Gideon Appah: Beneath Night and Day

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

ABDOULAYE KONATÉ The fabric of reality

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

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

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

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

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

Biography

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

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

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

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

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

HERVÉ DI ROSA Idolâtries

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

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

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

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

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

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

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

Biography

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

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

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

VIKTOR&ROLF.FASHION STATEMENTS

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

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

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

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

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

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

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

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

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

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

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

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

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

About Viktor&Rolf/Collections & Projects

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

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

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

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

Exhibition Catalogue

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

Related Programming

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

About the Speakers:

Viktor Horsting and Rolf Snoeren

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

Thierry-Maxime Loriot

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

Exhibition Organization and Support

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

About the High Museum of Art

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

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

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

Lee Lozano. Hard Handshake

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

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

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

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

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

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

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

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

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

About the artist

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

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

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

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

Hauser & Wirth Publishers

In the Studio: Lee Lozano

English

Clothbound

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

$21.95 / £18.99 / €20.00

30 September 2025

Text by Lucrezia Calabrò Visconti

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

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

Madoda Fani: Dumalitshona

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

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

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

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

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

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

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

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

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

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

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

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

Aglaé Bassens: VACANT

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

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

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

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

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

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

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

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

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

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

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

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

Andy Woll: New Objectivity

Photo Credit: Roman Koval

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

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

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

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

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

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

-Jeff Poe

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

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

Anj Smith. The Sequin-Strewn Night

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

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

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

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

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

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

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

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

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

About the Artist

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

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

Ruby Sky Stiler:Long Pose

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

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

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

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

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

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

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

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

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

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

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

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

Flora Yukhnovich. Bacchanalia

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

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

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

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

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

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

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

“ 

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

— Flora Yukhnovich

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

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

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

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

About the Artist

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

Learning

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

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

Renée Condo: Niskamij – Sky World

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

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

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

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

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

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

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

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

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

About the Artist

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

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

About GAVLAK

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

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

Kiki Smith: The Moon Watches the Earth

Portrait of Kiki Smithin her studio© Courtesy Pace Gallery

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

CHIHARU SHIOTA: Echoes Between

Toutes les images / All images : © Courtesy of the artist and TEMPLON, Paris —Brussels — New York Photo © Charles Roussel

Templon is proud to present a new immersive exhibition by Chiharu Shiota, from November 6, 2025, through January 22, 2026, the artist’s second solo show in New York.

The exhibition Echoes Between invites audiences on an immersive journey into the universe of Chiharu Shiota. The Japanese artist unfolds her renowned web-like installations, reinventing thread as a poetic and universal medium.

Toutes les images / All images : © Courtesy of the artist and TEMPLON, Paris —Brussels — New York Photo © Charles Roussel

After studying painting in Kyoto, Chiharu Shiota turned away from the medium to explore performance art. Her search for new forms of expression brought her to Germany, where she eventually began using the materials and techniques that would express her artistic voice the best. Thereby, turning to installations, creating vast, ephemeral environments. Through a subtle weaving of knotted threads, she constructs striking scenographies that integrate objects imbued with memory: window frames, discarded musical instruments, suitcases, keys, books, and second-hand garments. Her monumental installations -now emblematic of her practice - have been exhibited in museums worldwide, forming a singular body of work that explores notions of existence, memory, and transcendence.

Toutes les images / All images : © Courtesy of the artist and TEMPLON, Paris —Brussels — New York Photo © Charles Roussel

With Echoes Between, Chiharu Shiota delves into the realm of death, a liminal space where consciousness drifts and transforms. Around two chairs, thousands of luminous threads form a radiant cloud, like a shower of living particles, evoking a continuous dialogue between the real and the imaginary.

In The Soul’s Journey, Shiota saturates the space with red threads, creating an organic, hypnotic immersion into the depths of consciousness, an infinite skein where memories and emotions intertwine. Remaining faithful to her formal investigations, she also presents thread-filled boxes, delicate reliquaries of memory, alongside her Infinite Lines - canvas works that transform the web into a sensitive surface, as if it were skin itself.

Toutes les images / All images : © Courtesy of the artist and TEMPLON, Paris —Brussels — New York Photo © Charles Roussel

Echos Between runs concurrently with Shiota’s acclaimed exhibtion Two Home Countries at the Japan Society, New York.

Toutes les images / All images : © Courtesy of the artist and TEMPLON, Paris —Brussels — New York Photo © Charles Roussel

Biography

Born in Osaka, Japan, in 1972, Chiharu Shiota has been living and working in Berlin for over two decades. Her work has been featured in numerous solo exhibitions and is presented on every continent.

In 2015, she represented Japan at the Venice Biennale, earning international acclaim. Since then, her work has been exhibited at the Museum of Kyoto (Japan, 2018), the Göteborg Museum of Art (Sweden, 2018), the Gropius Bau in Berlin (Germany, 2019), the Mori Art Museum in Tokyo (Japan, 2019), the Fondazione Merz in Turin (Italy, 2020), the Gwangju Biennale Foundation (South Korea, 2021), the Centro Cultural Banco do Brasil in Rio de Janeiro (Brazil, 2021), the Taipei Fine Arts Museum (Taiwan, 2021), Manifesta 14 (Kosovo, 2022), the Musée Guimet in Paris (France, 2022), the Queensland Art Gallery of Modern Art in Brisbane (Australia, 2022), the K11 Museum in Hong Kong (2022), the Shenzhen Art Museum (China, 2023), the Hammer Museum in Los Angeles (United States, 2023), the Grand Palais in Paris (France, 2024), the Fundació Antoni Tàpies in Barcelona (Spain, 2024), the Institute of Contemporary Art in Boston (United States, 2025), and the Japan Society in New York (2025).

Chiharu Shiota has been represented by Galerie Templon since 2011. Chiharu Shiota's’ Echoes Between opened on November 6, 2025, and will run through January 22, 2026, at the Gallery’s New York location. For more information about the exhibit, please visit Templon’s site here. The magazine also conducted an interview with her, which can be found here.

Oliver Jeffers: Life at Sea

Installation view, OliverJeffers: Life at Sea.BrooklynMuseum, September 19, 2025–April 26, 2026. (Photo: Paula Abreu Pita)

This fall, the Brooklyn Museum opened Oliver Jeffers: Life at Sea in the Toby Devan Lewis Education Center. Transporting visitors into the whimsical world of Jeffers’s bestselling 2017 children’s book, Here We Are: Notes for Living on Planet Earth (Philomel Books), the exhibition features an underwater world that begins, when the show first opens, as sparsely populated. Over the course of the presentation, visitors will bring this ocean to life by creating and adding sea creatures to imagine an abundant future. Life at Sea opened on September 19, 2025, and will be on view until April 26, 2026.

Based in Belfast, Northern Ireland, and Brooklyn, Oliver Jeffers is an award-winning artist, illustrator, and writer who uses storytelling to advocate for the environment. His first nonfiction book, Here We Are: Notes for Living on PlanetEarth, was written as a guide for his newborn son on how to navigate the world with kindness and an appreciation for the world around him. Grounded in Jeffers’s signature humor and playfulness, his Brooklyn Museum exhibition similarly prompts visitors to explore their relationship with the Earth and the climate—this time by collaboratively creating an ocean environment. Through the run of the exhibition, visitors of all ages will decorate and install fish and other sea creatures throughout the underwater landscape. During drop-in activities, attendees are invited to build coral structures using recycled sea plastics to populate the gallery’s ocean floor. Through many kinds of community interactions, the deep blue oceanic mural—specially designed by Jeffers for the Education Center—will transform from a lonely expanse into a vibrant biome full of sea life.

The site-specific installation will include a sunken ship–inspired reading nook with a selection of books chosen by Jeffers, featuring writers who inspire imaginative thinking about the importance of caring for the environment. In addition, the Museum’s Education team will host a series of creative workshops throughout the run of the exhibition. These workshops will focus on topics such as learning about different types of fish and birds as well as the reuse of single-use plastics.

“We’re thrilled to be working with Oliver Jeffers to bring his distinctive approach to art and storytelling into our galleries and to engage visitors on this timely topic,” says Sharon Matt Atkins, Deputy Director for Art. “His invitation to consider how we can care for our planet together, along with the opportunity for collective creativity and play, will spark joy and hope for all who visit.”

Installation view, OliverJeffers: Life at Sea.BrooklynMuseum, September 19, 2025–April 26, 2026. (Photo: Paula Abreu Pita)

“I first showed a painting at the Brooklyn Museum over a decade ago, and I’ve hoped to return ever since,” says Jeffers.

“Life at Sea is that return—and it’s more than an installation. It’s an invitation. By building this underwater world together, visitor by visitor, we’re imagining what communities can do when they collaborate. It’s about the oceans, yes—but also about fun, beauty, hope, and how the stories we shape might shape the future. I’m grateful to be doing this with a national institution that shares the values and beliefs that I do.”

Oliver Jeffers, Spread from Here We Are: Notes for Living on Planet Earth. (Philomel Books, 2017). © and courtesy of the artist

Visitors can enhance their experience of Life at Sea with the Museum’s Member Kids’ Club, a brand-new Membership add-on designed specifically for families with children. Available to both current and new Members, Kids’ Club grants access to the Museum’s monthly family-focused programming, featuring hands-on art-making, guided tours, and other interactive experiences tailored to children and their caregivers. Kids’ Club Members receive an exclusive welcome bundle that includes an activity sheet inspired by Jeffers’s storytelling, a Junior Membership Card designed by Jeffers, and a specially designed merchandise item.

Known for his whimsical illustrations and children’s books, Jeffers incorporates painting, bookmaking, illustration, collage, performance, and sculpture to tell stories that spark dialogue about our changing world. Following his beloved debut, How to Catch a Star (Philomel Books; 2004), Jeffers has written and illustrated a collection of award-winning and bestselling picture books that have been translated into over forty-nine languages. He is also an internationally recognized painter and sculptor. Beyond his artistic endeavors, Jeffers uses his platform to advocate for collective action aimed at preserving and nurturing our planet. He has spoken on prominent global stages, including COP26, TED, and the Clinton Global Initiative. By telling stories with creativity and humor, Jeffers inspires audiences of all ages to see the world from new perspectives and consider their role in shaping its future.Oliver Jeffers: Life at Sea is the second special exhibition hosted in the Education Center since its renovation was completed in 2024. The Education Center’s inaugural project, Artland: An Installation by Do Ho Suh and Children, welcomed visitors that same year.

Oliver Jeffers: Life at Sea is organized by Sharon Matt Atkins, Deputy Director for Art, and Keonna Hendrick, Deputy

Director for Learning and Social Impact.

ABOUT THE BROOKLYN MUSEUM

For 200 years, the Brooklyn Museum has been recognized as a trailblazer. Through a vast array of exhibitions, public programs, and community-centered initiatives, it continues to broaden the narratives of art, uplift a multitude of voices, and center creative expression within important dialogues of the day. Housed in a landmark building in the heart of Brooklyn, the Museum is home to an astounding encyclopedic collection of more than 140,000 objects representing cultures worldwide and over 6,000 years of history—from ancient Egyptian masterpieces to significant American works, to groundbreaking installations presented in the only feminist art center of its kind. As one of the oldest and largest art museums in the country, the Brooklyn Museum remains committed to innovation, creating compelling experiences for its communities and celebrating the power of art to inspire awe, conversation, and joy.

The exhibit opened on September 19, 2025, and will be on view until April 26, 2026.. Please visit the Brooklyn Museum’s site for more information about the exhibit. The Museum can also be found on Instagram, TikTok, YouTube, and Facebook. 

Monet and Venice

Installation view, Monet and Venice. Brooklyn Museum, October 11, 2025–February 1, 2026. (Photo: Paula Abreu Pita)

Tickets are now on sale for Monet and Venice , an exhibition that will reunite a selection of Claude Monet’s extraordinary Venetian paintings—a radiant yet underexplored chapter in the artist’s late career. The exhibition, New York’s largest museum show dedicated to Monet in over 25 years, will feature more than one hundred artworks, books, and ephemera, including nineteen of Monet’s Venetian paintings. It will mark the first dedicated exploration of Monet’s luminous Venetian works since their debut in 1912, placing them in context with select paintings from key moments throughout his career, and in dialogue with portrayals of the city by artists such as Canaletto, John Singer Sargent, J. M. W. Turner, and Pierre- Auguste Renoir. The exhibition follows past presentations on the artist at the Brooklyn Museum, such as Monet’s London: Artists‘ Reflections on the Thames, 1859 – 1914 (2005), Monet and the Mediterranean (1997), and Monet & His Contemporaries (1991). Monet and Venice at the Brooklyn Museum is sponsored by Bank of America.

Organized with the Fine Arts Museum of San Francisco, and co-curated by Lisa Small, Senior Curator of European Art, Brooklyn Museum, and Melissa Buron, former Director of Curatorial Affairs, Fine Arts Museums of San Francisco and current Director of Collections and Chief Curator, Victoria & Albert Museum, London, the exhibition offers a rare opportunity for visitors to experience Monet’s unique vision of the fabled city.

“It’s thrilling to reunite so many of Monet’s radiant paintings of Venice, including Brooklyn’s own Palazzo Ducale, which was acquired in 1920 and is emblematic of the Museum’s trailblazing commitment to modern French art,” said Lisa Small. “Monet found the lagoon city an ideal environment for capturing the evanescent, interconnected effects of colored light and air that define his radical style. In his Venice paintings, magnificent churches and mysterious palaces, all conjured in prismatic touches of paint, dissolve in the shimmering atmosphere like floating apparitions. We’re eager for our visitors to ‘travel’ to Venice and immerse themselves in the unfolding beauty of these dazzling paintings.”

 Installation view, Monet and Venice. Brooklyn Museum, October 11, 2025–February 1, 2026. (Photo: Paula Abreu Pita)

“We’re delighted to present this groundbreaking exhibition offering a fresh opportunity for visitors to engage with one of the world’s most celebrated artists in a bold new way,” said Anne Pasternak, Shelby White and Leon Levy Director, Brooklyn Museum. “Through thoughtful interpretation and design, we invite our audiences to see Venice through Monet’s eyes and feel inspired by his vision.”

Claude Monet, French, 1840-1926 Water Lilies 1914-1917 Oil on canvas 65 3/8 × 56 in. (166.1 × 142.2 cm)

“At Bank of America, we believe that investing in the arts has a positive impact on individuals, families, and communities, and partners like the Brooklyn Museum continue to validate this,” said José Tavarez, President, Bank of America, New York City. “Our long-standing relationship with the Museum continues to deepen connections with innovative programming and compelling experiences. We’re proud to have partnered on conservation projects, free museum programming, and exhibitions, and are looking forward to our newest sponsorship of Monet and Venice .”

Although the city was already grappling with the effects of pollution and overtourism when he visited, Monet remarked that Venice was “too beautiful to be painted.”

Installation view, Monet and Venice. Brooklyn Museum, October 11, 2025–February 1, 2026. (Photo: Paula Abreu Pita)

In 1908, encouraged by his wife Alice, who hoped the journey would reinvigorate him during a pivotal moment in his career, Monet reluctantly left Giverny and soon became captivated by Venice’s radiant light and architectural splendor. Often overshadowed by his iconic depictions of the French landscape, Monet’s Venetian works are among the most luminous yet underexplored of his career. The pair had planned to return to Venice years later, but in 1911 Alice fell gravely ill and passed away. In mourning, Monet retreated to his studio, where he completed the Venetian paintings and, in 1912, exhibited them to great acclaim in Paris. These were the last new works shown publicly in his lifetime.

Claude Monet, French, 1840-1926 The Red House 1908 Oil on canvas 25 5/16 × 31 13/16 × 1 3/16 in. (64.3 × 80.8 × 3 cm) frame: 35 1/16 × 44 1/8 × 4 5/16 in. (89 × 112 × 11 cm) Colection Galerie Larock-Granoff, Paris

Monet visited Venice only once, yet the city profoundly impacted him. With its fragile beauty and delicate interplay of land and sea, Venice became a site of both formal experimentation and symbolic resonance for the artist. Key examples of Venetian imagery by artists who preceded or were contemporaneous with Monet, including Pierre-Auguste Renoir, John Singer Sargent, J. M. W. Turner, James McNeill Whistler, and others, will be showcased, situating Monet’s works within a rich tradition of Venice as a subject of artistic inquiry. Standout works from the Museum’s collection, including four watercolors by Sargent that have been in the collection since 1909, and a group of Whistler’s famous Venice etchings, will be on view.

Installation view, Monet and Venice. Brooklyn Museum, October 11, 2025–February 1, 2026. (Photo: Paula Abreu Pita)

Unlike the bustling scenes painted by artists like Canaletto, Monet’s Venice is almost devoid of human presence. Instead, he focused on rendering the city’s architecture and canals emerging through and dissolving in the encompassing and unifying color and light that he described as the envelope. In addition to Monet’s paintings of Venice, the exhibition will present over a dozen other works created throughout his career that show his lifelong fascination with water and reflection. Paintings from Monet’s time in Normandy, London, and his home in Giverny—including three of his famed water lily canvases from the Musée Marmottan Monet in Paris, a private collection, and the Fine Arts Museums of San Francisco—will be displayed, drawing connections between the artist’s Venetian experiments and his broader oeuvre. Monet’s trip to Venice was his last major international journey, serving as both an interruption and a replenishment of his artistic focus. He returned invigorated, with a new perspective on the water lily paintings created in Giverny. As Monet asserted, “My trip to Venice has had the advantage of making me see my canvases with a better eye.”

Claude Monet, French, 1840-1926 The Palazzo Ducale, Seen from San Giorgio Maggiore (Le Palais Ducal vu de Saint-Georges Majeur) 1908 Oil on canvas 25 9/16 × 39 9/16 in. (64.9 × 100.5 cm) frame: 33 1/2 × 46 1/8 × 3 1/4 in. (85.1 × 117.2 × 8.3 cm) Solomon R. Guggenheim Museum, New York, Thannhauser Colection, Bequest, Hilde Thannhauser, 1991

The exhibition also features historical ephemera such as guidebooks of Venice and postcards written by Alice to her daughter, including one marking where the couple stayed for part of their trip. Select postcards, photographs, and letters are on loan to the Museum from the collection of Philippe Piguet, Alice Monet’s great-grandson from her first marriage.

Monet and Venice will further engage audiences through multisensory elements, including an original symphonic score inspired by the artist’s Venice paintings by the Brooklyn Museum’s Composer in Residence, Niles Luther. Upon entering the Museum’s fifth-floor rotunda, visitors will be greeted by an immersive installation that captures Venice’s unique atmosphere produced by Brooklyn-based design and technology studio Potion. It features film by Joan Porcel and his Venice-based Joan Porcel Studio, and an ethereal soundscape by Luther, using field recordings he captured in Venice and fragments of melodic themes drawn from his symphony. This visual and aural experience sets the stage for the visitor’s journey through Venice in the subsequent exhibition galleries.

Claude Monet, French, 1840-1926 The Palazzo Ducale 1908 Oil on canvas 32 × 39 in. (81.3 × 99.1 cm) frame: 41 1/4 × 49 × 3 1/2 in. (104.8 × 124.5 × 8.9 cm) Brooklyn Museum, Gift of A. Augustus Healy

“In composing for this exhibition, I’ve approached the paintings as souvenirs in the way Monet described them—memories infused with both beauty and melancholy,” says Luther. “My process is one of discovery, not invention—uncovering music no one has yet heard. Blending Italian, French, and American traditions, the composition mirrors Monet’s shimmering, dissolving Venice, transforming brushstrokes into living sound that surrounds the listener with both light and longing.” In the culminating gallery, Luther’s full symphony enters into dialogue with Monet’s paintings of Venice.

Three paintings, depicting the Palazzo Dario, the San Giorgio Maggiore, and the Palazzo Ducale, helped inspire and shape the emotional landscape of the composition. Just as Monet sought to render Venice‘s unique atmospheric envelop p e —where light, water, and architecture merge into unified sensory impressions—Luther translates these dissolving effects into an immersive sonic experience, deepening and enriching the visitor’s journey to Venice with Monet. After exiting the exhibition into an educational activity area, visitors will be surrounded by wall murals that depict archival images of the re-creation of Venice at Dreamland in Coney Island, linking the borough with the mythologized city.

Installation view, Monet and Venice. Brooklyn Museum, October 11, 2025–February 1, 2026. (Photo: Paula Abreu Pita)

A fully illustrated exhibition catalogue will accompany Monet and Venice , featuring an introduction by Melissa Buron and essays by Lisa Small, Niles Luther, and leading scholars of Impressionism and nineteenth-century art, including André Dombrowski, Donato Esposito, Elena Marchetti, Félicie Faizand de Maupeou, Jonathan Ribner, and Richard Thomson. These contributions explore Monet’s Venice works from sociohistorical and ecocritical perspectives, enriching our understanding of this pivotal moment in the artist’s career.

TOUR SCHEDULE

Brooklyn Museum, October 10, 2025–February 1, 2026

Fine Arts Museums of San Francisco, March 21–July 26, 2026

CREDITS Monet and Venice is organized by the Brooklyn Museum and the Fine Arts Museums of San Francisco.

The exhibition is curated by Lisa Small, Senior Curator of European Art, Brooklyn Museum, and Melissa Buron, Director of Collections and Chief Curator, Victoria and Albert Museum. Original symphonic installation by Niles Luther, Composer in Residence, Brooklyn Museum.

Lead Sponsor

Bank of America

Significant support is provided by the Ford Foundation, Constance Christensen, Mr. and Mrs. Alan Howard, the Arnold Lehman Exhibition Fund, and Jessie and Charles Price.

ABOUT THE BROOKLYN MUSEUM

For 200 years, the Brooklyn Museum has been recognized as a trailblazer. Through a vast array of exhibitions, public programs, and community-centered initiatives, it continues to broaden the narratives of art, uplift a multitude of voices, and center creative expression within important dialogues of the day. Housed in a landmark building in the heart of Brooklyn, the Museum is home to an astounding encyclopedic collection of more than 140,000 objects representing cultures worldwide and over 6,000 years of history—from ancient Egyptian masterpieces to significant American works, to groundbreaking installations presented in the only feminist art center of its kind. As one of the oldest and largest art museums in the country, the Brooklyn Museum remains committed to innovation, creating compelling experiences for its communities and celebrating the power of art to inspire awe, conversation, and joy.

The exhibit opened on October 11, 2025, and will be on view until February 1, 2026. Please visit the Brooklyn Museum’s site for more information about the exhibit. The Museum can also be found on Instagram, TikTok, YouTube, and Facebook. 

Hyperobject: Maria Kreyn

Lensed Egg. 60 x 54 inches. Oil on linen. 2024 Courtesy of Artist

The MoN Art Foundation is delighted to present Hyperobject, a solo exhibition of new paintings by Maria Kreyn, within the luminous Byzantine architecture of the Fitzrovia Chapel. Coinciding with Frieze London 2025, the exhibition transforms this sacred space into a site of awe and contemplation, where light, geometry, and atmosphere converge.

This is Kreyn’s fourth solo exhibition in a sacred architectural setting, following her acclaimed 2024 presentation at St. George’s Church during the 60th Venice Biennale. With Hyperobject, she continues this dialogue between contemporary painting and ecclesiastical architecture, transcending ideology and transforming the church into a site of secular reverence and existential wonder.

Ocean Prism I. 60 x 80 inches. Oil on linen. 2024 Courtesy of Artist

At the focal point of the exhibition stands a monumental altarpiece, surrounded by storm paintings that summon the sublime. Inspired by the idea of the “Hyperobject”—forces so vast they exceed human comprehension—Kreyn’s canvases unfold as portals and mirrors, entangling immense cosmic scales with intimate human emotion. Inventing visual metaphors for concepts at the frontier of scientific inquiry, Kreyn invites viewers into a suspended space where chaos meets harmony, fragility meets intensity, and reverence arises beyond the veil of doctrine

The exhibition is curated by Maria Vega and is being presented at The Fitzrovia Chapel. London from October 12-20, 2025. There will be an opening Reception: Tuesday, October 14, 6-10 pm

Artist Biography

Maria Kreyn (b. 1987) is an American artist whose emotionally charged works merge figuration, geometry, and elemental atmospherics. Internationally collected, she has created monumental commissions including a Shakespeare-inspired cycle for London’s Theatre Royal Drury Lane. In 2024, she presented a solo exhibition at St. George’s Church during the Venice Biennale. She lives and works in Brooklyn, New York.

About MoN Art Foundation

Founded in 2023 by curator and gallerist Maria Vega, the MoN Art Foundation creates platforms for dialogue between art, science, and activism. Its mission is to support artists whose practices address urgent ecological and existential questions with rigor and vision, fostering creative strategies for environmental stewardship and cultural transformation

For more information about MoN Art Foundation, please visit their website here. MoN can also be found on Instagram also here.

SAM Contemporaries: How To Dream Worlds

Installation view of SAM Contemporaries: How To Dream Worlds at SAM at Tanjong Pagar Distripark. Image courtesy of Singapore Art Museum.

Singapore, 30 July 2025 – Singapore Art Museum (SAM) presents SAM Contemporaries: How To Dream Worlds, the second edition of this biennial platform dedicated to supporting emerging practices and generative trends in Singapore art. Which opened on 1 August 2025 at SAM, the exhibition features new commissions by six Singapore artists: Chok Si Xuan, Chu Hao Pei, Lee Pheng Guan (PG Lee), Masuri Mazlan, NEO

_

NEO_ARTEFACTS (Fazleen Karlan) and Syahrul Anuar. Framed as a space for collective research and critical inquiry, the exhibition brings together diverse practices that reflect the evolving conversations and approaches shaping contemporary art in Singapore today.

Detail view of NEO_ARTEFACTS’s Secrets, Sweat and Sand as part of SAM Contemporaries: How To Dream Worlds at SAM at Tanjong Pagar Distripark. Image courtesy of Singapore Art Museum.

Developed through close artistic and curatorial exchange, SAM Contemporaries foregrounds artistic process and development as critical sites of inquiry. This initiative supports experimentation and iterative exploration, enabling each artist to dive deeper into their artistic research and develop new works through sustained dialogue with SAM’s curators. This culminates in the exhibition, How To Dream Worlds, presenting deeply researched, personally grounded explorations into a range of contemporary concerns from body-machine relations and the uncovering of dominant or erased histories to the politics of how space is shaped and used.

As viewers engage with the works, they are invited to step into a slow, ongoing process of questioning the now and imagining what might be. Some artworks speculate on futures, others revisit histories or explore the everyday, drawing attention to the subtle forces that shape daily life. Ong Puay Khim, Director of Collections, Public Art & Programmes at SAM, said: "SAM Contemporaries reflects SAM’s commitment to supporting artists and their exploration of long-term and budding interests, grounded by continued conversations. Both in its first edition in 2023 and current edition, some artists of SAM Contemporaries are past residents of the SAM Residencies programme; some have been engaged through different projects; and others mark new relationships. Supporting artists at pivotal moments in their practices, this platform nurtures discursive conversations, opens up fresh modes of seeing and thinking, both artistically and curatorially with a collaborative spirit.

”

Six new commissions dream up alternative worlds

Installation view of Lee Pheng Guan’s Pretty, Please (Sleep Tight) as part of SAM Contemporaries: How To Dream Worlds at SAM at Tanjong Pagar Distripark. Image courtesy of Singapore Art Museum.

The exhibition’s title, How To Dream Worlds, evokes dreaming as both method and resistance. It invites audiences to reimagine modes of living, relating, and perceiving, offering speculative, hopeful propositions that unfold within states of uncertainty and possibility. Through diverse strategies, each artist proposes new ways of seeing and sensing the world as it is, while offering pathways toward what it could still be and become.

Lee Pheng Guan’s Pretty, Please (Sleep Tight) is a multi-media installation centred on lalang (Imperata cylindrica), a hardy, invasive weed seldom visible within Singapore’s meticulously manicured and controlled urban landscapes. Thriving only in neglected pockets of the city, lalang in this work has been laboriously gathered and encased within rigid metal frames. Drawing on gardening as both metaphor and method, Lee’s work reveals the often imperceptible mechanisms of control embedded in everyday life: within landscapes, bodies, and the architecture of daily existence. It reflects on how systems of order, both ecological and social, are maintained through acts of pruning, regulating, and enclosing. The work offers a quiet reckoning: what comforts do we cling to, and at what cost?

Installation view of Chu Hao Pei’s Nasi Goreng Diplomacy #3 as part of SAM Contemporaries: How To Dream Worlds at SAM at Tanjong Pagar Distripark. Image courtesy of Singapore Art Museum.

In Nasi Goreng Diplomacy #3, Chu Hao Pei presents the third chapter of an ongoing artistic research project through an extended cooking ritual. Collaborators Fadiah Nadwa Binti Fikri, Rizki Amalia Affiat and Sharmini Aphrodite share their nasi goreng recipes, which are prepared and reflected upon across four video works. Nasi goreng (meaning “fried rice” in Malay), with its ubiquitous yet adaptable characteristics, is commonly found across Southeast Asia, yet possesses no standardised form. Set against the performative backdrop of a diplomatic roundtable, the installation humorously substitutes national debates and the intricacies of diplomacy mirrored with conversations about food, evoking relational politics and collective negotiation enacted through everyday rituals. Visitors are invited to contribute their recipes, extending this participatory dialogue around community and exchange. Masuri Mazlan’s installation can haunting be another way of enduring? draws from memories of fractured belonging – of homes that were unstable, impermanent or denied. It reimagines home as a haunted shell where belonging is never fixed but always in negotiation. Using salvaged furniture, latex skins, expanding foam, and photographic fragments, Masuri conjures spectral presences; bodies withheld sanctuary yet refusing erasure. These materials grow, peel, and distort across familiar surfaces, forming wound-like membranes and hollowed spaces that speak to both refuge and refusal. Rooted in personal memory yet resonant with collective experiences of precarity and exclusion, the work proposes haunting as a mode of endurance: a persistent flicker, a soft defiance, and a refusal to disappear.

Installation view of Syahrul Anuar’s the mountain lovers club as part of SAM Contemporaries: How To Dream Worlds at SAM at Tanjong Pagar Distripark. Image courtesy of Singapore Art Museum.

Syahrul Anuar’s the mountain lovers club invites viewers to reckon with Singapore’s artificial elevations in the absence of natural topography. Referencing the tower viewers commonly found on observation decks and viewing platforms, the installation prompts reflection on how land, development, and aspiration intersect, raising critical questions of identity and place within the island city-state. The work explores Singapore’s mountain-less landscape, now dominated by the artificial peaks of public housing estates and skyscrapers. Oscillating between the historical and contemporary, factual and fictional, it invites visitors to consider their shifting relationship with a land transformed by urban expansion, resource extraction, and the costs of economic prosperity. In Secrets, Sweat and Sand, NEO.

_

Installation view of NEO_ARTEFACTS’s Secrets, Sweat and Sand as part of SAM Contemporaries: How To Dream Worlds at SAM at Tanjong Pagar Distripark. Image courtesy of Singapore Art Museum.

NEO_ARTEFACTS constructs a speculative archaeological dig at the fictional site of Gunong Perandaian. Blurring the lines between narratives of history and fiction, the installation features replicas of iconic pop culture relics such as Indiana Jones’ Holy Grail and Lara Croft’s necklace and the Triangle of Light from the Tomb Raider series. Amidst epic lores surrounding archaeological sites and relics, the work activates a critical interrogation of how the discipline has been exoticised and mythologised, and how that shapes popular understandings of civilisation. By inviting viewers to piece together an origin story for Gunong Perandaian, NEO

_

NEO_ARTEFACTS asks urgently: whose stories are being told, and by whom?

Installation view of Chok Si Xuan’s solid_state as part of SAM Contemporaries: How To Dream Worlds at SAM at Tanjong Pagar Distripark. Image courtesy of Singapore Art Museum.

Finally, Chok Si Xuan’s solid state features three kinetic sculptures constructed by draping silicone and nylon over electrical components and shape-memory alloys. These hanging forms rotate, expand, and contract in ways that mimic human gestures. However, the subtle whirring of concealed motors betrays their machinic core. In the installation, two livestreams capture the internal movements and sounds of the sculptures, while a third assembles visual fragments from recorded and stock footage, highlighting the fragmented journeys of materials, whose origins are obscured by global supply chains and extractive processes. Similarly, while the sculptures take on tangible forms that we can recognise, like the human body, their internal workings remain concealed. By drawing attention to the atomisation of material culture that shapes our technological world, solid- state speculates on what remains shrouded in both body and object.

By rooting these imagined worlds in the realities of our time, How To Dream Worlds offers insight into how artists respond to the conditions around them, underscoring SAM’s belief in art as a vital space for inquiry, reflection, and change. Accompanying the exhibition is a rich line up of artist- and curator-led programmes designed to deepen engagement and expand understanding of the works. A forthcoming publication in October will document the artists’ evolving creative processes, alongside curatorial essays and creative responses. The exhibition will be shown at Gallery 3 at SAM at Tanjong Pagar Distripark from 1 August to 16 November 2025. General Admission (free for Singaporeans and PRs) applies.

About Singapore Art Museum

Singapore Art Museum opened in 1996 as the first art museum in Singapore. Also known as SAM, we present contemporary art from a Southeast Asian perspective for artists, art lovers and the art curious in multiple venues across the island, including a new venue in the historic port area of Tanjong Pagar.

SAM is building one of the world's most important public collections of Southeast Asian contemporary art, with the aim of connecting the art and the artists to the public and future generations through exhibitions and programmes. SAM is working towards a humane and sustainable future by committing to responsible practices within its processes.

For more information about the SAM Contemporaries: How to Dream Worlds exhibition and other events at the museum, please visit the site here. SAM can be found on X, Instagram, Facebook, and YouTube. Additionally, more information about SAM Contemporaries: How to Dream Worlds and its accompanying programs can be found here.

Keisuke Yamamoto: Cultivating a Poem Lost to Memory

Installation view of Cultivating a Poem Lost to Memory, September 13 - October 11, 2025, Tomio Koyama Gallery Photo by Kenji Takahashi ©Keisuke Yamamoto, Courtesy of Tomio Koyama Gallery

Tomio Koyama Gallery Roppongi is pleased to present an exhibition by Keisuke Yamamoto entitled “Cultivating a Poem Lost to Memory.” This exhibition marks the artist’s eighth solo show at the gallery and his first in eight years, featuring new sculptures and drawings.

【About Keisuke Yamamoto and his work: expressing chaos, the multilayered nature of soil, and underground worlds through a versatile imagination】

Keisuke Yamamoto (b. 1979) graduated from the sculpture department of Tokyo Zokei University in 2001 and completed his Master’s degree in sculpture at the Graduate School of Fine Arts at Tokyo University of the Arts in 2018. He currently serves as Associate Professor in the Concentration in Sculpture at Joshibi University of Art and Design.

Yamamoto has expressed his artistic world through both sculpture and painting. One of the most distinctive features of his practice is his affinity for soil and subterranean realms. He has connected his unique imagination to a sense of faith in and reverence for the land, the time and history embodied in layers of earth, nutrients and microorganisms, lifelines, chemical artifacts, and the chaotic darkness, presenting them as forms of existence that are free and unencumbered.

山本桂輔　Keisuke Yamamoto夢遊する樹 The Sleepwalking Tree2016/2022/2025Wood, oil paint, stone, glass木、油彩、石、ガラスh.265.5 x w.73.0 x d.82.0 cm Photo by Kenji Takahashi ©Keisuke Yamamoto, Courtesy of Tomio Koyama Gallery

While this underlying philosophy remains constant, the direction of his work has evolved as his interests have shifted. His early representative series “Untitled” (2008-2012) features massive wooden sculptures more than five meters high that brim with an overflowing sense of vitality and rhythm. For his 2012 solo exhibition, Yamamoto created works rich in vernacular elements — an attempt to breathe new life into old tools and implements that seem to have always been there, through a form of coexistence.

山本桂輔　Keisuke Yamamoto 甘い光 Sweet Light “Cultivating a Poem2024wood, oil paint, wire木、油彩、ワイヤーh.34.7 x w.26.5 x d.24.5 cm／including the wire: h.84.0 Photo by Kenji Takahashi ©Keisuke Yamamoto, Courtesy of Tomio Koyama Gallery

For this exhibition, building on the momentum from his participation in the 2024 Yamagata Biennale, Yamamoto will present new works that function like tools, stages, or board games with no rules. These pieces draw upon and cultivate the energy, history, and stories that reside in the earth and its depths through images of tree roots. Additionally, his outdoor bronze installation Talking and Singing in Sleep is currently on display at Marunouchi Street Gallery.

【About this exhibition and the works on display: images of accumulation, slumber, and dreams generated through trees that connect the subterranean realm with the earth and sky】

Installation view of Cultivating a Poem Lost to Memory, September 13 - October 11, 2025, Tomio Koyama Gallery Photo by Kenji Takahashi ©Keisuke Yamamoto, Courtesy of Tomio Koyama Gallery

On the occasion of this exhibition, Yamamoto penned the following statement.

“I am interested not in art as a special act performed by special individuals, but rather the ordinary, natural acts of imagining, thinking, and making things that humanity has engaged in since time immemorial. It is these acts that I feel are evidence of humanity’s attempts to understand this world, through an infinite number of forms conjured by individuals over the course of their relationship with the world. One way to describe them is as tiny whispers or mutterings that have been overlooked by grand historical narratives.”

“Countless lives exist beneath the earth, and the history of billions of years of activity is inscribed therein — an infinite number of nameless things, events, thoughts, and wishes. The underground feels like a world where everything melts together and coexists.”

“Trees connect the underground to the earth and sky, and images are generated through these connections. Various things frolic, accumulate, and gradually take shape.”

In Garden of Hot Springs, part of Yamamoto’s “Cultivating a Poem Lost to Memory” series, human-like figures and spheres lie scattered and suspended across what appears to be a cross-section of a log inundated by water, while abstract, painterly circles are also depicted along the sides.

山本桂輔　Keisuke Yamamoto 手品、プールの底の種 Magic, the Seed at the Bottom of the Pool 2024 wood, oil paint, stones, strings, metal fittings, paper, color pencil木、油彩、石、紐、金具、紙、鉛筆h.62.0 x w.33.0 x d.32.1 cm Photo by Kenji Takahashi ©Keisuke Yamamoto, Courtesy of Tomio Koyama Gallery

Are these people from the past that the earth has witnessed, non-existent people from dreams, or something from the future? These spheres resemble stones, stars, eyes, seeds, flowers, or light, yet they also seem like minute particles. Through the trees, organic beings appear in an imaginative and abstract manner, evoking in the viewer images of distant life, cosmic forces, and a sense of drifting between dream and reality.

山本桂輔　Keisuke Yamamoto 熱水泉の庭 Garden of Hot Springs “Cultivating a Poem 2024 wood, oil paint, stones, glass, ceramic, strings, metal fittings木、油彩、石、ガラス、セラミック、紐、金具 h.90.7 x w.40.0 x d.33.0 cm Photo by Kenji Takahashi ©Keisuke Yamamoto, Courtesy of Tomio Koyama Gallery

Also on display are works from Yamamoto’s “Zao Notebook” series — pencil drawings created while strolling in the area around Mount Zao, in which he sketches the forms he sees with curved, undulating lines, to which he adds details later, as if recalling them after forgetting — as well as pieces from his “Gently Scooping” series. This latter series represents Yamamoto’s attempts to expand on the image of rock fragments that become pebbles as a result of the flow of a river, using cups and spheres to express the distortion and rotational movement of the world through the random reflections of light in glass.

山本桂輔　Keisuke Yamamoto 地底の星屑(微光流星の花) 2025 wood, oil paint, ceramic, iron, lead, stone, thread木、油彩、セラミック、鉄、鉛、石、糸h.42.0 x w.28.3 x d.6 cm Photo by Kenji Takahashi ©Keisuke Yamamoto, Courtesy of Tomio Koyama Gallery

With a perspective that is gentle yet sharp, Yamamoto softly scoops up and creates an infinite number of forgotten, nameless things, thoughts, and wishes, and his artistic practice that transcends time and space continues to grow ever more profound. We hope you will take the opportunity to experience the most recent iteration of his artistic world.

Cultivating a Poem to Memory opened on September 13, with an opening reception on September 13,  from 5-7pm  The exhibition will close on October 11, 2025. The TOMIO KOYAMA GALLERY ROPPONGI is open from 11 am to 7 pm. It is CLOSED: Sun, Mon, and National Holidays.

For more information about this exhibition at TOMIO KOYAMA GALLERY ROPPONGI and others, please visit their site here. The gallery can be found on X, Facebook, Instagram, and YouTube. For more information on the artist, please visit here.

-