uzomah ugwu 7/24/26 uzomah ugwu 7/24/26

HUGUETTE CALAND: My Home

Lisson Gallery is honored to stage the first solo exhibition of Huguette Caland’s work in New York for five years. Organized by independent curator and writer Tarini Malik, this presentation charts Caland’s groundbreaking career across five decades and three continents. Working in Beirut, Paris and Los Angeles, the artist displayed a conscious and liberated attitude toward the notion of home, finding new artistic impetus at every turn and constantly furthering her work, across different countries and cultures. Through drawing, painting, sculpture and writing, Caland developed her unique voice in every location she inhabited and every language she encountered, finding spiritual solace in depictions of places, mental spaces and her own sensual form, a “practice that attempted to undo the rootlessness of both her diaspora and her own body,” as Malik puts it.

Exhibition view of ‘Huguette Caland: My Home,’ Lisson, New York, 13 May – 25 July 2026 ©Estate of Huguette Caland, Courtesy Lisson Gallery

Born in Beirut in 1931, Caland finally submitted to her passion for making art in the 1960s where she produced remarkable, abstracted, color-field paintings (such as the untitled works shown here from 1968), out of her home in the suburb of Kaslik. These early works demonstrate a sensitivity to form, color and surface that would come to structure her later engagement with the body. If these paintings hold form at a distance, her subsequent move to Paris in 1970, at the age of 39, marks a decisive shift toward a more intimate and embodied language.

Exhibition view of ‘Huguette Caland: My Home,’ Lisson, New York, 13 May – 25 July 2026 ©Estate of Huguette Caland, Courtesy Lisson Gallery

In Paris, removed from the social and familial frameworks that had previously shaped her life, Caland reoriented her practice toward the body – not as an object to be represented, but as a lived site. The erotically charged Bribes de corps (body fragments) series emerges from this moment of personal and artistic liberation. Here, the artist’s own body is encountered through seams, apertures and shifting contours: partial, proximate views that evoke touch and sensuality. Four works from 1973 present these curvaceous, uncanny landscapes through unfamiliar perspectives, where the body is rendered as a continuous terrain rather than a bounded form.

It was in her new studio on Rue du Grand Prieuré in the eleventh arrondissement where that she found license and confidence to express herself fully and immerse herself in the Parisian art world. Working collaboratively with Egyptian, Lebanese and French poets for her series of drawn Corps (1978), her paintings and drawings range from the figurative to the elusive and inscrutable, often in the same work. References to her body, her surroundings and her relationships surface and recede, producing images at once intimate and withheld. This oscillation between presence and withdrawal finds a poignant articulation in her faceless self-portrait from the early 1980s, in which the artist wears her signature abaya or caftan (she designed a collection of them titled Nour for Pierre Cardin), collapsing distinctions between art, fashion and lived identity.

Exhibition view of ‘Huguette Caland: My Home,’ Lisson, New York, 13 May – 25 July 2026 ©Estate of Huguette Caland, Courtesy Lisson Gallery

She moved to Venice Beach in Los Angeles in 1987, remarking that her name sounded like ‘California-land’. Despite again struggling with her outsider status, she nevertheless entered an incredibly fertile period for her practice. She produced major bodies of work including Silent Memories and Silent Letters, which both contain secret missives and nostalgic feelings either hidden by layers of lines, punctuated by dots or woven into matrices of color. If the earlier works locate the body as a site of encounter, here it becomes dispersed - translated into systems of marks or gestures that both conceal and communicate. Lines, dots and chromatic fields act as repositories for encoded feeling - nostalgia, distance, memory – while also evoking cartographic forms that trace geographies traversed.

A pair of irregularly shaped Silent Letters suggests both the outline of the United States and the borders of Lebanon, extending her earlier bodily landscapes into spatial and territorial registers. Two Cityscapes (both 1999) recall vertiginous views of busy intersections and cascading buildings that zoom out from haptic marks toward architectural signs. These vertical panels of urban sprawl also reflect the more domestic view of My Home (1992), a horizontal triptych painted in LA that lends the show its title, evoking the red roof tiles of Lebanon, a central doorway and a figure on the right-hand side. In this work, space is rendered as both lived and distanced, at once a site of shelter and a surface onto which memory and desire are projected. One of her final major bodies of work, the Rossinantes (humorously named after Don Quixote’s trusty steed) extend Caland’s sustained exploration of the body as a site of both mapping and agency. Registering age, movement and lived experience, these works in both sculpture and painting assert a form of self-determination through transformation. In this sense, the Rossinantes bring into alignment the central concerns of her practice: the body as both intimate and cartographic, and home as something continually produced through its shifting forms. As Malik notes, “home was a rendering and a reflection of the self.”

ABOUT THE ARTIST

A pioneering figure of abstract modernism, Lebanese artist Huguette Caland’s multidisciplinary practice challenged aesthetic and social norms of her time through abstract representations of the female body. Her drawings, paintings, textiles and sculptures render the figure in subtle lines and bursts of color that are simultaneously intimate, erotic and bold. In 1970, Caland moved to Paris from Beirut to pursue her artistic practice, a period that saw an exuberant focus on the body. It was there that she deepened the expressive and explicit power of line and color in her work, creating the Bribes de corps series. Foregrounding the body and its erotic expressions, the paintings from this series shift between figuration and abstraction and established Caland as a key figure in the broader discourse of Abstract Expressionism and Color Field painting. Having moved to California in 1987, she forged influential relationships with leading artists such as Larry Bell and Ed Moses. There, her practice shifted from abstraction to figuration with emphasis placed on the poetics of line, seen in the series Limousin and Granite and Homage to Pubic Hair. Caland’s later works are more intricately constructed ‘landscapes’ that often resemble the surface of textiles; while the compositions appear differently, these works are evocative of her early drawing from the 60s and 70s. In all her work, a perpetual ambivalence appears between the assertion and the erasing of the body, challenging conventions around beauty and desire, Caland’s practice is simultaneously minimalistic and daringly referential. Huguette Caland was born in 1931 in Beirut. After studying at the American University of Beirut (1964–70), Caland moved to Paris in 1970 and then Los Angeles in 1987, before returning to Beirut in 2013. Her work has been the subject of a number of solo and group shows, including ICA Miami, US (2024); The Drawing Center, New York, US (2021); Orlando Museum of Art, US (2021); Tate St. Ives, Cornwall, UK (2019); Institute of Arab and Islamic Art (IAIA), New York, US (2018); 57th Venice Biennale, Venice, Italy (2017); Hammer Museum, Los Angeles, US (2016); Prospect.3, New Orleans Biennial, New Orleans, US (2014); Centre Pompidou, Paris, France (2014); Beirut Exhibition Center, Lebanon (2013); Carnegie Art Museum, Oxnard, US (2012); National Museum of Women in the Arts, Washington DC, US (2010). Caland passed away in Beirut in 2019, aged 88. Lisson’s solo exhibition follows Caland’s touring retrospective curated by Hannah Feldman, A Life in a Few Lines, which toured from the Museo Nacional Centro de Arte Reina Sofía in Madrid to the Deichtorhallen in Hamburg, with the exhibition’s final venue being the Hammer Museum in Los Angeles this autumn.

ABOUT LISSON

Lisson Gallery is one of the most influential and longest-running international contemporary art galleries in the world. Today the gallery supports and promotes the work of more than 60 international artists across spaces in London, New York, Los Angeles, Shanghai and Beijing. Established in1967 by Nicholas Logsdail, Lisson Gallery pioneered the early careers of important Minimal and Conceptual artists, such as Art & Language, Carl Andre, Daniel Buren, Donald Judd, John Latham, Sol LeWitt, Richard Long and Robert Ryman among many others. It still works with many of these artists as well as others of that generation from Carmen Herrera to the renowned estate of Leon Polk Smith. In its second decade the gallery introduced significant British sculptors to the public for the first time, including Tony Cragg, Richard Deacon, Anish Kapoor, Shirazeh Houshiary and Julian Opie. Since 2000, the gallery has gone on to represent many more leading international artists such as Marina Abramović, Ai Weiwei, John Akomfrah, Susan Hiller, Tatsuo Miyajima and Sean Scully. It is also responsible for raising the international profile of a younger generation of artists led by Cory Arcangel, Ryan Gander, Van Hanos, Hugh Hayden, Haroon Mirza, Laure Prouvost, Pedro Reyes, Wael Shawky and Cheyney Thompson.

The exhibition opened on 13 MAY and closed today, 24 JULY 2026. The exhibition was held at 508 WEST 24TH STREET, NEW YORK. There was an OPENING: 13 MAY, 6 – 8 PM.

For more information about this exhibition and others, please visit the Lisson Gallery here. The gallery can also be found on Facebook, YouTube, and Instagram.

uzomah ugwu 7/24/26 uzomah ugwu 7/24/26

KELLY AKASHI: Heirloom

For her first exhibition with Lisson Gallery in New York, Kelly Akashi presents Heirloom, a new body of work that builds on her pivotal 2025 presentation in Los Angeles. Where that earlier exhibition examined inheritance through formal and material tension, Heirloom turns toward the conditions of loss and grief, asking how absence is held, transmitted, and given form. The exhibition coincides with Akashi’s participation in the 2026 Whitney Biennial and precedes the unveiling of her commission for John F. Kennedy International Airport’s New Terminal One, in partnership with Lead Curator, Culture Corps. Across bronze, Corten steel, flame-worked glass, and carved stone, Akashi approaches sculpture as a site where loss can be registered without resolution. These materials do not conceal rupture but sustain it, allowing traces of erosion, oxidation, and transformation to remain visible. Form is subject to ongoing processes of change through which matter records duration. In this sense, the works operate as accumulations of time, where loss is not an isolated event but a condition that unfolds, settles, and alters. Over the last year, Akashi has tended to the land and cultivated a garden where her home and studio once stood. This act of care becomes central to the exhibition, not as restoration but as a practice of attending to what persists. In Heirloom, organic forms drawn from that site reappear as bronze roses, irises, and branches. Directly cast into metal, these elements become relics and resilient markers of domesticity and care. They recall gestures of preservation that attempt to memorialize, even as their original context has vanished. The works hold a tension between endurance and fragility, suggesting memory as something reconstituted in order to be claimed.

Exhibition view of ‘Kelly Akashi: Heirloom,’ Lisson, NewYork, 13 May – 25 July 2026 ©Kelly Akashi, Courtesy Lisson

At the center of the exhibition stands an enlarged rendering of an inherited stone ring once worn by the artist. Expanded to a monumental scale and retaining the rough surface of the original, the object shifts between bodily intimacy and geological presence. Its altered proportion speaks to the way grief reshapes perception, enlarging what is absent until it exceeds the capacity to contain it. The sculpture does not function as a replacement. Instead, it stages a confrontation with weight, both literal and psychological, as something carried forward. A pair of Corten steel panels, cut from doily patterns traced from scans of her grandmother’s handmade lace tablecloth, extends this inquiry into the articulation of absence. Suspended with a gap between them, the panels demarcate a space of interruption that resists closure. The material itself is integral. Weathering steel records exposure over time, its surface continually oxidizing, increasing its structural integrity despite its distressed patina. Here, permanence and impermanence coexist, allowing absence to be understood as an active and ongoing presence rather than a void. Nearby, book-ash flocked paper works incorporate remnants of the artist’s former library. The delicate lace pattern evokes domestic familiarity while also indexing systems of transmission through which knowledge, memory, and history are passed down. These works situate personal grief within broader temporal and cultural continuities.

Glass works complete the exhibition, introducing a language of fragility and exposure. A mallow plant, originally found while gardening, has been recreated in glass with its root system exposed. This particular species commonly emerges from disturbed soil and indicates emerging biodiversity after a disaster. Another glass and bronze sculpture takes a finely latticed botanical form that suggests both containment and permeability. Its intricate construction reflects a sustained engagement with vulnerability, where delicacy is not a weakness but a mode of attention. In these works, loss is neither obscured nor resolved. It is articulated through forms that remain open, provisional, and responsive. Heirloom proceeds from Akashi’s understanding of sculpture as a medium uniquely capable of holding absence in materiality. Rather than treating heirlooms as static tokens of remembrance, the exhibition proposes them as dynamic carriers of history, shaped as much by what is no longer present as by what endures.

ABOUT THE ARTIST

Executed with deft manual skill and astute material knowledge, Kelly Akashi’s visual language emphasizes the impermanence of the natural world, recording and indexing fragmented moments in time. Her singular practice is characterized by a rigorous conceptual approach, yet the work is distinguished by a deep reverence for process. Always a student, Akashi is perpetually studying new practices and physical techniques such as glass-blowing, casting, candle-making and stone carving. The repeated use of the hand as motif serves as a symbol for Akashi’s ongoing investigation into the temporality of the human experience. Often cast in bronze or crystal, her hands bear the mark of time on her body, her growing fingernails, and aging flesh. Towering sculpted weeds, delicately glass-blown flowers, a to-scale depiction of her body in polished travertine, enlarged casts of extinct species of shells; Akashi poetically and objectively encapsulates the notion of mortality in a ritualistic gathering of objects. However, her take on her own practice is not a morbid one. Akashi references the phrase mono no aware. “It refers to a wistful awareness of impermanence—the ‘pathos of things’. It’s central to hanami, the Japanese custom of venturing out to enjoy the brief season of cherry blossoms.”

Kelly Akashi was born in 1983 in Los Angeles. She received a BFA from Otis College of Art & Design in 2006 and an MFA from the University of Southern California in 2014. She also studied at the prestigious Staatliche Hochschule für Bildende Künste (Städelschule) in Frankfurt am Main, Germany in 2010. Akashi has been chosen as the Artist in Residence at Pilchuck Glass School for 2025. Recent solo exhibitions include ‘Kelly Akashi – Converging Figures’ Fondazione Furla Galleria d’Arte Moderna, Milan, Italy (13 September – December 8 2024) and ‘Kelly Akashi: Encounters’ at the Henry Art Gallery, Seattle, USA (September 30, 2023 – June 15, 2024) and her 10-year survey, ‘Formations’, which began at the San José Museum of Art in 2022, travelled to the Frye Art Museum in Seattle and then to the Museum of Contemporary Art San Diego, through 2024. Recent group exhibitions include ‘A Garden of Promise and Dissent’, Aldrich Contemporary Art Museum, Ridgefield, CT, USA (17 November 2024 – November 2025); ‘Spirit House’, Cantor Arts Center, Stanford, CA, USA (September 4 2024 – 26 January 2025); ‘Ecstatic: Selections from the Hammer Contemporary Collection’, Hammer Museum, Los Angeles, CA, USA (2023); ‘Ground/work’ at Clark Institute, Williamston, MA, USA (2020); ‘Possessed’, MO.CO Panacée, Montpellier, France; ‘Take Me (I’m Yours)’, The Jewish Museum, New York, NY, USA (2016); and ‘Made in LA: a, the, though, only’, Hammer Museum, Los Angeles, CA, USA (2016).

ABOUT LISSON

The exhibition opened on 13 MAY and closed today, 24 JULY 2026. The exhibition was held at 508 WEST 24TH STREET, NEW YORK. There was an OPENING: 13 MAY, 6 – 8 PM.

For more information about this exhibition and others, please visit the Lisson Gallery here. The gallery can also be found on Facebook, YouTube, and Instagram.

uzomah ugwu 7/23/26 uzomah ugwu 7/23/26

David Byrne/Saul Steinberg: Influence and Affinity

Left to right: David Byrne, Human Skyline (For Wall Drawing), 2025 © David Byrne, courtesy Pace Gallery; Saul Steinberg, Untitled, 1951 © The Saul Steinberg Foundation / Artists Rights Society (ARS), New York.

New York – 125 Newbury will present an exhibition of work by David Byrne and Saul Steinberg from May 28 through August 1. Placing drawings, watercolors, prints, and collages by Steinberg in conversation with drawings and never- before-seen banner works by Byrne, David Byrne/Saul Steinberg: Influence and Affinity speaks to the artists’ shared sense of wry humor in concert with their sharp observation and expansive creativity. Separated by generations, their work springs philosophically from the same insights and observations.

David Byrne/Saul Steinberg: Influence and Affinity 395 Broadway, New York, NY 10013 May 28–August 1, 2026 Photography courtesy Kris Graves

Celebrated for his sculptures, photographs, and works on paper that transform the signs and symbols of modern life into something surreal, Steinberg approached his subjects with both fondness and irony. Steinberg was the major artist- philosopher of the ’40s and ’50s, recording society’s accomplishments and foibles in drawings that often became pages and covers of The New Yorker. To a broad audience he may have been known as a cartoonist, but in truth he was a draftsman making art of great consequence, navigating varied topics and forms to examine the changing world around him. He produced dynamic images across painting, drawing, assemblage, and calligraphy, often incorporating ready- made materials like sheet music paper and brown paper bags in groundbreaking and unexpected ways. Depicting city scenes, still lifes, landscapes, portraits, and more, Steinberg’s work has proved pivotal and inspiring to generations of artists that followed.

David Byrne/Saul Steinberg: Influence and Affinity 395 Broadway, New York, NY 10013 May 28–August 1, 2026 Photography courtesy Kris Graves

Known as a multi-disciplinary artist and musician, David Byrne has developed his practice across drawing, photography, installation, performance, and design over five decades. His distinct style is characterized by a bold yet sparing use of line, turning everyday objects and images into otherworldly, often humorous tableaus. Though he had been drawing for many years prior, it was in 2020, amid the isolation of the COVID-19 pandemic, when drawings began to pour out of him, unconsciously revealed. Byrne’s drawings from this period—which feature in 125 Newbury’s presentation—of bodies, dreams and nightmares, and the surrounding city represent his response to the social and emotional conditions of that time.

Citing Steinberg as an inspiration for his own practice, Byrne explains, “I became aware of Steinberg’s drawings in magazines when I was young. Profoundly clever, humorous and inventive, it seemed to me that they were illustrations, but at the same time they transcended ‘mere’ illustrations… This was all very inspiring for me as a young person dreaming of a creative future life of some sort. I loved his drawings, but equally it was exciting to see the categories breaking down. I realized some things might be able to be expressed better in a drawing rather than a song.” Similarly to Steinberg’s oeuvre, Byrne’s drawings examine the glimmers, disappointments, and connective tissues of our everyday lives. Just as Steinberg was shaped by his experiences as an observant traveler, Byrne has carried his diverse experiences from beyond the art world into the context of the gallery.

Featuring a focused selection of works by each artist to provide a window into their singular practices, David Byrne/Saul Steinberg: Influence and Affinity is comprised of Byrne’s drawings from 2006 to present along with works on paper, wood, and canvas made by Steinberg between 1949 and 1996. The exhibition highlights the artists’ contact points and shared sensibilities through an installation that emphasizes their overlapping themes and styles across time. Large-format works from both artists will be shown, including an important suite of six drawings by Steinberg that comprise a cityscape and the debut of a new series of vibrant textile banners created by Byrne this year. Echoing the signs and symbols of various fraternal organizations—like the Masons, Odd Fellows, and Elks—these tapestries incorporate vintage trims and tassels with hand-embroidered elements that imbue his images with immediacy.

“Very exciting to be invited to show alongside Steinberg. Hope he doesn’t mind wherever he is. ”

— David Byrne

David Byrne/Saul Steinberg: Influence and Affinity 395 Broadway, New York, NY 10013 May 28–August 1, 2026 Photography courtesy Kris Graves

David Byrne (b. 1952, Dumbarton, Scotland) was raised in Baltimore, where he briefly attended the Maryland Institute College of Art (MICA) in 1971 after transferring from the Rhode Island School of Design in Providence. Byrne studied photography, performance, and video production at MICA. In 1975, Byrne co-founded the group Talking Heads, who in the 1980s introduced an innovative visual approach to their performances. Byrne has been involved with photography, drawing, installations, performance and design since college and has been publishing and exhibiting his work since the 90s. Like his music, Byrne’s visual work has the capacity to elevate and transform ordinary elements into iconic ones and challenges our fundamental notions of what can be classified as art.

Saul Steinberg (b. 1914, Râmnicu Sărat, Romania; d. 1999, New York) produced drawings, sculptures, photographs, and collages that continue to elicit critical contemplation. Having studied architecture in Milan, he fled wartime Italy in 1941 and became an American citizen two years later. Influenced by Dada, Surrealism, Cubism, and Pop, Steinberg’s varied output reflects the defiant humor, curiosity, and modernist attitude of an artist trying to make sense of the chaotic postwar period. Marked by a self-aware wit, his work embraces double meanings and philosophical content expressed through graphic means. Widely celebrated for his contributions to The New Yorker, Steinberg’s art became an exploration of social and political systems, language, and art itself.

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 2024, Pace will open its first gallery space in Japan in Tokyo’s new Azabudai Hills development.

The exhibition opened on May 28–August 1, 2026, at 125 Newbury. For more information about this exhibition and others, please visit the Pace Gallery’s website here. Pace Gallery can be found on Instagram and Artsy, too.

uzomah ugwu 6/28/26 uzomah ugwu 6/28/26

Francesca Woodman: Lately I Find a Sliver of Mirror Is Simply to Slice an Eyelid

**FRANCESCA WOODMAN** 2026, installation view © Woodman Family Foundation/SIAE, Rome Photo: Matteo D’Eletto, M3 Studio Courtesy the Foundation and Gagosian

ROME, Gagosian is pleased to present Lately I Find a Sliver of Mirror Is Simply to Slice an Eyelid, an exhibition of photographs by Francesca Woodman (1958–1981), which opened on April 29. Focusing on her affinities with Surrealism, the exhibition features nearly fifty prints Woodman made during her lifetime, many of which have never previously been exhibited.

**FRANCESCA WOODMAN** *Untitled or #4 from a Series “Dissection of a Portrait”*, 1976 Lifetime gelatin silver print mounted on mat board Image: 5 13/16 x 5 13/16 inches (14.7 x 14.7 cm) Sheet: 5 13/16 x 5 13/16 inches (14.7 x 14.7 cm) Mat board: 14 x 11 inches (35.5 x 27.9 cm) © Woodman Family Foundation/SIAE, Rome Courtesy the Foundation and Gagosian

Picturing her own body as well as those of other models in natural landscapes and dilapidated interiors, Woodman used composition and mise-en-scène to convey a sense of mystery and theatricality. Destabilizing boundaries between bodies, objects, and settings, her photographs enact both assertions of self and themes of dissociation. They feature figures nude, clothed, or shrouded; exposed or partially hidden; and juxtaposed with everyday objects—eggs, gloves, masks, seashells, teacups, fruit, and fish—that hint at symbolic significance. These works reveal an artist who was creatively assured, playfully exploratory, and intrigued by the Surrealists’ transformative use of allegory, language, and ordinary items to express the marvelous and uncanny.

**FRANCESCA WOODMAN** *Untitled*, 1978 Lifetime gelatin silver print Image: 4 5/8 x 4 5/8 inches (11.5 x 11.5 cm) Sheet: 9 3/8 x 7 inches (23.813 x 17.78 cm) © Woodman Family Foundation/SIAE, Rome Courtesy the Foundation and Gagosian

Woodman studied Dada and Surrealism at the Rhode Island School of Design (RISD), and her notebooks contain many references to their ideas. Italy also played an important role in her development; she grew up spending summers in Tuscany with her parents, who were both American artists. Fluent in Italian and conversant with Italian art and culture, she lived in Rome in 1977 and 1978 while still enrolled at RISD. There, she frequented Libreria Maldoror, a bookstore and gallery specializing in Dada, Surrealist, and Futurist art and literature that held her first solo exhibition in Europe.

**FRANCESCA WOODMAN** *But Lately I Find a Sliver of Mirror Is Simply to Slice an Eyelid*, c. 1975–77 Lifetime gelatin silver print Image: 5 7/16 x 5 7/16 inches (13.8 x 13.8 cm) Sheet: 9 15/16 x 7 15/16 inches (25.2 x 20.1 cm) © Woodman Family Foundation/SIAE, Rome Courtesy the Foundation and Gagosian

In 1979, she wrote to Italian editor Alberto Piovani, citing as influences “[Josef] Koudelka, Brassaï, [Jean-Auguste-Dominique] Ingres, and Balthus,” and noting: “I would like words to be to my photographs what the photographs are to the text in André Breton’s ‘Nadja.’ He picks out all the allusion and enigmatic details of some rather ordinary unmysterious snapshots and elaborates them into a story. I’d like my photographs to condense experience.”

The exhibition’s title refers to that of Woodman’s c. 1975–77 photograph of hands holding a fragment of a mirror beneath a tabletop still life and has the associative shock of Surrealist imagery suggestive of Breton and Luis Buñuel. In a notebook entry written in 1976, Woodman connected it to a class on fairy tales that she took in her first year at RISD, linking the phrase to the fable of “The Snow Queen,” which imagines mystical mirror shards that distort the perception of beauty and ugliness. Additional works on view incorporate mirrors, panes of glass, and photographed, painted, and printed images, disrupting expectations of a single unified view through doubling and substitution.

According to art historian Alyce Mahon in her new article for Gagosian Quarterly, “Objects are not owned but are malleable in Woodman’s work, serving to bring the surreal into the lived space, whether it be the studio, an abandoned house, or nature. In this way their usefulness takes on a new understanding: they morph into vessels for novel encounters between strangers or strange things.”

**FRANCESCA WOODMAN** *Untitled*, c. 1975–78 Lifetime gelatin silver print Image: 9 1/2 x 12 3/8 inches (24.1 x 31.275 cm) Sheet: 11 x 13 7/8 inches (27.9 x 35.243 cm) © Woodman Family Foundation/SIAE, Rome Courtesy the Foundation and Gagosian

Other photographs picture the female figure manipulated in unusual ways, draping eels and gar over her nude body, pinching her flesh with clothespins, or wrapping her legs with tape. The resulting images relate to Surrealist interests in dream imagery and fetishization while also suggesting parodies of the movement’s tropes. Operating on both sides of the camera to create her work, Woodman engaged with Surrealism within the contexts of contemporary photography, Conceptual art, feminism, and other sources that she encountered at RISD and in Rome.

Francesca Woodman: Lately I Find a Sliver of Mirror Is Simply to Slice an Eyelid examines Woodman’s Affinities with Surrealism. There was an opening reception on Wednesday, April 29, from 6–8 pm. The exhibition will close on July 31, 2026. For more information about the artists represented by Gagosian and other exhibitions at the gallery, please visit the gallery’s site here. The gallery can also be found on Pinterest, X, YouTube,Facebook, Instagram, and Artsy.

uzomah ugwu 6/27/26 uzomah ugwu 6/27/26

Helen Frankenthaler: The Moment and the Distance

NEW YORK, Gagosian is pleased to announce Helen Frankenthaler: The Moment and the Distance, an exhibition organized in collaboration with the Helen Frankenthaler Foundation. Surveying four decades of paintings from 1960 to 1992, the exhibition features more than twenty of Frankenthaler’s largest, most ambitious works. Arranged by decade, these canvases—with their monumental scale, sensuous color, and innovative compositions—offer new perspectives on the artist’s continual reinvention of her practice.

**HELEN FRANKENTHALER** *A Green Thought in a Green Shade*, 1981 Acrylic on canvas 119 x 156 1/2 inches (302.3 x 397.5 cm) © 2026 Helen Frankenthaler Foundation, Inc./Artists Rights Society (ARS), New York Photo: Thomas Barratt, courtesy Gagosian

The exhibition’s title is derived from an incisive 1975 essay by Barbara Guest, a poet and friend of the artist, who wrote: “She has rewarded us with the astonishing combination of freedom with restraint, extravagance with discipline, suggestion and definition. The moment becomes the distance.” Embodying Frankenthaler’s exploratory, lyrical approach to abstraction, the canvases on view benefit from an expansive scale that enhances the exceptional visual impact of their brilliant colors and varied gestures.

HELEN FRANKENTHALER The Moment and the Distance, 2026, installation view © 2026 Helen Frankenthaler Foundation, Inc./Artists Rights Society (ARS), New York Photo: Maris Hutchinson Courtesy Gagosian

Created with diluted oil paint applied directly to untreated canvas, Provincetown I (1961) features compelling contrasts between line and color, bound and unbound form. In the late 1960s and 1970s, following her move from oil to acrylic paint, Frankenthaler shifted to composing with large, flat slabs of color. Mornings (1971) is distinguished by flowing descents of yellow, buff, and white tones interrupted by linear filaments drawn with black marker, which is also used in Thanksgiving (1972) to arrange biomorphic shapes in precarious balance.

**HELEN FRANKENTHALER** *Alassio*, 1960 Oil on linen 85 1/4 x 131 inches (216.5 x 332.7 cm) © 2026 Helen Frankenthaler Foundation, Inc./Artists Rights Society (ARS), New York Photo: Rob McKeever Courtesy Gagosian

Throughout her career, Frankenthaler engaged in a conversation with the history of art. Auguste (1977) was inspired by Auguste Renoir, reconfiguring the Impressionist’s fleshy palette and varied application into a field of loosely rectilinear brushstrokes. Allusions to landscape are also a constant in Frankenthaler’s oeuvre. Ocean Drive West #1 (1974), titled after the address of her seaside studio at Shippan Point in Stamford, Connecticut, stretches striated bands across a vibrant blue canvas to suggest currents, while the expansive horizontal composition of Shippan October (1981) evokes the seascape of the Long Island Sound in autumnal light.

**HELEN FRANKENTHALER** *Yin Yang*, 1990 Acrylic on canvas 57 1/2 x 112 inches (146.1 x 284.5 cm) © 2026 Helen Frankenthaler Foundation, Inc./Artists Rights Society (ARS), New York Photo: Dan Bradica Courtesy Gagosian

Frankenthaler once described her painting as “inner amorphous worlds or depths exploding on the surface and in perspective,” channeling the fluidity of pigment that washes over works like A Green Thought in a Green Shade (1981), punctuated by opaque elements in contrasting colors. In Janus (1990), mirrored accumulations of layered gray tones face one another in the center of the work, framed by passages of fiery color and splattered, vaporous textures. Together, these paintings epitomize Frankenthaler’s continuous introduction of new painting techniques and imagery as well as her stalwart commitment to abstraction.

Gagosian is publishing a catalogue to accompany the exhibition. It features the essay “Unborrowed Dreams: Helen Frankenthaler’s Post-Surrealist Spaces” by Ara H. Merjian, which discusses the artist’s uniquely sustained engagement with abstraction and Surrealist methods. The gallery’s tenth solo presentation of Frankenthaler’s work, The Moment and the Distance, follows Helen Frankenthaler: A Grand Sweep at the Museum of Modern Art, New York (on view through February 8, 2026) and coincides with Helen Frankenthaler at Kunstmuseum Basel (April 18–August 23, 2026), which will be the largest exhibition of her art to date in Europe

Helen Frankenthaler: The Moment and the Distance opened on April 30 and will close on July 2, 2026. The exhibition is being held at
522 West 21st Street, New York location. For more information about the artists represented by Gagosian and other exhibitions at the gallery, please visit the gallery’s site here. The gallery can also be found on Pinterest, X, YouTube,Facebook, Instagram, and Artsy.

uzomah ugwu 6/16/26 uzomah ugwu 6/16/26

Robert Longo: Angels of the Maelstrom

Pace presents Angels of the Maelstrom, an exhibition of new and recent charcoal drawings and sculptures by Robert Longo, at its Tokyo gallery, which opened on April 16 and will run through June 17. In this presentation, which marks his first solo exhibition in Japan in three decades, Longo examines the cultural influences and exchanges between Japan and America and how the two cultures have shaped his work. His last solo exhibition in Japan was his 1995 retrospective at Tokyo’s Isetan Museum of Art, which traveled to Ashikaga City Museum and Osaka’s Kirin Plaza Art Space.

Over the past decade, the artist has increasingly turned his focus to images from the media, including coverage of the January 6 United States Capitol attack and the Black Lives Matter movement. Building up his hyper realistic, black-and- white charcoal drawings in layers with painstaking attention to light and shadow, he creates highly detailed works based on news photography as well as images of protests, civil unrest, and war on the Internet. Transforming his source images into epically scaled, emotionally resonant compositions, he reflects on power, violence, and national mythmaking while also proposing hope for the future.

Robert Longo Untitled (Gardenia for Mary), 2026 WORK ON PAPER charcoal on mounted paper 40" × 50" (101.6 cm × 127 cm), image 45" × 55" × 3- 9/16" (114.3 cm × 139.7 cm × 9 cm), frame © 2026 Robert Longo/Artists Rights Society (ARS), New York.

While creating work for his exhibition at Pace Tokyo, Longo was inspired by Paul Klee’s watercolor monoprint Angelus Novus (1920), in which a curious angel is poised to either take flight or surrender. The piece was once owned by the German philosopher Walter Benjamin, who referred to the angel in his 1940 essay “On the Concept of History” as a witness to the future, an “angel of history,” whose “face is turned toward the past […] But a storm is blowing in from Paradise; it has got caught in his wings with such a violence that the angel can no longer close them. The storm irresistibly propels him into the future.”

4.Robert Longo Untitled (AmericanSamurai),2025WORK ON PAPER charcoal on mounted paper51"×80" (129.5 cm×203.2 cm), image 56"×85"×3-9/16" (142.2 cm×215.9 cm×9 cm), frame ©2026 Robert Longo/Artists Rights Society (ARS), NewYork

Longo’s investigations into allegorical mythologies and ancient archetypes that span cultures incorporate an array of loaded icons: a crashing wave, a submerged whale, a blooming peony. The centerpiece of his presentation across the gallery’s two floors is Untitled (American Samurai), a drawing of the Japanese baseball player, the superstar of the Los Angeles Dodgers, Shohei Ohtani. For the artist, Ohtani’s legacy as one of the best players of a quintessentially American pastime speaks powerfully to the collision of the two cultures.

Robert Longo: Angels of the Maelstrom 2F; Azabudai Hills GardenPlaza-A,5-8-1 Toranomon, Minato-Ku, Tokyo April 16 – June 17, 2026 Photography courtesy Pace Gallery

Highlights also include new drawings of subjects from the natural world—including an arresting portrait of a tiger baring its teeth, an image of a cresting wave inspired by Hokusai, a misty mountain range, and blooming flowers—and iconic American figures from the 20th century: John F. Kennedy and Jackie Kennedy Onassis, as well as Elvis Presley. Born in 1953 in Brooklyn, New York, Longo was deeply influenced by social and political issues from an early age. He graduated high school in 1970, weeks after the Ohio National Guard massacred several students at Kent State University who were protesting the US invasion of Cambodia—including one of Longo’s former classmates, whose body was shown in a Pulitzer Prize-winning photograph that shocked the world. In 1973, Longo enrolled at Buffalo State College, where he trained as a sculptor and began his decades-long friendship with fellow artist Cindy Sherman. The two moved to New York together in 1977, and, throughout the 1980s, Longo frequently performed in New York rock clubs in Menthol Wars, his band with Richard Prince. During this period, he also designed album covers for numerous bands and directed music videos for New Order and R.E.M.

Robert Longo Untitled (JFK & Jackie, Zapruder Still), 2026 WORK ON PAPER charcoal on mounted paper 28" × 42" (71.1 cm × 106.7 cm), image 33" × 47" × 3- 9/16" (83.8 cm × 119.4 cm × 9 cm), frame © 2026 Robert Longo/Artists Rights Society (ARS), New York.

In his first solo exhibition at Metro Pictures in New York in 1981, Longo showed his charcoal and graphite Men in the Cities drawings, works that became icons of the “Pictures Generation.” This group, which includes Longo, Sherman, Prince, Louise Lawler, and David Salle, is known for critiquing the anesthetizing power of consumer capitalism and the indoctrinating effects of mass media through their art. Working with diverse materials at increasingly ambitious scales over the course of his career, Longo cemented himself as a preeminent artist of his generation. Today, his work can be found in the collections of major museums around the world, including the Museum of Modern Art, Whitney Museum of American Art, and Brooklyn Museum in New York; the Los Angeles County Museum of Art; the National Gallery of Art in Washington, D.C.; the Milwaukee Art Museum; the Walker Art Center in Minneapolis; the Albertina Museum in Vienna; the Centre Pompidou in Paris; the Tate in London; the Stedelijk Museum in Amsterdam; and many other international institutions.

Robert Longo Untitled (Immortal Glass), 2026 WORK ON PAPER charcoal on mounted paper 60" × 40" (152.4 cm × 101.6 cm), image 65" × 45" × 3-9/16" (165.1 cm × 114.3 cm × 9 cm), frame © 2026 Robert Longo/Artists Rights Society (ARS), New York.

Robert Longo (b. 1953, Brooklyn, New York) lived and works in New York. He received a BFA from State University of New York College at Buffalo, in 1975. Important solo exhibitions of his work include Robert Longo: the Freud drawings, Haus Lange/Haus Esters, Krefeld, Germany, which traveled to The Albertina Museum, Vienna (2003); Robert Longo: The Capitol Project, The Aldrich Museum of Contemporary Art, Ridgefield, Connecticut (2013); Robert Longo: The Destroyer Cycle, Metro Pictures, New York (2017); Robert Longo: Storm of Hope: Law & Disorder, Palm Springs Art Museum, California (2021); Robert Longo Drawings: Engines of State, National Gallery of Art, Washington, D.C. (2023); Robert Longo, The Albertina Museum, Vienna (2024), which traveled to the Louisiana Museum of Modern Art, Humlebæk, Denmark (2025); and Robert Longo: The Acceleration of History, Milwaukee Art Museum, Wisconsin (2024–25). Longo’s work is held in multiple collections worldwide, including The Albertina Museum, Vienna; The Art Institute of Chicago; Centre Georges Pompidou, Paris; Harvard Art Museums, Cambridge, Massachusetts; Los Angeles County Museum of Art; and The Museum of Modern Art, New York, among others.

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

uzomah ugwu 6/11/26 uzomah ugwu 6/11/26

ALIOUNE DIAGNE: Saytu

Toutes les images / All images: © Courtesy of the artist and TEMPLON, Paris - Brussels - New York

Following his national pavilion at the 2024 Venice Biennale, painter Alioune Diagne returns to Paris with “Saytu” a new body of work rooted in two years of research across Senegal. This exhibition foregrounds the preservation, transformation, and transmission of cultural heritage as key themes.

In Wolof, saytu means searching, examining, and preserving what is most precious. The artist spent months traveling through Senegal's central and southeastern regions, meeting minority communities in remote areas, including the Bassari, Bédik, Dialonké, and Coniagui. He documented their ancestral customs and rituals as they work to sustain and protect them.

The project began with a two-month stay in Etiolo, Bassari territory. Diagne then visited the Bédik communities of Ethiwar, Ibel, Iwol, and Andjel, visiting the latter twice. He shared daily life with the Dialonké in Madina Baffé and traveled to central Senegal to meet the Coniagui in Koupentoum, where certain rituals are gradually disappearing.

Working closely with these communities, the artist patiently observed, documented, and reinterpreted these traditions through his highly distinctive visual language. His technique - developed gradually over the years - is based on assembling small units he calls “unconscious signs.” When brought together, they form vivid, figurative scenes of striking intensity. Masks, dances, costumes, music, and song are thus translated into painting to capture the vibrant energy and spiritual essence of these ceremonies.

Initially, and unconsciously, influenced by his grandfather, a Qur’anic teacher, Diagne developed an almost pointillist vocabulary he sees as a universal language for the inexpressible. Moving between abstraction and figuration, some works - such as Jeune fille Bassari [Young Bassari Girl] (2025) - reveal themselves instantly, while others, like La foule qui danse [The Dancing Crowd] or Sous l’arbre sacré [Under the Sacred Tree] (2025), invite slower, more attentive decoding, preserving the mystery inherent in traditions passed down orally through generations.

A chronicler of his time, the artist aims to create, in his own way, the future archives of Senegal. Faces/Times, his monumental installation, presents 100 portraits of individuals he met during his journey and embodies his ambition. The anonymous faces reflect two central themes: the preservation of personal stories and memories, and the transient nature of digital identity. In this sense, “Saytu” explores how knowledge and cultural legacies are transmitted and transformed in the context of social media and globalization, raising these central questions: How are such legacies evolving, and what roles will they play in the future?

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Toutes les images / All images: © Courtesy of the artist and TEMPLON, Paris - Brussels - New York

Among the communities he encountered, Diagne focused on women and their rituals, highlighting their central role in social life and knowledge transmission. La première ligne [The Front Line], (2025) and Rythme Dialonké [Dialonké Rhythm], (2026) honor their strength and creativity, situating these traditions in a contemporary dialogue about women's roles in society.

More broadly, the project explores the vulnerability of global cultural heritage, focusing on themes of preservation, reinvention, and transmission of tradition. Using a contemporary painterly language, Alioune Diagne invites reflection on how today's societies address these concerns.

Biography

Born in 1985 in Kaffrine, Senegal, Alioune Diagne lives and works in Senegal. He studied at the École nationale des Beaux-Arts in Dakar in 2008. A socially engaged artist, his work paves the way for a profound exploration of major contemporary issues: ecology, the role of women in society, racism, as well as the ideas of transmission and heritage. Since 2011, his work has been featured in numerous solo and group exhibitions in Europe, Africa, Asia, and the United States, including “Sink or Swim,” 11th Dakar Biennale, Villa Spivey, Dakar, Senegal (2014); “Itinéraire en Couleurs,” Espace Jean Drevon, Saint-Jean-de- Bournay, France (2014); the Art Basel Off-Site exhibition, Basel (2017); “Un nouveau regard,” Aosta, Italy (2017). In April 2024, he represented Senegal at the 60th Venice Biennale with the project “Bokk – Bounds.” He has also participated in several editions of the Dakar Biennale, notably in 2022 with an exhibition at the Grand Théâtre de Dakar, as well as in the 2024 edition. Winner of the Norval Foundation Public Vote Prize in 2023, he exhibited that same year in the Netherlands as part of the group exhibition “Africa Supernova,” as well as at the Musée des Beaux-Arts in Rouen with his solo exhibition “Ndox-Glint.” In January 2024, the Templon gallery in Paris presented his solo exhibition “Seede.” In 2025, he unveiled his first exhibition on American soil, “Jokko,” at Templon New York. That same year, his work was featured in a group show at the Musée Rath in Geneva, Switzerland. His works have been acquired by several prestigious collections, including the Denver Art Museum (United States), the François Schneider Foundation (France), the Museum of Black Civilizations in Dakar (Senegal), and SAMoCA (Saudi Arabia Museum of Contemporary Art). Alioune Diagne has been represented by Templon since 2022.

The exhibition opened on May 21 with an opening on Thursday, May 21, from 12 pm to 8 pm, and will run until July 18, 2026. For more information about this exhibition and others, please visit Templon’s site. The gallery can also be found on Instagram, artnet, Facebo ok, YouTube,and Art sy. The magazine also did an interview with Alioune which can be found here.

uzomah ugwu 5/29/26 uzomah ugwu 5/29/26

Marina Adams: Works on Paper- A Survey

Peter Blum Gallery presented the exhibition Works on Paper: A Survey by New York and Italy-based artist Marina Adams. Spanning over three decades from 1994 to 2025, this marks the first exhibition dedicated to surveying the artist’s works on paper practice. It was on view from April 9, 2026, with an artist reception from 6 – 8 pm, through May 29, 2026 at 176 Grand Street, New York, NY. An artist’s conversation with curators Raymond Foye and Claire Gilman on May 19, 2026, coincides with a new 108-page hardcover publication entitled Marina Adams–Works on Paper: A Survey.

Marina Adams has developed a dynamic practice of clear and powerful abstract language that explores the possibilities of form and movement through the structural power of color. Understanding abstraction not as theory but as a "synthesis of body and mind," Adams’s work embraces what John Keats termed "negative capability"—the ability to exist within uncertainties and mysteries without reaching after fact or reason. Drawing inspiration from the natural world, textiles, and the rhythmic cadences of poetry and music, Adams engages in a timeless dialogue with Modernist artists—including Henri Matisse, Joan Mitchell, and Willem de Kooning—while maintaining a singular and contemporary voice.

As curator Raymond Foye notes: “In Marina Adams’s work, content and form continually swap places. Her shapes often suggest vessels—the urn, the body, the cello, things that are both full and empty, resonant and still. Masterful drawing and brushwork trace the contours of a personal space, an experience of self, where forms move freely but forcefully, sometimes pushing, sometimes yielding. This drama is most keenly played out in the bounding lines, where Adams takes the work to the edge and leaves it there. Energy continues off the page in every direction. To understand these works, imagine mass communication, and then imagine its opposite.”

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Installation view, Marina Adams: Works on Paper: A Survey, April 9, 2026 – May 29, 2026, Peter Blum Gallery, New York. Photo: Courtesy of the artist and Peter Blum Gallery

Spanning from 1994 to 2025, the exhibition traces a "full circle" evolution of form in Adams’s visual vocabulary, beginning with her time in Italy during the 1990s. Inspired by the essential structures of umbrella pines, her Roma series (1994) articulates the relationship between line and shape, where the edge of a tree becomes the edge of a leaf, opening up space. Reflecting a much later relocation to Long Island in 2021, the newest works in the exhibition from 2025 display a return to nature in these "tree forms" that have evolved into a rhythmic architecture where the organic and the geometric become indistinguishable.

Marina Adams *1996_135x119*, 1996 India ink, gouache, and enamel on paper Overall: 135 x 119 inches (342.9 x 302.3 cm) Three sheets: 45 x 119 inches (114.3 x 302.3 cm)

A cornerstone of the presentation is the large-scale work entitled 1996_135x119. This abutting three-sheet composition from a series first shown in Heide Fasnacht’s TriBeCa loft in 1996, showcases her gestural energy and the enduring influence of natural forms. Similarly, several examples from the Erotics series of the 2000s provide a link to her more distilled abstractions. By utilizing collage and appropriating images from Japanese Shunga and the Kama Sutra, Adams used found fabric to "reveal and conceal" sexual forms. This initial impulse to layer and cover has since transformed into an exploration of how color and form occupy space as a singular, resonant presence.

Marina Adams *New Alphabet*, 2010 Gouache on handmade Indian Khadi paper Overall (variable): 78 x 100 inches (198.1 x 254 cm) Twenty sheets: 12 x 12 inches (30.5 x 30.5 cm)

The collective experience is explored in major groupings such as the twenty-sheet work New Alphabet (2010). Adams’s shapes take on the weight of a lexicon of color saturated symbols that feel ancient yet new, suggesting a way of communicating beyond speech. Body and Soul (2017) pushes this further, channeling the improvisational spirit of Black classical music and the fluidity of the human form. Here, vessel shapes become more apparent—curving, organic lines that suggest the hollow of a cello or the arch of a torso in saturated colors. Italia Tre (2019) reflects a return to the light and palette of the Mediterranean, where the balance between "the struggle and the ease" is played out in vibrant, interlocking planes of color. The emphasis on the organic and the immediate is found in a newer work, La Danse (2024). Comprised of nine sheets, this lively grouping functions as a rhythmic architecture where the distinction between the tree forms of her formative years and her later geometry becomes intertwined.

Central to the works is Adams’s technical range and commitment to transparency and directness as exemplified by a selection of later individual works. By working primarily with gouache, acrylic, Flashe, and crayon, she avoids the reflective sheen of oil, favoring matte surfaces that pull the viewer into the "physicality of drawing." These media allow for a quickness of hand, capturing the energy of the initial gesture before it can be overthought. Yet in works from such series as Magic Square (2017) and A Series of Dreams (2022), Adams also employs watercolor to achieve a unique translucency that departs from her more opaque works. With more fluid washes, her forms soften, capturing a dreamlike state anchored by her characteristically dynamic and rhythmic brushwork.

Marina Adams (b. 1960, Orange, NJ) is based in New York, NY, Bridgehampton, NY, and the hills outside of Parma, Italy. She earned degrees from Tyler School of Art at Temple University (Philadelphia) and Columbia University (New York). She is the recipient of the John Simon Guggenheim Memorial Fellowship (2016) and the Award of Merit Medal for Painting from the American Academy of Arts and Letters (2018). Her work is in the collections of the Museum of Modern Art (New York), Metropolitan Museum of Art (New York), Modern Art Museum of Fort Worth (Fort Worth, TX), Buffalo AKG Art Museum (Buffalo, NY), Longlati Foundation (Shanghai), Colby College Museum of Art (Waterville, ME), K11 Art Foundation (Hong Kong, China), and The Rennie Collection (Vancouver, Canada) among others.

The exhibition opened on April 9 and closed today, May 29, 2026. There was an Artist Reception: April 9, 6 – 8 pm, and an Artist Conversation + Book Launch: May 19, 6 – 8 pm. For more information about this exhibition and others at the Peter Blum Gallery, please visit the Gallery’s site here. The magazine also did a review of the show, which can be found here.

uzomah ugwu 5/25/26 uzomah ugwu 5/25/26

ROBERT RAUSCHENBERG: Important Early Works from the Cy Twombly Foundation

Cy Twombly and Robert Rauschenberg at the Stable Gallery, New York, 1953 Courtesy Fondazione Nicola Del Roscio

NEW YORK,—Gagosian is pleased to announce an exhibition of six important early works by Robert Rauschenberg from the Cy Twombly Foundation. Organized during the centennial of Rauschenberg’s birth, this presentation accompanies the exhibition of works by Marcel Duchamp that will inaugurate the gallery’s new ground-floor space in the historic building at 980 Madison Avenue, with both opening on April 25.

From left to right: Robert Rauschenberg Untitled (Elemental Sculpture), 1953 Wood, nails, rope, and stone Variable dimensions © 2026 Robert Rauschenberg Foundation/Artists Rights Society (ARS), NY Photo: Owen Conway Courtesy Gagosian Robert Rauschenberg Untitled, 1961 Metal, wire, tin can, electric cord, and light bulb with stool 27 × 34 × 15 inches (68.6 × 86.4 × 38.1 cm) © 2026 Robert Rauschenberg Foundation/Artists Rights Society (ARS), NY Photo: Owen Conway Courtesy Gagosian

Rauschenberg and Twombly met in 1951 at the Art Students League of New York and subsequently attended Black Mountain College near Asheville, North Carolina, before traveling together throughout Italy, Morocco, and Spain in 1952 and 1953. Key milestones of Rauschenberg’s early development, the works from Twombly’s collection on view are especially significant given the close friendship and substantial exchanges of ideas that took place between the two artists.

The exhibition features one of Rauschenberg’s earliest known surviving sculptures, an assemblage he made in 1950. Whereas much of his production of 1950–51 was lost, destroyed, or incorporated into new works, this sculpture was kept and preserved by Twombly. Also included is Untitled (1950), a life-size photogram that is among the most recognized of the blueprint works that Rauschenberg and Susan Weil made in collaboration shortly before they were married.

Additional pieces include key examples from the Black Painting, Elemental Sculpture, and Combine series. Together, they chart Rauschenberg’s engagement with Duchamp’s radical reconception of art making and his commitment to acting in the gap between art and life, while anticipating the incorporation of technology and performance into his practice. In conjunction with the gallery’s Duchamp exhibition, this presentation confirms the contemporary relevance of this branch of the twentieth-century avant-garde.

The exhibition will be accompanied by a catalog featuring an essay by curator and Rauschenberg scholar Susan Davidson. This exhibition opened on April 25 and will run through to June 27, 2026, at the gallery’s 980 Madison at 76th Street, New York location

The exhibition opened on April 25 and will be on view until June 27, 2026. For more information about the artists represented by Gagosian and other exhibitions at the gallery, please visit the gallery’s site here . The gallery can also be found on Pinterest , X , YouT ube, Faceboo k , Instag ram , and Art sy . For Robert Rauschenberg’s biographical information and exhibition history, please visit here.

uzomah ugwu 5/22/26 uzomah ugwu 5/22/26

Chema Madoz

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“I would like the viewer to leave the room with the awareness that traveling does not require to move, that everything around us can reveal a different side simply by changing our point of view, and that poetry can exist right in our own room. ”

— Chema Madoz, 2020

Galería Elvira González presents, during the PHotoEspaña 2026 Festival, the fifth solo exhibition by photographer Chema Madoz (Madrid, 1958). The exhibition brings together 34 photographs from 2024 and 2025.

INSTALLATION VIEW: Chema Madoz 2026, Photo Courtesy of Galería Elvira González

For decades, Madoz has produced his images from everyday objects, photographed in the studio with natural light. Rooted in surrealism and influenced by René Magritte, his work is intuitive and driven by the unexpected. “What interests me is the idea of discovery, of perceiving mystery within the everyday.” He works with one or two elements at a time, only with black and white which brings him to childhood and the dreamlike. The combinations he establishes between objects disrupt conventional logic, and in this way, his photographs convey the sensation of encountering something both familiar and strange.

Courtesy of Brutos TV and Galería Elvira González

Among the new works, a recurring motif in his career, a cage, appears open; the birds that have escaped now scatter across a map. In another image, a falconry glove holds, instead of the talons of a bird of prey, a butterfly. In this way, Madoz introduces us to the idea that things in the world are not entirely self-evident. No matter how domesticated they might be, or how clearly named or defined, objects always retain something for themselves.

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Madoz describes it as follows: “For me, in some way, each object carries with it a word or a set of concepts determined by its use, form, or evocative capacity. Playing with them, when determining their position or their relationship with others, alters and multiplies their possible meanings. It opens up cracks in perception and offers us an idea of reality that is tremendously malleable.”

Chema Madoz en la Galería Elvira González © Alex Mena

Chema Madoz (Madrid, 1958) is a central figure in the contemporary Spanish photography scene. From the 1990s onward he developed a personal visual language rooted in the everyday object as a starting point for the construction of images with a strongly conceptual character. In 1999 the Museo Nacional Centro de Arte Reina Sofía presented Objetos 1990–1999, the first exhibition of a living Spanish photographer held at the museum. In 2000 Madoz was awarded with the Premio Nacional de Fotografía from the Ministry of Culture, and that same year he became the first Spanish artist to receive the Premio PhotoEspaña. His work has been shown in numerous Spanish and international institutions, including the Real Sociedad Fotográfica de Madrid, the Canal de Isabel II in Madrid, Centre Pompidou in Paris, the Netherland Photomuseum in Rotterdam, the Fondazione M. Marangoni in Florence, Museo de Bellas Artes in Caracas, and FotoFest International in Houston. In October 2026, Canal de Isabel II will host Manual de un distraído, a selection of 94 photographs dated between 2015 and 2025.

The exhibition opened on May 5 and will conclude on July 10, 2026. For more information about this exhibition and others at Galería Elvira González please visit their site here. The gallery can also be found on Facebook, Instagram, X, and Vimeo.

uzomah ugwu 5/20/26 uzomah ugwu 5/20/26

Little Birds and Our Daily Prayers

Little Birds and Our Daily Prayers is a beautiful group exhibition that just opened in Tribeca through June 28 at The Locker Room (253 Church St). Bringing together 13 impressive artists of various backgrounds (ages 24-65) who engage, grapple with, and dispute how Queerness transforms the everyday, the show is co-curated by Cameron Barker,an artist & educator whose drawing & printmaking centers around visibility of queer intimacy—as a queer Jew, Barker is interested in destabilizing cultural systems that force communities to engage in closeting to avoid persecution (he's also taught at Yale & otheruniversities).

Chris Minard, *A Moment of Pageant Ennui (The Only Gay Bar For 200 Miles*), 2025, Oil on Linen, 60 x 36 inches

Faygeleh in Yiddish means “little bird” and has historically been used as a slur for “girly” boys. This exhibition imagines a reclamation of the term—birds, after all, possess an extraordinary ability to find their flock even in dire conditions. The featured works move beyond Queerness as identity and toward Queerness as essence—a divine energy that animates mundane life. It is an essence that outs us: irrepressible, embodied, in the soul—swishing our hips and lisping our lips. Girly boys, boyly girls, and all our siblings who do not fit—we sing a similar song and we listen. We answer one another’s prayers. Our existence become reliquary.

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INSTALLATION VIEW: Little Birds and Our Daily Prayers Group Exhibition 2026, Photo Courtesy of Locker Room, NYC

Rites, traditions, and rituals are associated with organized religion, but queerness is a language so ancient that religion can only attempt to mimic its cadence: rites counted in bumps in the road beneath motorbikes, in sweat sacraments made on dark dance floors, and in daily rituals enacted through the wettest application of lip gloss imaginable. These rites appear throughout the exhibition, particularly in Anthony Viti’s works made of moving blankets, Chris Minard’s meticulous depiction of “the only gay bar in 200 miles", and Robert Martin’s reverential portrait of a boy in his underwear standing in a marsh with the solemnity of a saint awaiting canonization. Instead of the typical rainbow of colors associated with commercial queerness, the 22 works in this exhibition are largely moody monochromes or limited color palettes, signifying a celebratory muddying that occurs with perseverance. Examples include Abbey Gilbert’s cyanotypes on newspaper; graphite, charcoal, and ink drawings by Brett Park, Cameron Barker, and Creighton Baxter; and Khari Johnson-Ricks’ welded steel works.

From NYC and the Northeast (MA, CT, PA, NJ), plus West Virginia, Wisconsin, New Orleans, the group includes Anthony Viti (a Pollock-Krasner grant recipient with works in museum collections including The Metropolitan Museum of Art) and Creighton Baxter whose live performances of swallowing images have been done at MoMA and MOCA LA(both artists work with found surfaces—blankets, discarded papers—engaging technical rituals of accumulation & removal, they archive acts of queer being, and evidence of the body itself); painter Chris Minard (also an art director/set designer currently working on new Gremlins movie/has worked on TV shows like Russian Doll, The Americans); photographer Abbey Gilbert whose work is driven by desire & longing with particular emphasis on relationships with past & present lovers; sculptors Khari Johnson-Ricks (whose works are in library collections of The Met, Whitney, MoMA) and Earthen Clay who both transform obstacles into sites of self-reflection & growth, where strength emerges through connection (Clay forms relics of bodies shaped by oppressive conditions, Johnson-Ricks welds steel through tension, rhythm, and heat, mending material through intensity); Brett Parkwho explores the dialectics of queerness through (w)holes—using a vernacular of breeze blocks, cutouts, and silhouettes, he questions the material & psychic architectures that subsume bodies; and show co-curator Cameron Barker.

Rounding out the group are West Virginia-based Anthony Peyton Young (a 2024 Fire Island Artist Residency participant whose work is in the collection of the Museum of Fine Arts, Boston); Marla McLeod (currently a studio resident at the Boston Center for the Arts), Mia Fabrizio (an artist-in-residence at The Studios at MASS MoCA), Wisconsin-based Robert Martin (awarded New American Paintings Emerging Artist Grant in 2021 and a featured artist at the Denver Art Museum in 2022); and Ryan Leitner (a 2024 resident artist at the Joan Mitchell Foundation).

Here's a link to short bios for each artist. For more information about this exhibition and others at the Locker Room, please visit the Locker Room's site here. The gallery can also be found on Instagram here.

uzomah ugwu 5/18/26 uzomah ugwu 5/18/26

WHIPPED CREAM & OTHER DELIGHTSFRAENKEL at ORTUZAR

MARTINE GUTIERREZ Whipped Cream & Other Delights, 2026 mixed media collage & original LP © Martine Gutierrez, courtesy RYAN LEE Gallery, New York, and Fraenkel Gallery, San Francisco

Fraenkel Gallery presents Whipped Cream & Other Delights, a two-week pop-up residency at Ortuzar in New York, on view May 9–21 in the gallery’s West Broadway space. Reflecting Fraenkel Gallery’s idiosyncratic approach to photography and its intersections with other media, the exhibition moves freely through centuries and brings together works by Eadweard Muybridge, Diane Arbus, and Robert Adams alongside more recent “delights” by Martine Gutierrez, Kota Ezawa, and Liz Deschenes—some created specifically for this project. An opening reception will take place Saturday, May 9, from 3-5pm.

HIROSHI SUGIMOTO Cinerama Dome, Hollywood, 1993 gelatin silver print © Hiroshi Sugimoto, courtesy Fraenkel Gallery, San Francisco and Lisson Gallery

The exhibition takes its title from a new piece by Martine Gutierrez, in which she inserts herself into the iconic cover of Herb Alpert’s 1965 album of the same name, playing on the uncanny resemblance between her performative self-portraits and the model famously draped in whipped cream. Interweaving the unexpected with the canonical, the exhibition juxtaposes an 1887 study of a man lifting a dumbbell by Eadweard Muybridge with an eighteen-part typology of water towers by Bernd & Hilla Becher. Other highlights include a 1955 “paste-up” by Bay Area artist Jess, whose fiercely personal work weaves together text and image fragments drawn from an eclectic range of sources, and John Waters’s fabled Faux Video Room installation from 2006. A new work by Carrie Mae Weems, The Law of Diminishing Returns, explores the intersection of history and memory in connection with the transatlantic slave trade.

The residency at Ortuzar reflects Fraenkel Gallery’s long-standing belief in the value of collaboration, bringing together the sensibilities of both galleries while reaching new audiences. As Fraenkel Gallery President Daphne Palmer states: “It’s simple: we enjoy working with our friends. Given the challenges of today’s art world, it makes sense to nurture alliances and build on mutual strengths. We were especially drawn to working with our great colleagues at Ortuzar because their artists and ours often seem in unspoken dialogue with one another.”

ROBERT ADAMS Berthoud, Colorado, 1976 gelatin silver print © Robert Adams, courtesy Fraenkel Gallery, San Francisco

Ortuzar founder Ales Ortuzar adds: “Fraenkel Gallery has consistently expanded the conversation around photography and how it is understood within contemporary art. We’ve long admired their program, so it’s a pleasure to welcome them to Ortuzar for this project. The exhibition captures something we both value—unexpected connections between artists, ideas, and generations.”

Since 1979, Fraenkel Gallery has presented nearly 400 exhibitions exploring photography and its relation to the other arts. Based in San Francisco, the gallery exhibits and publishes significant works of art across a variety of media spanning two centuries.

Founded in New York by Ales Ortuzar in 2018, Ortuzar represents artists who play a significant role in the development of twentieth- and twenty-first-century art. Through well- researched exhibitions, global institutional placements, and market leadership, the gallery advances the careers and legacies of artists and estates.

Concurrent with Whipped Cream & Other Delights, Fraenkel Gallery will partner with New York’s Metrograph theater for Fraenkel Gallery Presents, a selection of highlights from the Fraenkel Film Festival. Held annually at San Francisco’s Roxie Theater, the series invites gallery artists to select films that have shaped their creative, intellectual, or aesthetic outlook. From May 8-10 and May 15-17, Metrograph will present films chosen by Lee Friedlander, Nan Goldin, Martine Gutierrez, Christian Marclay, Wardell Milan, and Hiroshi Sugimoto.

Fraenkel Gallery will be at Ortuzar until May 21, 2026. Ortuzar is located at 221 W. Broadway, New York. For more information about the Fraenkel Gallery, please visit he re. Inf ormation about Ortuzar is also available here.

uzomah ugwu 5/13/26 uzomah ugwu 5/13/26

Daniel Hauben: Emergence

BRONX, NY — The Kingsbridge Historical Society (KHS), located at 2570 Independence Avenue in the Bronx, will host an exhibition of artwork by celebrated Bronx painter Daniel Hauben from May 1 through June 30. An opening reception was held on May 1, from 5 to 8 PM, with additional public events happening on May 24 and June 21.

This exhibition offers a rare opportunity to experience the artist’s monumental cityscapes, sculpted oil reliefs, and landscapes both real and imagined. Featured among these works are several recent pieces, including the 21-foot Reflecting on the Familiar and the 9-foot centerpiece painting Emergence.

Hauben is widely recognized as one of the Bronx’s most versatile and prolific painters. Working primarily in oil and pastel, he has spent more than five decades documenting the landscape and unique character of the borough he calls home. He has also traveled widely, painting wherever he goes. When travel ceased during the pandemic, Hauben began painting Emergence, which he describes as “a 6-year odyssey into the realm of the imagination.”

Visitors to the exhibition will have the opportunity to engage more deeply with Hauben’s work during a special event on Sunday, May 24 at 1 PM, which will feature a time-lapse video presentation of the evolution of Emergence, along with an artist talk and guided gallery tour. On Sunday, June 21, KHS will host a fundraising event, during which Hauben will sell prints of his work and the organization From The Bronx will offer a wide variety of Bronx-themed merchandise for sale. A portion of the proceeds will benefit KHS and its programs.

Daniel Hauben, *Emergence*, 2026, Oil on canvas and wood, 54 x 108 inches, Photo by Adi Talwar

The exhibition will be held in the historic Edgehill building, home of the Kingsbridge Historical Society. “This will be a unique opportunity to view Danny’s art work in a NYC landmark building,” said Nick Dembowski, Executive Director of KHS.

This program is supported, in part, by public funds from the New York City Department of Cultural Affairs and the NYC Department of Youth and Community Development in partnership with the City Council. The Kingsbridge Historical Society's programs are made possible by the New York State Council on the Arts with the support of the Office of the Governor and the New York State Legislature.2

About the Kingsbridge Historical Society

The Kingsbridge Historical Society is the first, and oldest, local historical society in the Bronx. Founded in 1949, KHS is a cultural institution dedicated to preserving and celebrating the rich history of the Kingsbridge and Riverdale area communities. In 2022 the KHS took ownership of the landmark Edgehill building, which was constructed in 1889 and is listed on the National Register of Historic Places

Exhibition hours are 11 AM to 3 PM on Sundays, Mondays, and Tuesdays, and admission is free. The exhibition will remain on view through June 30, 2026. Further information and additional open hours can be found here. The magazine also did an interview with Daniel which can be found here.

uzomah ugwu 5/8/26 uzomah ugwu 5/8/26

Marcel Duchamp

NEW YORK, —Gagosian is pleased to announce a significant presentation of key works by Marcel Duchamp to inaugurate the gallery’s new ground-floor space in the historic building at 980 Madison Avenue. The exhibition, opened on April 25, 2026, and brings a selection of works—including all of the artist’s most iconic readymades—back to the location where these editions made their American debut in a 1965 exhibition at Cordier & Ekstrom Gallery. It also coincides with Duchamp’s first retrospective in the United States since 1973, which is on view at the Museum of Modern Art, New York, until August 22. It all started with Duchamp,

**Marcel Duchamp** *L.H.O.O.Q.*, 1964 (after 1919 original) Pencil and white gouache on printed paper 11 7/8 × 9 1/8 inches (30.2 × 23 cm) Edition 19/35 + 3 AP © Association Marcel Duchamp/ADAGP, Paris/Artists Rights Society (ARS), New York 2026 Photo: Owen Conway Courtesy Gagosian

“I couldn’t imagine a better artist or a more critical body of work to be the first exhibited in our new gallery at 980 Madison, a building he showed in just over sixty years ago. ”

— Larry Gagosian

Marcel Duchamp 2026, installation view © Association Marcel Duchamp/ADAGP, Paris/Artists Rights Society (ARS), New York 2026 Photo: Owen Conway Courtesy Gagosian

The exhibition features the readymades that Duchamp produced in 1964 with the help of Italian gallerist Arturo Schwarz, given that many of the originals had been lost or destroyed over the years. Of these, Roue de bicyclette (Bicycle Wheel) (1964, after 1913 lost original) is the only surviving example not currently in the collection of a major international institution; other works on view include Fountain (1964, after 1917 lost original); L.H.O.O.Q. (1964, after 1919 original); Porte-bouteilles (Bottle Dryer) (1964, after 1914 lost original); and Boîte-en-valise (1935–49; contents 1935–41). In these works, Duchamp memorialized his own oeuvre while subverting ideas of artistic integrity, authorship, and originality.

**Marcel Duchamp** *Fresh Widow*, 1964 (after 1920 original) Paint, wood, metal, leather, and glass 31 7/8 × 22 5/8 × 5 3/4 inches (81 × 57.5 × 14.4 cm) “Ex Arturo” (1 of 2 AP) + edition of 8 + 2 HC © Association Marcel Duchamp/ADAGP, Paris/Artists Rights Society (ARS), New York 2026 Photo: Owen Conway Courtesy Gagosian

The exhibition illustrates Duchamp’s continuing relevance to the work of contemporary artists who make use of recontextualization and irony. It illuminates his redirection of art toward a more conceptual realm, which laid the ground for Dada and Neo-Dada, Minimalism, performance art, and Fluxus. Duchamp withdrew the hand of the artist, paving the way for Andy Warhol and Jeff Koons; used found objects and addressed “non-art” subjects, informing the work of Robert Rauschenberg and Jasper Johns; and embraced the operation of chance, inspiring artists from Urs Fischer to Damien Hirst.

**Marcel Duchamp** *Porte-chapeau (Hat Rack)*, 1964 (after lost 1917 original) Wood 9 1/8 × 18 × 13 1/8 inches (23 × 45.7 × 33.3 cm) “Ex Arturo” (1 of 2 AP) + edition of 8 + 2 HC © Association Marcel Duchamp/ADAGP, Paris/Artists Rights Society (ARS), New York 2026 Photo: Rob McKeever Courtesy Gagosian

The exhibition is accompanied by a book featuring statements by the artist, an essay by art historian and graphic designer Don Quaintance, and an interview with Koons about Duchamp’s enduring influence that also appears in the Spring 2026 issue of Gagosian Quarterly. For Marcel Duchamp’s biographical information and exhibition history, please visit gagosian.com.

Gagosian inaugurated its new Upper East Side gallery with an exhibition that celebrates Marcel Duchamp and his enduring influence, featuring all of the artist’s most iconic readymades, at the ground-floor Location at 980 Madison. The exhibition opened on April 25 and will be on view until June 27, 2026. For more information about the artists represented by Gagosian and other exhibitions at the gallery, please visit the gallery’s site here. The gallery can also be found on Pinterest, X, YouTube, Facebook, Instagram, and Artsy.

Daudi Karungi 5/7/26 Daudi Karungi 5/7/26

Mona Taha: A Walk in Makindye

Mona Taha, Barakah (Abundance_ Bounty), 2025, Ink, watercolor, and acrylic on paper collage, 72x56cm, ©Mona Taha, Courtesy of Afriart Gallery and the Artist.

Afriart Gallery is pleased to present A Walk in Makindye, a new body of work by Mona Taha. This new body of work emerges from repeated walks through Makindye, the Kampala neighborhood where she moves between home and studio along quiet roads lined with trees, undergrowth, birds, and small animals. In these daily passages through a green and lived-in part of the city, observation becomes ritual. Walking becomes a way of looking, and looking becomes a way of returning to the self.

This body of work also emerges from a period of pause within the artist’s practice. After several years of consistent production and public presentation, Taha stepped away from exhibiting for over a year, turning instead toward research, reflection, and a more private process of self-inquiry. During this time, she revisited materials, experimented with new combinations of mediums, and allowed herself to work without the immediate pressures of exhibition or outcome. The paintings presented here are the result of that interval of quiet exploration works that grow out of a renewed attentiveness to process, to observation, and to the subtle ways in which inner experience finds form in the natural world around her.

INSTALLATION VIEW 2, A Walk in Makindye, Mona Taha, Courtesy of Afriart Gallery 2026, Photo by James Wasswa.jpg

INSTALLATION VIEW 1, A Walk in Makindye, Mona Taha, Courtesy of Afriart Gallery 2026, Photo by James Wasswa.jpg

INSTALLATION VIEW 3, A Walk in Makindye, Mona Taha, Courtesy of Afriart Gallery 2026, Photo by James Wasswa.jpg

INSTALLATION VIEW 4, A Walk in Makindye, Mona Taha, Courtesy of Afriart Gallery 2026, Photo by James Wasswa.jpg

INSTALLATION VIEW 5, A Walk in Makindye, Mona Taha, Courtesy of Afriart Gallery 2026, Photo by James Wasswa.jpg

INSTALLATION VIEW 6, A Walk in Makindye, Mona Taha, Courtesy of Afriart Gallery 2026, Photo by James Wasswa.jpg

INSTALLATION VIEW 8, A Walk in Makindye, Mona Taha, Courtesy of Afriart Gallery 2026, Photo by James Wasswa.jpg

INSTALLATION VIEW 9, A Walk in Makindye, Mona Taha, Courtesy of Afriart Gallery 2026, Photo by James Wasswa.jpg

INSTALLATION VIEW 10, A Walk in Makindye, Mona Taha, Courtesy of Afriart Gallery 2026, Photo by James Wasswa.jpg

INSTALLATION VIEW: A Walk in Makindye, Mona Taha, Courtesy of Afriart Gallery 2026, Photo by James Wasswa

Alongside her visual practice, Taha maintains a close relationship with poetry, both reading and writing it regularly. The reflective tone in her paintings often echoes the structure of a poem built through fragments, pauses, and subtle shifts in atmosphere rather than direct narrative. Much like poetry, her compositions allow meaning to unfold gradually through layers of color and gesture, creating a contemplative space that invites viewers to slow down and reflect.

Yet these works are not simple celebrations of landscape. They do not present nature as scenery, nor as escape in any naïve sense. Instead, Taha approaches nature as a space of reorientation: a place where the self can soften, unravel, and be reassembled. In a time marked by speed, overload, uncertainty, and emotional fatigue, this gesture becomes especially resonant. These paintings do not deny the chaos of contemporary life; they propose another rhythm within it.

Mona Taha, Rahma ( Mercy_ also Womb), 2025, Mixed media and cutouts on paper, 69.5x47cm, ©Mona Taha, Courtesy of Afriart Gallery and the Artist.

Working with watercolor, ink, coffee, tea, and collage, Taha builds images through accumulation, staining, interruption, and response. Her process allows fluid materials to spread, pool, fade, and settle with a degree of unpredictability. Rather than imposing total control, she collaborates with the medium, letting it generate its own atmosphere and logic. This openness is central to the work: form is not fixed from the beginning, but discovered through process.

The collage elements intensify this language. Often made from fragments, offcuts, and remnants of earli er works, they introduce a visual structure of rupture and return. These strips do not merely decorate the image; they act like interruptions, membranes, or thresholds across the picture plane. They obscure and reveal. They divide and connect. Through them, fragments that once seemed discarded are brought back into relation, suggesting that brokenness, excess, and incompletion can themselves become generative.

INSTALLATION VIEW: A Walk in Makindye, Mona Taha, Courtesy of Afriart Gallery 2026, Photo by James Wasswa

This is especially significant in the treatment of the figure. Taha’s subjects do not dominate the landscape; they seem to emerge through it and with it. Their bodies share the tonal atmosphere of the surrounding space, at times nearly dissolving into washes of greens, blues, and earthen color. The human form becomes porous, held within an ecology rather than standing apart from it. In these works, nature is not the background. It is a structure, a presence, and a companion.

Mona Taha, Resting Place, 2026, Ink, watercolor, acrylic on paper collage, 74.5x58cm, ©Mona Taha, Courtesy of Afriart Gallery and the Artist.

If Taha’s earlier practice often centered the self through portraiture and interior searching, this body of work marks a subtle but important shift. A self-taught artist with a background in economics, Taha initially turned to drawing as a way of navigating questions of identity and personal experience. Many of her early works took the form of self-portraits, using the human face and body as sites through which to explore emotion, vulnerability, and transformation. These portraits often reflected moments of introspection, grappling with personal change, the complexities of motherhood, and the evolving understanding of self within the rhythms of everyday life.

While the inquiry into selfhood remains central to her practice, it is no longer held solely within the face or body. In this new body of work, that exploration expands outward into the surrounding environment into light, vegetation, atmosphere, and the organic rhythms of the natural world. The figure is no longer isolated as the primary subject but becomes part of a wider ecology of forms and sensations. What emerges is a visual language of abundance, but not excess; of beauty, but not decoration; of softness, but not passivity, suggesting a practice that continues to grow from personal reflection while opening itself to a broader sense of connection and renewal.

Looking at these new works, I felt that they resonate with a longer art historical lineage in which artists have approached nature as a symbolic language for inner life. In the late nineteenth century, figures associated with Symbolism, such as Odilon Redon and Gustav Klimt, turned to atmosphere, landscape, and the human figure to evoke psychological and spiritual states rather than simply depict the visible world. This sensibility continued across the twentieth and twenty-first centuries through artists who explored the relationship between the body, the environment, and the unseen dimensions of experience from the metaphysical investigations of Hilma af Klint and the intimate landscapes of Georgia O’Keeffe to the layered and fragmented figuration of Wangechi Mutu. Within this broader lineage, Taha’s work contributes a contemporary voice in which nature, material process, and the human figure become intertwined sites of reflection and renewal.

In the context of today’s world with its wars, digital saturation, private anxieties, and collective disorientation, these works feel quietly urgent. They return us to the possibility that restoration may begin in attention: in walking, in pausing, in re-entering the more-than-human world with humility. Taha’s paintings offer no grand solution. What they offer instead is something rarer: an image of coexistence, of slowness, and of the self not as sealed or isolated, but as something capable of being remade through contact, care, and presence.

Taha treats nature not as a place one visits, but as a condition through which one becomes visible again. In this sense, the works invite us quietly and without insistence to take a walk of our own.

For more information about this exhibition, please visit the gallery’s site here. The gallery can also be found on Instagram and Artsy. The magazine did an interview with the artist Mona Tahaa, which can be found here. Along with an interview with the curator Daudi Karungi, available here.

uzomah ugwu 5/6/26 uzomah ugwu 5/6/26

Nam June Paik: Rewind / Repeat

SEOUL—Gagosian is pleased to announce Nam June Paik: Rewind / Repeat, the first exhibition in twenty-five years to be presented by the Estate of Nam June Paik in Seoul, his place of birth. The exhibition, which opened on April 1, 2026, surveys the groundbreaking artist’s career and includes significant historical works such as For London and Abroad (Mailbox) (1982) and TV Bra for Living Sculpture (1969), as well as others that have not been previously exhibited. Nam June

**Nam June Paik** *Gold TV Buddha*, 2005 Closed-circuit video (color, silent), 27-inch monitor, video camera, tripod, cables, and permanent oil marker on gilded bronze Buddha 31 1/2 x 26 x 85 inches (80 x 66 x 215.9 cm) © Nam June Paik Estate Photo: Paula Abreu Pita Courtesy the Brooklyn Museum and Gagosian

Paik: Rewind / Repeat is on view at the headquarters of Amorepacific, the world-renowned Korean beauty company, in the center of Seoul, and takes place in the APMA Cabinet, a project space on the ground floor of the David Chipperfield–designed building.

Paik studied classical music and art at the University of Tokyo and combined this training with a radical aesthetic approach, introducing the technology of television into the realm of fine art as early as the 1950s. Paik moved to West Germany in 1956, where he joined the Fluxus group, and eight years later relocated to New York. There, he drew on his international background and extensive network to develop a practice that incorporated painting, sculpture, performance, music, and electronic media. Although frequently referred to as the father of video art, Paik anticipated a variety of subsequent developments in media and communications, a prescience that continues to unfold as culture is shaped by emergent technologies.

Nam June Paik Rewind / Repeat, 2026 Installation view © Nam June Paik Estate Photo: Jeon Byung Cheol Courtesy Gagosian

In 1963 Paik began visiting Tokyo to study television and robotics. It was there that he met engineer Shuya Abe and began to explore connections between technology and the human body. TV Bra for Living Sculpture, on view at APMA Cabinet, is a clear vinyl undergarment incorporating two small black-and-white television sets housed in plexiglass boxes. The singular garment was designed for musician and performance artist Charlotte Moorman, who first wore it during a performance at the opening of the exhibition TV as a Creative Medium at Howard Wise Gallery, New York, in 1969. On that occasion, Moorman played sounds on her cello that altered the televisions’ images in various ways, helping to realize Paik’s aim of humanizing this ubiquitous device.

**Nam June Paik** *Bakelite Robot*, 2003 Single-channel video (color, silent), LCD monitors, Bakelite radios, electric lights, media player, and permanent oil marker 50 1/2 x 56 3/8 x 9 inches (128.3 x 143.2 x 22.9 cm) © Nam June Paik Estate Photo: Ben Blackwell Courtesy Gagosian

Another work, Bakelite Robot (2003), is composed of vintage radios acquired from thrift stores and markets, which Paik adapted to screen video footage. The dials of six of the radios have been replaced with TV monitors showing specially produced videos composed of material from science- fiction films, recordings of vintage robot toys, and excerpts from earlier video edits. In the iconic Gold TV Buddha (2005), a late entry in the TV Buddha series (1974–2005), a gilded, painted bronze statue of Buddha meditates before a closed-circuit video camera and monitor, embodying the intersection of ancient spirituality and modern media, Eastern and Western thought.

**Nam June Paik** *TV Bra for Living Sculpture*, 1969 Cathode ray tubes, television casing, acrylic, vinyl, safety pins, footswitch, tape, cables, and transformer Variable dimensions © Nam June Paik Estate Photo: Ben Blackwell Courtesy Gagosian

Also on view are other projects including a carved wood “painting,” Orchestra (1991); Untitled [Cage Composite] (2005), a tribute to John Cage and Merce Cunningham (both of whom collaborated with Paik and had a significant influence on Fluxus); and Media Sandwich (1961–64). This early work, one of Paik’s first installations, marks the artist’s decision to move away from musical composition and make use of electronics. It incorporates eight German electronics magazines, eight ten-inch Japanese phonograph records, and an antique rotogravure print of a man offering a message to a boy. Paik has inscribed the image with the year of its production, 1832, and the year of his own birth, a hundred years later.

NAM JUNE PAIK’s’ Rewind / Repeat had a press conference on Wednesday, April 1, from 2–3 pm. There was also an opening reception on Wednesday, April 1, from 5–7 pm. The exhibition opened on April 1 and will be on view until May 16, 2026, at the APMA Cabinet Amorepacific Headquarters 100 Hangang-daero, 1/F, Yongsan-gu, Seoul. For Nam June Paik’s biographical information and exhibition history, please visit here. For more information about the artists represented by Gagosian and other exhibitions at the gallery, please visit the gallery’s site here. The gallery can also be found on Pinterest, X, YouTube,Facebook, Instagram, and Artsy.

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

THOMAS HOUSEAGO. SCULPTURES. BANCA MARCH GARDEN.

*Aluminium Construction No. 1 (Giant)*. Courtesy of the Artist and Xavier Hufkens, Brussels

This spring, Banca March reopened its gardens in Madrid to the public to mark its centenary with the presentation of Thomas Houseago. Sculptures. Banca March Garden, the first exhibition in Spain by the British sculptor.

The exhibition, which opened to the public on 1 May, underlines the commitment of Banca March to culture and art while commemorating its 100-year history with a celebration of its origins and its vision for renewal and growth, both reflected in the motto chosen to celebrate its centenary, A Future with History.

José Luis Acea, CEO of Banca March, states: “Since Banca March was founded in 1926, we have evolved and constantly adapted to the times. We are heirs to a way of doing things that seeks to create lasting value for our community. Our business model is based on specialisation in private banking and corporate advisory services, with a philosophy of shared growth with clients, employees, shareholders, and society. This includes an unwavering commitment to art and culture as a fundamental element of the Group. The works of Thomas Houseago, exhibited in the Banca March garden in Madrid, will accompany us throughout this year of celebration as a reminder that the future of our institution will find inspiration in the values of its past to continue evolving.”

The exhibition, conceived in collaboration with Vande, an international firm specialising in the private sale of works of art and cultural production, will bring together seven monumental sculptures made with traditional materials such as plaster, bronze, and aluminum, combined with industrial and natural elements like iron rods and hemp.

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Installation view: Thomas Houseago. Sculptures. Banca March Garden 1 May – 30 October 2026 Banca March Gardens Calle Castelló, 75, Madrid, Spain Photo: Courtesy the artist and Banca March Garden

Thomas Houseago comments: “As a sculptor, I try to translate my thoughts and energy into an inert material and imbue it with truth and form, and I believe there is nothing more profound than achieving that.”

In this way, Houseago's works reflect his interest in bridging the gap between art history—from ancient and classical sculpture to the modern tradition of the 20th century, from Rodin to Picasso—and contemporary popular culture, with references ranging from David Bowie's Ziggy Stardust to George Lucas's Darth Vader. This intersection of influences defines his own unique language, in which tradition and modernity coexist without hierarchy.

Among the pieces that will form part of the exhibition are the monumental Large Walking Figure I (Leeds), 2013, almost five metres tall, and the recent Janus-Mirror-Figure, 2025, which exemplifies the intersection of primitive influences and contemporary language that characterises the work of the artist.

Anne Pontégnie, the exhibition's curator, notes: “At the heart of his practice lies the human figure. The sculptor constructs fragmented bodies, marked surfaces, and open structures that make the creative process visible. Often incomplete, broken, or hollow, his figures and masks convey vulnerability and resilience. Their scale allows them to shape and activate space, directly engaging the viewer, while their fragility lends them emotional and existential depth.”

*Moon Figure I*. Courtesy of the Artist and Xavier Hufkens, Brussels

This emphasis on the human and the connection between legacy and innovation resonates with Banca March's own trajectory. Houseago's honest and direct sculptural language connects with the institution's century-old philosophy: a family-owned institution, now in its fourth generation, whose model has taken shape in a corporate culture of strong values such as commitment, high standards, effort, integrity, and ambition.

Portrait of Thomas Houseago. Photo: Joshua White

About Thomas Houseago

Thomas Houseago (Leeds, UK, 1972) is one of the most prominent contemporary sculptors of his generation. He studied at Central Saint Martins in London in the early 1990s, and later at De Ateliers in Amsterdam. After spending several years in Brussels, he moved to Los Angeles, where he has lived and worked since 2004. His work has been exhibited internationally at major institutions, including TANK Shanghai, China (2023); the Centre Pompidou-Metz, France (2022); the Musée d'Art Moderne de la Ville de Paris (2019); the Royal Academy, London (2019); the Galleria Borghese, Rome (2013); the Storm King Art Center, New York (2013); and Inverleith House, Edinburgh (2011).

About the Banca March Garden

Located on Calle Castelló, the Banca March garden is a verdant oasis in the shadow of an iconic early 20th-century building in Madrid's Salamanca district. Its landscape design is characterized by the integration of art and nature, which converge across its more than 1,600 square meters. Scattered throughout its dense vegetation are several ponds alongside sculptures by prominent contemporary artists such as Cristina Iglesias. Although it shares a block with the Juan March Foundation, it is a unique and distinct space, only open to the public during special occasions, such as this one, when Banca March wishes to share the garden with the community to celebrate its centenary.

About Banca March

Banca March is one of Spain’s leading banks specialising in private and corporate banking. It is also the only bank that has been wholly family-owned since its foundation in 1926. In line with its philosophy of prudent, long-term management, Banca March’s business model is underpinned by robust financial and capital ratios: the bank maintains the highest CET 1 capital ratio in the Spanish banking sector (26.32%), one of the lowest non-performing loan ratios in the sector in Spain (1.18% at the end of 2025, compared to an industry average of 2.78% as of November 2025) and liquidity ratios — LCR (245%) and DTL (187%) — and coverage of non-performing loans (74%) among the highest in the sector. The strength of Banca March’s value proposition has been endorsed by the credit rating agency Moody’s, which has raised Banca March’s long-term rating to A1 with a ‘stable’ outlook, meaning it remains one of the highest-rated institutions in the Spanish financial system, ahead of the Kingdom of Spain (currently A3). Banca March is one of the main shareholders of Corporación Financiera Alba, with significant holdings in Naturgy, Acerinox, Ebro Foods, Viscofan, Atlantic, ERM, Inmobiliaria Colonial and Technoprobe, amongst other companies.

THOMAS HOUSEAGO. SCULPTURES. BANCA MARCH GARDEN.

1 May – 30 October 2026

Banca March Gardens

Calle Castelló, 75, Madrid, Spain

Thursday: 7:00 – 11:00 pm

Friday: 12:00 – 7:00 pm

Saturday: 12:00 – 7:00 pm

For more information, please visit Banca March Garden here. The Garden can also be found on YouTube and Instagram.

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MURRAY HOCHMAN: Dissolution/Resolution

Murray Hochjman, Camo tower No. 2, 2023, plywood, plastic and aerosol paint, 21.5 x 10 x 10 in

NEW YORK—Gallery AP SPACE, located at 555 West 25th Street, is pleased to present works by artist Murray Hochman, opened April 2 and will be on view through May 10. An opening reception was held on April 9, from 6 to 8 pm. The exhibition, curated by the gallery and Alan Goolman, features large-scale canvases alongside ten works on paper and a freestanding sculpture, all created post-2000 and reflecting the artist’s mature and refined practice.

Now 91 years old, Hochman was born and raised in NYC. His artistic career spans more than six decades, guided by cultural trends, the demands of his materials, and an abiding interest in experimentation. Throughout that time, he has explored the possibilities of light, color, geometry, and gesture. Inspired by graffiti culture in the late 1960s, Hochman’s signature medium has become aerosol paint—ranging from jarring fluorescents to luminescent lacquers that shift with the light. Layers of different—sometimes arbitrary—colors and solvents are sprayed on paper or canvas, revealing the complexity of what lies underneath. This process of dissolution continues until the work is resolved.

Murray Hochman, Large Polychrome No. 2, 2005, aerosol paint on canvas, 120 × 96 in

For decades before it became fashionable, Hochman was a fan of camouflage. In the 2020s, he began incorporating camo patterning in a series of wall reliefs and sculptures made from discarded plastic. Camo Tower No. 1, shown above, is one example, created using layers of matte, multi-colored spray paint on plastic scavenged at the local dump. It is the sole sculpture featured in this exhibition.

Murray Hochman, *Large Polychrome No. 5*, 2002, aerosol paint on canvas, 96 x 84 in

The Large Polychromes on view were among the first paintings produced by Hochman in the early 2000s, after he converted a barn in the Berkshire Hills of Massachusetts into a studio. For the first time, he was able to work as large as he wanted, and many of the paintings created during this period—up to 10 x 8 feet in size—reflect the calm and expansiveness outside his wide barn/studio doors. After stretching his canvases, he placed them horizontally on milk crates and sprayed them with multiple layers of paint. After applying solvents, he lifted the canvases in various directions to see what patterns emerged. The process is guided by chance, filtered through Hochman’s keen perception of surfaces and lifelong fascination with materials

Most of Hochman’s work, unlike the Large Polychromes, start with geometric forms, even if they are later submerged under layers of paint. The works on paper exhibited here, from a series called Inner Spaces, are a straightforward example: a single rectangle on a neutral metallic background is sprayed with lacquers and solvents to create intricate patterns. The simplicity of the composition and the subtlety of the tones lend a meditative quality to the works. Although Hochman’s paintings are often minimal in form, his sophisticated— sometimes whimsical—use of color and space create compositions in which time seems to dissolve. “The parameters of my work are both formal and expressionistic,” he says, “veering between concept and impulse, and their fusion.”

‍ ‍*Murray Hochman: Dissolution / Resolution 2026,* Installation View: Photo Credit AP SPACE, Courtesy of the artist and AP SPACE

Although Hochman’s paintings are often minimal in form, his sophisticated— sometimes whimsical—use of color and space create compositions in which time seems to dissolve. “The parameters of my work are both formal and expressionistic,” he says, “veering between concept and impulse, and their fusion.”

About Murray Hochman

Murray Hochman was born in 1934 and raised on NYC’s Lower East Side. He has a BA in art history from New York University and an MFA from Alfred University in ceramic arts, although he quickly turned to painting. His first works were bought by Frederic Mueller of the Pace Gallery and other prominent curators and collectors, including Henry Geldzahler (then curator of American Art at the Metropolitan 2Museum), Sam Hunter, Robert Scull and Allan Stone. During the 1960s, he was included in group shows at the Pace and Tibor de Nagy galleries along with the Whitney Art Resources Center and the Lobo Gallery in Montreal. Throughout the following decades, Hochman has painted and exhibited consistently, but largely under the radar of the mainstream art establishment. In 2000, he bought a farm in the Berkshires, where he has been working in relative isolation for the last 25 years. It stimulated a period of intense creativity and new directions, including collage, paintings on scrap metal, and wall reliefs and sculpture made out of discarded plastic, his first foray into the third dimension since his graduate work in ceramics.

About AP SPACE

AP SPACE is a contemporary art gallery located in the heart of Chelsea, New York. Committed to expanding the reach and global scope of artistic innovation and cultural dialogue, AP SPACE presents year-round exhibitions that feature established and emerging artists worldwide, with a focus on Korean contemporary art. The gallery fosters long-term relationships, supports new ideas, and builds a global community that values experimentation, inclusivity, and excellence—bridging cultures and amplifying underrepresented voices in the evolving discourse of contemporary art. Through collaborations with artists, curators, and institutions across the United States, Korea, and beyond, AP SPACE continues to cultivate an international platform that connects diverse artistic perspectives and audiences.

Murray Hochman’s exhibition Dissolution/Resolution opened April 2 and will be on view through May 10. An opening reception was held on April 9, from 6 to 8 pm at the Gallery AP SPACE’s Chelsea location at 555 West 25th Street. For more information about this exhibition and others at AP SPACE, please visit their site here. The gallery can also be found on Instagram, Facebook, and YouTube. The magazine also did an interview with Murray, which can be found here.

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FRANCIS BACON

PARIS,—Gagosian is pleased to announce an exhibition of three major late paintings by Francis Bacon at its rue de Castiglione gallery in Paris, on view from April 11 through May 30.These commanding works crystallize the radical economy and psychological intensity of the artist’s final period while reaffirming his enduring dialogue with the French capital—a city in which he maintained a studio and intellectual foothold between 1975 and 1987, frequenting, among other places, the storied Hôtel La Louisiane.

Widely regarded as one of the most incisive painters of the twentieth century, Bacon forged a singular visual language that collapses the boundaries between modernity and tradition. His figures— simultaneously constrained and exposed within fragile geometric armatures—seem to convulse against saturated chromatic fields, rendering the human body as a site of existential tension rather than stable form.

The three large-scale canvases presented—Study from the Human Body—Figure in Movement (1982), Study from the Human Body (1986), and Man at a Washbasin (1989–90)—are marked by a striking formal austerity. Sparse architectural frameworks and distilled compositions reflect what Bacon himself described as “a kind of shorthand” with which to approach the complexity of lived experience. These works do not merely depict movement, they register its psychological residue, capturing the body under duress through distortion and powerful color. As Gilles Deleuze observed, Bacon’s painting “does not represent violence, it makes visible the violence of the forces exerted on the body.” Across these canvases, the human figure oscillates between flesh and sculpture, presence and dissolution. Bacon’s use of saturated color—at once seductive and destabilizing—reveals a uniquely visceral engagement with the legacies of Color Field and hard-edge abstraction.

**FRANCIS BACON** *Study from the Human Body—Figure in Movement*, 1982 Oil on canvas 78 × 58 inches (198 × 147.5 cm) (CR 82-08) © The Estate of Francis Bacon. All rights reserved./DACS, London/ARS, NY 2026 Photo: Annik Wetter Courtesy Gagosian

Study from the Human Body—Figure in Movement encapsulates two central preoccupations of Bacon’s early 1980s practice: the use of cadmium orange grounds and a fascination with the iconography of cricket. The fleshy, truncated figure—suggestive of a wicketkeeper—is elevated onto a stark, almost theatrical plane, as if exhibited rather than inhabited. Its malformed shadow, reflected in a mirror, constitutes one of Bacon’s final uses of this recurring motif. In Study from the Human Body, a similar pairing of figure and reflection unfolds against a rare field of luminous sunshine yellow, heightening both the immediacy and the estrangement of the image.

Francis Bacon in his studio on rue de Birague, Paris, 1979. Photo: Edward Quinn

In Man at a Washbasin, Bacon returns to a subject he first explored in 1954, inflecting it with a darker psychological resonance—perhaps alluding to the death of his partner, George Dyer, in a Paris hotel room in 1971. Here, the chromatic exuberance of earlier works gives way to a muted gray tonality, augmenting the scene’s introspective gravity. The hunched figure, legs splayed in a pose derived from Eadweard Muybridge’s 1887 photographic study Man Shadow Boxing recalls Bacon’s admiration for Auguste Rodin, whose treatment of the body as a dynamic, unstable form left a lasting impression on the painter.

Considered together, these works affirm art historian Richard Calvocoressi’s assessment that Bacon’s late oeuvre is marked by a resurgence of invention—“as if the artist’s imagination, far from drying up, had been stimulated to create new and ever more intense combinations of color, structure, and form.”

**FRANCIS BACON** *Study from the Human Body*, 1986 Oil, pastel, aerosol paint, and dry transfer lettering on canvas 78 × 58 inches (198 × 147.5 cm) (CR 86-03) © The Estate of Francis Bacon. All rights reserved./DACS, London/ARS, NY 2026 Photo: Annik Wetter Courtesy Gagosian

An illustrated catalogue will accompany the exhibition, featuring essays by Calvocoressi and Sebastian Smee as well as artwork texts by Gillian Pistell.

FRANCIS BACON, which opened on April 11th and will close on May 30, 2026, is now being displayed at 9 rue de Castiglione, Paris. For Francis Bacon’s biographical information and exhibition history, please visit here. Additionally information about the artists represented by Gagosian and other exhibitions at the gallery, please visit the gallery’s site here . The gallery can also be found on Pinterest , X ,YouT ube,Faceboo k , Instag ram , and Art sy .

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Rachel Whiteread: Substitute

LONDON, —Gagosian is pleased to announce an exhibition of new sculptures and recent photographs by Rachel Whiteread at its Davies Street gallery, opening on March 26. The exhibition title, Substitute, resonates with the artist’s use of one medium to echo another, and to the way in which her casting process replaces negative space with physical substance.

**Rachel Whiteread** Installation view of multiple works from Rachel Whiteread’s 'Untitled (Canister)' series (2024–) © Rachel Whiteread Photo: Prudence Cuming Associates Ltd Courtesy Gagosian

Substitute features large, wall-mounted sculptural reliefs produced by pressing papier-mâché pulp onto timeworn wooden barn doors and sections of gates, then covering the resultant forms in pigmented silver and copper leaf. In contrast to these opaque metallic surfaces are two transparent resin casts of sash windows in blue and pink hues.

In her sculptural practice, Whiteread often uses standard industrial substances such as concrete, resin, and rubber, as well as more traditional materials like plaster and bronze, to produce cast objects with significatory presence that evoke absence, memory, and loss. Building on a foundation of Minimalist Rachel Whiteread to Exhibit New Sculptures and Photographs at Gagosian in London

Substitute Opens March 26 at 17–19 Davies Street aesthetics, she focuses on the tangible surfaces of life, revealing lingering markers of age and use while drawing attention to negative space.

Rachel Whiteread Substitute, 2026, installation view Artwork © Rachel Whiteread Photo: Prudence Cuming Associates Ltd Courtesy Gagosian

Traditionally used as a preliminary cast for sculptures, or for childhood projects, papier-mâché has a recycled composition that invites dialogue with the past while providing a tool for new creation. (In this, Whiteread’s new works are reminiscent of Embankment [2005–06], her project for Tate Modern’s Turbine Hall, which comprised more than fourteen thousand cast polyethylene boxes, the raw material of which was reprocessed after the exhibition to make street furniture.) As a young artist, Whiteread used the materiality of paper in her transition from painting to sculpture; in Substitute it continues to provide a link between the two practices. The highly textured surfaces of these works are imbued, too, with traces of their own histories, while the finishes conjure the sensation of cool metal in unexpected shades.

**Rachel Whiteread** *Untitled (Barn Door)*, 2024–26 Papier-mâché and silver leaf, in aluminum frame 71 1/8 x 35 1/2 x 3 1/8 inches (180.5 x 90 x 8 cm) © Rachel Whiteread Photo: Prudence Cuming Associates Ltd Courtesy Gagosian

In the rear gallery, Whiteread juxtaposes Untitled (Canister) (2024–), a new series of small-scale sculptures in fiberglass—a novel material for her—with photographs. The sculptures are casts of objects she found during beachcombing walks on the Essex coast. Painted in different bright colors suggestive of seaside leisure, they can function as stools, side tables, or sculptural objects. In this, they recall such earlier projects of the artist’s as Untitled (6 Spaces) (1994), a set of polyester resin forms cast from the empty spaces beneath chairs. Each editioned work in the Untitled (Canister) series is accompanied by a signed certificate of authenticity, and 10 percent of the sale profits will be donated to the charity Surfers Against Sewage.

**Rachel Whiteread** *Untitled (Seaside)*, 2026 Resin 27 3/8 x 13 11/16 x 5 13/16 inches (69.5 x 34.8 x 14.8 cm) © Rachel Whiteread Photo: Prudence Cuming Associates Ltd Courtesy Gagosian

Whiteread’s photographs also record serendipitous everyday discoveries. Documenting low-key material incidents and alignments, their poignant tone hints at a kind of abandonment. Some shots echo her sculptural practice in their capturing of both positive forms and negative space, while others share its often muted palette.

Seen together, Whiteread’s sculptures and photographs invite sustained reflection on the relationship between natural and constructed forms, and on the memories embedded within familiar objects, places, and structures.

RACHEL WHITEREAD’s Substitute opened onMarch 26 and will be on view until May 16, 2026. There was an opening reception: Thursday, March 26, 6–8 pm. The exhibition is being held at 17–19 Davies Street, London, Gagosian’s London location. For Rachel Whiteread’s biographical information and exhibition history, please visit here. For more information about the artists represented by Gagosian and other exhibitions at the gallery, please visit the gallery’s site here. The gallery can also be found on Pinterest, X, YouTube,Facebook, Instagram, and Artsy.