Monet and Venice

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

TOUR SCHEDULE

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

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

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

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

Lead Sponsor

Bank of America

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

ABOUT THE BROOKLYN MUSEUM

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

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

Hyperobject: Maria Kreyn

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

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

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

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

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

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

Artist Biography

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

About MoN Art Foundation

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

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

SAM Contemporaries: How To Dream Worlds

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

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

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

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

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

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

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Six new commissions dream up alternative worlds

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

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

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

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

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

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

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

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

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

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

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

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

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

About Singapore Art Museum

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

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

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

Keisuke Yamamoto: Cultivating a Poem Lost to Memory

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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Depictura Dexter Dalwood | Van Hanos | Zhao Gang

Installation view of Depictura, 6 September –25 October 2025, Lisson Gallery, Shanghai. Courtesy Lisson Gallery. Photography by Alessandro Wang

Lisson Gallery Shanghai brings together three figurative artists – Dexter Dalwood, Van Hanos and Zhao Gang – whose works collapse and expand space and time, traversing the borders between hyperrealism, abstraction and imagined realities. Each creates object-worlds for viewers to travel through, using spatial ambiguity and surreal juxtaposition to imbue two-dimensional images with three-dimensional ambitions.

Taking its title from Leon Battista Alberti's original treatise on line and perspective in art, De Pictura (On Painting) from 1450, this exhibition also marks a moment when the poles of flatness and depth shift — as it was in the transition from the Medieval to the Renaissance — and explores the possibilities that exist between two and three dimensions. To 'depict' is also to paint or document what is in front of the beholder, an act of looking and absorbing that nevertheless reveals different approaches in these three painters.

Installation view of Depictura, 6 September –25 October 2025, Lisson Gallery, Shanghai. Courtesy Lisson Gallery. Photography by Alessandro Wang

Each work in this selection of paintings portrays elements of visible or recognisable reality, but simultaneously combines these physical and painterly sensibilities with interruptions, whether symbolic gestures, innovative mark-making or imagistic collage. Each artist can also be said to embody or refer back to some of the key tenets of (Western) art history – employing the traditions of landscape, still-life and history painting, for example – while also breaking down these hierarchies and creating new literary, cinematic and political fields for experimentation.

From Left to Right: Dexter Dalwood 德克斯特·达尔伍德 Hard 倾盆大雨 2018 Oil on canvas 帆布、油彩 131 x 97 cm 51 5/8 x 38 1/4 in © Dexter Dalwood. Courtesy Lisson Gallery, Dexter Dalwood 德克斯特·达尔伍德 Lux 光  2018 Oil and acrylic on canvas 帆布、油彩、丙烯 182 x 228 cm 71 5/8 x 89 3/4 in © Dexter Dalwood. Courtesy Lisson Gallery, Dexter Dalwood 德克斯特·达尔伍德 2059 (knife) 2059 (刀) 2021 Oil on canvas 帆布、油彩 60 x 72 cm 23 5/8 x 28 3/8 in © Dexter Dalwood. Courtesy Lisson Gallery

In Dexter Dalwood’s practice, the medium of painting is not only examined and celebrated in terms of its history and legacy; he also demonstrates the enduring contemporary relevance of painting as a way of communicating how we experience the world in which we live. In Hard and Lux (both 2018), Dalwood harks back to the origin of post-Impressionist painting by constructing a space for contemplation and solitude in the image of natural phenomena. The act of looking becomes disrupted — the viewers are placed inside a vehicle, looking out through a rain-streaked windshield or a snow-filled backseat window. While in 2059 (knife) (2021), the artist scales this oil on canvas to Jean-Siméon Chardin’s The House of Cards (1737), offering a reflection on the medium today, and stretching his references across time to juxtapose classical still-life motifs with bright, futuristic planets and galaxies.

From Left to Right:Van Hanos 范·海诺斯 Kyra's Hand 凯拉的手 2017 Oil on linen 亚麻布、油彩 31.1 x 25.7 x 2.2 cm 12 1/4 x 10 1/8 x 7/8 in © Van Hanos. Courtesy Lisson Gallery, Van Hanos 范·海诺斯 Sleepy Hollow 沉睡谷 2021 Oil on linen亚麻布、油彩 30.5 x 25.4 x 2.5 cm 12 x 10 x 1 in © Van Hanos. Courtesy Lisson Gallery ,Van Hanos 范·海诺斯 The Ambulance 救护车 2023 Oil on linen 亚麻布、油彩 190.5 x 152.5 x 4 cm 75 x 60 x 1 5/8 in © Van Hanos. Courtesy Lisson Gallery

Van Hanos’ approach to painting is best undefined, forsaking particular modes or methods. Ranging from landscape to portraiture, beyond categorisation as either figuration or abstraction, his work navigates perceptual shifts and thematic rupture. Hanos explores the tremendous range of possibilities within the human mind and experience, and his paintings can be created as meticulous oil renderings of images taken from photographs, with technical precision and photographic tendencies, or as sublime, abstracted amalgamations of past observations and ruminations, replete with internal references to other paintings or past subjects, and layered with meaning. Hanos’ work always beckons the viewer to look closer—as what one first experiences is undoubtedly bound to shift upon continued investigation.

 From Left to Right: Zhao Gang 赵刚 Chicken, Duck and Fish鸡鸭鱼肉 2023 Oil on canvas 帆布、油彩 180 x 180 cm 70 7/8 x 70 7/8 in © Zhao Gang. Courtesy Lisson Gallery ,Zhao Gang赵刚 Forever the City 3 永恒的城市3 2025 Oil on canvas帆布、油彩 Overall dimensions variable 尺寸可变 © Zhao Gang. Courtesy Lisson Gallery ,Zhao Gang 赵刚 Forever the City 5 永恒的城市5 2025 Oil on canvas帆布、油彩 Overall dimensions variable 尺寸可变 © Zhao Gang. Courtesy Lisson Gallery

In his work, Zhao Gang delves into the fluidity of individual identities, the clash of cultures, and the intricate interplay of fragmented historical events. In Chicken, Duck and Fish (2023), raw-cuts of meat, poultry and fish collectively serve as an alternative 'self-portrait' through which Zhao suggests identity is something ‘eaten’ and reassembled through desire, power, and the mythologies of East and West. Alongside this are a pair of collages drawn from Zhao’s personal resonance to Qingdao, where he first visited in 1978.Taking the style of montage to reflect the artist’s past and present memories of the coastal city in China's Shandong Province, the fragmented composition also evokes social media grids, inviting viewers to form their own interpretations and narratives.

About the artists

Dexter Dalwood (b. 1960, Bristol, UK) is based in Mexico City. In 2017 he undertook a residency in Oaxaca and made a series titled An Inadequate Painted History of Mexico on his return to London, which has since featured in the touring show, 'Esto No Me Pertenece' at Centro de las Artes San Agustín, Oaxaca, Mexico and Museo Nacional de Arte (MUNAL), Mexico City, Mexico (2021-22). Dalwood’s other major solo museum shows include Kunsthaus Centre PasquArt, Biel, Switzerland (2013); CAC Málaga, Spain (2010); FRAC Champagne-Ardennes, Reims, France (2010) and Tate, St. Ives, UK (2010).

Van Hanos (b. 1979, Edison, USA) lives and works in Marfa. He has a BA from Maryland Institute College of Art, Baltimore, MD, USA (2001), and an MFA from the School of the Arts at Columbia University, New York, NY, USA (2010). Recent solo exhibitions include Twin at Lisson Gallery, London, UK (2022); Conditional Bloom at Lisson Gallery, New York, NY, USA (2021); Interiors at Château Shatto, Los Angeles, CA, USA (2020); Mommy’s Boy at Cleopatra’s, New York, NY, USA (2017); Late American Paintings at Château Shatto, Los Angeles, CA, USA (2017); Awake At The Funeral at Tanya Leighton, Berlin, Germany (2017); Van Hanos at Parapet Real Humans, St. Louis, MO, USA (2017); and Intercalaris at Rowhouse Project, Baltimore, MD, USA (2016).

Zhao Gang (b. 1961, Beijing, China) is based in New York and Beijing. He obtained a Master of Arts degree from Bard College, New York (1999). Zhao Gang’s recent solo exhibitions includes TAG Art Museum, Qingdao, China (2025); D+ Museum, Shenzhen, China (2024); Long Museum, Chongqing, China (2022); Long Museum, Shanghai, China (2021); Kuandu Museum of Fine Arts, Taipei (2020); Pérez Art Museum, Miami, FL, USA (2019); Museum of Contemporary Art, Santiago, Chile (2016); Ullens Center for Contemporary Art, Beijing, China (2015); Today Art Museum, Beijing, China (2011); Hong Kong Arts Centre, Hong Kong, China (2008); and He Xiangning Art Museum, Shenzhen, China (2006).

About Lisson Gallery

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 70 international artists across spaces in London, New York, Los Angeles, Shanghai and Beijing. Established in 1967 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 and others of that generation, from Carmen Herrera and Olga de Amaral to Hélio Oiticica and Lee Ufan. 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, Liu Xiaodong, Otobong Nkanga, Pedro Reyes, Sean Scully, Hiroshi Sugimoto and Wael Shawky. It is also responsible for raising the international profile of a younger generation of artists including Dana Awartani, Cory Arcangel, Garrett Bradley, Ryan Gander, Hugh Hayden, Haroon Mirza, Laure Prouvost and Cheyney Thompson.

The exhibition opened on 6 September – 25 October 2025 2/F, 27 Huqiu Road, Shanghai.

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.

Hélio Oiticica

Exhibition view of ‘Hélio Oiticica’ at Lisson, Gallery Los Angeles, 17 September – 1 November 2025 © César and Claudio Oiticica, Courtesy Lisson Gallery

In the first major exhibition in Los Angeles dedicated to the art of Hélio Oiticica (1937–1980), Lisson Gallery presents a selection of the artist’s seminal compositions, including vibrant gouaches, and dynamic suspended sculptures, and a rare oil painting. Highlighting the formative years of Oiticica’s career, the exhibition charts his trajectory from early geometric abstraction to immersive environments that transformed the viewer’s experience with art and space.

From Left to Right: Hélio Oiticica Untitled, 1958 Gouache on cardboard 49.8 x 67 cm 19 5/8 x 26 3/8 in © César and Claudio Oiticica, Courtesy Lisson Gallery,Hélio Oiticica Untitled (Metaesquema), 1958 Gouache on cardboard 52 x 63.5 cm 20 1/2 x 25 in © César and Claudio Oiticica, Courtesy Lisson Gallery, Hélio Oiticica Untitled (Metaesquema), 1958 Gouache on cardboard 53.2 x 58 cm 21 x 22 7/8 in © César and Claudio Oiticica, Courtesy Lisson Gallery

While living in Washington, D.C., from 1947 to 1949, Oiticica was first introduced to the art and theories of Paul Klee, Kazimir Malevich, and Piet Mondrian at the National Gallery of Art. At sixteen, he began studying under artist Ivan Serpa at the Museum of Modern Art in Rio de Janeiro and soon joined the Grupo Frente (1954–56), a collective of innovative artists led by Serpa. Oiticica’s earliest works—gouache on cardboard—reflect both his fascination with European modernism and his engagement with Grupo Frente. United in their rejection of academic and figurative Brazilian modernism, the Grupo Frente embraced experimentation and explored diverse abstract and constructivist visual languages. Their approaches emphasized color, structure, and technical innovation—sometimes diverging sharply from one another. Among the works in the exhibition is a rare Grupo Frente-period gouache on masonite painting by Oiticica, exemplifying the visual strategies and material processes that defined the collective.

Hélio Oiticica Untitled, 1955 Gouache on cardboard 12 x 17.5 cm 4 3/4 x 6 7/8 in © César and Claudio Oiticica, Courtesy Lisson Gallery

Throughout 1957-58, Oiticica continued to analyze the roles of color, structure and space in the production of his iconic series of Metaesquemas (a title that translates roughly as ‘metaschemes’ or ‘metastructures’). These comprise multiple variations upon a basic structure – usually rectangular or rhomboid shapes arrayed in a tentative grid over a single underlying color. Only six Metaesquemas were made in oil on canvas, and of these, only four survive. Metaesquema (1958) is a single vertical instance, consisting of two columns of rectangles arrayed in brick-like tiers against a grey-blue background. The individual shapes tilt in defiance of the grid, as though the ordering logic of the composition was beginning to unravel. The semblance, in this painting, of a real-life edifice – its spatial depth tentatively implied by the vertical centreline – anticipates Oiticica’s shift into three-dimensional structures.

Hélio Oiticica Untitled, 1955 Gouache on cardboard 27.9 x 35.6 cm 11 x 14 in © César and Claudio Oiticica, Courtesy Lisson Gallery

This variation in his work culminated in the creation of the Spatial Reliefs, suspended structures conceived as “paintings in space” that activate volume, color, and the viewer’s movement. Made from cut and painted wooden planes, these works extend the logic of painting into three dimensions, creating new spatial-temporal relationships between artwork and observer.

Hélio Oiticica Metaesquema, 1958 Oil on canvas 73 x 60.3 x 2.9 cm 28 3/4 x 23 3/4 x 1 1/8 in © César and Claudio Oiticica, Courtesy Lisson Gallery

By the early 1960s, Oiticica was redefining the very purpose of art. His immersion in the everyday life of Rio’s Mangueira favela led him to develop “environmental art”—works that embraced participation, embodiment, and social experience.  Whether in the Grupo Frente gouaches, the Metaesquemas or the intricate volumetric structures of the Spatial Reliefs, his work of the 1950s and ’60s harbors a generative tension – that of constituent elements poised between coherence and dispersal: between autonomous art object and inchoate world. In this regard, the works precede the radical deconstructive impulse of his multi-sensory architectural environments of the 1970s.

Hélio Oiticica Untitled (Metaesquema), 1958 Gouache on cardboard 54.6 x 64.1 cm 21 1/2 x 25 1/4 in © César and Claudio Oiticica, Courtesy Lisson Gallery

While this exhibition marks Oiticica’s first solo presentation in Los Angeles, his art has received significant institutional recognition in the region. The Los Angeles County Museum of Art (LACMA) holds in its collection two Metaesquemas from the late 1950s, as well as a Penetrable from 1979. In 2010, Oiticica’s iconic blue-lit swimming pool installation from 1973, a collaboration with Neville D’Almeida, was featured in Suprasensorial at the Museum of Contemporary Art. His influence continues to expand: this December, Dia Beacon will restage Oiticica’s monumental installation Grande Núcleo (Grand Nucleus), NC3, NC4, NC6 (1960–63), alongside a selection of other major works.

About the artist

Hélio Oiticica (1937 – 1980) is widely regarded as one of Brazil’s leading artists of the twentieth century and a touchstone for much contemporary art made since the 1960s, primarily through his freewheeling, participatory works of art, performative environments, avant-garde films and abstract paintings. Even before the age of 20, Oiticica was a key member of the historic Rio de Janeiro-based Grupo Frente (1954-56), his radical play with geometric form and vibrant colors transcending the minimal lines of European constructivism and imbuing his work with an exuberant rhythm that resonated with the avant-garde music and poetry of his native Brazil. In the late 1950s, Oiticica would go on to become a leading figure of Brazilian Neo-Concretism (1959-61) that included other ground breaking artists such as Lygia Clark, Lygia Pape and the poet Ferreira Gullar, ultimately giving rise to the artistic movement known as Tropicalismo, named for a work of Oiticica’s from 1967.

Increasingly, Oiticica became a countercultural figure and underground hero, foregrounding bodily interaction with spatial and environmental concerns over pure aesthetics. “Ambient art,” he wrote, “is the overthrow of the traditional concept of paintingframe and sculpture – that belongs to the past. It gives way to the creation of ‘ambiences’: from there arises what I call ‘antiart,’” which he later defined as “the era of the popular participation in the creative field.” This generous and generative practice would become highly influential for subsequent generations of artists, especially his Parangolés or ‘habitable paintings’ and all-encompassing series of installations, known variously as Núcleos (ceiling-hung geometric panels forming gradual chromatic experiences) and Propositions or Penetrables (labyrinth-like architectural environments made of sand and semi-permeable cabins). This supra-sensorial approach continued until his untimely death in 1980 at the age of 42.

Oiticica’s work has been the subject of many major museum exhibitions, including the critically acclaimed retrospectives Hélio Oiticica: Dance in my Experience at the Museu de Arte de São Paulo and the Museu de Arte Moderna do Rio de Janeiro in 2020-2021, and Hélio Oiticica: To Organize Delirium, which debuted at the Carnegie Museum of Art in Philadelphia in 2016 and traveled to the Art Institute of Chicago and the Whitney Museum of American Art in 2017. Dia: Beacon will open a solo presentation of his work in November 2025. Hélio Oiticica: The Body of Color was exhibited at The Museum of Fine Arts, Houston in 2006-2007 and in London at the Tate Modern in 2007. His work is included in the collections of numerous international institutions including Carnegie Museum of Art, Pittsburgh, PA, USA; Inhotim Centro de Arte Contemporãnea, Belo Horizonte, Brazil; Los Angeles County Museum of Art, Los Angeles, CA, USA; Museo de Arte Reina Sofia, Madrid, Spain; Museu de Arte Moderna, Rio de Janeiro, Brazil; Museum of Fine Arts, Houston, TX, USA; Museum of Modern Art, New York, NY, USA; Tate Modern, London, UK; Walker Art Center, Minneapolis, MN, USA; the Guggenheim Abu Dhabi, United Arab Emirates; and the Pérez Art Museum Miami, FL, USA, among others. The Projeto Hélio Oiticica was established in Rio de Janeiro in 1980 to manage the artist’s estate.

About Lisson Gallery

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 70 international artists across spaces in London, New York, Los Angeles, Shanghai and Beijing. Established in 1967 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 and others of that generation, from Carmen Herrera and Olga de Amaral to Hélio Oiticica and Lee Ufan. 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, Liu Xiaodong, Otobong Nkanga, Pedro Reyes, Sean Scully, Hiroshi Sugimoto and Wael Shawky. It is also responsible for raising the international profile of a younger generation of artists including Dana Awartani, Cory Arcangel, Garrett Bradley, Ryan Gander, Hugh Hayden, Haroon Mirza, Laure Prouvost and Cheyney Thompson.

The exhibition opened on 17 September with an opening held from 6 – 8 pm and will be on view until 1 November 2025 at the gallery’s Los Angeles location, 1037 N. Sycamore Ave, Los Angeles.

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.

GABRIEL OROZCO: Partituras

Gabriel Orozco Exhibition view, Partituras, Marian Goodman Gallery, New York, 2025 Courtesy of the artist and Marian Goodman Gallery Photo credit: Alex Yudzon

Marian Goodman Gallery is very pleased to announce Gabriel Orozco: Partituras, on view in New York from, where the exhibition opened on 12 September and will close on 25 October 2025. For this exhibition, Orozco will present a new series of work which takes its starting point in music. Having played the piano improvisationally for many years, Orozco compares this practice to drawing in time and space, using sound and acoustics. The Partituras paintings explore the translation of these musical sketches into his distinctive geometric language, creating works that resonate with shifting rhythms and tempos.

Gabriel Orozco Exhibition view, Partituras, Marian Goodman Gallery, New York, 2025 Courtesy of the artist and Marian Goodman Gallery Photo credit: Alex Yudzon

In her text on the new series, the art historian Briony Fer writes: “if Orozco’s unlikely course in this new body of work explores a relationship to music, it is, of course, not in search of the spiritual in art. Instead, he turns this mythic origin on its head to break the musical score down into its most basic material units; instead of striving for the vibration of the soul, he explores the vibrations within a particular situation. Orozco treats the musical score as an interface between the act of playing the piano and the act of making a painting. They are not inspired by the music of a particular composer like, say, Brancusi making a sculpture in response to a piece by Erik Satie. In this case, the relationship between painting and music is absolutely not the ‘theme’ of the work, but simply provides a procedure – and a space to work in and through a set of rules that he sets himself.”

Gabriel Orozco Exhibition view, Partituras, Marian Goodman Gallery, New York, 2025 Courtesy of the artist and Marian Goodman Gallery Photo credit: Alex Yudzon

Elaborating on the process Orozco uses to create the Partituras, Fer writes that it “is a series of translations, that take place over an extended period of time. It’s a variation on the way Orozco made the Samurai Tree paintings based on the rotation of the knight’s move in chess. But now there are several stages involved: from playing, to recording, to listening, to transcribing, to drawing, to transferring, to painting. These allow for multiple spatial and temporal transpositions. It’s important that the titles consist only of the date and the time he played the piece on the piano, although evidently the painting we are seeing has undergone several phases to become the precision diagram that it is. The process is circuitous – but as Orozco has said, it’s possible a musician could actually ‘read’ the Partituras paintings and make musical sense of them. There are certainly aspects of encoding and recoding that happen as he turns the score into his own system of geometry. In the process, one could say that the artist creates his own semiotic system, translating each individual note into a corresponding sign. After all the mediations involved in the process of making them, perhaps the paintings can be seen as ‘time-pieces’ of an unconventional kind, where the medium of time itself is at stake.”

Gabriel Orozco (b. 1962) divides his time between Mexico City, Paris, Tokyo, and New York. A major retrospective of his work traveled from 2009 to 2011, starting at the Museum of Modern Art, New York and moving on to the Kunstmuseum Basel, Switzerland, the Centre Pompidou, Paris and the Tate Modern, London. His most recent exhibition was held at the Museo Jumex in Mexico City (2025). In 2025 Orozco received the Commander of the Ordre des Arts et des Lettres by the French Ministry of Culture. Over the last decade, Orozco has developed a number of permanent landscape design projects for museums and public spaces which include the South London Gallery garden (2013-2016), Chapultepec Park in Mexico City (2019-2025), and the Leeum Museum garden in Seoul (2022-2025). Latest publications on Orozco’s work include Politécnico Nacional, with texts by Briony Fer and Benjamin H.D. Buchloh, (Rizzoli, 2025), Working Tables / Spacetime, text by Benjamin H.D. Buchloh (Marian Goodman Gallery, 2024), and Diario de Plantas (Zolo Press, 2023).

Gabriel Orozco Exhibition view, Partituras, Marian Goodman Gallery, New York, 2025 Courtesy of the artist and Marian Goodman Gallery Photo credit: Alex Yudzon

About Marian Goodman Gallery

Marian Goodman Gallery champions the work of artists who stand among the most influential of our time, representing over five generations of diverse thought and practice. What makes the gallery singular is its enduring and deep-rooted collaborations and understanding with the artists—a bond that is concurrent with curators, thought leaders, and art institutions worldwide. The Gallery’s exhibition program, characterized by its caliber and rigor, provides international platforms for its artists to showcase their work, foster vital dialogues with new audiences, and advance their practices within nonprofit and institutional realms.

Our enduring legacy persists through the combined strength and leadership of Partners Rose Lord, Emily Jane Kirwan, Leslie Nolen, and Junette Teng whose extensive tenure with the gallery and its distinguished roster of artists began under Founder Marian Goodman.

Established in 1977 by Goodman, who had earlier co-founded the art publishing company, Multiples, Inc., the Gallery gained prominence early in its trajectory for introducing the work of seminal European artists to American audiences. Synchronous with the mission at hand, Marian and the Gallery were inevitably drawn to Europe, establishing a Paris location in the Marais district in 1995 and an adjacent space for books and editions in 2017. From 2014 until 2022, the Gallery also operated an exhibition space in London.

With its desire to expand and explore growing areas of interest for its artists, the Gallery recently moved its New York City headquarters to the historic Grosvenor building in Tribeca in October 2024 and inaugurated a new permanent space in Los Angeles in September 2023.  With two major spaces anchoring each coast, and an ongoing program for over three decades in Paris, Marian Goodman Gallery is committed to further advancing new bodies of work and the creative practices of the leading contemporary artists of our time.

The artists in the Gallery’s program share a culture-critical approach to art, maintain extraordinary perception and integrity, and a tendency in their respective practices to propel the collective experience of art through empowering and sustaining relationships with others. These visionaries, with their distinctive means of expression and technical expertise, have been responsible for inspiring future artists and enriching the dialogue around art. Working in partnership with the Gallery leadership and directors, the artists have continually collaborated to create and stimulate the intellectual discourse within their own work and elsewhere - through their collective knowledge and expertise, the artists have created circles of impact and distinction that continue to impart, illuminate and ground us, and resonate through the industry. 

The Gallery represents over fifty artists and estates working in the U.S. and internationally: Eija-Liisa Ahtila, Chantal Akerman, Giovanni Anselmo, Leonor Antunes, Nairy Baghramian, Lothar Baumgarten, Dara Birnbaum, Christian Boltanski, Daniel Boyd, Marcel Broodthaers, Maurizio Cattelan, James Coleman, Tony Cragg, Richard Deacon, Tacita Dean, Rineke Dijkstra, Cerith Wyn Evans, Andrea Fraser, Bernard Frize, Dan Graham, Pierre Huyghe, Cristina Iglesias, Amar Kanwar, Agnieszka Kurant, An-My Lê, Steve McQueen, Julie Mehretu, Annette Messager, Delcy Morelos, Sabine Moritz, Maria Nordman, Gabriel Orozco, Giulio Paolini, Giuseppe Penone, Anri Sala, Matt Saunders, Tino Sehgal, Paul Sietsema, Robert Smithson, Ettore Spalletti, Tavares Strachan, Thomas Struth, Niele Toroni, Álvaro Urbano, Adrián Villar Rojas, Danh Vo, James Welling, Yang Fudong and Jongsuk Yoon.

In addition to its exhibition program, the Gallery’s continued legacy is strengthened by its institutional partnerships and philanthropic efforts. Through organizations such as The Marian Goodman Gallery Initiative in honor of the late Okwui Enwezor, a joint collaborative effort managed by the ICI (Independent Curators Intl.), and the Gallery’s education department, among others, the Gallery has continued to strengthen and expand opportunities for research, education, and access to higher levels of learning, and advocate for building stronger communities of diversity in the realm of art.

The exhibit opened on 12 September and will close on 25 October 2025 at the Gallery’s New York Location at 385 Broadway, New York, NY 10013. There was an opening Reception: 12 September 2025, 6-8 pm

For more information about the exhibit, please visit the Marian Goodman Gallery’s site. The gallery can be found on Instagram and Artsy, too. 

Wanda Koop: Magnetic Field

Courtesy of the artist, Night Gallery, Los Angeles and Arsenal Contemporary, New York. Photography by Lance Brewer

Arsenal Contemporary NY, in collaboration with Night Gallery, Los Angeles, is pleased to announce Magnetic Field, a presentation of new paintings by Wanda Koop. The show, Koop’s first solo in New York since 2018, follows Night Gallery’s major historical presentation of Koop’s plywood paintings (1981-90) at Frieze New York 2025. The artist has shown in more than 60 exhibitions internationally.

Koop created her newest body of work in her summer studio at Riding Mountain, Manitoba, a few hours northwest of her long-time home in Winnipeg. The resulting, multi-layered landscapes and skyscapes take inspiration from Koop’s surroundings, which are both idyllic and fragile. Calligraphic reeds break through a tranquil pond in Reed - E, Reed - Gold, and Reed - XO (all 2024). The bright orange sun in Evacuate (2025) evokes the Manitoba fires that recently forced 20,000 residents to leave their homes.

Courtesy of the artist, Night Gallery, Los Angeles and Arsenal Contemporary, New York. Photography by Lance Brewer

Koop's newest paintings offer wry considerations of technological doomerism. She debuts her “AI Ghost Trees,” in which barren tree trunks form the suggestive letters “AI” as if nature itself were warning us of a conspiracy. In her newest moon paintings, Koop seems to be identifying earth’s satellite as the genesis for the circle-centricity of so much modern art. It floats in rippling skies suggesting the unseen electronic currents of a theremin. The artist recently began playing the instrument, which allows her to tap into the intuitive and otherworldly energies that also guide her mark-making.

Koop’s approach to technology embraces double-edged humor and a broader, longer view. It’s unsettling to see a signifier for artificial intelligence in tree trunks, to try to find linguistic configurations in pond reeds and electronic patterns in the night skies. Yet as technology increasingly consumes our daily lives, it becomes impossible to escape its shadow in even the most remote locales.

 Courtesy of the artist, Night Gallery, Los Angeles and Arsenal Contemporary, New York. Photography by Lance Brewer

The exhibition title reflects the artist’s attitude towards technological progress in the face of environmental collapse. Magnetic Field refers to the north-pointing compass that the artist painted on her cabin floor in Riding Mountain. This act recalls Koop’s earliest paintings, made on plywood that the artist salvaged and traded for artworks before she could afford canvases and stretchers of her own. Painting gains meaning not via its technological utility, but for its very presence and persistence as a primordial object of communication. Koop feels out her direction with her own internal guide, creating luminous fields that exist outside of language— be it early script or large language models. Her canvases reconnect us with the mysteries of the natural universe, which will persist long after we and our gadgets are gone.

This is Wanda’s latest exhibition, which opened on September 5th and will close on November 1st of this year, entitled Magnetic Field, presented by Arsenal Contemporary NY, in collaboration with Night Gallery, Los Angeles. The magazine did an interview with her, which can be found here. For more information about Wanda’s artwork, please visit her website here and also, please follow her on Instagram., More information about the exhibition and others at Arsenal Contemporary and Night Gallery, please visit the Night Gallery’s website here and Arsenal’s here.

Dalton Paula: Infâncias Negras

Dalton Paula Coral, 2025 Oil and silver leaf on canvas Overall: 180 x 480 x 4 cm Overall: 70 7/8 x 189 x 1 5/8 in Each panel: 180 x 160 x 4 cm Each panel: 70 7/8 x 63 x 1 5/8 in Photo Paulo Rezende. © Dalton Paula

Lisson Gallery is pleased to present its debut solo exhibition with acclaimed Brazilian artist Dalton Paula, featuring a powerful new body of work that reclaims and re-centers Black childhoods as vital spaces of joy, memory, resilience, and cultural continuity. Marking a significant expansion of his practice, Paula moves beyond his celebrated portraiture to create vivid, narrative-filled compositions that depict moments of play, ritual, celebration, and communal life—each rendered against his signature blue-green backgrounds, a visual nod to Brazil’s tradition of studio portraiture.

From Left to Right: Dalton Paula Festa, 2025 Oil and silver leaf on canvas Overall: 180 x 320 x 4 cm Overall: 70 7/8 x 126 x 1 5/8 in Photo Paulo Rezende. © Dalton Paula, Dalton Paula Criança Babá Egun, 2025 Oil and silver leaf on canvas Overall: 180 x 320 x 4 cm Overall: 70 7/8 x 126 x 1 5/8 in Photo Paulo Rezende. © Dalton Paula

At the heart of the exhibition is a monumental, four-meter-wide painting portraying a choir of 17 children. Dressed in ceremonial attire that fuses historical and contemporary dress, as well as the sacred and the playful, they sing in unison—a sonic and visual gesture resonant with Brazil’s cultural syncretism. More than a depiction of music, this work becomes a living archive: a testament to collective memory, ancestral knowledge, and the creative agency of Afro-Brazilian youth. Across the exhibition, childhood is reframed not merely as a site of innocence, but as a domain of resistance, inheritance, and imaginative power.

Dalton Paula Vendedor de Pedra, 2025 Oil and silver leaf on canvas 180 x 160 x 4 cm 70 7/8 x 63 x 1 5/8 in Photo Paulo Rezende. © Dalton Paula

Paula’s approach is grounded in rigorous archival research and a method he calls critical fabulation (from the framework set out in Saidiya Hartman’s 2008 book, Venus in Two Acts)—a speculative, creative process that fills in the silences of undocumented histories. His paintings often incorporate symbolic motifs, often modelled or modified from art historical precedents, which layer the work with spiritual and contextual depth. Elements such as the wooden chair, symbolizing dignity and authority, or the glass of water, evoking spiritual purification and remembrance, serve as quiet tools of storytelling, asserting Afro-Brazilian presence and power within a reimagined visual canon.

While the scenes of birthdays, games, offerings, and everyday intimacy may appear novel within Paula’s visual language, they continue a longstanding thread in his practice. Earlier series, such as Rota do Tabaco [Tobacco Routes], 2016 (paint on ceramic vessels,) and Rota do Algodão, [Cotton Routes] 2022 (cotton textile-covered objects), also featured portraits of children, toys and dolls, while continuing his sustained commitment to recovering Afro-Brazilian histories through imagememories— narratives that resist colonial erasure and center Black resilience.

This new series also meditates on the transformative power of voice—understood as song, as testimony, and as collective affirmation. Drawing from the history of choral traditions in Brazilian schools and churches, Paula frames voice as both a spiritual and political force. When children are denied full recognition and protection, these works offer a counterimage: one where Black children are not ornamental or invisible, but central—makers of culture, carriers of tradition, and embodiments of the future.

 Exhibition views of ‘Dalton Paula’ at Lisson, Gallery New York, 11 September – 18 October 2025 © Dalton Paula, Courtesy Lisson Gallery

Running concurrently with the Lisson Gallery exhibition, Paula’s art school and residency, Sertão Negro, will present a special project at the Storefront for Art and Architecture in New York, opening September 13. Founded in Goiás, Brazil, Sertão Negro extends beyond the arts, integrating its educational and studio provision with a self-sustaining farm and garden. This multidisciplinary, emancipatory project is modeled after the tradition of quilombos—communities formed by escaped enslaved peoples—and is rooted in Afro-Brazilian knowledge systems, ecological stewardship, and intergenerational learning. Sertão Negro will also participate in the 36th Bienal de São Paulo this fall in the form of an architectural and participatory installation

Dalton Paula Formatura Escolar, 2025 Oil and silver leaf on canvas 180 x 160 x 4 cm 70 7/8 x 63 x 1 5/8 in Photo Paulo Rezende. © Dalton Paula

About the artist

Dalton Paula is an artist, researcher and educator known for his powerful engagement with Afro-Brazilian traditions. Paulaforegrounds the lives of undocumented figures whose contributions to society have been overlooked by working to impart a lasting cultural legacy through the continuation of communities and bodies of wisdom that have been forgotten or hidden over time. Just as the personages he depicts were excised from official narratives or documentation due to their actions in opposition to slavery or other forms of injustice, Paula uses collage, paint, film and photography, as well as the symbols and traditions of studio portraiture, in order to stitch the memory of their existence back into the fabric of history. He also works to elevate and commemorate these portrayals through the use of regal attire, highlights of gold leaf and the aura of reverence usually reserved for subjects of high or noble rank.

In addition to his individual and groupings of portrait busts and full-length portraits – created through meticulous archival research and, where necessary, equal parts critical fabulation – Paula has produced vast installations and series in ceramics and textile on the residues and tolls left behind by the human labour used in the tobacco and cotton industries in Brazil and further across the Global South.

Dalton Paula Natureza Morta, 2025 Oil and silver leaf on canvas 180 x 160 x 4 cm 70 7/8 x 63 x 1 5/8 in Photo Paulo Rezende. © Dalton Paula

As further evidence of his uniquely transformative and postcolonial practice, Paula has established his own center for knowledge transference in the central state of Goiás, not far from his birthplace in the capital of Brasilia. Known as Sertão Negro, this art school, residency, studio, garden and kitchen complex hosts classes, workshops and study groups to explore creativity and the possibilities of the surrounding ecosystem, so mirroring the collective activities of former quilombos, sites of refuge originally formed by African slaves in Diaspora.

Dalton Paula Funeral, 2025 Oil and silver leaf on canvas 180 x 160 x 4 cm 70 7/8 x 63 x 1 5/8 in Photo Paulo Rezende. © Dalton Paula

Dalton Paula (born in Brasilia, Brazil, 1982) lives and works in Goiânia, Brazil, where he graduated from the Visual Arts programme at the Federal University of Goiás (UFG). He was awarded the Chanel Next Prize in 2024 and the Marcantonio Vilaça Award in 2019. His recent solo exhibitions include: Museu de Arte de São Paulo (MASP) and Pinacoteca de Sāo Paulo, Brazil (2022-23); Museu de Arte Contemporânea, Centro Cultural Oscar Niemeyer, Goiânia (2014); Museu de Arte Contemporânea, Sala Samuel Costa, Goiânia, Brazil (2010). Major group exhibitions include: ‘Foreigners Everywhere’, Venice Biennale, Italy (2024); ‘Afro-Atlantic Histories’, touring from Museu de Arte de São Paulo and the Instituto Tomie Ohtake in Brazil (2018) to the Museum of Fine Arts, Houston; National Gallery of Art, Washington, DC; Los Angeles County Museum of Art; and the Dallas Museum of Art, USA (2021-24); ‘Compositions for Insurgent Times’, Museu de Arte Moderna do Río de Janeiro, Brazil (2021-22); ‘Critical Fabulations’, Museum of Modern Art (MoMA), New York, USA (2021-23); ‘Songs for Sabotage’, New Museum Triennial, New York, USA (2018); ‘O Triângulo do Atlântico’, 11th Bienal do Mercosul, Porto Alegre, Brazil (2018); ‘The Atlantic Triangle’, Goethe-Institut, Lagos, Nigeria (2018) and ‘Incerteza Viva’, 32nd Bienal de São Paulo, Brazil (2016).

About Lisson Gallery

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 11 September and will run through 18 October 2025 at the 504 West 24th Street location.

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. 

Pedro Reyes

Exhibition views of ‘Pedro Reyes’ at Lisson, Gallery New York, 11 September – 18 October 2025 © Pedro Reyes, Courtesy Lisson Gallery

Lisson Gallery is pleased to present a solo exhibition of new work by acclaimed artist Pedro Reyes, marking a significant evolution in his sculptural practice. Bringing together monumental stone works and, for the first time, a suite of wall-based mosaics, the exhibition transforms the gallery into a sculptural forest—a landscape of myth, material, and movement.

Pedro Reyes Citlallo, 2025 Mosaic 46.4 x 29.2 x 3.8 cm 18 1/4 x 11 1/2 x 1 1/2 in © Pedro Reyes, Courtesy Lisson Gallery

Rooted in Mesoamerican cosmology, Reyes’ formal syntax draws deeply from his own heritage. His forms echo the traditions of Mexica and Olmec carving, reinterpreted through a contemporary lens that also recalls the synthesis of Art Deco and modern abstraction. By weaving together these distinct visual territories, Reyes explores how sculpture can serve as a vessel of memory, a bridge between the ancient and the contemporary, and a medium for cultural resilience and renewal.

Exhibition views of ‘Pedro Reyes’ at Lisson, Gallery New York, 11 September – 18 October 2025 © Pedro Reyes, Courtesy Lisson Gallery

Alongside his distinctively abstract, totemic sculptural forms, a new series of evocative animal figures—jaguar, coyote, monkey, and axolotl—emerge, each rendered with a restrained precision that bridges ancient symbolism and a contemporary visual language. This synthesis is particularly evident in Coyotl (2025), where the sharp, geometric lines along the figure’s neck and tail reflect both formal clarity and cultural resonance. The work pays homage to Coyoacán—meaning “the place of the coyotes” in Nahuatl—the Mexico City neighborhood where Reyes has his home and studio. As the artist notes, “Often described as a creature between a dog and a wolf, the coyote plays the role of a trickster spirit in pre-Columbian mythology. It also serves as a symbol of earthly wisdom because of its astute nature.”

Pedro Reyes Tepantitla, 2025 Volcanic stone 250 x 98 x 62.5 cm 98 3/8 x 38 5/8 x 24 5/8 in © Pedro Reyes, Courtesy Lisson Gallery

At the heart of the exhibition is a newly developed body of stone mosaics. Smaller in scale and intricately composed, these works introduce a refined and rhythmic counterpoint to the larger stone sculptures. Composed of tesserae made from volcanic stone, marble, glass, silver, and gold, the mosaics radiate with vibrant color and material richness, underscoring their importance as conceptual anchors within the exhibition. Reyes’ mosaics act as portals—offering moments of reflection and pause within the broader sculptural landscape. This new direction in his practice brings heightened attention to pattern, detail, and material intimacy while maintaining the thematic depth that defines his work.

The exhibition also encourages spatial navigation and sensory engagement. As visitors move through the space, the artworks shift in form and meaning, offering changing perspectives and intimate encounters with surface, scale, and silhouette. Rather than isolated displays, the sculptures inhabit a shared environment, inviting viewers into a tactile, narrative-rich journey.

Pedro Reyes Cozamalotl, 2025 Mosaic 46.4 x 29.2 x 3.8 cm 18 1/4 x 11 1/2 x 1 1/2 in © Pedro Reyes, Courtesy Lisson Gallery

Whether monumental or intimate, animal or abstract, Reyes’ forms resonate with symbolic weight and formal clarity, inviting viewers into a space where the boundaries between past and present, myth and matter, are fluid and alive.

About the artist

Pedro Reyes has won international attention for large-scale projects that address current social and political issues. Through a varied practice utilising sculpture, performance, video, and activism, Reyes explores the power of individual and collective organisation to incite change through communication, creativity, happiness, and humour. A socio-political critique of contemporary gun culture is addressed in Reyes’ ongoing Palas por Pistolas, in which the artist worked with local authorities in Culiacán, Mexico, to melt down guns into shovels, then used to plant trees in cities elsewhere in the world. Similarly, in Reyes’ major continuing Disarm series, firearms confiscated by the Mexican government and donated to Reyes have been transformed into instruments, which are then activated by local musicians. Issues of community and compassion are addressed in Sanatorium, activated at the Solomon R. Guggenheim Museum in New York (2011), dOCUMENTA 13, Kassel, Germany (2012), The Whitechapel Art Gallery, London (2013) and at The Power Plant in Toronto and The Institute of Contemporary Art in Miami (2014).

Reyes (b. 1972, Mexico City) lives and works in Mexico City. He studied architecture at the Ibero-American University in Mexico City. Solo exhibitions have been held with Museo Anahuacalli, Mexico City, Mexico (2024); SITE Santa Fe, NM, USA (2023); MARTa Herford, Herford, Germany (2022); MARCO, Monterrey, Mexico (2022); MAAT, Lisbon, Portugal (2021); Museum Tinguely, Basel, Switzerland (2020); SCAD, Georgia, USA (2019); Creative Time, New York, USA (2016); Dallas Contemporary, TX, USA (2016); La Tallera, Cuernavaca, Mexico (2016); Hammer Museum, Los Angeles, CA, USA (2015); ICA, Miami, FL, USA (2014); The Power Plant, Toronto, Canada (2014); Walker Art Center, Minneapolis, MN, USA (2011); Guggenheim Museum, New York, NY, USA (2011); CCA Kitakyushu, Japan (2009); Bass Museum, Miami, FL, USA (2008;) and San Francisco Art Institute, CA, USA (2008). Reyes has participated in group exhibitions at the The Museum of Modern Art, Mexico City, Mexico (2023); Museo Jumex, Mexico City, Mexico (2021); the Brooklyn Museum of Art, New York, NY, USA (2018); the 21st Century Museum of Contemporary Art, Kanazawa, Japan (2015); The National Museum of XXI Century Arts (MAXXI), Rome (2015); Beijing Biennale, China (2014); Whitechapel Gallery, London, UK (2013); dOCUMENTA (13), Kassel, Germany (2012); Liverpool Biennial, UK (2012); Gwangju Biennial, South Korea (2012); Lyon Biennale, France (2009); and the 50th Venice Biennale, Italy (2003). In Fall 2016, Reyes served as the inaugural Dasha Zhukova Distinguished Visiting Artist at MIT Center for Art, Science & Technology (CAST) at Massachusetts Institute of Technology in Cambridge, Massachusetts.

About Lisson Gallery

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 11 September and will run through 18 October 2025 at the 504 West 24th Street location.

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. 

In No Particular Order

In No Particular Order 125 Newbury 395 Broadway, New York, NY 10013 August 5 – 14, 2025 Photography courtesy Pace Gallery

New York – Pace showcased the exhibtion In No Particular Order, an exhibition of over 50 works created by its international staff members from August 5 to 14 at 125 Newbury, a project space in New York helmed by Pace Founder and Chairman Arne Glimcher. Featuring paintings, sculptures, photographs, drawings, prints, and films that reflect the creativity and imagination of Pace’s teams across New York, Los Angeles, London, and Seoul, this edition of the staff show coincides with the gallery’s 65th anniversary, during which it is celebrating its enduring commitment to supporting artists.

This globally minded exhibition—organized by the gallery’s Culture & Equity team—will bring together the artistic practices of over 50 individuals living and working in the US, Europe, and Asia. Together, these artworks can be understood as a portrait of the gallery’s international community.

This presentation continues a tradition of Pace staff exhibitions that goes back some 25 years in the gallery’s history. Through its staff shows, Pace spotlights the artistic talents and diverse perspectives of its team members around the globe.

In No Particular Order 125 Newbury 395 Broadway, New York, NY 10013 August 5 – 14, 2025 Photography courtesy Pace Gallery

Learn more about Pace’s Culture & Equity program. Please visit here.

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

Jay Maldonado, Echo,May 12, 2025 PHOTO photo1 1" ×14" (27.9 cm ×35.6 cm) © Jay Maldonado

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

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

RYOJI IKEDA’S IMMERSIVE SOUND AND LIGHT TRILOGY“DATA-VERSE”

Exhibition View: Ryoji Ikeda: data-verse,  March 7 to Aug. 10, 2025, courtesy of the Artist and the High Museum of Art, Atlanta, GA Photo Credit: Mike Jensen

ATLANTA, In the spring, the High Museum of Art will present an exhibition of work by Japanese artist Ryoji Ikeda, including the U.S. debut of “data-verse, ” a trilogy of monumental, immersive light and sound installations that represents more than two decades of research by the artist and reflects upon the progressive digitalization of an integrated global society. On view from March 7 to Aug. 10, 2025, “Ryoji Ikeda: data-verse” will also premiere new site-specific work alongside existing works including “data gram,” a series of 18 monitors that take apart, analyze and recombine information Ikeda sourced for his trilogy. Ikeda (born Gifu, Japan, 1966; active Paris and Kyoto) is one of the world’s leading composers and media artists, whose work Artnet describes as “visceral, intellectual and awe-inspiring.. ” His immersive video projections, which will be presented floor-to-ceiling onto the walls of the museum’s largest exhibition space, feature visualizations of data extracted from mathematical theories and the study of quantum physics. His more recent work, including “data-verse” (2019- 2020, commissioned by Audemars Piguet Contemporary), incorporates open-source imagery from institutions such as NASA, CERN and the Human Genome Project. Ikeda produced “data- verse” in three “chapters,” transforming open-sourced data sets through self-written programs to create visual output, which he then synchronized and composed in arrangement with an electronic score. Together, the music, video projections and the museum’s architecture will become a dynamically balanced, self-contained whole. Ikeda’s work immerses the audience in a seemingly endless flow of data and explores the macroscopic depths of the universe and our relationship to it.

Exhibition View: Ryoji Ikeda: data-verse,  March 7 to Aug. 10, 2025, courtesy of the Artist and the High Museum of Art, Atlanta, GA Photo Credit: Mike Jensen

“This exhibition will be an experience unlike any we’ve offered before,” said the High’s Director Rand Suffolk. “The mesmerizing, almost hypnotic, installations underscore the ever-changing, technologically manipulated nature of our world and how that can profoundly affect lives. We’re honored to be the first museum in the country to present Ikeda’s thought-provoking work.”

Exhibition View: Ryoji Ikeda: data-verse,  March 7 to Aug. 10, 2025, courtesy of the Artist and the High Museum of Art, Atlanta, GA Photo Credit: Mike Jensen

“Ryoji Ikeda’s decades-long exploration of data, from sequences of alphanumeric symbols to collections of images of macro- and microcosms, is more relevant than ever, when data-driven decisions are precipitously changing the way people relate to the world,” said Michael Rooks, the High’s Wieland Family senior curator of modern and contemporary art. “His work across sonic and visual platforms will invite our audiences to rethink conventional relationships between sound and image in our tech-saturated lives.”

Exhibition View: Ryoji Ikeda: data-verse,  March 7 to Aug. 10, 2025, courtesy of the Artist and the High Museum of Art, Atlanta, GA Photo Credit: Mike Jensen

“Ryoji Ikeda: data-verse” will be presented in the Cousins Family Special Exhibition Galleries on the Second Level of the High’s Wieland Pavilion.

Ryoji Ikeda is represented by Almine Rech.

Exhibition Organization and Support

“Ryoji Ikeda: data-verse” is organized by the High Museum of Art, Atlanta. “data-verse” wasoriginally commissioned by Audemars Piguet Contemporary, the art program of the Swiss finewatchmaker. This exhibition is made possible by Premier Exhibition Series Sponsor Delta AirLines, Inc.; Premier Exhibition Series Supporters Mr. Joseph H. Boland, Jr., The Fay S. and W. Barrett Howell Family Foundation, Harry Norman Realtors and wish Foundation; Benefactor Exhibition Series Supporters Robin and Hilton Howell; Ambassador Exhibition Sponsors Jones Day and Truist; Ambassador Exhibition Series Supporters Loomis Charitable Foundation andMrs. Harriet H. Warren; and Contributing Exhibition Series Supporters Farideh and Al Azadi, Mary and Neil Johnson, Mr. and Mrs. Baxter Jones, Megan and Garrett Langley, Margot and Danny McCaul, Wade A. Rakes II and Nicholas Miller, and Belinda Stanley-Majors and Dwayne Majors. Generous support is also provided by Alfred and Adele Davis Exhibition Endowment Fund, Anne Cox Chambers Exhibition Fund, Barbara Stewart Exhibition Fund, Dorothy Smith Hopkins Exhibition Endowment Fund, Eleanor McDonald Storza Exhibition Endowment Fund, The Fay and Barrett Howell Exhibition Fund, Forward Arts Foundation Exhibition Endowment Fund, Helen S. Lanier Endowment Fund, John H. and Wilhelmina D. Harland Exhibition Endowment Fund, Katherine Murphy Riley Special Exhibition Endowment Fund, Margaretta Taylor Exhibition Fund, RJR Nabisco Exhibition Endowment Fund and USI Insurance Services.

About the High Museum of Art

Located in the heart of Atlanta, the High Museum of Art connects with audiences from across the Southeast and around the world through its distinguished collection, dynamic schedule of special exhibitions and engaging community-focused programs. Housed within facilities designed by Pritzker Prize-winning architects Richard Meier and Renzo Piano, the High features a collection of more than 20,000 works of art, including an extensive anthology of 19th- and 20th-century American fine and decorative arts; major holdings of photography and folk and self-taught work, especially that of artists from the American South; burgeoning collections of modern and contemporary art, including paintings, sculpture, new media and design; a growing 2collection of African art, with work dating from prehistory through the present; and significant holdings of European paintings and works on paper. The High is dedicated to reflecting the diversity of its communities and offering a variety of exhibitions and educational programs that engage visitors with the world of art, the lives of artists and the creative process.

The exhibition will conclude on the tenth of August. For more information about this exhibition and others at the High Museum of Art, please visit their site here. The museum can also be found on Facebook, Instagram, Medium, TikTok, Threads, and YouTube.

ETRUSCHI DEL NOVECENTO(20TH CENTURY ETRUSCANS)

Exhibition View: Etruschi del Novecento (20th Century Etruscans), Fondazione Luigi Rovati, Milano MI, Italy 2025. Courtesy of the Fondazione Luigi Rovati

On 2 April Fondazione Luigi Rovati inaugurated the exhibition “Etruschi del Novecento (20th Century Etruscans)”, the ambitious project jointly organised with the Mart Museum in Rovereto. True to the foundation’s identity, the exhibition continues the journey begun with the Mart show (7 December 2024 - 16 March 2025) in a distinct and complementary show, proposing a selection of iconic works that shed light on Etruscan culture’s influence on 20th-century Italian artists.

In the exhibition, archaeological finds and masterpieces of modern and contemporary art are displayed along with documents, books and magazines, testifying to the fascination of the artists influenced by Etruscan art’s “anti-classical” aesthetic. Staged over both of the museum’s floors, the exhibition blends into with the permanent collection of the Fondazione Luigi Rovati.

Coperchio di urna cineraria con coppia de sposi Inzio V sec a.C Terracotta Parco Archeologico di Cerveteri e Tarquinia Photo Credit: Courtsey Parco Archeologico di Cerveteri e Tarquinia

A Fascinating Exhibition Route

Visitors are welcomed on the underground floor by the Leone urlante (1957): a “twentieth-century chimera”, a hybrid figure, a fantastic creature embodying the bond between Etruscan art and the experimental approach of Mirko Basaldella.

In the section Inspirations, Etruscan askoi (containers for oily liquids) come back to life in the 1920s porcelain-and-gold vases by Gio Ponti; the ceramic cista La camminata archeologica by Gio Ponti and Libero Andreotti – produced in the second half of the 1920s and on loan from the Poldi Pezzoli Museum (Milan) – echoes an Etruscan cista, a bronze container for storing jewels and cosmetics, from the National Etruscan Museum of Villa Giulia (Rome).

Exhibition View: Etruschi del Novecento (20th Century Etruscans), Fondazione Luigi Rovati, Milano MI, Italy 2025. Courtesy of the Fondazione Luigi Rovati

The motif of reclining figures is explored in the section Modern Reclining figures by the work of Leoncillo Leonardi, a powerful and dramatic interpretation of the famous Sarcofago degli Sposi from Villa Giulia, placed beside the precious Cinerary Urn Lid, on loan from the Archaeological Park of Cerveteri and Tarquinia.The Warhol Room on the main floor has been transformed into the documentation centre for taking a look back at the Appeal of the Etruscans as seen through rare art volumes, magazines, graphic works and posters dedicated to Etruscan culture published, from the late 19th century into the 1980s. In the “White Space”, Paolo Gioli’s series Etruschi (1984) is displayed in full for the first time, along with Alighiero Boetti’s Copertine (1985), an original work from the Fondazione Luigi Rovati’s collection. Paolo Gioli recreates the identity of the Etruscan faces depicted on cinerary urns through his polaroids, giving new vitality to colourless marble faces with chromatic touches and fragments that seem to pulse with life.

From Left to Right: Alghiero Boetti, Cupertino (Anno 1985) 1985 Grafite su carta Fondazione Luigi Milano Photo Credit; Courtsey Fondazione Luigi Rotaie, Milano, Marcello Nizzoli, Bozzette per il Manifesto per la XIX Biennale di Venezia 1934 CSAC- Centro Studi e Archivio della Comunicazione Universita di Parma

In the Copertine series, Alighiero Boetti painstakingly redesigns the covers of important international publications, creating a map of that year’s historic events, a sequence that opens with the cover of Epoca dedicated to the “Etruscans Project”.

Exhibition View: Etruschi del Novecento (20th Century Etruscans), Fondazione Luigi Rovati, Milano MI, Italy 2025. Courtesy of the Fondazione Luigi Rovati

A Multi-Site Exhibition Project

In addition to making use of loans from museums, institutions and collectors, the show benefits from two important collaborations that extend its presence out into the city, and specifically to Villa Necchi Campiglio and the Museo del Novecento. Due to conservation requirements, Arturo Martini’s L’amante morta (1921-22) and Marino Marini’s Popolo (1929), works that are part and parcel of the reflection on the Etruscans’ influence in the twentieth century, are not on display in the exhibition’s spaces but are still a part of the project, visible in the locations where they are customarily on display. The catalogue Etruschi del Novecento contains essays by the curators and scholars such as Matteo Ballarin, Fabio Belloni, Martina Corgnati, Alessandro Del Puppo, Maurizio Harari, Claudio Giorgione, Mauro Pratesi, and Nico Stringa.

School and Educational Activities

The exhibition will be enriched by an extensive offering of educational programs, part of Fondazione Luigi Rovati’s ongoing efforts to give visitors opportunities to learn and explore further. Workshops and group and school visits are designed to offer a more in-depth experience of the exhibition’s major themes, with a particular focus on the influence of Etruscan civilisation on twentieth-century visual culture through a critical and interpretive gaze.

From Left to Right: Fausto Melotti, Gallo, 1955 circa, Ceramica smaltata policroma, Montrasio Arte, Monza, Photo Credit: @Matteo Zarbo per Montrasio Arte, Monza, Uma a capanna, Fine IX, a. C. Ceramica d’impasto, @Fondazione Luigi Rovati, Milano Photo Credit @Giuseppe e Luciano Malcangi per Fondazione Luigi Rovati

Special Offers

For holders of the FLR Card and for the Amici del Mart, entrance is free for the duration of the two exhibitions and reduced for the rest of the year. In addition, visitors in possession of a ticket to one of the two museums can access the other for a reduced price for the duration of the two exhibitions.

The exhibition is supported by

Radio Monte Carlo - Media Partner

Italo Italy's first private operator on the high-speed rail network, as part of its activities to support culture, collaborates with the Luigi Rovati Foundation and promotes the exhibition “Etruschi del Novecento (20th Century Etruscans)”.

For more information and to consult the foundation’s dedicated educational programs, here. To learn about this exhibition and others, please visit Fondazione Luigi Rovati’s website here. The musuem can also be found on Facebook, Instagram, and YouTube.

Kishio Suga: Existence Within Definite Contours

Exhibition View:  Kishio Suga: Existence Within Definite Contours, Tomio Koyama Gallery, Tokyo, Japan  2025. Courtesy of the artist and Tomio Koyama Gallery

Tomio Koyama Gallery Kyobashi is pleased to present “Existence Within Definite Contours,” an exhibition by Kishio Suga. Suga has held exhibitions of new works at our gallery for 10 consecutive years since 2015, including “Intentional Scenic Space” (2015), “Divided Orientation of Space” (2017), “Expanded Self-Space” (2018), “Measured Divisional Entities” (2019), “Released Scenic Space” (2020), “Gathered ” (2021), “Not Being Present, Not Being Absent” (2022), “Neither Things nor Sites” (2023), and “There Is Neither Such Thing as Being, Nor Such Thing as Not Being” (2024). This year, Suga will present his first exhibition at our new space in Kyobashi, titled “Existence Within Definite Contours” (2025).

At the Kyobashi gallery, Suga will exhibit new sculptures and installations, while the Roppongi and Tennoz spaces will also hold concurrent exhibitions of his work. In Roppongi, drawings from the 1970s and 80s and small three-dimensional works from the 1980s through 2000s will be exhibited. Meanwhile, the gallery in Tennoz will showcase activation videos, photographs, and drawings, as well as a series of works using paste on slate from the 1990s.

 Exhibition View:  Kishio Suga: Existence Within Definite Contours, Tomio Koyama Gallery, Tokyo, Japan  2025. Courtesy of the artist and Tomio Koyama Gallery

The catalog, which is published annually, features a special contribution from Simon Groom, Director of the Scottish National Gallery of Modern Art, who curated a two-person exhibition by Suga and Carla Black (2016) and wrote a text for the catalog of Suga’s solo exhibition at the Museum of Contemporary Art Tokyo (2015).

Kishio Suga (1944-) was a key member of the Mono-ha art movement of the late 1960s and 70s. He subsequently went on to deepen the essential world of his works expressed by the diversity of the existence of things, and has carved out a unique niche as a leading contemporary practitioner of postwar Japanese art.

菅木志雄 Kishio Suga 入遠 Entering Distance 2024 wood, acrylic h.119.9 x w.90.0 x d.8.2 cm ©Kishio Suga

Suga’s thinking, which focuses on “things” (mono) themselves that were previously only everyday materials, the human beings who perceive those things, and their relationships with each other, continues to pose fundamental questions about existing art and ways of looking at the world, earning him a formidable international reputation.
Suga has participated in more than 400 exhibitions, and his works are in the collections of more than 40 museums in Japan and abroad, including the Centre Georges Pompidou, the Tate Modern, and the Museum of Modern Art in New York. He will be presenting a solo exhibition at Dia Beacon in New York opening July 19, 2025.

Regarding the new works at this exhibition, and his own practice, Suga says that he now works simply and quickly. “Simplicity is important to me now. I think my work from my younger days was rather complicated. To know what ‘things’ are saying, and a kind of complexity that does not appear as such — that is what is important, however. Works from a long time past and works from the present are continuous, and not divided by time. The thoughtfulness in a particular moment, however, changes what is important and how we see it.” 

Exhibition View:  Kishio Suga: Existence Within Definite Contours, Tomio Koyama Gallery, Tokyo, Japan  2025. Courtesy of the artist and Tomio Koyama Gallery

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

—————————————

“Existence Within Definite Contours”
Things always exist as singular entities. And yet, people possess a mode of thought that resists this. We try to perceive meaning in things, and things can momentarily reveal aspects they never revealed before. What is visible is not all there is. And just because something is invisible does not mean that it lacks existence. It is the human eye that acknowledges existence—and the same eye that denies it. We must anticipate conditions beyond the norm.

Kishio Suga, May 2025

Of his current work, Suga also had the following to say.
“Before, I would use iron, stone, and rope, but now I only use wood. Although wood suits me in terms of the feeling it gives me and how it relates to my consciousness, the way in which I use things is more important than the materiality of the object. Philosophy is necessary to look at things. The act of creating an artwork is not aboutThings are not ideas: thingsthey already have an existence. Unless you are constantly thinking about what state your actions and circumstances are in, rather than about methodologies, it is extremely difficult to succeed at creating something.” (from an interview conducted at Suga’s studio, February 2025) 

Suga’s senses have become even more finely honed over the past decade. Even as he maintains an underlying strain of thinking, he is not averse to change. Thanks to this keen sensitivity to the spirit of the times and human consciousness, Suga’s works continue to express a sense of contemporaneity. He constantly poses us questions, presenting us with a fresh worldview where theory and things intersect with each other. We hope you will take the rare opportunity to visit this exhibition.

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

Yorgos Maraziotis : Blue Moon

Exhibition View: Yorgos Maraziotis Blue Moon K-Gold Temporary Gallery , Greece 2025 Courtesy of the artist and K-Gold Temporary Gallery

K-Gold Temporary Gallery presents Blue Moon, a solo exhibition by Yorgos Maraziotis, curated by Nicolas Vamvouklis. This site-specific installation explores notions of habitation and human connection through a new series of sculptures and spatial interventions.

Continuing his investigation into the identities of public and private spaces, Maraziotis creates works that shift between the real and the imagined. He delves into the concept of displacement and the tension that arises when objects are removed from their original context and reappear charged with new meanings. This shift speaks not only to material transformation but also to the lived experience of moving from one place to another.

Exhibition View: Yorgos Maraziotis Blue Moon K-Gold Temporary Gallery , Greece 2025 Courtesy of the artist and K-Gold Temporary Gallery

The exhibition originates from oral testimonies collected from former residents of the neoclassical house that now hosts K-Gold Temporary Gallery, located in the village of Agia Paraskevi on Lesvos island. These voices are translated into dynamic works made of neon, marble, metal, and mirror. In parallel, the artist reintegrates architectural elements that had been removed during the building’s renovation—material anchors of memory and links to the past.

Exhibition View: Yorgos Maraziotis Blue Moon K-Gold Temporary Gallery , Greece 2025 Courtesy of the artist and K-Gold Temporary Gallery

The result is a hybrid landscape at once familiar and unexpected. A theatrical scene where personal and collective narratives interweave into a journey through fragments of stories and emotions.

The exhibition is accompanied by a bilingual (Greek/English) publication featuring a conversation between the artist and Sam Steverlynck (curator, S.M.A.K. Ghent), designed by Marlon Tate.

 Exhibition View: Yorgos Maraziotis Blue Moon K-Gold Temporary Gallery , Greece 2025 Courtesy of the artist and K-Gold Temporary Gallery

Blue Moon opened on July 12 and will be on view until August 31, 2025. For more information about this exhibition and other events at K-Gold, please visit their website here. K-Gold can also be found on Facebook and Instagram.  The magazine did an interview with Yorgos, which can be found here.

Esiri Erheriene-Essi: Reflections

Installation view, Esiri Erheriene-Essi: Reflections, Night Gallery, Los Angeles. Image courtesy of the artist and Night Gallery 2025. Photo: Marten Elder

Night Gallery opened “Reflections,” a presentation of new paintings by Esiri Erheriene-Essi, on May 23rd. This is the artist’s first solo exhibition with the gallery. Based in Amsterdam, Erheriene-Essi created these works across an ocean, their arrival in Los Angeles a resonant offering, bringing with them the quiet weight of distance traveled and stories carried.

Across this new body of work, Erheriene-Essi carries on with her time-honored tradition of breathing life into inspired and discarded photographs, using paint, color, and layered ephemera to investigate memory. The artist works through her paintings with the same skill and stewardship as a quilter, threading together histories through texture and tone. In this new series, she embraces the flatness of photographic source material while deepening the emotional and chromatic complexity of brown skin—bringing dimension, variation, and luminosity to the surface.

Esiri Erheriene-Essi As my grandma always used to say, don't go borrowing trouble, 2023 oil, ink, and xerox transfer on linen 53 x 53 in (134.6 x 134.6 cm) framed: 54 1/2 x 54 1/2 x 2 1/4 in (138.4 x 138.4 x 5.7 cm)

This evolution is on view in A Royal Flush, a work depicting what the artist imagines to be a group of men enjoying their last days together before deployment to Vietnam. Their faces are marked by a spectrum of hues, highlights, shadows, and undertones, encapsulating the use of color as a tool to depict emotion.

Installation view, Esiri Erheriene-Essi: Reflections, Night Gallery, Los Angeles. Image courtesy of the artist and Night Gallery 2025. Photo: Marten Edler

An archivist and collector first, Erheriene-Essi begins her process by mining through estates and online repositories for faces and vignettes that speak to her. This collection has amassed across continents and oceans, from North America to Europe to Africa, demonstrating the diversity of Black identity, while illuminating the moments that are universal across all our memories.

Erheriene-Essi is deeply moved by the connection between the diaspora, not only across geography, but across time. Throughout Reflections she continues her exploration of this relationship. Motifs such as the Black power fist, the face of Toni Morrison, a “Dismantle Apartheid” pin, all time travel accentuating the collective memory

In her dissection of memory, Erheriene-Essi is a visual anthropologist, reading images for context clues and filling their gaps with gestures from her own lived experience. In A memory from your youth (London Trocadero), a fan poster for Beyoncé’s Cowboy Carter tour noticeably sits on the shirt of a girl eating ice cream in the 1970s. The artist’s temporal twist, fusing together past and present, melds Black iconography with earnest symbols of nostalgia.

Esiri Erheriene-Essi Same Town, New Story (Nigeria Airways), 2023 oil, ink and xerox transfer on linen 65 x 68 7/8 in (165 x 175 cm) framed: 66 1/2 x 70 1/2 x 2 1/4 in (168.9 x 179.1 x 5.7 cm)

As an artist, her mastery of collapsing time ensures the continuity of the culture. These paintings were created over the course of two years, in rhythm with the demands of motherhood—a theme that quietly permeates the work through the lens of legacy and inheritance. Erheriene-Essi sees her practice as an active conversation, one that begins with her paintings but is completed by the viewer’s own activations of memory.

Installation view, Esiri Erheriene-Essi: Reflections, Night Gallery, Los Angeles. Image courtesy of the artist and Night Gallery 2025. Photo: Marten Elder

The exhibition is titled in honor of the song by Diana Ross & The Supremes, a comfort album that has accompanied the artist through many seasons of her life, including the making of this body of work. The most apropos of the lyrics being:

“Reflections of the way life used to be.

Reflections of the love you took from me.”

In faded hues and frayed edges, Erheriene-Essi develops an architecture of remembrance, for what has been lost, and for which should never be. Her paintings become mirrors, not of the past as it was, but as it is felt. Reflection as a sacred act of reclamation.

Installation view, Esiri Erheriene-Essi: Reflections, Night Gallery, Los Angeles. Image courtesy of the artist and Night Gallery 2025. Photo: Marten Elder

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

Everyday Practices

Installation view of 'Everyday Practices’ at SAM at Tanjong Pagar Distripark. Image courtesy of Singapore Art Museum.

Singapore Art Museum (SAM) unveiled its new collection gallery at Tanjong Pagar Distripark with the inaugural exhibition Everyday Practices, reaffirming its commitment to showcasing and curating contemporary art from the National Collection that inspires profound reflections on our world today. Opened to the public on 30 August 2024, the exhibition is housed in the new Gallery 4 on Level 3 — SAM’s first space at Tanjong Pagar Distripark dedicated to highlighting varied critical artworks in the museum’s collection. Everyday Practices delves into the fundamental conditions of life and meaning, featuring works from 19 artists and one artist collective from 10 Asian countries.

Everyday Practices draws inspiration from Tehching Hsieh’s seminal work, One Year Performance 1978–1979, where Hsieh confined himself to a self-constructed holding cell in his studio and remained in solitude for a year, abstaining from activities such as conversation, reading, writing, listening to the radio, or watching TV. This became the first of Hsieh’s five year-long durational performances which turned the banality of life and the passage of time into both medium and subject for his art.

Building on Hsieh’s philosophy, Everyday Practices brings together diverse artworks by artists from different generations and geographies across Asia, focusing on the themes of “everyday”,“repetition,” ” and “endurance.” These artworks showcase the inventive ways artists have appropriated daily routines and lived experiences to express powerful statements of resilience and endurance in navigating adversity.

Installation view of 'Everyday Practices’ at SAM at Tanjong Pagar Distripark. Image courtesy of Singapore Art Museum.

The exhibition spotlights SAM’s efforts to grow a distinct and diverse collection with significant artworks from around the world and to present thoughtfully curated collection-focused exhibitions for local and international audiences. With the new collection gallery, SAM continues to offer new ways to explore artworks and practices that reflect our contemporary conditions. It also serves as a space that encourages active participation, discourse, and dialogue.

“The opening of Everyday Practices at SAM’s new collection gallery marks a significant milestone in our efforts to develop and showcase SAM’s critical collection of contemporary art. By deepening research on and expanding the collection scope of artistic practices from the 2000s in Southeast Asia and beyond, SAM aims to draw out narratives and perspectives that highlight the region’s diversity and connection with the global. We look forward to welcoming visitors to this new space, where everyone is invited to engage in dialogues with and around art that defines our time.”

— Eugene Tan, Chief Executive Officer and Director

Detail view and Installation view of Maria Taniguchi’s ‘Untitled’ (2017) as part of ‘Everyday Practices’ at SAM at Tanjong Pagar Distripark. Image courtesy of Singapore Art Museum.

Continuing the theme of repetition, Maria Taniguchi’s Untitled features a brickwork pattern covering the entirety of the artwork surface, extending endlessly. Each brick, a fundamental element in our daily environment, is painstakingly outlined in pencil and washed with black acrylic. This visual and conceptual device links this painting to others in the series. The varying dilutions of the paint introduce subtle tonal shifts, reflecting the passage of time and the steady, labour-intensive process that characterises Taniguchi’s work.

Everyday Practices further examines how routine actions and gestures can serve as subtle forms of resistance, revealing how art becomes a tool to navigate challenges amid ongoing global conflicts and humanitarian crises. Htein Lin’s Soap Blocked utilises everyday items from his environment to convey powerful messages. Just as how Taniguchi hand-draws each brick, Htein Lin’s installation features hundreds of hand-carved soap blocks, arranged to form a map of his native country Myanmar, with red blocks marking the locations where political prisoners have been held. Upon closer look, each soap block reveals a tiny, hunched figure trapped within the rectangular space. This work reflects Htein Lin’s personal history of imprisonment for political dissent and the collective helplessness experienced under military rule.

Installation view of Khvay Samnang’s ‘Untitled’ (2011-2013) as part of ‘Everyday Practices’ at SAM at Tanjong Pagar Distripark. Image courtesy of Singapore Art Museum.

Echoing this concept, Khvay Samnang’s Untitled depicts the artist pouring a bucket of sand over himself in five different lakes in Cambodia’s capital Phnom Penh. This act, documented in video, responds to the displacement of thousands of families due to the illegal sale of state-owned lakes to private investors. Khvay’s futile yet symbolic gesture captures the powerlessness of the resettled communities, resigned to their fate.

Installation view of Minstrel Kuik’s ‘Domesticated Politics’ (2015) as part of ‘Everyday Practices’ at SAM at Tanjong Pagar Distripark. Image courtesy of Singapore Art Museum.

Narratives shaped by turbulent political landscapes and histories are also explored in Minstrel Kuik’s Domesticated Politics, which recontextualises flags from Malaysia’s 2013 General Elections by presenting them as DIY creations. By abstracting and “muting” these flags through domestic acts like folding and ironing, Kuik feminises and softens objects that were once exuberant, masculine, and heroic, offering a reflective commentary on the political and societal landscape of the country. Similarly, Svay Sareth’s Mon Boulet— French for “my ball” or colloquially, “my burden” — involved a gruelling 250-kilometre journey from Siem Reap to Phnom Penh over six days, during which he dragged an 80-kilogram metal ball through the streets and alleys of Cambodia. This arduous feat symbolises the heavy personal and historical burdens that still linger in Cambodian society today while highlighting the resilience of the human spirit, as embodied in the ball’s relentless forward motion.

Installation view of Guo-Liang Tan’s ‘Peripheral Ritual I–III’ (2018) as part of ‘Everyday Practices’ at SAM at Tanjong Pagar Distripark. Image courtesy of Singapore Art Museum.

Guo-Liang Tan’s Peripheral Ritual I–III consists of three paintings made with thinned paint on aeronautical fabric, producing seemingly accidental yet meticulously composed stains through various bodily gestures such as shifting, tilting and turning. Tan's process, which he describes as using his “own body to respond to the painting as objects, ” results in amorphous hues that evoke the appearance of bruised skin, highlighting the physicality of his approach and the negotiations between body, material and laws of physics (or forces of gravity). Wong Hoy Cheong’s Tapestry of Justice extends this exploration of subtle resistance through a delicate tapestry of over 10,000 photocopied thumbprints held together with plant leaves and petals. Collected during Malaysia’s Reformasi movement in the late 1990s, they function as an artwork and a petition, highlighting the ironic duality of thumbprints as a mark of criminality and a reliable form of identification, while emphasising the power of collective action to drive change.

Detail view of Jerome Kugan’s ‘The Internalised Self: Apollo’ (2018) as part of ‘Everyday Practices’ at SAM at Tanjong Pagar Distripark. Image courtesy of Singapore Art Museum. Installation view of Imhathai Suwatthanasilp’s ‘The Flower Field’ (2012) as part of ‘Everyday Practices’ at SAM at Tanjong Pagar Distripark. Image courtesy of Singapore Art Museum.

Other artworks compellingly reflect narratives of endurance in the face of personal adversities. Jerome Kugan’s The Internalised Self series (Atlas, Apollo, Icarus, Ganymede) features ambiguous and androgynous figures set against crimson backgrounds on recycled cartons of antiretroviral drugs, alluding to the artist’s HIV-positive status. These figures, devoid of conventional gender markers, explore themes of selfhood and resilience, transforming a deeply personal predicament into a narrative of self-reckoning and empowerment. Similarly, Imhathai Suwatthanasilp’s The Flower Field, featuring meticulously handspun balls of hair donated by cancer patients, survivors, and supporters, evokes a utopian realm. This poignant tribute to human resilience carries a powerful message of hope for a brighter future.

About Singapore Art Museum

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

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

Everyday Practices opened on 30 August 2024  and will close on 20 July 2025.. For more information about the exhibition and other exhibitions at SAM, please visit their site here. The museum can also be found on Facebook, Instagram, X, and YouTube.

Steve McQueen: Bounty

Exhibition View, Steve McQueen: Bounty, Marian Goodman Gallery Paris, 2025 Courtesy of the artist and Marian Goodman Gallery Photo Credit: Rebecca Fanuele

Marian Goodman Gallery is pleased to present Bounty, Steve McQueen's first solo exhibition in France since 2016. One of the most influential artists of his generation and an internationally acclaimed filmmaker, McQueen is known for his inventive dissemination of social constructs, often addressing painful and overlooked histories through projected images and sound. Bounty, a series of 47 photographs capturing the vivid beauty of flowers native to the Caribbean Island of Grenada, makes its European debut following its presentation at Dia Chelsea in New York. Through this verdant imagery, McQueen offers more than a study of nature: he presents a meditation on history, West Indian heritage, and resilience. A new work will be presented alongside Bounty.

Bounty is not McQueen’s first work created in Grenada, his parents’ country of origin; two earlier video installations, Carib’s Leap (2002) and Ashes (2016), each subsequent results of his travels there, juxtapose idyllic scenes with tragic narratives. While Carib’s Leap is a poignant homage to the island’s indigenous people who in 1651 once chose death over surrendering to the invading French, Ashes commemorates the life of a young man, murdered at 25 at the hands of drug dealers. These works challenge the postcard-perfect imagery often associated with the Caribbean, subtly suggesting that beauty and violence, life and death, have always coexisted on the island.

Exhibition View, Steve McQueen: Bounty, Marian Goodman Gallery Paris, 2025 Courtesy of the artist and Marian Goodman Gallery Photo Credit: Rebecca Fanuele

With Bounty, McQueen continues this exploration through a similarly evocative approach. At first glance, the 47 photographs on view present vibrant, colorful and tropical flora, such as yellow hibiscus, West Indian jasmine and pink ginger lily, reminiscent of the tradition of floral representations in art history. Yet beneath the surface of this inflorescence lies a deeper, more painful truth. These plants have silently witnessed the island’s tragic past: the disappearance of its indigenous people and the cruel  history of colonization, marked by the deportation and enslavement of Africans under French and British rule over the course of several centuries.

Exhibition View, Steve McQueen: Bounty, Marian Goodman Gallery, Paris, 2025. Courtesy of the artist and Marian Goodman Gallery Photo Credit: Rebecca Fanuele

“What has been constant in the landscape is the beauty of the flowers. These plants have been a marvel in a landscape traumatized by colonialism and slavery,” explains McQueen who sees these flowers “as flesh wounds, as hurt, as pain.” In McQueen’s eyes, the contrast between nature's splendor and history's brutality reveals a disturbing paradox: “Sometimes the most horrible things happen in the most beautiful places; it’s perverse.” This contradiction is further pronounced by the title of the series, with Bounty referring both to nature’s abundance and to the reward once paid for capturing or killing enslaved people.

Through each flower’s concealed encapsulation of untold stories, hopes and sufferings, McQueen pays tribute to generations of the West Indies’s inhabitants. Here, evergrowing florals simultaneously symbolize acts of remembrance and resilience. The intensity of the series comes not only from this historical evocation but also from the intricate details of the installation, in which prints are arranged in one continuous line across the gallery’s Sienna red-painted walls. McQueen’s close attention to the viewer’s experience is a constant in his practice, each of his presentations is conceived as a transformative journey, prompting reflection on how one’s gaze changes between entering and leaving the exhibition space.

Exhibition View, Steve McQueen: Bounty, Marian Goodman Gallery Paris, 2025 Courtesy of the artist and Marian Goodman Gallery Photo Credit: Rebecca Fanuele

As cultural studies scholar Paul Gilroy notes in a recent essay: “Steve McQueen’s art has frequently confounded the human sensorium. His restless reorientation of visual perception has involved inventing new angles from which to examine the human body and the world. He has sought perspectives to defamiliarize the eyes’ interpretative habits, interrogating its 'peculiar disposition’ to perceive the world in racializing ways. The quest for unprecedented ways to see and thus to know, is unrelenting.” (Paul Gilroy, “For a Low-end Theory of Black Atlantic Cymatics” in Steve McQueen, Bass, published by Laurenz Foundation, Schaulager Basel and Dia Art Foundation, 2024.)

A conversation between McQueen and Hans Ulrich Obrist, Artistic Director, Serpentine Galleries, London, will be held at the gallery on Saturday, 21 June at 4 pm. Admission is free, subject to availability and advance booking.

Awarded the Turner Prize in 1999 and the 2024 Rolf Schock Prize in Visual Arts, Steve MᶜQueen (1969 - ) has had his artwork presented at some of the most significant venues and museums around the world. His work has been featured in Documenta (1997 and 2002). He represented Great Britain at the 53rd Venice Biennale in 2009 and was selected several times for the Venice Biennale (2003, 2007, 2013, and 2015). A co-commission by Dia Art Foundation and Laurenz Foundation, Schaulager, Bass (2024) is an immersive, site-responsive installation consisting of shifting spectrums of light in concert with sound inspired in part by the hybrid musical idiom that resulted from the transatlantic slave trade, on view at Dia Beacon until 26 May 2025, that will continue onwards with a custom presentation at Schaulager, Basel from 15 June to 16 November 2025. A concurrent presentation of Sunshine State is currently on view at Dia Chelsea in New York until 19 July 2025. Resistance, a show conceived by McQueen that chronicles a century of British protest through photography, is on view through 1 June 2025 at Turner Contemporary, Margate (UK), before traveling to the National Galleries Scotland: Modern Two, Edinburgh, from 21 June 2025 to 4 January 2026.

Solo exhibitions of his work have been held at the Art Institute of Chicago (2002, 2009, 2012, 2017); Schaulager, Basel (2012-2013); Whitworth Art Gallery, Manchester (2017); The Museum of Modern Art, New York (2017); Institute of Contemporary Art, Boston (2017). In 2019 he presented YEAR 3 at Tate Britain and had a major solo exhibition at Tate Modern in 2020, which toured to Pirelli HangarBicocca, Milan, in 2022. In 2023, Grenfell, a film made in response to the tragic fire that took place at Grenfell Tower, was presented at the Serpentine South Gallery, London. A national tour of Grenfell (2025-2027) is currently in progress in public art galleries in six major cities across England, Scotland, Wales and Northern Ireland.

Exhibition View, Steve McQueen: Bounty, Marian Goodman Gallery Paris, 2025 Courtesy of the artist and Marian Goodman Gallery Photo Credit: Rebecca Fanuele

MᶜQueen has directed five feature films; Hunger (2008), Shame (2011), 12 Years a Slave (2013), Widows (2018) and Blitz (2024). Hunger was awarded the Caméra d’Or at the Cannes Film Festival, and 12 Years a Slave received the Golden Globe, Oscar, and BAFTA Awards for best picture in 2014. His latest feature, Blitz, the story of a mixed-race family in the context of the bombing of London in 1940, was released in 2024. In 2020, he directed Small Axe, an anthology of five films about London’s West Indian community and in 2021, Uprising, a three-part documentary with James Rogan about the New Cross Fire in London in 1981. His documentary film, Occupied City, a portrait of Nazi and modern-day Amsterdam, debuted at Cannes in May 2023.

MᶜQueen was named an Officer of the Order of the British Empire (OBE) in 2002 and a Commander of the Order of the British Empire (CBE) in 2011. He was knighted in the 2020 New Year Honors list. MᶜQueen was born in West London and is based in London and Amsterdam. 

Steve McQueen’s Bounty opened on May 24 and will conclude on July 25, 2025. A conversation took place between Steve McQueen and Hans Ulrich Obrist on Saturday, June 21, at 4 pm. Marian Goodman gallery at the Paris Location, 66 Rue du Temple, 75003 Paris, France. For more information about the exhibit, please visit the Marian Goodman Gallery’s site. The gallery can be found on Instagram and Artsy, too.

Peter Fillingham: Basil Dress

Installation view, Peter Fillingham Basil Dress, Marian Goodman Gallery, Paris, 2025 Courtesy of the artist and Marian Goodman Gallery Photo credit: Rebecca Fanuele

Marian Goodman Gallery is pleased to present for the first time a solo show by Peter Fillingham featuring a new group of sculptural works that resonate with memory and history. Working primarily with found materials—objects often dismissed for their low cultural or economic value—Fillingham transforms the overlooked into sculptural forms and installations that carry a sense of theatricality. Rooted in the margins, both geographic and material, his practice exists where art coexists with everyday life. He draws inspiration from the structures and systems that operate behind the scenes in zones of transit, trade, and daily exchange, where colors are haphazard and materials give rise to unintentional sculptural ‘events.’

Upon entering the gallery, visitors encounter Fruit Salad, 2025, an installation comprising a jacket, an overcoat and trousers given to Fillingham by his long-time friend, the artist Tacita Dean. The set of garments, which belonged to her grandfather, Basil Dean, inspires Fillingham to evoke ENSA - The Entertainment National Service Association founded by Basil Dean in 1939. ENSA’s aim was to provide entertainment for British and Allied forces in warzones through comedians, singers, dancers and other performers who devoted themselves to providing levity for the entirety of the war. Fillingham found affinity with ENSA’s philosophy of improvisation, economy of means and inclusivity along with its affiliation with the Pierrot troupes from the time of World War I.

Both the coat and undercoat have been whimsically refabricated by Fillingham, layered with  brightly-colored vintage satin patches, black pompoms and Pierrot costume ruffs to reference the ENSA troupe’s playful disruption of the formal codes using improvised elements. For curator Cécile Bourne-Farrell: “It is this place of disruption from regimented military discipline, all the more enhanced because of its makeshift, haphazard context, where Peter Fillingham feels at home. Within these marginal, liminal spaces where a rupture has taken place, Fillingham believes the resilience of human beings —and the connections between them— is exposed.”

Installation view, Peter Fillingham Basil Dress, Marian Goodman Gallery, Paris, 2025 Courtesy of the artist and Marian Goodman Gallery Photo credit: Rebecca Fanuele

The exhibition's title refers to the term used for the military uniform that Basil Dean advocated for ENSA performers to wear, both to legitimize their position within the armed forces and to ensure their safe return.

The works 17s Strip and 8s Helter Skelter, also convey theatrical qualities but in an abstract fashion; as compositions made with wooden bars covered with colored fabric or ribbon, they are equally rooted in the formal language of minimal sculpture and the visual vocabulary of folk culture. The floating diagonal shape in Small drop, 2025 —inspired by Paul Sérusier’s oil painting The Golden Cylinder from 1910— multiplies to form installations of delicate balance, at the limits of uncertainty. Here, 2025, a disregarded object that was once a tiny vessel, is enlarged, painted and formally suspended and displayed.

Installation view, Peter Fillingham Basil Dress, Marian Goodman Gallery, Paris, 2025 Courtesy of the artist and Marian Goodman Gallery Photo credit: Rebecca Fanuele

In the second space of the gallery, BF,RE,FW,DJ,CG,GJ,GB,MJ, 2024, is a wall-mounted grid of cards with alphabet letters arranged in rows and columns according to a rigorous layout designed to remain indecipherable. The audience is invited to select letters to make up the initials of people they wish to be celebrated or recognized, with wooden steps for visitors to reach wherever they wish. This work was first made as a contextual response for Exile Street / High, curated last year by artist Peter Lewis at Ealing Project, London. It embraced the fluid and radical musical history of the space for many well known rock stars, whilst creating an intergenerational space for new audiences.

“Thinking about Peter,” explains Tacita Dean, “I realise how much he loves yarn and yarn: not only threads, fabric and colour, but also that he loves to talk and tell stories. He is a confluence of the oral traditions of both his parents, and of high and low art. His sculpture might appear improvised or jerry-built but this belies a deeper structure and purpose beneath his decisions. Despite the casual playfulness of some of his artworks, Peter is also quite a formal sculptor. There is rigging and weave in his process, as well as a great deal of humour and playfulness, camaraderie and spirit, sometimes mixed with a touch of whimsy.”

Installation view, Peter Fillingham Basil Dress, Marian Goodman Gallery, Paris, 2025 Courtesy of the artist and Marian Goodman Gallery Photo credit: Rebecca Fanuele

Born in Portsmouth, England, in 1964 to an Anglo-Indian family, Peter Fillingham obtained a BA in Fine Art, specializing in sculpture at the Camberwell School of Art and Design in 1987 and an MA in Sculpture at the Royal College of Art, London in 1989. In 1991, Fillingham was  invited to Atelier Boltanski through École Nationale des Beaux-Arts in Paris and has maintained a close relationship with France ever since, having lived in the country for 8 years in the 2010s.

Since the early 1990s Fillingham has regularly exhibited his works, often in project or artist-run spaces, churches, villages and halls where art is integrated into everyday life. His project Fleurs d’Ivry, was a joint installation with Henry Coleman at the Bomb Factory Art Foundation in London earlier this year.  His most recent solo exhibition, Love France, was at the Project 78 Gallery in St. Leonards-on-sea in 2022. Fillingham has worked on many collaborative projects with Tacita Dean and Rasheed Araeen over the years, including a joint exhibition at the Chelsea Space in London in 2018 with Araeen.

Installation view, Peter Fillingham Basil Dress, Marian Goodman Gallery, Paris, 2025 Courtesy of the artist and Marian Goodman Gallery Photo credit: Rebecca Fanuele

Throughout his career as an artist, Fillingham has been both course director and associate lecturer at many renowned art colleges in the UK and France, including UAL, Goldsmiths College and Parsons Paris. Fillingham lives and works in Hastings, England.

Peter Fillingham Basil Dress is being held at the Marian Goodman gallery at the Paris Location, 66 Rue du Temple, 75003 Paris, France. The exhibition opened on 22 May and will conclude on 18 July 2025. There was an opening Reception: Thursday, 22 May 2025, 6 - 8 pm. For more information about the exhibit, please visit the Marian Goodman Gallery’s site. The gallery can be found on Instagram and Artsy, too.

Amy Sherald: American Sublime

Amy Sherald, What's precious inside of him does not care to be known by the mind in ways that diminish its presence (All American), 2017. Oil on canvas, 54 × 43 × 2 1/2 in. (137.16 × 109.22 × 6.35 cm). Private collection, courtesy Monique Meloche Gallery. © Amy Sherald. Courtesy the artist and Hauser & Wirth. Photograph by Joseph Hyde

This exhibition includes a billboard across from the Museum’s entrance on Gansevoort Street.

Amy Sherald is a storyteller. She creates precisely crafted narratives of American life, selecting, styling, and photographing her sitters as the foundation for her nuanced paintings. Thus, while Sherald (b. 1973; Columbus, Georgia) bases her works on specific people, they are more than traditional portraits. They center everyday Black Americans, compelling in their individuality and extraordinary in their ordinariness, inviting viewers to step into Sherald’s imagined worlds. In this exhibition, paintings of such ordinary Americans join her iconic portraits of First Lady Michelle Obama and, heartbreakingly, Breonna Taylor, to produce a resonant ode to the multiplicity and complexity of American identity. 

Amy Sherald, Michelle LaVaughn Robinson Obama, 2018. Oil on linen, 72 1/8 × 60 1/8 × 2 3/4 in. (183.1 × 152.7 × 7 cm). National Portrait Gallery, Smithsonian Institution. The National Portrait Gallery is grateful to the following lead donors for their support of the Obama portraits: Kate Capshaw and Steven Spielberg; Judith Kern and Kent Whealy; Tommie L. Pegues and Donald A. Capoccia. Courtesy of the Smithsonian’s National Portrait Gallery

Sherald also makes the images she wants to see in the world. Although she considers herself an inheritor of the American Realist tradition of artists such as Edward Hopper—a genre that was central to the Whitney’s origins nearly a century ago—those artists focused on the lives of everyday white Americans. Instead, Sherald privileges a population that has historically been omitted from art history and wider visual representation. By doing so, she challenges us to think more broadly about American Realism, suggesting an additional lineage for it: one born from the art departments and galleries of Historically Black Colleges and Universities (HBCUs), where she first trained as an artist, and one that includes such underrecognized figures as William H. Johnson, Archibald Motley, and Laura Wheeler Waring, among others. 

Amy Sherald, American Grit, 2024. Oil on linen, 95 × 76 1/2 × 2 1/2 in. (241.3 × 194.3 × 6.35 cm). Courtesy the artist and Hauser and Wirth. © Amy Sherald. Photograph by Kevin Bulluck

Across Amy Sherald: American Sublime, Sherald’s contemplative subjects appear most concerned with their own interiority, prioritizing their own peace and self-realization over how others might perceive them and the shackles of history, though they are inevitably impacted by both. Her audacious project highlights what she has called the “wonder of what it is to be a Black American,” rendering a rich and unconstrained Black world in vibrant Technicolor.

Amy Sherald, For Love, and for Country, 2022. Oil on linen, 123 1/4 × 93 1/8 × 2 1/2 in. (313 × 236.5 × 6.4 cm). San Francisco Museum of Modern Art, Purchase, by exchange, through a gift of Helen and Charles Schwab. © Amy Sherald. Courtesy the artist and Hauser & Wirth. Photograph by Joseph Hyde

Amy Sherald: American Sublime is organized by San Francisco Museum of Modern Art. This exhibition is curated by Sarah Roberts, former Andrew W. Mellon Curator and Head of Painting and Sculpture at SFMOMA. The presentation at the Whitney Museum of American Art is organized by Rujeko Hockley, Arnhold Associate Curator with David Lisbon, curatorial assistant.

Amy Sherald: American Sublime is sponsored by Delta, Bank of America

Amy Sherald, If You Surrendered to the Air, You Could Ride It, 2019. Oil on linen, 130 × 108 × 2 1/2 in. (330.2 × 274.3 × 6.4 cm. Whitney Museum of American Art, New York; purchase with funds from the Painting and Sculpture Committee, Sascha S. Bauer, Jack Cayre, Nancy Carrington Crown, Nancy Poses, Laura Rapp, and Elizabeth Redleaf 2020.148. © Amy Sherald. Photograph by Joseph Hyde

Major support is provided by  Ford Foundation.

Major support is also provided by Judy Hart Angelo, Nancy and Steve Crown, Agnes Gund, Hauser & Wirth, the Kapadia Equity Fund, The KHR McNeely Family Foundation | Kevin, Rosemary, and Hannah Rose McNeely, Nancy and Fred Poses, and Anne-Cecilie Engell Speyer and Rob Speyer.

Significant support is provided by Marcia Dunn and Jonathan Sobel, The Holly Peterson Foundation, and Dana Su Lee.

Installation view of Amy Sherald: American Sublime (Whitney Museum of American Art, New York, April 9-August 10, 2025). Four Ways of Being, 2024. Photograph by Tiffany Sage/BFA.com. © BFA 2025

Generous support is provided by Sarah Arison, Alexandre and Lori Chemla, John and Amy Griffin Foundation, Ashley Leeds and Christopher Harland, Deepah Kumaraiah and Sean Dempsey, McCallum Family, Jonathan M. Rozoff, Todd White and Cameron Carani, and an anonymous donor.

Additional support is provided by Suzanne and Bob Cochran, Sheree and Jerry Friedman, Barbara and Michael Gamson, the Girlfriend Fund, Alice and Manu Sareen, Barbara Karp Shuster, and George Wells and Manfred Rantner.

New York magazine is the exclusive media sponsor.

Installation view of Amy Sherald: American Sublime (Whitney Museum of American Art, New York, April 9-August 10, 2025).. Photograph by Tiffany Sage/BFA.com. © BFA 2025

Amy Sherald: American Sublime opened on April 9 and will run through August 2025 at the Whitney Museum of American Art.

For more information about this exhibition and others at the Whitney Museum of American Art, please visit their website. The museum can also be found on Instagram, YouTube, X, TikTok, Threads, and Facebook.