Comment | Catherine Opie shows us that in dark times, looking for joy can be radical

The artist Catherine Opie is currently the subject of a major three-decade portrait survey, 'To Be Seen', at the National Portrait Gallery in London. The exhibition highlights Opie’s career-long commitment to representing the LGBTQ+ community, specifically the leather dyke scene in Los Angeles, through a lens that balances defiance with playfulness. Even her most provocative works, such as the 1993 self-portrait featuring a domestic scene carved into her back, are revealed to contain elements of humor and historical allusion that counter the despair of the AIDS crisis and personal heartbreak.

The Robots Were Never the Problem

The New Museum has reopened with 'New Humans: Memories of the Future,' a massive survey featuring over 150 contributors including Hito Steyerl, Precious Okoyomon, and H.R. Giger. Spanning 13 sections across the museum's new 5,500 square-meter extension, the exhibition traces the intersection of art, technology, and the human body from the early 20th century to the present. It juxtaposes interwar European works, such as Hannah Höch’s photomontages and Bauhaus ballets, with contemporary installations like Simon Denny’s sculpture of an Amazon worker's cage.

Roses and Thorns of Greater New York

The article is a digest of recent art news, with a primary focus on critical reviews of the 2026 "Greater New York" exhibition at MoMA PS1. Hyperallergic's editorial team provides mixed assessments of the works in the massive quinquennial survey of local artists. The piece also covers American-French sculptor Barbara Chase-Riboud's decision to decline an invitation to represent the United States at the 61st Venice Biennale, citing the problematic nature of the pavilion's commissioning entity.

It’s Gabriele Münter’s World, We’re Just Living in It

The Solomon R. Guggenheim Museum is hosting "Contours of a World," a retrospective dedicated to Gabriele Münter, a co-founder of the Blue Rider group. The exhibition moves beyond the shadow of her long-time partner Wassily Kandinsky, showcasing her distinct approach to German Expressionism through photography, intimate domestic scenes, and vibrant landscapes. Unlike her contemporaries who leaned toward total abstraction, Münter utilized bold outlines and layered compositions to create a dynamic, phenomenological experience of seeing.

whitney biennial 2026 systems infrastructure andrea fraser carmen de monteflores emilie gossiaux david johnson 1234775255

The 2026 Whitney Biennial, curated by Marcela Guerrero and Drew Sawyer, moves beyond the traditional geographic borders of the United States to explore 'the greater United States.' Drawing inspiration from historian Daniel Immerwahr, the exhibition features artists from occupied territories, military outposts, and nations impacted by American intervention, including Okinawa, Chile, and Palestine. The show shifts the focus from identity politics to the material reality of infrastructure, examining how global systems of finance, energy, and empire operate and often fail.

Racheal Crowther review – unnerving installation attacks your mind … and your nostrils!

London-based artist Racheal Crowther has transformed the Chisenhale Gallery into a sensory-heavy, paranoid environment for her first institutional solo exhibition. The installation centers on a decommissioned U.S. military mobile health unit, once used during the 2018 Novichok decontamination efforts, set against walls painted in "drunk tank pink." The experience is defined by an aggressive olfactory component—a chemical cocktail of powdered milk scents and hexadecanal, a molecule found on infants' heads known to manipulate human aggression.

How to Extract the Story of Appalachia

The artist collective GRIT has issued a sharp critique of Fia Backström’s exhibition, "The Great Society," currently on view at the Queens Museum. The authors argue that Backström, a European artist, engages in "extractive" storytelling by focusing exclusively on trauma, environmental disaster, and poverty in West Virginia. They contend that the exhibition’s aesthetic choices—such as inverting landscape photographs and omitting human subjects—flatten the region's complexity into a spectacle of misery that alienates the very community it claims to represent.

Biennale Jogja 18 Review: Occasional Moments of Brilliance

The 18th edition of Biennale Jogja, titled 'KAWRUH: Land of Rooted Practices,' explores Javanese concepts of lived knowledge and alternative epistemologies to challenge Western, human-centric frameworks. The exhibition is split into two phases: a process-driven residency in Boro Hamlet and a larger presentation featuring 60 artists across 11 venues in Yogyakarta. While the show features standout works like Faisal Kamadobat’s mythological illustrations and Yuta Niwa’s cross-cultural mandalas, the physical experience is marred by unfinished venues and logistical hurdles.

Thailand Biennale 2025 Review: Beyond the Tropical Paradise

The fourth Thailand Biennale, titled 'Eternal [Kalpa]', has launched across 19 venues in Phuket, aiming to challenge the island's reputation as a mere tropical leisure destination. Curated by a team including Hera Chan, the exhibition utilizes diverse locations—from municipal gymnasiums to mangrove forests—to explore themes of subjective time and local history. Despite logistical delays that saw some artists still installing works during the press preview, the biennial presents a series of site-specific commissions that engage with Phuket’s ecological and social complexities.

Review: “The Things We Carry” at Un Grito Gallery

The exhibition "The Things We Carry" at Un Grito Gallery serves as the centerpiece for the 2026 Contemporary Art Month (CAM) Perennial in San Antonio. Curated by Casie Lomeli and Leslie Moody Castro, the show features eight artists including Matt Rebholz, whose vibrant, alien-like landscapes subvert traditional Western imagery, and Tina Linville, who presents tactile sculptures composed of salvaged materials and concrete. The exhibition is part of a larger city-wide initiative spread across five artist-run spaces.

Inside LACMA’s Eye-Popping New Home, How Do You Find the Art?

The Los Angeles County Museum of Art (LACMA) has opened its new David Geffen Galleries building, a major architectural project designed to be a glamorous cultural beacon. The building itself is a striking landmark, but the exhibition spaces within present significant challenges for the display of art, creating a complex, maze-like environment for visitors.

I wanted to hate the new LACMA. Then I went back

The article describes the author's evolving impression of the newly opened David Geffen wing at the Los Angeles County Museum of Art (LACMA), designed by architect Peter Zumthor. Initially visiting at 11am, the author found the $724 million, 110,000 sq ft building to be a "dismal, dated, inelegant brute," with thick bronze windows, dark concrete slabs, and bunker-like galleries. However, returning at 4pm, the author experienced a transformation: golden afternoon light warmed the concrete, illuminated the interiors, and revealed the building as a "brilliant innovation and true gift to the city." The article details the building's 20-year design evolution, challenges including fossil discoveries on site, and Zumthor's public frustrations with the compromised details.

A Baroque Too Baroque: Reflections on the Colossal Exhibition in Forlì

Un Barocco troppo barocco. Riflessioni sulla colossale mostra di Forlì

A massive exhibition titled "Barocco: il gran teatro delle idee" (Baroque: The Grand Theater of Ideas) is on view at the Museo Civico San Domenico in Forlì, Italy. The show, curated by a committee of six, ambitiously attempts to define the Baroque across the 17th and 18th centuries, extending its scope to include France and Spain, and even suggesting its echoes in the 20th century. It features approximately 300 works, including paintings, sculptures, and decorative arts.

A Palestinian-American Photographer’s Intimate Gaze

Photographer Dean Majd presents his solo debut exhibition, "Hard Feelings," at BAXTER ST at the Camera Club of New York. The show compiles a decade of intimate photographs documenting his inner circle of skateboarders and graffiti writers in Queens, a community he joined after the death of his childhood friend James. The work captures communal joys, rites of passage, and the dangers of their lifestyle, while also serving as a dedication to his friend Suba, who died from an accidental overdose in 2020.

Jule Korneffel Captures the Weight of the Pre-Dawn Sky at Spencer Brownstone Gallery, NYC

Jule Korneffel's third solo exhibition at Spencer Brownstone Gallery in New York, titled 'In Search of Lost Light,' presents a series of paintings that capture the quiet, liminal moments just before dawn. Using artist-mixed natural pigments, Korneffel shifts from her previous twilight-focused work to explore the anticipation of daylight, with pieces like the titular painting (2025) standing out for its playful, musical composition. The show also includes a mural in the gallery's back patio that blends colors into a grey neutral tone reminiscent of early-morning skies.

In "Dancing the Revolution," Puerto Rico Pushes Back

The article reviews "Dancing the Revolution," a multi-genre collective exhibition at the Museum of Contemporary Art Chicago that explores the music of dancehall and reggaetón, their roots, history, and evolution, and their inextricable link to colonial oppression. The show is inspired by the massive 2019 protests in Puerto Rico against then-Governor Ricardo Rosselló, where music and dance were used as forms of resistance, drawing on centuries of Black Atlantic protest in the Caribbean.