uzomah ugwu 4/14/26 uzomah ugwu 4/14/26

Kohei Nawa: Photon Camp

Los Angeles — Pace will present an exhibition by Kohei Nawa at its Los Angeles gallery from April 11 to June 6. Marking the Japanese multidisciplinary artist’s first solo show in Los Angeles, this presentation will bring together 20 new works from two of his iconic sculptural series—PixCell and Prism—creating a cohesive environment in which his sculptures engage directly with the architecture of the gallery’s main exhibition space.

Drawing out the unique properties of various traditional and unconventional materials in his paintings, sculptures, and installations, Nawa explores nuanced relationships between physical and virtual spaces, synthetic and natural forces, and the individual and the collective. Intrinsic to his practice is a rigorous engagement with technologies that traverse eras and cultures, particularly information technologies. Visual distortions and transformations cut across his artworks, encouraging viewers to consider the ways that digital technologies impact their relationship to and experience of the physical world.

Nawa has also expanded his practice into the fields of architecture and performance—he is currently presenting Mirage and Planet [wanderer], performance works created in collaboration with choreographer Damien Jalet, in select European and Asian cities.

Kohei Nawa: Photon Camp 1201 South La Brea Avenue, Los Angeles, CA 90019 April 11 – June 6, 2026 Photography courtesy Pace Gallery

Titled Photon Camp, the artist’s exhibition at Pace Los Angeles foregrounds his expansive investigations of perceptual and sensory phenomena and reflects new directions in his recent work. For Nawa, an artwork is not a static entity fixed by a single interpretation. Rather, it is a phenomenological event that occurs when swarms of photons momentarily and miraculously come together. His first installation comprising both his PixCell and Prism series—which he has developed continuously over the course of his career—explores tensions between the natural and the artificial, the real and the fictional, and the sacred and the profane.

Memories of disaster—including the 1995 Great Hanshin-Awaji Earthquake and the 2011 Great East Japan Earthquake— have also profoundly shaped Nawa’s worldview and artistic practice as well as his vision for Photon Camp. Nawa understands the works in his installation at Pace as “drifting objects.” Japan has welcomed drifting objects carried on the sea throughout its history, forging its culture through processes of mixture and hybridization. Within the global circulation of matter, drifting objects wander, linger, and arrive in unintended places. For Nawa, they symbolize the cyclical nature of civilization on a planetary scale. Notions of fluctuation and impermanence cut across his work, inviting meditations on cycles of destruction and regeneration.

Kohei Nawa, Prism[Butterflies/Sign], 2026MIXED MEDIA ©Kohei Nawa, courtesy Pace Gallery. Photo: Nobutada OMOTE

The artist’s new PixCell and Prism works reflect his enduring engagement with the history of Surrealism. Incorporating taxidermized animals and found objects he has collected from different places and during various periods of his life, these sculptures juxtapose new technologies and modes of making with analogue materials. In his celebrated PixCell works, which he began producing 25 years ago, Nawa covers the surfaces of objects with transparent spheres, or cells, to distort viewers’ perceptions of the forms beneath. With his Prism works, he houses objects inside transparent boxes, which fragment and transform the appearance of their contents depending on the viewer’s position. Works in both series pose questions about the nature of reality through visuo-tactile experience.

Kohei Nawa, Prism[Maria]/Prism[Kettle]/Prism [Toy-Bird]/Prism [Toy-Elephant]/Prism[Woman&Koto]/PixCell Microscope/Alex(detail),2026MIXED MEDIA ©Kohei Nawa, courtesy Pace Gallery.Photo: Nobutada OMOTE.

A large-scale, freestanding sculpture titled PixCell-Elk#3, which takes a taxidermized elk as its motif, is the centerpiece of Nawa’s presentation at the gallery. Other works surround the elk—a symbol of the majesty of the natural world—to create a cohesive environment, with some displayed atop pedestals and others situated on the floor or mounted on walls. Casting its gaze beyond the viewer, into the void, the elk presides over the artist’s installation, which unfolds through space along the elk’s axis. Together, these sculptures form a holistic, dynamic installation that pushes the boundary between artifice and nature.

Kohei Nawa (b. 1975, Osaka, Japan) is a multidisciplinary artist whose diverse practice explores the perception of virtual and physical space and probes the borders between nature and artificiality. He examines relationships between the individual and the whole, illustrating how parts aggregate, like cells, to create complex and dynamic structures. His practice spans painting, drawing, sculpture, and installation, as well as various facets of design and collaborative projects through his Kyoto-based creative platform, Sandwich. Nawa’s use of synthetic compounds underscores a recurring theme wherein materials such as polyurethane foam, translucent beads, ink, paint, glue, and silicone oil become devices that prompt an awareness of our mediated environment.

Notable one-artist exhibitions include L_B_S, Ginza Maison Hermes, Tokyo (2009); Synthesis, Museum of Contemporary Art, Tokyo (2011); SCULPTURE GARDEN, Kirishima Open-air Art Museum, Kagoshima, (2013); Kohei Nawa: ESPUMA, Japan House São Paulo, Brazil (2017); Kohei Nawa: Japonisms 2018, Throne, Musée du Louvre, Paris (2018–2019); Kohei Nawa: TORNSCAPE, SCAI The Bathhouse, Tokyo (2021); and Kohei Nawa: vol.3 Cell, Gallery Nomart, Osaka, Japan (2023); Sentient, SCAI The Bathhouse, Tokyo (2025), among others. He has participated in the 6th Asia Pacific Triennial in Brisbane, Australia, 2009; the 14th Asian Art Biennale Bangladesh in Dhaka, Bangladesh, 2010 (Grand Prize winner); Busan Biennale 2010, Korea, 2010; and Aichi Triennale in Nagoya, Japan, 2013 and 2016. His work is held in public collections worldwide, including Hara Museum of Contemporary Art, Tokyo; Long Museum, Shanghai; The Metropolitan Museum of Art, New York; Mori Art Museum, Tokyo; National Gallery of Victoria, Melbourne; Queensland Art Gallery, Brisbane, Australia, among many others. Nawa is currently a Professor at the Kyoto University of Art and Design.

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.

Kohei Nawa’s exhibition Photon Camp is being exhibited at the Pace Gallery location at 1201 South La Brea Avenue, Los Angeles, CA 90019 from April 11 to June 6, 2026. 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.

uzomah ugwu 4/13/26 uzomah ugwu 4/13/26

Jaqueline Cedar: Wave

The Empty Circle presents Wave, a solo exhibition of new paintings by Brooklyn-based artist Jaqueline Cedar (b. 1985, Los Angeles, CA). Bringing together a focused group of intimate acrylic paintings on panel, the exhibition considers how everyday images—glimpsed in passing or half-remembered—can shift between sincerity and interruption, capturing the fragile, dreamlike logic through which memories and perceptions take shape. Working at a small scale, Cedar constructs scenes that feel both familiar and slightly estranged. Restaurants,

highways, landscapes, and urban intersections appear as if recalled from memory rather than observed directly. Figures move through simplified spaces while architectural elements, signage, and fragments of landscape emerge with the clarity of a passing detail suddenly brought into focus. In these paintings, visible reality is not presented as stable or continuous, but as something subject to slippage, humor, and quiet emotional resonance.

Jaqueline Cedar Action, 2024 Acrylic on panel 5 x 7 inches

Across the works in Wave, Cedar explores the tension between stillness and movement. Repetition of forms produces subtle visual echoes that suggest motion unfolding across time. In Dance (2026), a group of figures stretch across a luminous landscape, their gestures overlapping like frames of a slowed-down sequence. In Action (2024), lines of traffic recede beneath a web of glowing paths overhead, evoking the sensation of movement through space while simultaneously suspending the moment in an abstracted stillness. These compositions treat time not as a linear progression, but as a layered experience where perception drifts between observation and recollection.

Installation View: Jaqueline Cedar: Wave 260 W Broadway APT 7G, New York, NY 10013, March 20 — April 18, 2026 Photography courtesy The Empty Circle and Jaqueline Cedar

Throughout the exhibition, Cedar’s compositions maintain a careful balance between restraint and emotional charge. Her flattened spaces and pared-down figures evoke a calm, almost detached visual language, yet within this quiet structure moments of vulnerability surface. A rider and horse in Go (2026) lean forward with a sense of anticipation; a railway scene in Wait (2025) centers on the sudden burst of light where tracks converge, transforming a mundane environment into a site of suspense. By allowing subtle disjunctions to emerge within otherwise ordinary scenes, Cedar creates paintings that oscillate between the recognizable and the uncanny.

Jaqueline Cedar Back, 2024 Acrylic on panel 8 x 10 inches

In Wave, Cedar approaches painting as a space where perception, humor, and emotional memory coexist. Rather than offering fixed narratives, her images invite viewers to linger in moments where meaning feels suspended—where a passing observation, a fleeting joke, or an inexplicable detail might suddenly carry the weight of a remembered experience.

About the Artist

Jaqueline Cedar (American, b. 1985 in Los Angeles, CA) lives and works in Brooklyn, NY. She received her MFA from Columbia University in 2009 and her BA from the University of California, Los Angeles in 2007. Recent solo exhibitions include Andrew Rafacz, Chicago, IL (2025); Shelter Gallery, New York, NY (2023, 2021); and Platform x David Zwirner (2022). Cedar’s work has been featured in recent and upcoming group exhibitions at Hollis Taggart (2026) and White Columns (2026) in New York, Blah Blah Gallery in Philadelphia (2025), and Serious Topics in Los Angeles (2024), among numerous others nationwide. She has exhibited at NADA New York and Miami, and her work is held in numerous private collections. Press features include Hyperallergic, Artnet, The Huffington Post, New American Paintings, and The Boston Globe.

About The Empty Circle

The Empty Circle is a New York City space dedicated to artistic creation and dialogue. We collaborate with both emerging and established artists, often providing emerging voices with their first New York City exhibition. Moving beyond traditional formats, our programs encourage experimentation in both process and presentation to spark meaningful exchanges between artists and audiences. We present work across diverse mediums, fostering connections between disciplines, cultures, and generations.

For more information about this exhibition and others at The Empty Circle, please visit their site here, and the gallery can also be found on Instagram here. The magazine also did an interview with Jacqueline, which can be found here.

uzomah ugwu 3/30/26 uzomah ugwu 3/30/26

CHRISTINE TIEN WANG & RACHEL YOUN: Factory Doomscroll

Night Gallery is pleased to present Factory Doomscroll, a two-person exhibition of new work bySan Francisco-based artist Christine Tien Wang and Albuquerque-based artist Rachel Youn. The show opened on February 24, 2026, during Frieze Los Angeles. While Wang has been showing work at the gallery for over a decade, Factory Doomscroll marks Youn’s second major exhibition, following Well Adjusted in 2023.

Both artists revel in the exhaustive gestures of contemporary life—the perpetual motion that leads nowhere. Youn's sculptures animate the artifacts of self-care culture, transforming massage devices and baby rockers into tireless performers locked in cycles of jiggling, turning, and pleasure-seeking labor. Wang paints photorealistic internet memes, elevating digital detritus into something worthy of sustained attention. Both artists take objects designed for instant gratification—whether physical comfort or viral dopamine hits—and trap them in a kind of amber, forcing us to reckon with what we consume and discard. Where Youn's motors expose the mechanical infrastructure behind our pursuit of wellness and ease, Wang's brushwork exposes the labor required to make the throwaway permanent. Their works operate as preservation acts with a wink: Youn keeps the comfort machines running long past their useful life, while Wang rescues memes from algorithmic decay, both artists archiving the absurd rituals through which we attempt to soothe or entertain ourselves into oblivion.

Where Youn's motors expose how quickly comfort technology is discarded, Wang's paintings reveal how rapidly viral moments decay into cultural landfill. Youn keeps well-worn machines running past their planned lifespans, transforming wellness devices into zombie performers. Wang paints memes as if they were Old Masters, granting permanence to content created to be consumed and forgotten within hours. Wang and Youn’s collaboration is a significant and honest reflection of the times: an era wherein late capitalism generates unprecedented waste—and manufactured obsolescence pushes consumers to continually scroll, upgrade, and replace.

In two of Wang's paintings, Luigi Mangione—accused assassin of UnitedHealthCare CEO Brian Thompson—is rendered holy. At once winged and ripped, a halo encircles Mangione's thick curls, a pistol in each hand. The meme was already aging when Wang began painting it, its cultural relevance ticking toward zero. Several paintings depict sexual innuendos, subverted by comical, cerebral text. Collection of Failures (2025) spotlights a grinning blonde in front of a made bed, the smallest glimpse of a penis gripped by a French-manicured hand. The overlaying text reads: "Oh my god, I think this is the biggest I've ever seen." But the real joke comes from what's typed above: "When you show her your collection of failures."

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Installation View: CHRISTINE TIEN WANG & RACHEL YOUN Factory Doomscroll, 2276 E. 16th Street, Los Angeles, California 90021, February 24 — April 4, 2026 Photography courtesy Marten Elder and Night Gallery.

Additionally, Youn’s work begets the giggles of nonsense—when inexplicable permutations render reality absurd and therefore hilarious. In Plunge (2025), Youn secures artificial orchids to the motor of a circulation massager. Strips of grow lights serve as anchors, glass-jeweled chains hanging from their stems. When darkness falls, the sculpture lights its own party, grooving to the beat of its own design. CLEANSE (I'll do it myself) (2024) reimagines a car wash after its commercial usefulness has ended. Wavy nylon strips hang from a tall steel frame, animated by an AC motor. The plastic is printed with an idyllic beach scene: clear waters and a painfully blue sky. It's self-care infrastructure performing for no one, automated bliss running on empty.

Wang and Youn's collaboration serves as a testament to the excess that comes with contemporary Western living. Youn's sculptures demonstrate physical obsolescence in real time —you watch motors strain, materials degrade, technology outlive its purpose. Wang's paintings sustain cultural fads mid-decay, preserving memes that were born to be outdated. The show pulses with the artists' shared humor about late capitalism's promise of perpetual self- optimization and infinite content, revealing how both the physical and digital economies of comfort are built on foundations of repetition, manufactured obsolescence, and a nagging sense that none of it quite delivers what it promises.

Christine Tien Wang (b. 1985, Washington, D.C.) has had solo exhibitions at Night Gallery, Los Angeles, CA; Galerie Nagel Draxler, Cologne, Berlin, and Munich, Germany; The Hole, New York, NY; Magenta Plains, New York, NY; PTT Space, Taipei, Taiwan; M. LeBlanc, Chicago, IL; and Ever Gold [Projects], San Francisco, CA. Her work has been included in group shows at the Frans-Hals Museum, Haarlem; Museum of Contemporary Art Busan, Busan, Korea; Yerba Buena Center for the Arts, San Francisco, CA; Rachel Uffner Gallery, New York; The Rockbund Museum, Shanghai, China; M. LeBlanc Gallery, Chicago; Et Al, San Francisco; LAXART, Los Angeles; Foxy Production, New York; and African American Museum in Philadelphia, PA, among others. Currently, her work is on view at the Rockbund Museum in Shanghai, China. Wang lives and works in San Francisco.

Rachel Youn (b. 1994, Abington, PA) has had solo exhibitions at Night Gallery, Los Angeles, CA; Sargent’s Daughters, New York, NY; G Gallery, Seoul, South Korea; and Soy Capitán, Berlin, Germany, among others. Youn has participated in numerous group exhibitions at venues including Fondazione Sandretto Re Rebaudengo, Turin, Italy; FuoriCamp, Siena, Italy; Kunsthalle Barmen, Wuppertal, Germany; DOX Centre for Contemporary Art, Prague, Czech Republic; Alice Amati, London, UK; PODIUM, Hong Kong, China; The Aldrich Contemporary Art Museum, Ridgefield, CT; SHRINE, New York, NY; Gallery Belenius, Stockholm, Sweden; and Contemporary Arts Center, Cincinnati, OH, among others. Youn is a recipient of the Vermont Studio Center Fellowship and the 2020 Great Rivers Biennial Award. They received their BFA from the Sam Fox School of Design & Visual Arts at Washington University in St. Louis, St. Louis, MO. Youn holds an MFA from Yale School of Art in New Haven. They live and work in Albuquerque, NM and are represented by Sargent’s Daughter (New York), Soy Capitán (Berlin), and G Gallery (Seoul).

For more information about this exhibition and current and future exhibitions, please visit Night Gallery’s site here. The magazine did an interview with Rachel, which can be found here.

uzomah ugwu 3/30/26 uzomah ugwu 3/30/26

Mira Dancy :Mourning's Orbit

The paintings in Mourning's Orbit are for Mira Dancy a homecoming and a departure. They are oil landscape paintings, based on photographs Dancy has taken in the area around her home in Altadena, California, during the year since the Eaton Fire ravaged and transformed the community on every level. They are clearly different, and made differently, than the acrylic paintings of goddess-like figures that have dominated her paintings for the past 15 years. A dynamic use of line and impassioned commitment to worldly and otherworldly uses of color unifies the bodies of work, however, and suggests that the new paintings are in fact an expansion of and re-articulation of themes that give the previous ones their power.

Mourning's Orbit is a statement about the necessity of painting as both response and reflection, and speaks to the feeling of conviction—about painting, but also about art and cultural expression generally—that characterizes Dancy's work. This is a moral stance with important formal reverberations. As the show's title suggests, she is attuned to the orbits, the outer edges, of a landscape and the catastrophic changes it and its inhabitants have undergone. The paintings depict trees in every state of charred decay and abundant renewal; scorched hillsides renegotiating their subtle chaparral palettes with the forces of fire and the seasons; and sun, clouds, and luminous moods of the sky that encompasses all. Dancy allows grief and beauty to exist in close contact. They are often shown to be as intimate as two brushstrokes staking out adjacent bits of canvas, or two colors delineating the space of a tree trunk or a cloud even as they suggest extremes of ecstasy and despair.

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Installation View: MIRA DANCY Mourning’s Orbit, 2276 E. 16th Street, Los Angeles, California 90021, February 24 — April 4, 2026 Photography courtesy Marten Elder and Night Gallery

The evocative realism of Dancy's pictures calls to mind a range of associations. They are impressionistic, expressionistic, and naturalistic, revealing not only her encyclopedic interest in the history of her medium, but the urgency with which she has tapped her own resources and lifetime of study to respond to an unprecedented moment in her own and her community's lives. The orbit of mourning, while natural and emotional, is also therefore a cultural demarcation. Forms like trees and mountains carry more than merely the images of a specific place and time; like elements of a genetic code, they are the building blocks of the foundational narratives that provide the narrative bedrock for collective human experiences.

The garden-like groves that fill the all-over surfaces of some paintings, for instance, are Edenic, with all the complexity and potential for hope and loss that the word contains. The ragged stumps that anchor compositions like the one in Resurrection, meanwhile, engage an instinct for theological speculation to which even the most casual observer might resort in the face of cataclysmic environmental change. Even absent its religious overtones, the idea of being born again becomes in these paintings a matter of daily, even mundane, reality. In the moment-to- moment negotiations with her materials; in the photographic cataloguing of scenes while on daily walks; and in the formal translation of her perception into fields of color and gesture with their own, often abstract, communicative power, Dancy devotes her attention to luminous details.

“As these moments elicit her—and her viewers'—continued looking, they create bridges between what is known about this landscape and the fire and what is yet to be discovered. Like any given color—a supernatural pink, a void-inducing black, a greenish grey that evokes the need for imminent rain—such moments exist on a spectrum on which destruction and renewal are always transitional states rather than final or permanent designations. Mourning's Orbit finds Dancy locating the chapters of her artistic evolution in a similar way. In this respect, each individual painting can be seen as a question about the meaning of the past and the trajectory of the future, as well as an act of surrender to the fact that such questions can only be asked by engaging in the present moment of painting itself.”

- Stuart Krimko, Altadena, 2026

Mira Dancy (b. 1979) received her MFA in painting from Columbia University and has had solo exhibitions at Night Gallery, Los Angeles; Chapter NY, New York; Dia Horia, Athens, GR; Yuz Museum, Shanghai; Galerie Hussenot, Paris; Lumber Room, Portland; and JOAN, Los Angeles among others. Her work is included in the permanent collections of Los Angeles County Museum of Art, Los Angeles; Whitney Museum of American Art, New York; Columbus Museum of Art, OH; and Yuz Foundation, Shanghai. In 2015, Dancy's work was included in Greater New York at MoMA PS1. She has been covered in the New York Times, Art in America, Artforum, Vogue, The Financial Times, Kaleidoscope, and ArtNews, among other publications. Dancy lives and works in Los Angeles.

For more information about this exhibition and current and future exhibitions, please visit Night Gallery’s site here. The magazine did an interview with Mira, which can be found here.

uzomah ugwu 3/19/26 uzomah ugwu 3/19/26

Conditions of Inheritance: Bobby K. Hill and Coby Kennedy

Installation Views: Coby Kennedy, Bobby K. Hill, *Conditions of Inheritance* 524 West 19th Street, New York, NY. February 19, 2026- April 11, 2026 Photography courtesy L’SPACE Gallery

L’SPACE Gallery, in collaboration with ARTMoney Society, opened the exhibition Conditions of Inheritance, an exhibition featuring works by Bobby K. Hill and Coby Kennedy that engages questions of cultural inheritance, material legacy, and the systems that shape both. There was an opening reception on February 19th. The exhibition will conclude on April 11, 2026, at their location at 524 West 19th Street, New York, NY.

Installation Views: Coby Kennedy, Bobby K. Hill, Conditions of Inheritance 524 West 19th Street, New York, NY. February 19, 2026- April 11, 2026 Photography courtesy L’SPACE Gallery

Conditions of Inheritance brings together two distinct yet resonant artistic practices rooted in figurative language and material intelligence. Working across layered narratives of family, memory, and inheritance, the artists construct complex visual languages that engage questions of lineage, pressure, and continuity. Shaped by lived experience and cultural inheritance, these narratives reflect the power of ancestral legacy and family to withstand ongoing systemic pressures—revealing resilience as constructed, not assumed, and creating space for empowerment and celebration. This inquiry finds distinct expression in the practices of Bobby K. Hill and Coby Kennedy, whose works approach inheritance through personal history, material experimentation, and symbolic form.

Bobby K. Hill, Chasing Bubbles, 2019, mixed media, paint on repurposed wood, 31 x 22 in

Bobby K. Hill’s Inner Child Collection on canvas and The Stellar Collection on repurposed wood incorporate elements of painting, collage, and printmaking to create introspective portraits of family and community. His works combine figurative elements layered across multiple perspectives, portraying interwoven relationships between generations—connections lost and found over time, yet still part of a strong lineage. Familiar imagery is created by hand using house paint, abstract textures, and finishes reminiscent of woodblock/screenprinting, splatter painting, and graffiti. Inspired by years of immersion in commercial design and popular culture, alongside a keen observation of fine art techniques and traditions, he presents an emotionally rich slice of New York City life and beyond.

Coby Kennedy, Accretion Collision, 2025, ballistic grade Kevlar, steel, rust, resin, fiberglass, 76 x 36 x 9 in

Coby Kennedy’s latest body of work extends his Afro-Futurist leanings through a deeply personal lens shaped by parenthood. As the father of two young daughters, his bold, unflinching engagement with the realities of racism in the United States has evolved into a metaphorical exploration of ancestral lineage and protection. He stretches bulletproof Kevlar canvases, pigmented with rust, onto roughly soldered, geometrically shaped metal frames. Other works take the form of shields, some fragmented as if from battle. Images of his daughters appear throughout the series as mythic figures, their hair braided by out-of-frame ancestors.

Together, the works of Hill and Kennedy demonstrate the power and persistence of artistic vision that surpasses social and political boundaries. Drawing viewers into the nuances of each artist’s personal history, the exhibition invites a dialogue that resonates with universal understanding.

For more information about this exhibition and others at L’SPACE Gallery, please visit their site here. The Gallery can be found on Instagram here. The magazine did an interview with Coby, which can be found here. The magazine also did an interview with Bobby, which can be found here.

uzomah ugwu 2/13/26 uzomah ugwu 2/13/26

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.

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.

uzomah ugwu 2/12/26 uzomah ugwu 2/12/26

Hilary Harnischfeger: Songs for Clouds

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.

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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.

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.

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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.

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.

uzomah ugwu 2/6/26 uzomah ugwu 2/6/26

Richard Pousette-Dart: Geometry of Summer

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.

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 Summe*r, 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.

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.

uzomah ugwu 2/5/26 uzomah ugwu 2/5/26

Wang Guangle: Delayed Gravity

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.

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.

uzomah ugwu 2/3/26 uzomah ugwu 2/3/26

Collection in Focus: Modern European Currents

(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.”

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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.

uzomah ugwu 2/2/26 uzomah ugwu 2/2/26

Marguerite Wibaux: Covet Thy Neighbor

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.

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.

uzomah ugwu 1/23/26 uzomah ugwu 1/23/26

Gideon Appah: Beneath Night and Day

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.

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.

uzomah ugwu 1/15/26 uzomah ugwu 1/15/26

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

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.

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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.

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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.

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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

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HERVÉ DI ROSA Idolâtries

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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.

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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.

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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.

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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.”

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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

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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.

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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.

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.

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Madoda Fani: Dumalitshona

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.

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.

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.

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.

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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.

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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.

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Andy Woll: New Objectivity

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.