leadership of CEO Marc Glimcher, Pace continues to support its artists and share their visionary work with audiences worldwide by remaining at the forefront of innovation. Now in its seventh decade, the gallery advances its mission through a robust global program— comprising exhibitions, artist projects, public installations, institutional collaborations, performances, and interdisciplinary projects. Pace has a legacy in art bookmaking and has published over five hundred titles in close collaboration with artists, with a focus on original scholarship and on introducing new voices to the art historical canon.

Today, Pace has seven locations worldwide, including European footholds in London and Geneva as well as Berlin, where the gallery established an office in 2023. Pace maintains two galleries in New York—its headquarters at 540 West 25th Street, which welcomed almost 120,000 visitors and programmed 20 shows in its first six months, and an adjacent 8,000 sq. ft. exhibition space at 510 West 25th Street. Pace’s long and pioneering history in California includes a gallery in Palo Alto, which was open from 2016 to 2022. Pace’s engagement with Silicon Valley’s technology industry has had a lasting impact on the gallery at a global level, accelerating its initiatives connecting art and technology as well as its work with experiential artists. Pace consolidated its West Coast activity through its flagship in Los Angeles, which opened in 2022. Pace was one of the first international galleries to establish outposts in Asia, where it operates permanent gallery spaces in Hong Kong and Seoul, along with an office and viewing room in Beijing. In spring 2024, Pace will open its first gallery space in Japan in Tokyo’s new Azabudai Hills development.

For more information about this exhibition and others, please visit the Pace Gallery’s website here. Pace Gallery can be found on Instagram and Artsy, too.

Collection in Focus: Modern European Currents

Installation view, Collection in Focus | Modern European Currents, July 15, 2025–March 6, 2026, Solomon. Guggenheim Museum, New York. Photo: David Heald © Solomon R. Guggenheim Foundation, New York

(NEW YORK, NY) Experimentation and heightened creativity characterized the European avant-garde movements of the early twentieth century, as artists pursued multifaceted stylistic innovations. Modern European Currents examines this dynamic period through nearly twenty paintings and watercolors from the Guggenheim’s holdings by influential figures from the Austro-Hungarian, German, and Russian Empires—including Natalia Goncharova, Vasily Kandinsky, Franz Marc, Liubov Popova, and Egon Schiele. The exhibition invites audiences to engage with celebrated collection highlights, such as Franz Marc’s Yellow Cow (1911), as well as hidden gems, among them Heinrich Campendonk’s Farmer with Horse and Wagon (1918), which has not been shown since entering the collection in 1948. This Collection in Focus presentation illuminates a seismic moment of transnational interchange and transformation, when artists tested new possibilities for visual representation.

Alexei Jawlensky, Helene with Colored Turban (Helene mit buntem Turban), 1910. Oil on board, 37 1/8 ×31 7/8 in.(94.2 ×81 cm). Solomon R. Guggenheim Museum, New York 65.1773.R Photo: Kristopher McKay, Solomon R. Guggenheim Museum, New York

As curator Vivien Greene notes, “The Collection in Focus series foregrounds beloved collection artworks and prescient new acquisitions. Modern European Currents, in particular, showcases a rotating cycle of delicate works on paper that the museum rarely exhibits due to their fragility.” Cocurator Megan Fontanella adds, “Some of these luminary exemplars of early twentieth- century European modernism have not been on view in a decade or more.”

Installation view, Collection in Focus | Modern European Currents, July 15, 2025–March 6, 2026, Solomon. Guggenheim Museum, New York. Photo: David Heald © Solomon R. Guggenheim Foundation, New York

The increasing materialism of the industrial era led the featured artists on a quest for more direct modes of expression. They sought to create compelling and emotive images using powerful painterly methods, ranging from brilliant anti-naturalistic palettes to reductive forms and splintered compositions. In parallel, growing knowledge of less conventional religions and philosophies prompted alternate conceptual approaches to subject matter. Many artists mined the visual language of European folk art, as well as work originating from cultures beyond Europe’s borders—in Africa, Asia, and Oceania. European artists often culled references from these cultures with little or no understanding of their original meaning and purpose, perceiving a greater “authenticity” and emotional charge in their more abstracted forms.

Vasily Kandinsky, Winter Landscape with Church (Winterlandschaft mit Kirche), 1910–11. Oil on board, 13 ×17 1/2 in.(33 ×44.5 cm). Solomon R. Guggenheim Museum, New York, Solomon R. Guggenheim Founding Collection, by gift 37.502 Photo: Alison Chipak, Solomon R. Guggenheim Museum, New York

The iconic modern works on display—from examples of German and Viennese Expressionism to Russian Rayonism—evidence the crucial period immediately before several painters began moving away from figurative imagery toward full abstraction, forever altering the relationship between concept and form. In preparation for Modern European Currents, ten paintings and works on paper from the Guggenheim’s collection will undergo conservation treatment, supported by Ornellaia through their Vendemmia d’Artista project.

Franz Marc, Yellow Cow (Gelbe Kuh), 1911. Oil on canvas, 55 3/8 ×74 1/2 in.(140.7 ×189.2 cm). Solomon R. Guggenheim Museum, New York, Solomon R. Guggenheim Founding: Collection 49.1210. Photo: Ariel Ione Williams, Solomon R. Guggenheim Museum, New York

Modern European Currents is part of Collection in Focus, an exhibition series that draws from the museum’s holdings. This exhibition is organized by Megan Fontanella, Curator of Modern Art and Provenance, and Vivien Greene, Senior Curator of 19th- and Early 20th-Century Art, Guggenheim New York.

Support

The exhibition and the conservation of the artwork are made possible by Ornellaia. Modern European Currents is generously supported by Denise and Andrew Saul, with additional funding from Laura Clifford.

Visionary support for Collection in Focus is provided by Aleksandra Janke and Andrew McCormack.

Additional funding is provided by The Achelis and Bodman Foundation and the Guggenheim New York’s 2024 Collections Council.

About the Guggenheim New York

The Solomon R. Guggenheim Foundation was established in 1937 and is dedicated to promoting the understanding and appreciation of modern and contemporary art through exhibitions, education programs, research initiatives, and publications. The international constellation of museums includes the Guggenheim New York; the Peggy Guggenheim Collection, Venice; Guggenheim Bilbao; and the future Guggenheim Abu Dhabi. An architectural icon and “temple of spirit” where radical art and architecture meet, the Guggenheim New York is now among a group of eight Frank Lloyd Wright structures in the United States recently designated as a UNESCO World Heritage site. To learn more about the museum and the Guggenheim’s activities around the world, visit guggenheim.org.

To learn more about the museum, this exhibit, past exhibits, current exhibits, upcoming exhibits, and the Guggenheim’s activities around the world, visit here.  The museum can also be found on YouTube, TikTok, X, Facebook and Instagram.

Marguerite Wibaux: Covet Thy Neighbor

Installation View, Marguerite Wibaux: Covet Thy Neighbor, 253 Church St, NY, NY 10013, New York, NY 10001 January 15–February 28, 2026 Photography courtesy Locker Room and Marguerite Wibaux

Raised in Rome where her father worked for the Vatican, Paris-based artist Marguerite Wibaux grew up steeped in incense, iconography, and baroque ritual. Wibaux once believed she had a religious calling—until she realized what truly captivated her was not faith, but the body and its image. Her solo NYC exhibition debut, Covet Thy Neighbor, recently opened in Tribeca at The Locker Room (253 Church St) thru Feb 28. With a collection of over 25 new paintings & sculptures (including her take on a Holy Water fountain and a confessional), Wibaux examines the charged threshold where desire becomes devotion and the sacred & sensual share the same temperature: baroque sensuality infused with dangerous femininity and the charged atmosphere of contemporary nights.

Installation View, Marguerite Wibaux: Covet Thy Neighbor, 253 Church St, NY, NY 10013, New York, NY 10001 January 15–February 28, 2026 Photography courtesy Locker Room and Marguerite Wibaux

For Covet Thy Neighbor, The Locker Room will be transformed into a church stripped of doctrine. Nightclub reds, bedroom violets, and hints of half-remembered altars frame bodies entering new, ambiguous relationships: neighbors, lovers, disciples, strangers.

Installation View, Marguerite Wibaux: Covet Thy Neighbor, 253 Church St, NY, NY 10013, New York, NY 10001 January 15–February 28, 2026 Photography courtesy Locker Room and Marguerite Wibaux

For more information about Marguerite’s work, please visit her site. She can also be found on Instagram here. Also, the magazine featured an interview with her, which can be found here. For more information about this exhibition at the Locker Room on the gallery’s website here.

Gideon Appah: Beneath Night and Day

Gideon Appah: Beneath Night and Day 510 West 25th Street, New York, NY 10001 January 16–February 28, 2026 Photography courtesy Pace Gallery

Pace will present an exhibition of new paintings by Gideon Appah at its 510 West 25th Street gallery in New York, opening on January 16 and running through February 28, 2026. This will be Appah’s first solo show with Pace in New York, spotlighting works on canvas he created over the past year in his studio in Ghana, West Africa.

Drawing inspiration from scenes of everyday life in Ghana, as well as personal memories, dreams, and family histories, Appah creates compositions that dissolve divisions between the tangible and the imagined while engaging questions of identity, freedom, and form. Though his paintings are informed by real places and people, they can appear more mythological than representative, employing elements of Fauvism and Surrealism that complicate any clear narrative reading. Oneiric and reflective, his works elevate the simple act of gathering to the realm of collective memory, in which it takes on new and unexpected significance.

Gideon Appah A Tropical Landscape (Un Paysage Tropical), 2024-2025, acrylic and oil on canvas 200 cm × 240 cm (78-3/4" × 94-1/2") © Gideon Appah, courtesy Pace Gallery

Works from Appah’s Swimmers and Surfers series will be the focus of his upcoming presentation with Pace. Inspired by the local surfers, fishermen, and swimmers at Busua Beach and Kokrobite, Ghana, where Appah’s studio is located, this series encompasses a range of compositions, with landscapes populated by multiple figures in various states of action— carrying surfboards, resting, and swimming.His exhibition in New York will also feature vertically oriented portraits of solitary figures, which signal a new direction in the series. The subjects of these portraits wear simple yet carefully rendered clothing inspired by patterned textiles found in his studio.

Gideon Appah: Beneath Night and Day 510 West 25th Street, New York, NY 10001 January 16–February 28, 2026 Photography courtesy Pace Gallery

The slippage of time across the Swimmers and Surfers canvases as they move from day to night, dusk to dawn, enhances their dream-like mood. In these works, Appah pursues a wider exploration of color to capture different times of day and conditions of light, applying a range of blues before layering on a more expansive palette with touches of purple, yellow, orange, and highlights of white. The overall effect is complex and textured, with brighter hues toned down by the underlying blues to create a muted atmosphere. Through this process, Appah starts with the shadow of the subject—its outline and memory—before allowing it to fully emerge.

Appah, Gideon Portrait of a Young Boy, 2025 PAINTING oil on canvas 120 cm × 60 cm (47-1/4" × 23-5/8") © Gideon Appah, courtesy Pace Gallery

Appah first visited Busua Beach in 2022 and has returned several times since. In early 2025, he created the short film Beyond the Shadows, which will also feature in the exhibition at Pace. Directed by Chris Baiden with a voiceover poem written and performed by Poetra Asantewa, the film explores the lifestyle of the surfers and swimmers in the area, capturing images of men and women in the ocean or looking out from the shore. Many subjects in Appah’s paintings can be traced back to the real people in this film and in reference photographs, with recognizable faces often repeating across works. Their enigmatic expressions invite viewers to experience the languid fluidity of their surroundings. In addition to his time at Busua Beach and Kokrobite, Appah references found materials like posters, prints, and photographs to create scenes that exist outside of a single time or place. Drawing on images from African popular culture—including post-colonial Ghanaian cinema and historical newspaper clippings—and transforming them with his striking use of depth, color, and line, Appah paints a world that is at once familiar and new. A selection of his reference photographs will be included in the presentation at Pace.

Gideon Appah: Beneath Night and Day 510 West 25th Street, New York, NY 10001 January 16–February 28, 2026 Photography courtesy Pace Gallery

Appah’s work was recently included in the group show Corps et âmes at the Bourse de Commerce in Paris, which ran from May through August 2025. He will also participate in the forthcoming exhibition Ibrahim Mahama: The Harvest Season at the Fondation Cartier pour l’art contemporain in Paris in fall 2026 alongside Dorothy Akpene Amenuke, James Barnor, le Cercle d’art des travailleurs des plantations congolaises (CATPC), Courage Dzidula Kpodo with Postbox Ghana, Zohra Opoku, Tjaša Rener, and Feda Wardak. Each artist in The Harvest Season was invited by Ghanaian artist Ibrahim Mahama, who studied at the Kwame Nkrumah University of Science and Technology (KNUST) in Ghana at the same time as Appah.

Gideon Appah (b. 1987, Accra, Ghana) creates dreamlike worlds through a fauvist lens, examining personal and homeland histories such as Ghanaian post-colonial cinema, leisure culture, and nightlife, using source material including newspaper clippings from the 1950s through the ’80s, found and collaged posters, prints, photographs, and film stills. Appah received his BFA at The Kwame Nkrumah University of Science and Technology in Kumasi, Ghana, in 2012. After graduating, Appah held his first solo exhibition at the Goethe-Institut Ghana, Accra, in 2013. Other important exhibitions of his work include End of Year Exhibition, KNUST Museum, Kumasi, Ghana (2012); Clay Objects (Past and Present Aesthetics), Nubuke Foundation, Accra, Ghana (2013); Orderly Disorderly, Museum of Science and Technology, Accra, Ghana (2017); Blue Boys Blues, Mitchell-Innes & Nash, New York (2020); Gideon Appah: Forgotten, Nudes, Landscapes, Institute for Contemporary Art at Virginia Commonwealth University, Richmond (2022); and Gideon Appah: Beyond the Shadow, Gallery 1957, Paris (2025). In 2015, he was chosen as one of the top ten finalists for the Kuenyehia Art Prize for Contemporary Ghanaian Arts. That same year, he became the first international artist to win the 1st Merit Prize Award at the Barclays L’Atelier Art Competition, which was held in Johannesburg, South Africa. His work is held in public collections worldwide, including Absa Money Museum, Johannesburg, South Africa; Amorepacific Museum of Art, Seoul; Kistefos Museum, Jevnaker, Norway; Musée d'Art Contemporain Africain Al Maaden, Marrakesh, Morocco; and Royal Ontario Museum, Toronto.

Pace is a leading international art gallery representing some of the most influential artists and estates of the 20th and 21st centuries, founded by Arne Glimcher in 1960. Holding decades-long relationships with Alexander Calder, Jean Dubuffet, Agnes Martin, Louise Nevelson, and Mark Rothko, Pace has a unique history that can be traced to its early support of artists central to the Abstract Expressionist and Light and Space movements. Now in its seventh decade, the gallery continues to nurture its longstanding relationships with its legacy artists and estates while also making an investment in the careers of contemporary artists, including Torkwase Dyson, Loie Hollowell, Robert Nava, Adam Pendleton, and Marina Perez Simão.

Under the current leadership of CEO Marc Glimcher and President Samanthe Rubell, Pace has established itself as a collaborative force in the art world, partnering with other galleries and nonprofit organizations around the world in recent years. The gallery advances its mission to support its artists and share their visionary work with audiences and collectors around the world through a robust global program anchored by its exhibitions of both 20th century and contemporary art and scholarly projects from its imprint Pace Publishing, which produces books introducing new voices to the art historical canon. This artist-first ethos also extends to public installations, philanthropic events, performances, and other interdisciplinary programming presented by Pace.

Today, Pace has nine locations worldwide, including two galleries in New York—its eight-story headquarters at 540 West 25th Street and an adjacent 8,000-square-foot exhibition space at 510 West 25th Street. The gallery’s history in the New York art world dates to 1963, when it opened its first space in the city on East 57th Street. A champion of Light and Space artists, Pace has also been active in California for some 60 years, opening its West Coast flagship in Los Angeles in 2022. It maintains European footholds in London, Geneva, and Berlin, where it established an office in 2023 and a gallery space in 2025. Pace was one of the first international galleries to have a major presence in Asia, where it has been active since 2008, the year it first opened in Beijing’s vibrant 798 Art District. It now operates a gallery in Seoul and opened its first gallery in Japan in Tokyo’s Azabudai Hills development in 2024.

For more information about this exhibition and others, please visit the Pace Gallery’s website here. Pace Gallery can be found on Instagram and Artsy, too.

Su-Mei Tse. This is (not) a love song

Su-Mei Tse: This is (not) a love song, installation view, Peter Blum Gallery (November 21, 2025 – January 24, 2026)

Peter Blum Gallery is pleased to present This is (not) a love song, an exhibition of new and recent works by Berlin and Luxembourg-based artist, Su-Mei Tse. This marks the artist’s sixth solo exhibition with the gallery. The exhibition is on view from November 21, 2025 with an opening reception on November 21 from 6–8pm, and will run through January 24, 2026 at 176 Grand Street, New York, NY. Su-Mei Tse is a multidisciplinary visual artist whose practice lyrically translates fleeting moments of existence, memory, and feeling into evocative works spanning photography, sculpture, and installation.

Initially trained as a classical cellist, Tse's unique background deeply informs her practice, making the perception of visual elements central to a process that is not solely seen, but felt. Her work contemplates life questions by reflecting on notions of time and rhythm, capturing impressions from everyday existence—be it a passing thought, a transitory state, or a sensory experience.

Su-Mei Tse, The End of the World, 2025, Color photograph mounted on Dibond, text on paper, both framed, 47 3/8 x 92 3/4 inches (120.3 x 235.6 cm), overall Edition of 5. Courtesy the artist and Peter Blum Gallery, New York.

In Tse’s exhibition This is (not) a love song, she continues her meditative exploration of fundamental existence while turning towards themes of origins and cyclic occurrences. She grounds the exhibition in classical thought and East Asian aesthetics alongside the primal elements of soil, wood, water, and air. In the photograph and wall text work The End of the World (2025), which captures a picturesque seascape, a viewpoint from the southernmost tip of the Greek Peloponnese hides the mythological Cave of Hades and entrance to the underworld. By depicting the horizon while turning one’s back to the entrance, Tse conceptually shifts the perspective, transforming the legendary end into a poetic opening into the distance—a deep breath into one's own stillness.

The installation Meltemi (North Wind) (2025) conjures the timeless Aegean north wind through a lightly billowing curtain, yet brings an immediate sensation of nowness that permeates the space. These gestures along with the cyclical motif in the text-based and sculptural work, God sleeps in stone (2025), which utilizes a text attributed to medieval Sufi philosophy, embodies the repeated spirit of coming and going, beginning and end, birth and death. They relate a continuous spiritual development of conscious awareness.

The exhibition's examination of origins is further represented in the sculptural installation In the (very) beginning (2025). It features a delicate pile of porcelain eggshells on a wooden shelf, with metal prints of a geologic nature as the background, creating a mise en scène of one possible genesis.

Su-Mei Tse: This is (not) a love song, installation view, Peter Blum Gallery (November 21, 2025 – January 24, 2026)

The recurring form of the sphere—a motif of cyclic essence—is also central in works created in the spirit of Japanese dorodango. These are traditional sculptural handmade balls typically of compacted soil, which in Tse’s work Dorodango (big) (2025) incorporates a wooden root and connects the work to the grounding idea of origins.

In addition to the Classical World, Japan has also been an ongoing source of inspiration and a kind of artistic home or feeling of familiarity for Tse to express her concerns. This is exemplified in the delicate brass work series Sealed (2024), referencing delicate and respectful wrapping, and the photograph Japanese Garden (Kanazawa) (2025).

On the other hand, the distant and unknown is also explored in the Far Side of the Moon (2022). The photo-based collaged work of the unseen moon’s surface is treated like a charcoal drawing while marrying high-resolution detail with a painterly touch and a deep black void.

Su-Mei Tse: This is (not) a love song, installation view, Peter Blum Gallery (November 21, 2025 – January 24, 2026)

Tse's original training in classical music remains a vital current in the exhibition. She translates natural phenomena into her personal language using found moments to create visual scores. The photographic works Bird Song (2025) as well as Love Song (2025) are implementations of this practice, whether they are birds on a telephone wire at night, or a heart-like plant where vertical lines and shadows become a twisted musical score. Musical notes seem to emerge and are captured in the everyday.

The exhibition concludes with a utopian wish in the work Daydreams (2024). Using the album cover of Sonic Youth’s Daydream Nation—which features Gerhard Richter's iconic painting Kerze—she doubles the image with an actual lit, endless flame. Tse expresses a desire for a new togetherness and "One Nation of Daydreamers," a call for peace and a universally shared, hopeful humanity.

Su-Mei Tse (b. 1973, Luxembourg) lives and works in Berlin and Luxembourg. She earned her MFA from Ecole Nationale Superieure des Beaux-Arts, Paris (2000). Solo institutional exhibitions include: Taipei Fine Arts Museum (2019); Hayward Gallery, London (2018); Yuz Museum, Shanghai (2018); Portland Museum of Art, OR (2018); Aargauer Kunsthaus, Switzerland (2018); MUDAM, Luxembourg (2017); Académie de France à Rome, Villa Médicis, Rome (2014); Fundació Joan Miró, Barcelona (2011); Isabella Stewart Gardner Museum, Boston (2009); Seattle Art Museum (2008); MIT List Visual Arts Center, Boston (2007); MOCA, Taipei (2007); and MoMA PS1, New York (2006) among others. She participated in Beijing International Art Biennale (2022); Setouchi Triennale, Kagawa, Japan (ongoing); Biennale of Sydney (2018); and São Paulo Biennial (2004) among others. She was awarded the Fondation Prince Pierre de Monaco Prix (2009); Edward Steichen Award (2005); and Venice Biennale Golden Lion for Best National Participation (2003) among others.

The exhibition has been on view since November 21, 2025. There was an opening reception on November 21 from 6–8pm, and the exhibition will run through January 24, 2026, at 176 Grand Street, New York, NY. For more information about Su-Mei Tse’s exhibition and others at the Peter Blum Gallery, please visit the Gallery’s site here. The magazine also did a review on the show which can be found here.

ABDOULAYE KONATÉ The fabric of reality

For his first exhibition at Templon in Paris, Malian artist Abdoulaye Konaté, a leading figure of the contemporary African art scene, unveils a new ensemble of ten monumental, entirely hand-sewn works. Widely regarded as a “master,” Konaté continues his exploration of the major issues of our time - from religious fanaticism to social justice - through a sumptuous and enigmatic visual alphabet of forms and colors.

Created from Cameroonian fabrics and bazin offcuts - an iconic fabric of traditional West African attire - his compositions are distinguished by the organic arrangement of dyed, cut, and sewn strips that generate vibrant, shimmering surfaces. The result of extensive research and documentation, these works draw from multiple traditions: Malian craftsmanship, Tibetan art Tunisian ceramics, Berber textiles etc.

The creative process is both precise and exacting: initial sketches, first traced in marker and then refined digitally, are translated on a large scale with the help of assistants and sewing-machines, before the final work takes shape directly on the floor of the studio.

The compositions unfold in subtle gradations and infinite nuances - ranging from blue to green, yellow to red - that recall the blazing atmospheres of William Turner, the abstractions of František Kupka and Paul Klee, and the vast chromatic expanses of Mark Rothko’s Colorfield painting.

Although Konaté prefers to define himself as a humanist rather than a political artist, his textile tableaux, imbued with rare poetic intensity, confront the great tragedies of our time and the fractures born of globalization. By weaving together Western prosperity and African spirituality, his work outlines the fabric of a necessary reconciliation, carried by the beauty and power of color.

Biography

Born in 1953 in Diré, Mali, Abdoulaye Konaté lives and works in Bamako. A visual artist, he is a central figure in both the Malian and broader African art scene. After graduating from the Institut National des Arts in Bamako in 1976, he continued his studies at the Instituto Superior de Artes Plásticas in Havana, Cuba, from 1978 to 1985. From 1985 to 1997, he served as Head of the Exhibitions Division at the National Museum of Mali, before successively directing the Palais de la Culture, the Rencontres Photographiques de Bamako (1998–2002), and later the Conservatoire des Arts et Métiers Multimédia “Balla Fasseké Kouyaté.”

His work has been the subject of numerous solo exhibitions, including at the Musée de l’IFAN in Senegal (1992), the National Museum of Mali in Bamako (1992), Forum für Kunst in Germany (2009), the National Gallery of Art in Dakar (2011), the Fondation Festival sur le Niger in Mali (2012), the Arken Museum of Modern Art in Copenhagen (2016), the Fondation CDG in Rabat (2017), Zeitz MOCAA in Cape Town (2020), and the Espace Dominique Bagouet in Montpellier (2021).

He has also taken part in numerous group exhibitions, including at the Palais des Beaux-Arts in Brussels (2003), Documenta in Kassel (2007 and 2022), the Gwangju Biennale (2008), the Havana Biennale (2009), the Institut du Monde Arabe in Paris (2011), the Stedelijk Museum in the Netherlands (2012), the Musée d’Art Moderne de Paris (2013), the Smithsonian Institution in Washington (2013), the Norrköping Konstmuseum in Sweden (2015), the Dakar Biennale of Contemporary Art (2016), La Villette in Paris (2017), and the Venice Biennale (2017).

His works are included in numerous public collections, such as the Metropolitan Museum of Art (USA), the Smithsonian Museum (USA), the Stedelijk Museum (Netherlands), and Dak’Art – the Biennale of Contemporary African Art (Senegal).

For more information about Abdoulaye’s artwork and his exhibition, please visit Templon’s site. The gallery can also be found on Instagram, artnet, Facebook, YouTube, and Artsy. The exhibition opened on November 15, from 5 pm to 8 pm, and closed on December 31, 20265

HERVÉ DI ROSA Idolâtries

HERVÉ DI ROSA L'ÉTÉ DES IDOLES, 2025 Acrylique sur toile | Acrylic on canvas 110 × 205 cm — 43 1/4 × 80 3/4 in Courtoisie de l'artiste et Templon, Paris – Bruxelles - New York | Courtesy of the artist and Templon, Paris – Brussels - New York Photo © Artist’s studio,HERVÉ DI ROSA IDOLES D'HIVER, 2025 Acrylique sur toile | Acrylic on canvas 107 × 205 cm — 42 1/4 × 80 3/4 in Courtoisie de l'artiste et Templon, Paris – Bruxelles - New York | Courtesy of the artist and Templon, Paris – Brussels - New York Photo © Artist’s studio

For the very first time in Belgium, Galerie Templon is proud to present Hervé Di Rosa in its Brussels space with the exhibition Idolâtries. This second chapter of a cycle initiated in Paris with Idoles et trésors confirms the vitality of an oeuvre which, for more than forty-five years, has sought to dismantle disciplinary boundaries and to reconcile popular culture with the legacy of art history.

A central figure of the French artistic movement Figuration Libre, Di Rosa invents worlds where the grotesque contests the marvellous, where comic strips cross paths with the shadow of Brueghel, where African sculpture enters into dialogue with the Flemish Renaissance. In Brussels, he irreverently revisits Brueghel’s monumental cycle of the seasons: snowy landscapes, fairy-like ruins, and chimerical architectures become the stage for an unbridled mythology, saturated with colour and populated by jubilant, often trivial figures.

HERVÉ DI ROSA L'AUTOMNE DES IDOLES, 2025 Acrylique sur toile | Acrylic on canvas 110 × 210 cm — 43 1/4 × 82 3/4 in Courtoisie de l'artiste et Templon, Paris – Bruxelles - New York | Courtesy of the artist and Templon, Paris – Brussels - New York Photo © Artist’s studio

The exhibition extends beyond painting: ceramic sculptures created in Cameroon and Portugal are presented alongside vast canvases, abolishing any hierarchy between image and object, fine arts and so-called minor arts. In this deliberate polymorphism, Di Rosa scrambles the maps of artistic orthodoxy and reaffirms the legitimacy of all forms of expression.

A great traveller and keen observer, he summons memories of Mexico and Cameroon as readily as the visions of Piranesi or Hubert Robert to weave a fractured narrative, stripped of moral constraints. At the hour of the “twilight of the idols,” the artist from Sète seeks “to reconnect with grand painting” and to assert himself anew as a reinvented master of landscape.

HERVÉ DI ROSA LE CHÂTEAU DÉCOMPOSÉ, 2025 Acrylique sur toile | Acrylic on canvas 210 × 110 cm — 82 3/4 × 43 1/4 in Courtoisie de l'artiste et Templon, Paris – Bruxelles - New York | Courtesy of the artist and Templon, Paris – Brussels - New York Photo © Artist’s studio, HERVÉ DI ROSA IDOLES AU PRINTEMPS, 2025 Acrylique sur toile | Acrylic on canvas 111 × 206 cm — 43 3/4 × 81 in Courtoisie de l'artiste et Templon, Paris – Bruxelles - New York | Courtesy of the artist and Templon, Paris – Brussels - New York Photo © Artist’s studio

Biography

Born in 1959 in Sète, Hervé Di Rosa lives and works between Lisbon, Paris, and his native city. Trained at the École Nationale Supérieure des Arts Décoratifs, he began exhibiting in France and internationally at the age of twenty. In 1981, he co-founded the movement Figuration Libre alongside Robert Combas, Rémi Blanchard, and François Boisrond, asserting from the outset the influence of marginalized forms of expression worldwide. His oeuvre, presented in more than 200 solo exhibitions, features in major public and private collections across Europe, the Americas, and Asia.

The inventor of the notion of Modest Art, Di Rosa founded in 2000 the MIAM (Musée international des arts modestes) in Sète, now a reference in the field of contemporary art. In 2022, he was elected a member of the Académie des Beaux-Arts. Among his recent major exhibitions are La Maison Rouge in Paris (2016), La Piscine – Musée d’art et d’industrie André-Diligent in Roubaix (2018), the Musée de Valence (2022), the Centre Pompidou (2024), and the MUCEM in Marseille (2025).

For more information about Hervé ’s artwork and his exhibition, please visit Templon’s site. The gallery can also be found on Instagram, artnet, Facebook, YouTube, and Artsy. The exhibition opened on November 6, from 5 pm to 8 pm, and closed on January 10, 2026.

VIKTOR&ROLF.FASHION STATEMENTS

Installation view, “Viktor&Rolf. Fashion Statements” Oct.10,2025-Feb.8, 2026. Courtesy of High Art Museum

For more than three decades, Dutch fashion artists Viktor Horsting and Rolf Snoeren have explored the boundaries between haute couture and art with breathtaking virtuosity. The self-confessed fashion world outsiders have garnered critical acclaim for their unconventional designs that reveal technical prowess and a deep knowledge of fashion and history, and their creations have been embraced by artists including Cardi B, Lady Gaga, Madonna and Tilda Swinton.

Mario Sorrenti Naomi Campbell, V Magazine, 200890 x 120 cm ( 35 x 47inches) .Photographer Mario Sorrenti

Beginning in October, the High Museum of Art is the exclusive U.S. venue to present “Viktor&Rolf. Fashion Statements” (Oct. 10, 2025-Feb. 8, 2026), the first major retrospective of their work, organized by curator Thierry-Maxime Loriot and the Kunsthalle Munich in Germany, where it debuted in February 2024.

Mario Testino Julia Roberts, New York, Vanity Fair, 1999, Digitally produced c-type print Framed/Mounted: 135.8 cm x 165.8 cm (53 1/2 x 65 1/4 inches)

“Just like other important fashion exhibitions presented at the High, ‘Fashion Statements, ’featuring the stunning work of Viktor&Rolf, demonstrates how wearable art is among the most provocative and inventive forms of contemporary design,” said the High’s Director Rand Suffolk. “We’re fortunate to be the first museum in the United States to present this exhibition, which we know will be incredibly engaging and a one-of-a-kind experience for our audiences.” The exhibition will feature more than 100 of Viktor&Rolf’s most daring and avant-garde works, designed for the runway and beyond, that reflect the duo’s passions, obsessions and singular vision. The presentation is divided into eight chapters, each of which focuses on a theme or project cherished by the designers: “Fashion Artists,” “Russian Dolls,” “Fashion Statements,” “The Dolls,” “Zen Garden,” “Performing Fashion,” “Viktor&Rolf on Stage” and “Upcycling Couture.

Installation view, “Viktor&Rolf. Fashion Statements” Oct.10,2025-Feb.8, 2026. Courtesy of High Art Museum

” Included are garments from more than 30 of their collections as well as selections of their 'works-in-progress dolls,' inspired by antique porcelain dolls and dressed in miniature versions of the designers’ handmade creations. The works are accompanied by elaborate animated projections designed for the exhibition by the internationally acclaimed visual effects studio Rodeo FX, famous for their works on series including “Stranger Things” and “Game of Thrones” and movies such as “Blade Runner 2049.”

AB+DM Anyiel Piok Majok, Paris, 2025Pigmented inkjet printImage/Sight: 24 x 26 inches (61 cm x 66 cm)Commissioned by the High Museum of Art, Gift of Lauren Amos

“The singular and enchanted vision of Viktor&Rolf’s work offers a unique dialogue between art and fashion,” said exhibition curator Loriot. “For the first time in the United States, visitors will discover a unique contemporary installation featuring three decades of their avant-garde approach to haute couture, their exquisite and inventive craftmanship and countless unexpected inspiration.”

AB+DM Yuliya Bezryadina and Lilit Aine, Paris, 2025Pigmented inkjet printImage/Sight: 47 x 31 3/8 inches (119.4 cm x79.6 cm)Commissioned by the High Museum of Art, Gift of Lauren Amos

“At the Kunsthalle Munich, ‘Viktor&Rolf. Fashion Statements’ has met with a resounding success among audiences and critics alike,” said Kunsthalle Munich Director Roger Diederen. “People revelled at the opportunity to study the amazing garments up close. I’m therefore very pleased that the visitors of the High Museum of Art will now also be able to discover the duo’s creative genius.”

Installation view, “Viktor&Rolf. Fashion Statements” Oct.10,2025-Feb.8, 2026. Courtesy of High Art Museum

About Viktor&Rolf/Collections & Projects

Going beyond the pure questions of style or the look of the season, Viktor&Rolf’s work has always focused on fashion but also expressed their contradictory identities, which contrast romance and power, exuberance and control, and classicism and rebellion. Their collections often begin with an abstract idea, and from there, each step of the conceptual and technical development considers the final presentation — the fashion show. Rather than straightforward catwalk presentations, their shows tend to be true performances in which they act as storytellers, directors and often participants.

Early in their careers, they worked with vintage fabrics used by Cristóbal Balenciaga and Yves Saint Laurent, and later, they referenced not only their formal collections but also their signature motifs, such as bows and ruffles, embroideries and voluminous silhouettes to create unorthodox haute couture with patchworks, braids or woven techniques. Viktor&Rolf are also renowned for juxtaposing seemingly unrelated elements. Their haute couture collection “Fashion Statements” (Spring/Summer 2019) featured short slogans typically used in social media that were elaborately shaped on dresses built from layers of laser-cut tulle. Works from that collection are featured prominently in the exhibition, along with other garments that showcase the visual elements for which they are celebrated.

Their affection for the abstract has resulted in inspiring collaborations beyond the fashion world as well. For example, in 2004, director Robert Wilson approached the designers to create costumes for his dance production “2Lips and Dancers and Space,” presented with the Nederlands Dans Theater, and for his 2009 production of Carl Maria von Weber’s opera “Der Freischütz” (“The Marksman”) at the Festspielhaus Baden-Baden. Blurring boundaries between artistic disciplines is also a recurrent theme in Viktor&Rolf’s collections. In “Wearable Art” (Autumn/Winter 2016) and “Performance of Sculptures” (Spring/Summer 2016), they created dialogs between garment and painting or garment and sculpture to question the relationship between wearer and clothing. Their designs function as autonomous pieces, independent from the wearer. The exhibition includes exquisite examples from those collections and designs from their dance and theatrical productions.

“We are thrilled that after Munich our work will be presented for the first time in the United States at Atlanta's High Museum, an institution that always showcases groundbreaking artists and innovators,” said Viktor&Rolf. “We have always felt strongly about the way museum shows complement our seasonal catwalk presentations. Exhibitions are more democratic than the runway: they allow more visitors, and they last longer. They can show that certain themes recur over the years and put a spotlight onto the sublime craftmanship that goes into the creation of our pieces. We are looking forward to sharing more than three decades of our work with the American public this fall.”

Exhibition Catalogue

A comprehensive and richly illustrated publication accompanies the exhibition with introductory essays and an interview with Viktor&Rolf that provides an in-depth look at their work and inspirations.

Related Programming

There was a related program entitled  Viktor & Rolf: Fashion World Outsiders?  Which was held on Thursday, Oct. 9  from  to -8:15 p.m. at the High Museum of Art along with an engaging conversation with avant garde Dutch fashion designers Viktor Horsting and Rolf Snoeren in celebration of “Viktor&Rolf.Fashion Statements. ” Exhibition curator Thierry-Maxime Loriot will join the designers was held to discuss their work as fashion artists, exploring the boundaries between haute couture and art.

About the Speakers:

Viktor Horsting and Rolf Snoeren

Beyond questions of style or seasonal look, Viktor&Rolf’s collections often begin with an abstract idea. The self-confessed fashion world outsiders have garnered critical acclaim for unconventional designs that reveal technical prowess and a deep knowledge of fashion and history. Their creations have been embraced by artists and creatives including Cardi B, Lady Gaga, Madonna and Tilda Swinton.

Thierry-Maxime Loriot

Thierry-Maxime Loriot is the curator of Viktor&Rolf.Fashion Statements, which originated at the Kunsthalle München before coming to the High Museum of Art. After working more than ten years in the fashion industry between New York, Milan, London, and Paris, with leading photographers, brands, and magazines, Loriot curated the various renditions of the globally successful touring exhibition The Fashion World of Jean Paul Gaultier: From the Sidewalk to the Catwalk. The retrospective travelled to twelve cities and drew more than 2.1 million visitors, making it the most-visited fashion exhibition to this day.

Exhibition Organization and Support

“Viktor&Rolf. Fashion Statements” is organized by Kunsthalle Munich and curated by Thierry- Maxime Loriot in collaboration with Maison Viktor&Rolf. Lead support is provided by Lauren Amos Fashion Project. This exhibition is made possible by Premier Exhibition Series Sponsor Delta Air Lines, Inc.; Major Exhibition Series Supporters Sarah and Jim Kennedy; Premier Exhibition Series Supporters Harry Norman Realtors; Benefactor Exhibition Series Supporters Robin and Hilton Howell; Ambassador Exhibition Series Supporter Mrs. Harriet H. Warren; and Contributing Exhibition Series Supporters Farideh and Al Azadi, Mary and Neil Johnson, Mr. and Mrs. Baxter Jones, Megan and Garrett Langley, Margot and Danny McCaul, and Wade A. Rakes II and Nicholas Miller. Generous support is also provided by Alfred and Adele Davis Exhibition Endowment Fund, Anne Cox Chambers Exhibition Fund, Barbara Stewart Exhibition Fund, Dorothy Smith Hopkins Exhibition Endowment Fund, Eleanor McDonald Storza Exhibition Endowment Fund, The Fay and Barrett Howell Exhibition Fund, Forward Arts Foundation Exhibition Endowment Fund, Helen S. Lanier Endowment Fund, John H. and Wilhelmina D. Harland Exhibition Endowment Fund, Katherine Murphy Riley Special Exhibition Endowment Fund, Margaretta Taylor Exhibition Fund, RJR Nabisco Exhibition Endowment Fund and USI Insurance Services.

About the High Museum of Art

Located in the heart of Atlanta, the High Museum of Art connects with audiences from across the Southeast and around the world through its distinguished collection, dynamic schedule of special exhibitions and engaging community-focused programs. Housed within facilities designed by Pritzker Prize-winning architects Richard Meier and Renzo Piano, the High features a collection of more than 20,000 works of art, including an extensive anthology of 19th- and 20th-century American fine and decorative arts; major holdings of photography and folk and self-taught work, especially that of artists from the American South; burgeoning collections of modern and contemporary art, including paintings, sculpture, new media and design; a growing collection of African art, with work dating from prehistory through the present; and significant holdings of European paintings and works on paper. The High is dedicated to reflecting the diversity of its communities and offering a variety of exhibitions and educational programs that engage visitors with the world of art, the lives of artists and the creative process.

“Viktor&Rolf. Fashion Statements” is presented in the Cousins Family Special Exhibition Galleries on the Second Level of the High’s Wieland Pavilion. The exhibition opened on the tenth of October and will close on Feb.8, 2026.

For more information about the High Art Museum, including this exhibition and others, please visit their site here. The Museum can also be found on Facebook, Instagram, TikTok, Medium, and YouTube. The magazine did an interview with the curator Thierry-Maxime Loriot, which can be found here

Lee Lozano. Hard Handshake

Lee Lozano No title 1962 Graphite on paper 10.2 x 15.2 cm / 4 x 6 in © The Estate of Lee Lozano Courtesy Hauser & Wirth Photo: Barbora Gerny

Los Angeles... As the first major exhibition in Los Angeles dedicated to Lee Lozano, ‘Hard Handshake’ brings together over one hundred drawings by the artist, spanning the years 1959 to 1968. Lozano made these provocative drawings at a remarkably fast pace, using a variety of artistic styles. Informed by the artist’s unsparing eye and wry humor, they dissect such societal norms as gender roles and property ownership while challenging the commodification of art and, ultimately, all conventional aspects of life. Shown together, Lozano’s drawings embody her unbridled energy and social consciousness, radical for their time, and continue to provoke questions today. Although rarely exhibited during her lifetime, this body of work is instrumental to understanding the singular trajectory of Lozano’s practice.

Lee Lozano No title 1959 Charcoal on paper 63.5 x 48 cm / 25 x 18 7/8 in © The Estate of Lee Lozano Courtesy Hauser & Wirth Photo: Stefan Altenburger Photography Zürich

The selection on view begins with the artist’s 1959 fervent self-portraits and macabre anatomical studies of male torsos and grinning skulls. These early works, which coincided with her time as a student at the Art Institute of Chicago, exude an eeriness and irreverence that prefigure the work Lozano would make after arriving in New York at the end of 1960. Moving to a downtown Manhattan loft catalyzed a personal creative evolution that first materialized in a series of studio drawings, executed in rapid succession, centered around blunt, grotesque portrayals of the human body. Fragmented body parts—distorted heads, wide-open grins, phallic noses, genitalia—appear within claustrophobic compositions featuring anthropomorphized objects such as drains, traffic lights and fuse boxes. Combining elements of expressionism, surrealism and pop, Lozano quickly developed a striking personal iconography in a deep exploration and ultimate subversion of conventional notions of power and progress.

Lozano’s works during this time frequently incorporated text as well—tongue-in-cheek slogans drawn from advertising and popular culture, forcefully rendered in black letters across images of body parts, religious symbols, pipes and other libidinally charged objects. In these works, text and image form a complex network of associations that mine social, sexual, and political mores. In the years 1962 to 1963, Lozano’s lexicon expanded to include anthropomorphic airplanes and tools. Airplanes, in particular, began whizzing around her compositions with heightened symbolic force, serving both as representations of masculine intrusions into feminine space and as metaphors for the raw, uninhibited energy essential to creative activity.

Lee Lozano No title 1962-1963 Graphite and crayon on paper 36 x 51.8 cm / 14 1/8 x 20 3/8 in © The Estate of Lee Lozano Courtesy Hauser & Wirth Photo: Barbora Gerny

Around 1964, Lozano abandoned humorous textual interplay and ribald imagery in favor of unadorned depictions of tools. Various hardware associated with male power and productivity—screwdrivers, bolts, wrenches, clamps, hammers—became grounds for both formal and symbolic exploration. Emphasizing the sexual undertones these objects possess, Lozano’s tool drawings highlight the inherent violence of desire and the erotic tension endemic to a union of the mechanical and the organic.

By 1965, Lozano’s work had become more minimalist and geometric, increasingly focused on how to represent energy as form. Her notebooks from this period document a strong interest in various energy phenomena and the fields of quantum mechanics and cosmology. In preliminary sketches for a series of large-scale canvases, cones and cylinders delineated within a singular rectangular frame act as agents of speed, suggesting accelerated movement. Although sleeker and absent of the caricature-like quality of many of her earlier drawings, these works are charged with a similar undercurrent of motion and creative force. Lozano’s exploration of energy marked the final chapter of her artistic pursuits, culminating in her iconic ‘Wave Paintings,’ a powerful testament to her rare vision, intellect and intensity.

Installation view, ‘Lee Lozano. Hard Handshake,’Hauser & Wirth Downtown Los Angeles 30 October 2025–18 January 2026 © The Estate of Lee Lozano Courtesy Hauser & Wirth Photo: Keith Lubow

About the artist

Lee Lozano (1930 – 1999) is one of the most innovative artists to have worked in America during the 1960s. Throughout her oeuvre, which spans a little more than a decade, she produced ground-breaking work in a progression of styles, from the figurative and cartoonish pop-expressionism of her early paintings and drawings, through serial minimalism, to her Language Pieces, which led to a conceptual practice that she continued for the rest of her life.

After graduating from the Art Institute of Chicago and settling in downtown New York in 1960, Lozano quickly entered circles of like-minded artists and actively contributed to the developing art scene at the time. She began showing her work at influential New York institutions such as Richard Bellamy’s Green Gallery, the Bianchini Gallery, the Whitney Museum of American Art and Gallery Ricke in Cologne, Germany. In February 1969 she commenced her ‘General Strike Piece,’ in which she withdrew from the art world ‘to pursue investigations of total personal and public revolution.’ This was followed by one further act of withdrawal, the decision to boycott all relations with other women. What began as a short-term experiment to improve communication with women resulted in a rejection of all members of her own gender—and, by the same token, of early forms of feminism—that lasted for the remainder of her life. However, the uncompromising and vigorous richness of Lozano’s creative output continues to have a profound impact on generations of contemporary artists, firmly placing her as a cult figure within the historical canon of American Art.

Major exhibitions of Lozano’s work have been held at the Wadsworth Atheneum, Hartford CT (1998); MoMA PS1, New York NY (2004); Kunsthalle Basel, Switzerland (2006); Van Abbemuseum, Eindhoven, Netherlands (2006); Kunsthalle Wien, Vienna, Austria (2006); Moderna Museet, Stockholm, Sweden (2010); Museo Nacional Centro de Arte Reina Sofía, Madrid, Spain (2017); The Fruitmarket Gallery, Edinburgh, Scotland (2018); Kunstforeningen Gl Strand, Copenhagen, Denmark (2022); Bourse de Commerce – Pinault Collection, Paris, France (2023); Pinacoteca Agnelli, Turin, Italy (2023). Lozano’s work was presented at documenta 12 in Kassel, Germany in 2007.

Cover of ‘In the Studio: Lee Lozano’ (2025), Hauser & Wirth Publishers

Hauser & Wirth Publishers

In the Studio: Lee Lozano

English

Clothbound

7.28 x 4.92 in / 18.5 x 12.5 cm; 152 pgs

$21.95 / £18.99 / €20.00

30 September 2025

Text by Lucrezia Calabrò Visconti

The latest installment in Hauser & Wirth Publishers’ ‘In The Studio’ Series focuses on the short but prolific career of Lee Lozano. Her creative output, astonishing in its formal breadth and complexity, ranged from expressionist figurative drawings and paintings to minimalist abstract canvases and, finally, the late conceptual works for which she become well-known. The book features an illuminating text by Lucrezia Calabrò Visconti—co-curator of ‘Lee Lozano: Strike,’ a major survey exhibition that travelled from Turin’s Pinacoteca Agnelli to Paris’s Bourse de Commerce – Pinault Collection—alongside a meticulous exhibition history and a wealth of ephemera and archival material. Capturing the unapologetic confidence that defined the artist’s practice, ‘In the Studio: Lee Lozano’ is an excellent resource for both newcomers and longtime admirers of Lozano’s radical work.

The exhibition opened on 30 October 2025 and will conclude on 18 January 2026 at the Hauser & Wirth Downtown Los Angeles North B Gallery. Please visit the Hauser & Wirth Gallery site for information about this exhibition, current exhibitions, and upcoming exhibitions. Also, follow the gallery on Instagram, Facebook,  X, and YouTube. The magazine also did a feature on Lee’s book, which can be found here.

Madoda Fani: Dumalitshona

Installation View: Madoda Fani Dumalitshona 2025 Photo Credit Hayden Phipps & Southern Guild

Southern Guild is pleased to present Dumalitshona, a solo exhibition of ceramic sculptures by Madoda Fani, opening in Cape Town on 22 November (until 29 January 2026). Fani summons a new anthropomorphic language holding weight and buoyancy in equal measure, a symbiotic invocation of earth and spirit in tribute to his Xhosa lineage. Dumalitshona, meaning “beyond matter”, refers to the isibongo (traditional praise name) the artist was given by the elders in his community in recognition of his achievements. Over the past 10 years, he has established his practice as a sculptural evolution of traditional Nguni pottery, stretching its contours and reimagining the pure expressive form of ceramics beyond functionality.

Installation View: Madoda Fani Dumalitshona 2025 Photo Credit Hayden Phipps & Southern Guild

The works in Dumalitshona oscillate between volume and surface, an interrelation highlighted by the uniform treatment of their dark, unglazed exteriors. Fani hand-builds each form intuitively, foregoing preparatory sketches or working to a predetermined idea. He describes the meditative act of sculpting and carving as the experience of being partly here and partly elsewhere, saying: “Time stills itself. I am entirely at ease. The clay tells me where it wants to go.”

Madoda Fani Inside the Process, 2020. Photo Credit Richard Keppel Smith & Southern Guild

Many of the exhibition’s works have ample round bases that give rise to attenuated necks; several stand on tripod legs planted in the earth; while others taper upwards into sharp hooks. Fani’s silhouettes twist and sway, buoyed by their inherent strength, poised between this world and the next. In their precision and purity, the sculptures offer an illusory viewing experience: at first encounter they appear to have been carved from timber or cast in bronze, revealing their clay origins only on closer inspection.

There is a rhythm that runs through Fani’s work – a quiet pulse that animates each piece. It stirs in the contours of his vessels, in the ripples of each incision that seem to extend beyond the surface of the form’s peripheries. This rhythm belongs to clay itself: an earth-born material bound to cycles of transformation, ever returning to its origin; from soil to form, fire to hand, from completion back into becoming. It is the rhythm of paradox: of surrender and precision, stillness and movement, fullness and void. Within this cadence is the meditation of making, the patient conversation between mind and medium.

Installation View: Madoda Fani Dumalitshona 2025 Photo Credit Hayden Phipps & Southern Guild

Fani’s aesthetic influences are consistent across his oeuvre: the articulation of his forms points to an interest in Samurai armour, H. R. Giger’s alien creatures and insect anatomy. The works in this series assume a supple dynamism, animated by an architectural complexity both organic and mechanical. With its declarative stance and sickle-shaped head, Ntaba zoLundi (meaning “mountain of abundance”) is striking for its skilfully sculpted profile and pronounced figuration.

Installation View: Madoda Fani Dumalitshona 2025 Photo Credit Hayden Phipps & Southern Guild

The work embodies a warrior-like energy – potent and resolute. Dumalitshona marks a culminating point within Fani’s artistic trajectory. The series embodies the discipline required on the path toward mastery, revealing the hand of a maker who listens to his material as deeply as he commands it. Fani’s practice is one born not only of skill, but of surrender; a divine yielding to a lifelong apprenticeship in rhythm, patience, and fire. Dumalitshona by Madoda Fani runs concurrently at Southern Guild Cape Town with iNgqweji, a solo exhibition of ceramic, copper, and glass sculptures by Andile Dyalvane.

The exhibition Dumalitshona opened on 22 November 2025 and will close on 29 January 2026. For more information about this exhibition and others, please visit the Southern Guild Website here; the gallery can also be found on Artsy, Instagram, and Facebook. The magazine also did an interview with Madoda, which can be found here.

Aglaé Bassens: VACANT

Installation View: Algaé Bassens, VACANT, 2025, HESSE FLATOW. Courtesy of the artist and HESSE FLATOW, New York. Photo by Jenny Gorman. 

HESSE FLATOW is pleased to present VACANT, a solo exhibition of new paintings by New York-based artist Aglaé Bassens. Marking her fourth solo exhibition with the gallery, VACANT continues Bassens’ long-standing interest in the emotional charge of ordinary moments and objects, while introducing a significant shift in both her source material and painterly approach.

Aglaé Bassens (b. 1986) Set Aside, 2025 Oil on canvas 14 x 18 inches 35 x 45 cm Courtesy of the artist and HESSE FLATOW, New York. Photo by Jenny Gorman. 

Rooted in the still life tradition, Bassens embraces the genre’s inherent contradiction—its hopeless attempt to fix life, to hold time still. Yet, as she points out, life does not stay still. From this paradox stem themes of impermanence, memory, and mortality. The paintings in VACANT depict sparse, actorless scenes: a deflating balloon, a table set for no one, the interior of an empty car. These are sets from which the subjects have just departed—or perhaps never arrived. By making emptiness the subject, Bassens invites us to consider how meaning often resides not in the narrative, but in the space left behind.

Unlike earlier works that relied on à mix of found and personal digital images, the paintings in VACANT are all derived from Polaroid photographs taken by the artist herself. This is a material and conceptual shift in Bassens’ practice . Each Polaroid captures a moment of presence, a rare pause in the blur of daily life. The soft, milky hues and chemical unpredictability of instant film tie the series together through the color and abstracted quality of the image. The flash often obliterates detail, leaving behind voids of information—gaps that mirror the emotional and narrative ambiguity within the paintings. This lack of specificity allows the viewer to enter the work with their own projections and memories, transforming each image into a mirror of subjective experience.

Installation View: Algaé Bassens, VACANT, 2025, HESSE FLATOW. Courtesy of the artist and HESSE FLATOW, New York. Photo by Jenny Gorman. 

Bassens' painting process echoes the slow emergence of the Polaroid image. Using thin washes of oil paint, she allows the white of the canvas to remain visible, letting each composition materialize gradually. One is first struck by the surface—its quiet, unforced gesture—before the image reveals itself over time, like a memory returning with soft edges and missing details.

Aglaé Bassens (b. 1986) Deflated, 2025 Oil on canvas 51 1/8 x 39 3/8 inches 130 x 100 cm, Courtesy of the artist and HESSE FLATOW, New York. Photo by Jenny Gorman. 

Throughout VACANT, Bassens contemplates the indifference of time to personal milestones and private meanings. Her quiet scenes reject the grand narrative in favor of the fleeting and the mundane. In doing so, they assert the beauty—and the poignancy—of what is most often overlooked. The works ask us to be still, to observe, and to find significance in small things. A shift in light. A pause before movement. A moment that passed without announcement.

Aglaé Bassens (b. 1986) Slide, 2025 Oil on canvas 66 7/8 x 51 1/8 inches 170 x 130 cm, Courtesy of the artist and HESSE FLATOW, New York. Photo by Jenny Gorman. 

As Bassens reflects, “Contemplating mortality can be unsettling, yet there is poetic beauty to the indifference of time to our milestones, achievements, and losses. It helps us find resilience in the commonality of human experience. These are the paradoxes that interest me: that nothing matters and therefore anything matters, that time is both fast and slow, and the seeming impossibility to be present for all of it.”

The exhibition opened on November 14 and will close on December 20, 2025. For more information about this exhibition and others at HESSE FLATOW, please visit their site here and follow the gallery on Instagram. The magazine also interviewed the artist, which is available here.

Andy Woll: New Objectivity

Photo Credit: Roman Koval

Night Gallery is pleased to present New Objectivity, an exhibition of new paintings by Andy Woll. This marks the artist's fourth solo presentation with the gallery. The exhibition opened on November 22, 2025, and will be on view until January 10, 2026.

Here’s just a few great paint slingers: Delacroix, Neel, Auerbach, Van Gogh, Grotjahn, Cecily, Hockney, Henry, Freud, Peyton, Ryman, Hals, Schutz, Schnabs, Lisa Y,  Monet, Manet. And yeah, I’m gonna go there and toss in Woll. Starting in 2016, I lived with a Mt. Wilson painting of Andy’s because I was drawn to the seriousness of the play in the various yellows in the palette and the way the paint was pushed around with a quiet athleticism, an intuitive confidence. It’s that stroke, coupled with a deep understanding of color, that I’ve seen over and over in the paint slingers. It’s never the same way of course, authorship right, but always laid down with a knowing hand. Can be sharp, slashing, hard, can be fluid, lyrical, loose. And everything in between. He had a way to go then, but I saw the beginnings of something there, in the passages, percolating, stewing. It took a decade but what’s now here, before you, is a revelation.

We all have a voice inside that doesn’t make a sound but we listen to, that wonderfully meddlesome root down there that will burrow toward an idea, maybe take hold and guide us to the precipice, point us toward the leap, that place of the new, if you want it. There is no easy way when going there. Change. Process. Shift. Yeah, the mountain stroke is still there: in the corners, in the clothes, behind them. And there’s a few Wilsons hanging. But the artist is mostly melting away from the mountain as a ground to the abstract by bringing in the figure, the music now single notes not just chords. And with this new album of quintessence on the walls, Andy has done something calm and wild: Paintings showing thought.

Andy told me he doesn’t cry much but he said when these paintings leave the studio, he will tear up. I can see why; after so much intimacy with these souls, he’s brought his own tender energy and fallen in love with these people. He didn’t just create these paintings; he’s magically conjured a new kind of presence. You can sense them in their own personal abstraction. No, these are not simply paintings, they are spirits.

Portraits have been painted forfuckingever. But look, everyone up there isn’t just a representation of a person, these depictions are living, breathing, present. Except for the self-portrait, no one is looking at us, these are people contained in consciousness and dreams. They are grounded, lovingly captured in warm oils forever with an uncanniness and curiosity that is extraordinary and wonderful. Profound because they are not just flesh made into paintings but paintings of people alive and rendered in deliberate intense strokes that guide us to feel they are here in their thoughts, reflections, inside.

These are little miracles. And yes, in painting, this is what transcendence looks like.

-Jeff Poe

Installation Views: Courtesy of the artist and Night Gallery, Los Angeles. Photography by Nik Massey.

Please visit Night Gallery's site here for more information about this exhibition and others. The magazine also interviewed the artist, which is available here. The exhibition opened on November 22, 2025, and will be on view until January 10, 2026.

Anj Smith. The Sequin-Strewn Night

From Left to Right: Harlequin 2025 Oil on linen 64.2 x 56 cm / 25 1/4 x 22 in, (Dawn: Everything Drips With Silver Dew) (detail) 2025 Oil on linen 2 parts, each: 225 x 151 cm / 88 3/4 x 59 1/4 in overall: 225 x 302 cm / 88 3/4 x 118 1/2 in, (Dawn: Everything Drips With Silver Dew) 2025 Oil on linen 2 parts, each: 225 x 151 cm / 88 3/4 x 59 1/4 in overall: 225 x 302 cm / 88 3/4 x 118 1/2 in, She’s Reddy 2025 Oil on linen 77.8 x 113.3 cm / 30 5/8 x 44 5/8 in

Los Angeles… For her first solo exhibition in Los Angeles in two decades, British artist Anj Smith presents a new body of painting where precarious psychological states and erotic desire intertwine to disrupt conventional depictions of motherhood and the female nude. Smith’s nuanced portrayals of a female-presenting body challenge the notion of a singular interpretation. Set in the context of toxic, inhospitable ecologies, the work explores the human potential for ingenuity, growth and the ability to thrive against the odds.

Her Side of the Story (detail) 2025 Oil on linen 150 x 300 cm / 59 x 118 1/8 in

Drawing on references from film and literature, Smith’s luminous paintings combine intricate textures, saturated color banks and hallucinatory detail. Within these canvases’ imagined terrains, enigmatic figures and rarefied flora and fauna beckon viewers toward the possibility of transcendence, where resilience persists despite environmental collapse. Dissolving the boundaries between portraiture, landscape and still life, Smith’s paintings demand slow looking, revealing their details gradually and rewarding sustained attention.

Maman 2025 Oil on linen 64.2 x 56 cm / 25 1/4 x 22 in

The exhibition title is taken from a passage in Meret Oppenheim’s poem, ‘In the beginning is the end’ in which the late artist and writer conjured an idiosyncratic tableau of natural and manmade phenomena. For Smith, the poem’s ‘sequin-strewn nightscape’ recalls both star-filled skies and nocturnal revelry—life-affirming splendor that endures even within the most hostile of landscapes. Oppenheim’s refusal of convention—gendered, artistic and historical—finds kinship with Smith’s new canvases, which move from vast desert icescapes split by neon horizons to ambiguous figures cocooned in diaphanous tulle.

Narcissus 2024 Oil on linen 119 x 99 cm / 46 7/8 x 39 in

In the artist’s new Performer series, on view here for the first time, she pays tribute to Los Angeles and its many inhabitants, particularly those who disrupt expectation through both personal and theatrical performance. In three portraits of harlequins, Smith reclaims objects long coded as feminine and thus treated with frivolity. Lipstick, sheer fabrics, dyed and coiffed hair are granted an equivalency in these paintings to the cultural signifiers revered in the still lifes from the Dutch Golden Age. However, meaning refuses to settle in a singular direction. In ‘Narcissus’ (2025), insects, branches and strands of pearls encircle a muscular, back-turned figure, epitomizing Smith’s rejection of ‘coherence as usual’ in her quest to depict fluid multiplicity. Dialogue between the body and its environment continues in Smith’s sweeping new landscapes, inspired by Michelangelo Antonioni’s 1964 film ‘Red Desert,’ the director’s first in color. In it, actress Monica Vitti portrays a disaffected woman struggling to exist in an industrial wasteland. Like the film, Smith’s paintings claim psychological spaciousness amid repressive conditions, revealing how imagination persists at the margins.

Installation view, ‘Anj Smith.The Sequin-Strewn Night,’Hauser & Wirth West Hollywood 29 October 2025–24 January 2026 © Anj Smith Courtesy the artist and Hauser & Wirth Photo:Paul Salveson

About the Artist

Born in 1978 in Kent, UK, Anj Smith studied at Slade School of Fine Art and at Goldsmiths College in London. Smith has exhibited at institutions around the world, including Museo Stefano Bardini, Florence, Italy; The New Art Gallery Walsall, UK; Mostyn, Llandudno, UK; Sara Hildén Art Museum, Tampere, Finland; Bluecoat, Liverpool, UK; Knoxville Museum of Art, Knoxville TN, and La Maison Rouge, Paris, France. Smith’s work is also displayed in the collections of many leading international museums including The Victoria and Albert Museum, London; MOCA The Museum of Contemporary Art, Los Angeles CA; The Roberts Institute of Art, London, and the Sara Hildén Art Museum, Tampere, Finland.

The exhibition opened on 29 October 2025 and will run through 24 January 2026 at Hauser & Wirth West Hollywood. For more information about this title and others with Hauser & Wirth Publishing, please visit their site here. Please visit the Hauser & Wirth Gallery site for information about upcoming exhibitions. Also, follow the gallery on Instagram, Facebook,  X, and YouTube.

Ruby Sky Stiler:Long Pose

Installation view: Ruby Sky Stiler: Long Pose, Alexander Gray Associates, New York, 2025

Alexander Gray Associates, New York presents Ruby Sky Stiler: Long Pose, the artist’s first solo exhibition with the Gallery. The show features new paintings and a large-scale bas-relief mural that encircles the exhibition space. Together, these works expand Stiler’s exploration of art historical archetypes, as she recasts traditions of figuration and the nude through a contemporary lens. The exhibition’s title invokes the academic convention of life drawing from a posed model, highlighting Stiler’s ongoing dialogue with historical forms and techniques.

Stiler’s practice centers on the productive tension between abstraction and representation, and the interplay between flatness and dimensionality. Reworking Cubist fragmentation with classical and vernacular elements, she draws on her background in printmaking to create mosaic-like compositions assembled from hundreds of small, cropped drawings transferred into paint. The paintings on view are primarily rendered in shades of blue, with fractal-like geometries derived from subtle gradations that allow fine details to blend into harmonious compositions. The figures that emerge from these layered tapestries are clear yet precarious, as if on the verge of dissolving into pure form. As the artist explains, “They are almost falling apart into geometry—you take one thing away and they would be just shapes.”

Installation view: Ruby Sky Stiler: Long Pose, Alexander Gray Associates, New York, 2025

This economy of form is evident in the exhibition's titular work Long Pose (2025), a bas-relief mural that unifies Stiler’s paintings within a linear architectural framework. Constructed from wood and painted in a warm earthen hue reminiscent of Pompeiian Red, it reflects Stiler's interest in the shifting nature of historical memory, as this ostensibly ancient color reveals as much about modern restoration as it does about Pompeii’s original palette. Long Pose's ruddy tone and sizeable proportions also recall monumental, weathered steel sculptures by artists like Richard Serra and Mark di Suvero—an imposing aesthetic that Stiler subtly resists. Though substantial in scope, Long Poseleaves the floor space navigable. Visually and materially, it remains light—sculpture, as the artist describes it, “that does not define your path; it does not push you around.” The abstracted, sinuous figures lining the walls are inspired by caryatids, the classical architectural form of female figures bearing structural weight. In Stiler’s hands, these forms move beyond gendered symbolism to become universal emblems of resilience.

Installation view: Ruby Sky Stiler: Long Pose, Alexander Gray Associates, New York, 2025

Stiler's exploration of the politics of representation counts on a wide range of historical references, including Bauhaus architecture, Art Deco ornamentation, and the graphic patterns of Modernist designers such as Anni Albers and Alexander Girard. Alongside these allusions, her paintings incorporate intimate, diary-like drawings—her own spontaneous sketches, her children’s artwork, and imagery from popular children’s books. Drawing on Louise Nevelson’s collage ethos—defined by fragmentation, layering, and recontextualization—Stiler creates hand-assembled compositions that blur the lines between sculpture, collage, and installation.

Installation view: Ruby Sky Stiler: Long Pose, Alexander Gray Associates, New York, 2025

Family and youth are recurrent themes throughout the exhibition. Stiler’s paintings offer expanded portrayals of kinship, depicting female-led social structures, solitary matriarchs, and father-child bonding. The patriarchal foundations of academic drawing and classical ideals of the male body are similarly addressed, while other works respond to these precedents from a distinctly feminist perspective, rejecting idealization in favor of novel ways of imagining the nude. With the exhibition Long Pose, Stiler invites viewers to reconsider familiar visual and cultural conventions—not as fixed symbols, but as evolving forms that bridge time and experience. By merging the personal with the historical, Stiler refines her distinctive visual language, creating a framework, as she notes, “where viewers can find connections and resonances that speak to our shared humanity.”

Stiler has been the subject of multiple solo presentations, including New Patterns, The Frances Young Tang Teaching Museum and Art Gallery at Skidmore College, Saratoga Springs, NY (2022); Group Relief, Fairfield University Art Museum, CT (2020); Fresco, Saint-Gaudens Memorial Park, Cornish, NH (2019); Ghost Versions, The Aldrich Contemporary Art Museum, Ridgefield, CT (2015); and Inherited and Borrowed Types, Portland Institute for Contemporary Art, OR (2010), among others. Her work has been included in numerous group exhibitions including Friends & Lovers, FLAG Art Foundation, New York, NY (2023); No Forms, Hill Art Foundation, New York, NY (2022); Classic Beauty: 21st-Century Artists on Ancient [Greek] Form, Providence College Galleries, RI (2018); The Times, FLAG Art Foundation, NY (2017); We Are What We Hide, Institute of Contemporary Art, Maine College of Art & Design, Portland, ME (2013); and the Socrates Sculpture Park Emerging Artist Fellowship Exhibition, Socrates Sculpture Park, Queens, NY (2010), among others. Her work is in the collections of Fairfield University Art Museum, CT; Farnsworth Art Museum, Rockland, ME; The Frances Young Tang Teaching Museum and Art Gallery at Skidmore College, Saratoga Springs, NY; The Museum of Modern Art, New York, NY; and Rhode Island School of Design Museum, Providence, RI.

Installation view: Ruby Sky Stiler: Long Pose, Alexander Gray Associates, New York, 2025

For more information about this exhibition and others, please visit the gallery’s website here, and the gallery can also be found on Instagram here. The magazine also interviewed the artist, which is available here.

Flora Yukhnovich. Bacchanalia

Installation view, ‘Flora Yukhnovich. Bacchanalia,’ Hauser & Wirth Downtown Los Angeles 30 October 2025 – 18 January 2026 © Flora Yukhnovich Courtesy the artist, Hauser & Wirth and Victoria Miro Photo: Keith Lubow

Los Angeles... Taking inspiration from art historical genres ranging from French rococo and Italian baroque to abstract expressionism, British artist Flora Yukhnovich creates paintings that celebrate materiality and process through shifting, chimerical forms, while seducing the viewer with elusive glints of content and meaning. For her first solo exhibition in Los Angeles and debut with Hauser & Wirth, Yukhnovich will present a new series of large-scale canvases prompted by the centuries old theme of Bacchanalia. In these canvases, lush, swirling brushstrokes evoke the dynamism and intense corporality of both ancient and contemporary hedonism, a past of satyric excesses and a present of consumerism and popular culture glut.

Party in the U.S.A. 2025 Oil on linen 210.8 x 408.9 cm / 83 x 161 in Photo: Elisabeth Bernstein

In ‘Bacchanalia,’ Yukhnovich explores the frontier at which excess—as a concept, and as a visual and material conceit—begins to obscure rather than illuminate. Her compositions, abstracted and layered with both intricate flourishes and forceful gestures, resist a single focal point. Details are engulfed in a cacophony of marks, where color and texture dominate the optical experience before forms can settle: each painting suggests a scene that is simultaneously dissolving and coalescing. Yukhnovich’s ability to capture such intense flux allows her to convey the precarious balance of seduction and alienation inherent in modern excess.

Teaser 2025 Oil on linen 200.6 x 175.2 cm / 79 x 69 in Photo: Elisabeth Bernstein

Drawing from a wide array of source images, Yukhnovich begins each painting by pinning visual artifacts to mood boards in her studio. As the work evolves, key references and throughlines emerge, shaping the compositional and chromatic variations that define each painting’s rhythmic logic. In ‘Party in the U.S.A’ (2025), Yukhnovich uses the Columbia Pictures logo, featuring its stately ‘Torch Lady,’ as a point of departure. While only traces of the torchbearer remain, she preserves the cinematic widescreen ratio, granting the rolling clouds and classical allusions a grandeur that both suggests the glory of power and warns of its undoing. In the catalogue for the exhibition, Yukhnovich reflects on the enduring power such motifs have exerted across eras and places, from Roman temples to Vegas interiors:

Installation view, ‘Flora Yukhnovich. Bacchanalia,’ Hauser & Wirth Downtown Los Angeles 30 October 2025 – 18 January 2026 © Flora Yukhnovich Courtesy the artist, Hauser & Wirth and Victoria Miro Photo: Keith Lubow

“ 

I’m interested in what happens when repetition drains symbolism—when something meant to signify order begins to feel unhinged. I’d like my paintings to capture that tipping point, layering imagery until structure gives way to excess. Like a bacchanalian unravelling or like a still life just before the fruit starts to rot.”

— Flora Yukhnovich

Fever Pitch 2025 Oil on linen 229.8 x 381 cm / 90 1/2 x 150 in Photo: Elisabeth Bernstein

Yukhnovich’s work processes centuries of iconography through a distinctly contemporary eye, folding the present into a broader aesthetic continuum of precedents. Among the works on view in the exhibition, two key references reflect this process. The first is the story of Heliogabalus, the young Roman emperor who, while ruling between 218 and 222 AD, allegedly drowned his party guests in rose petals. The second is Lawrence Alma-Tadema’s 1888 painting ‘The Roses of Heliogabalus,’ depicting this fantastical scene. To complete the work, Alma-Tadema had thousands of roses shipped from France to his studio in London, indulging in his own parallel act of imperial decadence. In ‘Bacchanalia,’ Yukhnovich mines these lavish spectacles for meaning while foregrounding the excess pleasures of painting itself.

Seeing Pink Elephants 2025 Oil on linen 209.5 x 454.6 cm / 82 1/2 x 179 in Photo: Elisabeth Bernstein

‘Bacchanalia’ at Hauser & Wirth Downtown Los Angeles will coincide with ‘Flora Yuknovich’s Four Seasons’ at The Frick Collection in New York (3 September 2025 – 9 March 2026), a site-specific mural by the artist in response to François Boucher’s Four Seasons series.

About the Artist

Born in Norwich, United Kingdom, in 1990, Yukhnovich’s characteristic painting language emerged during a period of study as a student at City & Guilds of London Art School, where she completed her MA in 2017. Most recently Yukhnovich has had solo exhibitions at the Ashmolean Museum, Oxford, UK (2023); The Wallace Collection, London, UK (2024); Ordrupgaard, Charlottenlund, Denmark (2024) and, currently, The Frick Collection, New York NY (2025 – 2026). Her work is held in prominent collections worldwide, including the Brooklyn Museum, Brooklyn NY; the Government Art Collection, UK; the Hirshhorn Museum, Washington, DC; the Montreal Museum of Fine Arts, Canada and the National Gallery of Victoria, Melbourne, Australia.

Learning

In response to ‘Bacchanalia,’ Flora Yukhnovich has contributed to a comprehensive learning program, interactive events and additional resources that will be developed in conjunction with the exhibition and partners Arts for Healing & Justice Network, Grand Arts and Inner-City Arts. Details were announced in October.

The exhibition opened on 30 October 2025 and will run through 18 January 2026 at Hauser & Wirth Downtown Los Angeles South Gallery. For more information about this title and others with Hauser & Wirth Publishing, please visit their site here. Please visit the Hauser & Wirth Gallery site for information about upcoming exhibitions. Also, follow the gallery on Instagram, Facebook,  X, and YouTube.The magazine also highlighted the book of the same name, which can be found here.

Renée Condo: Niskamij – Sky World

Renée Condo: Niskamij – Sky World GAVLAK, West Palm Beach, November 15, and will run through December 13, 2025. Photography Courtesy of the artist and GAVLAK, West Palm Beach

GAVLAK, West Palm Beach, is pleased to present Niskamij – Sky World, a solo exhibition of new works by Montréal-based artist Renée Condo, marking her debut with the gallery. The presentation follows Condo’s large-scale installation recently unveiled at the 65th edition of the Montreal Museum of Fine Arts’ Museum Ball and extends her exploration of interconnection through a Mi’gmaq worldview. The exhibition opened on November 15  and will run through December 13, 2025.

Renée Condo: Niskamij – Sky World GAVLAK, West Palm Beach, November 15, and will run through December 13, 2025. Photography Courtesy of the artist and GAVLAK, West Palm Beach

Known for her sweeping beadwork compositions, Renée Condo’s visual language grows from the Mi’gmaq understanding that everything in existence is bound in relationship—each action, material, and being influencing the other in a living continuum. Working with thousands of individually sanded, painted, and arranged wooden beads, she constructs rhythmic surfaces that heighten attention to color, texture, and form. Each bead functions as both a distinct element and part of a greater whole, echoing the artist’s ongoing inquiry into the balance between individual and collective harmony.

In Niskamij – Sky World, Condo looks to Mi’gmaq cosmology and the ancestral realm that exists beyond the visible world. Here, creation unfolds as a continual process of becoming—cyclical, subject to renewals and realignments, and moving through thresholds that link the material and the spiritual. In Ga'qanei – Entranceway (2025), Condo explores the dialogue between self and source through mirrored imagery of the sun. Fields of color and form gather and disperse in quiet motion, while Mntu motifs occupy the spaces between—evoking the unseen forces that shape existence. While informed by her interest in physics and metaphysics, this body of work ultimately centers Indigenous understandings of time, energy, and relation.

Renée Condo: Niskamij – Sky World GAVLAK, West Palm Beach, November 15, and will run through December 13, 2025. Photography Courtesy of the artist and GAVLAK, West Palm Beach

Condo’s practice, while formally rigorous, is deeply sensorial. Guided by the Mi’gmaq principle of Heart Knowledge—which privileges feeling over intellect—she approaches each bead with intentional care, infusing the work with what she calls “energetic presence.” Viewers often describe the works as radiant or alive, their surfaces vibrating with quiet intensity. For Condo, this resonance embodies an exchange of energy between maker and viewer, material and meaning.

Throughout Niskamij – Sky World, Condo’s compositions invite contemplation of scale, from the subatomic to the celestial. The works evoke both the intimacy of touch and the vastness of space, offering a meditation on the interconnection of all existence. By merging Indigenous philosophy with the formal language of abstraction, Condo proposes a worldview where perception, matter, and spirit coexist in a state of presence and relation.

Renée Condo: Niskamij – Sky World GAVLAK, West Palm Beach, November 15, and will run through December 13, 2025. Photography Courtesy of the artist and GAVLAK, West Palm Beach

About the Artist

Renée Condo (b. 1979, Gesgapegiag, QC; lives and works in Tiohtià:ke, Montréal, QC) holds a BFA in Studio Arts and an MFA in Sculpture from Concordia University. Condo’s solo exhibitions include One who shatters particles, one who smells flowers, Blouin Division, Montreal, QC (2025); Shifting Perspectives, Warren G. Flowers Gallery, Montreal, QC (2023); Sisip-Sipu, Knowing Differently, Contemporary Native Art Biennial (BACA), Galerie Laroche/Joncas, Montreal, Que (2022);  Heart Knowledge – Pemitgl, Galerie Laroche/Joncas, Montreal, QC (2021). Her work has been included in group exhibitions including a duo exhibition, A Quiet Truth, at Night Gallery, Los Angeles, CA (2024); Abtrus, Galerie Laroche/Joncas, Montreal, QC (2021); Honoring Kinship, BACA (Contemporary Native Art Biennial), Art Mûr, Montreal, QC (2020) among others. As well as various art fairs including Dallas Art Fair, Galerie Blouin Division, Dallas, TX (2025); Art Basel Miami Beach, Gavlak Gallery, Miami, FL (2024); The Armory Show, Galerie Blouin Division, New York, NY (2023); Art Toronto, Toronto, ONT (2021); Miami Untitled, Miami, FL (2024); Plural, Galerie Blouin Division, Montreal, QC (2025, 2024); Artgenéve, Geneva, Switzerland. Condo’s work can also be found in numerous public and private collections including Canada Goose, Montreal, QC and Las Vegas, NV; Citizens Bank, Palm Beach, FL; Google, Toronto, ON; LVMH Moët Hennessy Louis Vuitton, Paris, France; McCarthy Tétrault, Toronto, ON; the Montreal Museum of Fine Arts, QC; RBC Bank, Toronto, ON; Scotia Bank, Toronto, ON; Telus, Toronto, ON; and TD Bank, Toronto, ON. Including public artworks in Laval and Gesgapegiag, QC.

She is currently a laureate of Fonderie Darling’s long-term residency program. Renée Condo is represented by GAVLAK in Palm Beach, FL and Blouin Division | Montreal, Canada.

About GAVLAK

GAVLAK is an internationally recognized contemporary art gallery located in West Palm Beach, Florida. Founded by Sarah Gavlak in 2005, the gallery represents over twenty acclaimed artists, primarily focusing on the representation of women, BIPOC, and LGBTQ+ artists. Over the last two decades, GAVLAK has staged highly conceptual, pioneering exhibitions, including early solo presentations by Lisa Anne Auerbach, Jose Alvarez (D.O.P.A.), Wade Guyton, Shelia Hicks, Elizabeth Klay, Simone Leigh, Marilyn Minter, and Betty Tompkins. In 2014, the gallery expanded to Los Angeles, taking on representation for artists Karen Carson, Judith Eisler, and Viola Frey. Gallery artists regularly participate in national and international museum exhibitions, international biennials, as well as solo exhibitions. Museum acquisitions include the Whitney Museum of American Art, New York, NY; Norton Museum of Art, West Palm Beach, FL; The Guggenheim Museum, New York, NY; Pennsylvania Academy of Fine Art, Philadelphia, PA; The Hammer Museum, Los Angeles, CA; Tate Modern, London, UK; San Francisco Museum of Modern Art, San Francisco, CA. Since opening in 2005, GAVLAK has regularly participated at art fairs, including Art Basel Miami, Miami, FL; The Armory Show, New York, NY; EXPO Chicago, Chicago, IL; Independent, New York, NY; Independent, Brussels, BE; Dallas Art Fair, Dallas, TX; Frieze Masters, London, UK.

For more information about this exhibition and others, please visit the GALVAK Gallery’s website here. The gallery can also be found on Instagram. The magazine also did an interview with Renée, which can be found here.

Kiki Smith: The Moon Watches the Earth

Portrait of Kiki Smithin her studio© Courtesy Pace Gallery

New York – 125 Newbury is pleased to present Kiki Smith: The Moon Watches the Earth, an exhibition of new and historical works by the renowned American artist Kiki Smith. Curated by Arne Glimcher in close collaboration with the artist, the exhibition opened on November 7, 2025 and runs through January 10, 2026. This presentation, which marks Smith’s first solo show in New York City in six years, debuts a series of new bronzes, drawings, and prints produced in recent years alongside sculptural works created during the late 1980s and early 1990s—including a large-scale installation that has not been exhibited in the U.S. for over 30 years. Together, these works sustain a dialogue across three-and-a-half decades of Smith’s practice—an ongoing conversation between past and present—centering on transience and the fragility and joy of embodiment.

Kiki Smith: The Moon Watches the Earth 395 Broadway, NewYork, NY 10013 November 7, 2025–January 10, 2026 Photography courtesy Peter Clough

Since the 1980s, Smith has drawn inspiration for her art from folklore, mythology, history, and the natural world. Even as she has engaged in wide-ranging experimentations with various mediums and materials, in particular paper and bronze, drawing has long remained at the heart of her practice. In the graphic imagery for which she is widely known, Smith often explores the poetic resonance of birds, insects, and other non-human subjects, meditating on the agency of nature both around and within us. At 125 Newbury, Smith debuts a series of new bird reliefs in bronze. In several of these works, she eschews her usual patinated surfaces in favor of raw, unfinished metal, allowing all the marks of the casting process to remain visible like wounds. Smith’s birds are exhibited in conversation with a monumental ink-and-watercolor woodcut, Wooden Moon (2022), which measures 12 feet in width.

Kiki Smith: The Moon Watches the Earth 395 Broadway, New York, NY 10013 November 7, 2025–January 10, 2026 Photography courtesy Peter Clough

The exhibition also includes several important historical works by Smith dating to the early 1990s, the period in which she began solidifying her artistic vocabulary. Presented in dialogue with the bronze birds is a site-responsive installation consisting of papier-mâché figures suspended from the gallery’s ceiling. Large monochromatic panels of painted red paper transform the tonality of the room, contrasting with the pallid figures whose shell-like forms appear like bodily envelopes hanging in space. The work makes references to St. Thomas Aquinas’s notion of the separation of matter and form. Smith’s installation, made during the AIDS crisis, has not been exhibited in New York since it was first created. It is presented alongside other earlier works in both paper and bronze, including her visceral sculpture Untitled (Meat Arm) (1992).

Kiki Smith: The Moon Watches the Earth 395 Broadway, New York, NY 10013 November 7, 2025–January 10, 2026 Photography courtesy Peter Clough

125 Newbury’s presentation also features several works in various print media. Printmaking is central to Smith’s practice, and its technical processes echo the way she creates her bronze reliefs. Printing, like casting, is a process of transfer. In her cast works, Smith begins with drawing—literally incising the graphic markers into a clay surface. She then covers the entire clay surface with wax, creating a cast of the drawing in wet clay. Other highlights in the exhibition include a new series of bird drawings that seem to alight almost miraculously on the diaphanous surfaces of silk tissue paper. Smith, who had her last major solo show with Pace in New York in 2019, has been represented by the gallery since 1994— Kiki Smith: The Moon Watches the Earth celebrates the nearly four-decade friendship between the artist and Arne Glimcher.

Kiki Smith: The Moon Watches the Earth 395 Broadway, New York, NY 10013 November 7, 2025–January 10, 2026 Photography courtesy Peter Clough

Kiki Smith (American, b. 1954, Nuremberg, Germany) is recognized for her multidisciplinary practice through which she explores embodiment and the natural world. The body, mortality, regeneration, gender, as well as the interconnection of spirituality and the natural world are observed through her own personal lens. Her expansive work manifests as sculpture, glassmaking, printmaking, watercolor, photography, and textile, among other art-making forms. Drawn to the cogency of repetition in narratives and symbolic representations, much of Smith’s work is inspired by contemporary and historical visual culture.

Smith has been commissioned to create several permanent installations over the course of her career. In 2010, the Museum at Eldridge Street, New York, housed in the historic Eldridge Street Synagogue, permanently installed Smith’s Rose Window, which she created alongside architect Deborah Gans. In 2022, Smith was commissioned by Metropolitan Transportation Authority Arts & Design to create five permanent floor-to-ceiling mosaics for the Madison terminal of Grand Central Station in New York City. Most recently, Smith, in collaboration with Brückner & Brückner Architects, designed an on-site chapel for the Diocesan Museum in Freising, Germany; The Chapel of Mary's Mantle opened to the public on October 7, 2023.

Smith has been the subject of numerous solo exhibitions worldwide, including over twenty-five museum exhibitions. Her work has been featured at five Venice Biennales, including the 2017 edition. Among her numerous accolades, awards, and honors, Smith received the Skowhegan Medal for Sculpture from the Skowhegan School of Painting and Sculpture, Maine (2000), was elected a member of the American Academy of Arts and Letters and the American Academy of Arts and Sciences (2005), and was granted the Athena Award for Excellence in Printmaking from the Rhode Island School of Design (2005). She received the Medal Award from the School of the Museum of Fine Arts, Boston (2006), and was recognized by TIME Magazine as one of the “TIME 100: The People Who Shape Our World” (2006). Smith received the Women in the Arts Award from the Brooklyn Museum (2009), the 50th Edward MacDowell Medal (2009), the Theo Westenberger Women of Excellence Award (2010), the Nelson A. Rockefeller Award, Purchase College School of the Arts (2010), as well as the U.S. Department of State Medal of Arts (2013). In 2017, she was elected Honorary Academician by the Royal Academy of Arts, London.

Smith is an adjunct professor at New York University and Columbia University and has lectured extensively at institutions including The Museum of Modern Art, New York (2003), The University of Washington, Seattle (2010), and the Herbert F. Johnson Museum of Art, Cornell University, Ithaca, New York (2015).

125 Newbury is a project space in New York City founded in 2022 and helmed by Arne Glimcher, Founder and Chairman of

Pace Gallery. Named for the gallery’s original location, which Glimcher opened at 125 Newbury Street in Boston in 1960, the venture is located at 395 Broadway in Manhattan’s Tribeca neighborhood, at the corner of Walker Street. Occupying a 3,900-square-foot ground-floor space in a landmark building with 17-foot ceilings, the interior of 125 Newbury has been fully renovated by Enrico Bonetti and Dominic Kozerski of Bonetti/Kozerski Architecture. Guided by Glimcher’s six decades of pioneering exhibition-making and steadfast commitment to close collaboration with artists, 125 Newbury presents up to five exhibitions per year. Directing and shaping 125 Newbury’s program, Glimcher organizes exhibitions of work by artists—both within and beyond Pace’s roster—who inspire him, often highlighting a specific aspect or focused period of their practice.

Pace is a leading international art gallery representing some of the most influential contemporary artists and estates from the past century, holding decades-long relationships with Alexander Calder, Jean Dubuffet, Barbara Hepworth, Agnes Martin, Louise Nevelson, and Mark Rothko. Pace enjoys a unique U.S. heritage spanning East and West coasts through its early support of artists central to the Abstract Expressionist and Light and Space movements.

Since its founding by Arne Glimcher in 1960, Pace has developed a distinguished legacy as an artist-first gallery that mounts seminal historical and contemporary exhibitions. Under the current leadership of CEO Marc Glimcher, Pace continues to support its artists and share their visionary work with audiences worldwide by remaining at the forefront of innovation. Now in its seventh decade, the gallery advances its mission through a robust global program— comprising exhibitions, artist projects, public installations, institutional collaborations, performances, and interdisciplinary projects. Pace has a legacy in art bookmaking and has published over five hundred titles in close collaboration with artists, with a focus on original scholarship and on introducing new voices to the art historical canon.

Today, Pace has seven locations worldwide, including European footholds in London and Geneva as well as Berlin, where the gallery established an office in 2023. Pace maintains two galleries in New York—its headquarters at 540 West 25th Street, which welcomed almost 120,000 visitors and programmed 20 shows in its first six months, and an adjacent 8,000 sq. ft. exhibition space at 510 West 25th Street. Pace’s long and pioneering history in California includes a gallery in Palo Alto, which was open from 2016 to 2022. Pace’s engagement with Silicon Valley’s technology industry has had a lasting impact on the gallery at a global level, accelerating its initiatives connecting art and technology as well as its work with experiential artists. Pace consolidated its West Coast activity through its flagship in Los Angeles, which opened in 2022. Pace was one of the first international galleries to establish outposts in Asia, where it operates permanent gallery spaces in Hong Kong and Seoul, along with an office and viewing room in Beijing. In spring 2024, Pace will open its first gallery space in Japan in Tokyo’s new Azabudai Hills development.

For more information about this exhibition and others, please visit the Pace Gallery’s website here. Pace Gallery can be found on Instagram and Artsy, too.

Kiki Smith: The Moon Watches the Earth opened on November 7, 2025 and will run through until January 10, 2026 at the Pace Gallery 395 Broadway location in New York.