Swiss painter Renée Levi will create a large-scale two-panel painting for the façade of London’s Hayward Gallery this fall, co-commissioned by the gallery and Audemars Piguet Contemporary. The installation, on view from September 23 to November 15, marks the watch brand’s art programme’s first painting commission and Levi’s first major public commission in the U.K.
Artsy has highlighted five emerging and established artists to watch this April, selected based on recent gallery representation, exhibition success, and market data. The list features Peruvian painter Sylvia Fernández, known for her meticulous and majestic depictions of the natural world, alongside four other artists who have made significant impacts through recent art fairs and new bodies of work.
Galerie Buchholz in New York is presenting "Projects for Outside — ISA USA," a solo exhibition by the influential German artist Isa Genzken. Running from March 11 through April 25, 2026, the show focuses on Genzken's outdoor proposals and large-scale sculptural projects, documenting her career-long engagement with public space and urban architecture through a comprehensive selection of works.
German artist Georg Herold has opened a new solo exhibition at the Capitain Petzel gallery in Berlin. The show, which runs from February 27 to April 11, 2026, features a significant body of new work, documented extensively through 33 images.
Curator Luis Pérez-Oramas has organized a two-person exhibition at Nara Roesler's New York gallery pairing Afro-Brazilian artists Alberto Pitta, 64, and Elian Almeida, 31. The show collapses generational and medium-based boundaries, featuring Pitta's layered canvas silkscreens with symbolic folk elements alongside Almeida's colorful explorations of Brazil's history in paint. A functioning coffee cart by Pitta, elevated to artwork status, greets visitors. The exhibition runs through early January.
Cultured magazine interviews Brazilian artist Solange Pessoa about her new exhibition "Catch the sun with your hand" at the Aspen Art Museum, on view through October 26. The conversation explores parallels between Aspen's mining history and her home region of Minas Gerais, Brazil, her use of organic materials like blood and hair, her stone collection, and the sense of incompleteness in her process-based work. The exhibition features carved soapstone sculptures on the museum's roof and works inside that engage with crystals and silver.
Arghavan Khosravi's solo exhibition "What Remains" opens today at Uffner & Liu in New York, presenting a new body of sculptural paintings that fuse Persian architecture with Christian altarpieces. The works explore women's fight for equality under censorship and religious dogma in Iran, featuring figures restricted by domestic objects, hinged shutters, and suspended cords, with fragments of limbs or faces visible. Key pieces include "Suspended" (2026), "Bearing" (2026), and "The Whisper" (2026), running through July 2.
Sakshi Gallery is marking its 40th anniversary with an exhibition titled "Unfolding narratives: perspectives in contemporary Indian art" at the Mall Galleries in London, opening June 30, 2026. The show features works by six artists—Amit Ambalal, Manjunath Kamath, Ravinder Reddy, Rekha Rodwittiya, Shine Shivan, and Surendran Nair—who have significantly shaped Indian contemporary art. Many works were created specifically for the exhibition, offering insight into the artists' current directions. The presentation serves as a prelude to a larger institutional exhibition planned for 2027 in London.
The Contact Photography Festival, Canada's largest photography event, opens Friday in Toronto with over 160 exhibitions across eclectic venues including artist-run centers, commercial galleries, cafes, and a laundromat. Highlights include a towering portrait by Haitian-born artist Thandiwe Muriu on Spadina Ave., and a multi-site exhibition by Turner Prize-nominee Sin Wai Kin, featuring billboards and a two-channel video titled 'The Time of Our Lives.' The festival lost its long-time lead sponsor Scotiabank in 2024, resulting in a reduced budget and less public programming, but organizers remain committed to championing lens-based art.
The article reviews two major New York exhibitions opening in 2026: the Whitney Biennial at the Whitney Museum of American Art, featuring over fifty artists, and "New Humans: Memories of the Future" at the newly expanded New Museum, with over a hundred artists. Both shows are described as enormous and defiant, responding to a distracted public and financial pressures. The reviewer notes that both exhibitions juxtapose large-scale immersive works with tiny, intimate pieces, and finds the Whitney Biennial lacking urgency, while preferring the New Museum's historical narrative about technology and modernity.
Green Art Gallery in Dubai is hosting 'All the Lands from Sunrise to Sunset,' a group exhibition featuring Alla Abdunabi, Fatma Al Ali, Alessandro Balteo-Yazbeck, and Michael Rakowitz. The show explores the persistence of imperial logics and extractive economies through diverse media, including text-based collages, reconstructed artifacts made from food packaging, and archival interventions. By examining acts of naming, erasure, and symbolic circulation, the artists treat empire not as a historical relic but as a mutating contemporary condition.
The New Museum's latest exhibition explores the evolving definition of humanity through the lens of technological advancement and ancestral wisdom. The show juxtaposes the anxieties of modern machine labor—exemplified by Simon Denny’s Amazon worker cage—with Indigenous epistemologies and animist traditions that offer alternative ways of inhabiting the world. By featuring artists like Jaider Esbell and Santiago Yahuarcani, the exhibition highlights how hybridity and relationality can resist the rigid hierarchies of Western modernity.
Major museums across the United States are launching significant exhibitions in 2026, including retrospectives of Frida Kahlo in Houston and Nick Cave in Washington, D.C., and a landmark show on sculptor Edmonia Lewis in Salem. These shows are part of a broader cultural moment, with many institutions mounting exhibitions to coincide with the nation's 250th anniversary, aiming to reframe art historical narratives and highlight previously overlooked artists.
This article is a curated guide to ten art exhibitions taking place across Upstate New York in February. It highlights a diverse range of shows, including Kim Tateo's abstract paintings at Context Collective, Barbara Todd's politically charged textile works at Opalka Gallery, Michael Salomon's photographic landscapes, and group shows celebrating creative courage and Hudson Valley artists. Other featured exhibitions include Sita Gómez's paintings of women at Hudson Hall and photography shows by Ocean Vuong and Nona Faustine at the Center for Photography at Woodstock.
India's art market experienced a major resurgence in 2025, driven by record auction sales for modernists like M.F. Husain, Tyeb Mehta, and V.S. Gaitonde. Husain's 'Gram Yatra' became the first Indian painting to sell for over USD 10 million, setting a new benchmark. The boom is fueled by India's strong economy, rising private wealth, digital platforms, and increased global recognition. The India Art Fair in Delhi and the launch of India Art Fair Contemporary in Mumbai highlighted strong sales, with galleries selling 90% of their stands on preview day. A reduction in India's goods and services tax on art from 12% to 5% further boosted the market, while independent reports estimate Indian art auctions reached Rs 2,456.7 crore, up over 20% from the previous year.
San Francisco's Museum of the African Diaspora (MoAD) has reopened its renovated ground-floor lobby to mark its 20th anniversary, alongside two new exhibitions. The larger show, "Unbound: Art, Blackness & the Universe" (on view until 16 August 2026), explores Blackness and the cosmos through painting, photography, sculpture, and installation. Curated by MoAD's first full-time curator Key Jo Lee, the exhibition features 17 artists including Torkwase Dyson, Barkley L. Hendricks, Lorna Simpson, Oasa DuVerney, and Mikael Owunna, organized under three themes: "Geo-Cartographic," "Religio-Mythic," and "Techno-Cyborgian." The $500,000 renovation also upgraded lighting and HVAC systems.
The article highlights several must-see exhibitions in Seoul during Frieze week. Adrián Villar Rojas transforms Art Sonje Center with his immersive exhibition "The Language of the Enemy," featuring large-scale installations from his ongoing series "The End of Imagination" that strip the museum to a primordial state. At Gallery Hyundai, Kang Seung Lee and Candice Lin present a two-person show "Not I, not I, but the wind that blows through me," exploring queer histories and colonial legacies through drawing, embroidery, and experimental materials. Meanwhile, sculptor Hyun Nahm debuts a new body of work at Whistle in "Nest in the Field," moving away from his signature tower forms to angular iron-powder sculptures shaped by magnetic fields.
The Ford Foundation Gallery in New York presents "Body Vessel Clay: Black Women, Ceramics & Contemporary Art," opening September 10, 2025. The exhibition features over fifty works across ceramics, film, photography, and archives, bringing together three generations of Black women artists. It highlights the legacy of Nigerian potter Ladi Dosei Kwali (1925-1984) and traces how Black women artists have transformed ceramics over seventy years. Curated by Dr. Jareh Das, the U.S. debut includes new works by Adebunmi Gbadebo, Simone Leigh, and Anina Major, following critical acclaim at Two Temple Place in London and York Art Gallery in 2022.
Four new art spaces have opened in Hong Kong in March 2026, expanding the city's gallery landscape. Antenna Space, a Shanghai gallery, debuts in Wong Chuk Hang with the group show "Horizons: South." GOLD, a cultural lab by Serakai Studio, opens nearby with "CERTAINLY." In Mid-Levels, the Cheng-Lan Foundation launches Cheng-Lan's Corner with a solo show by Filipino artist Cian Dayrit. In Central, curator Jims Lam inaugurates the curatorial platform Knotting Space at H Queen's with its first cycle, "KNOT I."
The article previews the 2025 Met Gala, where celebrities including Beyoncé, Nicole Kidman, and Venus Williams will ascend the Metropolitan Museum of Art's steps dressed according to the dress code "Fashion is art." The event, which raises funds for the museum's Costume Institute, encourages guests to treat fashion as an embodied art form, drawing on historical collaborations between designers and artists—such as Elsa Schiaparelli with Salvador Dalí, Yves Saint Laurent with Piet Mondrian, and Marc Jacobs with Takashi Murakami. The red carpet will be livestreamed by Vogue and the Associated Press.
Dublin-born artist Isabel Nolan discusses her Ireland pavilion exhibition "Dreamshook" at the Venice Biennale, developed with curator Georgina Jackson. The show explores the liminal state between dreaming and waking, weaving a fictional narrative around Renaissance humanist Aldo Manuzio, who popularized portable books. Nolan draws on late Medieval and early Renaissance visual language, using intimate forms like textiles to tackle big ideas about cosmology, religion, and humanism. She describes her ambivalent relationship with European cultural inheritance and the need to recover occluded voices.
Angela de la Cruz's solo exhibition "Upright" at Birmingham's Ikon gallery presents a collection of broken and mended artworks. Her canvases are crumpled, folded, and snapped, while sculptures are assembled from precarious junk like a three-legged chair on a stool and a piano stacked atop another. The works, though appearing on the verge of collapse, are all repaired and propped back up, reflecting a state of post-collapse resilience.
Artist Veronica Fernandez opened a solo exhibition titled "Prey" at the Anat Ebgi gallery. The show features a notable shift in her practice, moving from typically monumental canvases to smaller-scale paintings that explore themes of claustrophobia, survival, and the uneasy tension between comfort and foreboding in domestic and communal spaces.
American artist Ellen Akimoto (b. 1988) has opened her second solo exhibition with Berlin-based Galerie Judin, titled “Everybody’s in the Room.” The show features a body of new work exploring reality, human relationships, and the interplay between figuration and abstraction. Its centerpiece is a monumental six-panel painting spanning nearly 40 feet, which incorporates the physical gallery space as part of the artwork. The exhibition will later travel to Kunstverein Ulm in September. In an interview, Akimoto discusses themes of inside and outside, ghosts of ordinary objects, and the conceptual starting point of the show, which she describes as a culmination of processes developed over the past year.
Norwegian artist Martine Poppe has opened a new solo exhibition titled "East of the Sun West of the Moon" at Kristin Hjellegjerde Gallery in London. The show draws on a classic Nordic fairytale as a conceptual starting point, blending memory, nature, and landscape painting. Poppe uses photographs taken over the past decade as source material, transforming them into atmospheric compositions that blur the line between reality and fiction. The exhibition explores themes of freedom, distance, and the mystical wildness of the natural world, inspired by both her childhood experiences and influences from Japanese woodblock prints and 19th- and 20th-century Western artists.
Suki Seokyeong Kang, a South Korean artist known for blending traditional Korean heritage with contemporary abstract forms, died on Sunday at age 47 (48 in Korean reckoning) after a battle with cancer. Her New York representative, Tina Kim Gallery, confirmed the cause. Kang's work spanned painting, textiles, sculpture, and installation, often incorporating postminimalist structures, craft techniques, and industrial materials. Notable series include her precarious "Grandmother Tower" sculptures and "Mountain" pieces made from curved steel and thread. She was born in Seoul in 1977, studied at Ewha Womans University and the Royal College of Art in London, and later became a professor of painting.
Suki Seokyeong Kang, a Korean sculptor known for reimagining traditional Korean artistic forms in contemporary sculpture, died on Sunday at age 48 after a years-long battle with cancer. Her passing was announced by Seoul’s Kukje Gallery and her New York representative, Tina Kim Gallery. Kang’s work drew from centuries-old practices such as Joseon Dynasty painting and 600-year-old musical notation, translating them into highly conceptual, visually seductive sculptures that appeared in biennials worldwide, including Gwangju and Venice, and in museum surveys such as a 2023 show at Seoul’s Leeum Museum of Art. At the time of her death, her largest-ever US exhibition was on view at the Museum of Contemporary Art Denver, featuring her "Mountain" series inspired by the traditional Korean style si-seo-hwa.
A painting in a private UK collection, long considered a workshop copy of Rembrandt's 'Old Man with a Gold Chain' at the Art Institute of Chicago, has been newly attributed to Rembrandt himself by scholar Gary Schwartz. Schwartz argues the quality and lack of corrections suggest Rembrandt, not a pupil, created the canvas replica while the original process was still fresh.
Erica Mahinay, a 40-year-old California-born artist based in Los Angeles, is the subject of a solo exhibition titled "Rhythms" at T293 gallery in Rome. The show presents 24 intimate-scale works that explore the artist's physical, process-driven approach to abstract painting, where she manipulates pigment through pouring, dripping, and erasing to create layered, luminous surfaces. Mahinay, who holds degrees from the Kansas City Art Institute and Cranbrook Academy of Art, has work in the Marciano Art Foundation and Pinault Collection, and was included in the Hammer Museum's 2023 biennial "Made in L.A.: Acts of Living."
Aileen Murphy's third exhibition at Deborah Schamoni in Munich, titled "Sleeps on the Ceiling," presents five new paintings dominated by rosé and pink tones. The works revolve around a table-like motif, featuring animals, disembodied limbs, and surreal details such as a white cat with red eyes and a yellow snake. Murphy, who completed her studies in 2018, blends abstract gestures with detailed figuration, creating scenes that are both playful and uncanny. The exhibition's title is borrowed from Elizabeth Bishop's poem "Sleeping on the Ceiling" (1946), reflecting a dissolution of domestic interior, urban monument, and psychological landscape.