Gunia Nowik Gallery in Warsaw presents a two-person exhibition featuring artists Linda Lach and Diane Severin Nguyen, running from April 10 to May 23, 2026. The show is organized in collaboration with Galerie Molitor and includes a bilingual guide in English and Polish. Documentation of the exhibition comprises 18 images, photographed by Katarzyna Legendź.
MASSIMODECARLO Pièce Unique in Paris presents 'Pareidolia,' an exhibition of new paintings by London-based artist Daniel Crews-Chubb. The show explores the psychological phenomenon of pareidolia—the brain's tendency to see faces in random patterns—through heavily layered works created with hands, ink, oil, sand, and collage. Three paintings are featured: 'Immortal XXXVIII' and 'Immortal XXXIX' (2026), large-scale works drawing on cultural memory of ancient sculpture, and 'Mask XXIV' (2026), which tests the minimal cues needed for facial recognition. Crews-Chubb's process involves building up and tearing back surfaces over weeks, with charcoal lines added last to define emergent figures.
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The article reviews 'WORDS, WORDS, WORDS,' an exhibition at Everard Read Gallery's CIRCA space in South Africa, which explores the role of language in contemporary visual art. Curated with a focus on how words are bent, repeated, fragmented, and reassembled, the show features works by South African artists including Willem Boshoff and Luca Evans, who engage with conceptual art traditions from Dada to Barbara Kruger. Boshoff's braille-inset wooden piece 'Planet of Echinus' questions inclusion and exclusion in language, while Evans' work riffs on Joseph Kosuth's iconic text pieces using ancient wood-inlay techniques.
Alex Burchmore reviews 'The Hooligans,' an exhibition that explores the Maoist concept of hooliganism in the context of contemporary Chinese art. The show features works by artists like Xiao Lu, who famously fired a gun at her installation during the 1989 'China/Avant-Garde' exhibition, as well as Zhu Yu and He Yunchang, known for incorporating human body parts and surgical procedures into their art. The exhibition contrasts these transgressive acts with more market-friendly works, such as Zhu Yu's gilded plate paintings and Hu Yinping's commercial-style figurines, highlighting the tension between artistic rebellion and commercial success.
French artist Bertrand Lavier is presenting a solo exhibition titled 'Brushstroke n.7' at MASSIMODECARLO Pièce Unique in Paris. The exhibition centers on a single, sinuous steel sculpture that translates the traditionally flat, expressive painterly gesture into a three-dimensional physical entity. This presentation marks Lavier's sixth solo show with the gallery and continues his decades-long exploration of the boundaries between painting, sculpture, and the readymade.
Galerie Eva Presenhuber is hosting a group exhibition featuring the works of Aria Dean, Sandra Mujinga, and Tschabalala Self. The show explores the construction and erasure of the human body through diverse mediums, including Aria Dean’s 3D-animated film of an empty slaughterhouse and Sandra Mujinga’s spectral, fabric-based sculptures. By focusing on the architectures of violence and the labor of repair, the artists move away from traditional representation toward conceptual and structural critiques of subjecthood.
Rutherford Chang (1979-2025), a US post-conceptualist artist known for obsessive collections of everyday objects, is the subject of a posthumous exhibition at UCCA Beijing. The show, titled "Hundreds and Thousands," features his best-known works, including "CENTS" (2017-25)—a solid block of 10,000 melted pennies—and "We Buy White Albums" (2013-25), an installation of hundreds of vinyl copies of The Beatles' White Album, whose sleeves were often marked by previous owners. Both works, along with four others, explore how identical objects accumulate unique narratives through time and circulation.
American University's 2025 Master of Fine Arts Thesis Exhibition, titled “TRANSIT,” is on view at the AU Art Museum from April 19 to May 18. The show features the culminating works of six graduating Studio Art MFA students: Phaedra Askarinam, Pooja Campbell, Patricia Edwine Poku, Connor Gagne, Andrés Izquierdo, and Julia Cheng Zhang. Their diverse practices span painting, ceramics, installation, and performance, unified by the theme of transit—interpreted as acts of passage, transformation, and self-discovery. Curated around this shared concept, the exhibition explores life transitions such as grief and parenthood, as described by Professorial Lecturer Molly Springfield.
Artists Niquu Eyeta and Ghizlane Sahli are featured in a dual presentation titled ‘House of Galleries (Volume 11),’ showcased by the gallery Sakhile&Me. The exhibition creates a dialogue between Eyeta’s organic compositions, which utilize plant pigments and clay, and Sahli’s intricate 'alveoli' structures made from silk and repurposed plastic. Both artists emphasize the concept of material as a living archive, focusing on themes of ecological consciousness, ritualistic repetition, and the reanimation of discarded matter.
Architects Michael Meredith and Hilary Sample of the firm MOS discuss the concept of "polycrisis"—the intersection of economic, political, and ecological failures—and its impact on architectural form. The conversation highlights a growing void between the formal aesthetic project of architecture and the urgent political realities of the modern world. Sample specifically addresses how the dominance of political and regulatory restrictions in collective housing has stifled formal innovation, often reducing architecture to a mere byproduct of governance rather than a tool for social or cultural expression.
RYAN LEE Gallery in New York is presenting "traces," an exhibition featuring embroidery, installation, sculpture, video, and works on paper by artist Tiffany Chung. The show runs from May 14 to June 20, 2026, at the gallery's location on West 26th Street.
The exhibition 'He Who Permeates' is currently on view at Tao Art Gallery in Mumbai, curated by Mihir Thakkar. It features contemporary artists Jayesh Sachdev and NFN Kalyan, exploring how imagery and symbols are reinterpreted across cultural contexts in a hyper-visual age. The show runs daily from 11 am to 6:30 pm until May 28, 2026, and marks NFN Kalyan's first presentation in India.
Korean artist Hong Seung-hye opens her first solo exhibition in three years, titled "On the Move," at Kukje Gallery Busan. The show traces her decades-long exploration of "organic geometry," a concept she coined after a 1997 Photoshop glitch where pixels appeared to move organically on her screen. The exhibition brings together recent works across multiple mediums, including video, sculpture, and audio, such as "Snoopy in Space" (2019), "Light Upon" (2021), "MOVE" (2022), and the new video "Emotical Practice" (2025). Hong draws inspiration from music and choreography, and she expresses wariness about artificial intelligence, preferring to control every aspect of her work herself.
Whitestone Gallery in Beijing will present the group exhibition 'Time in the Interstices' from April 25 to June 6, 2026. The show features four Korean artists—Soonik Kwon, Seungtaik Jang, Kim Deok Han, and Lee Chae—whose painting practices explore time as an internal, structural element of the work, rather than a linear narrative or backdrop.
Conceptual sculptor B. Koh is holding his first solo exhibition in South Korea at Baik Art, Seoul, titled 'J Sculpture Show.' The exhibition features a comprehensive survey of the Los Angeles-based artist's career, spanning from his early 1990s experiments to new site-specific works created during a recent residency in Seoul. Koh is known for his "gentle trickery," using everyday objects like clocks, plastic chairs, and water bottles to create subtle interventions that disrupt the viewer's perception of time, gravity, and the mundane.
Mexico City's annual art week, anchored by the Zona Maco fair, is expanding its focus to include a significant design component in 2026. The event features 15 highlighted design-focused exhibitions and installations, including site-specific shows in modernist houses, a dedicated collectible design category at Zona Maco, and exhibitions by international names like Lee Broom and Lanza Atelier.
A group exhibition titled "Magnum O-Pspsps" at Cornell University’s Olive Tjaden Gallery in Ithaca, New York, features over 40 artists paying tribute to cats through paintings, sculptures, and mixed-media works. Curated by Cornell MFA students Michael Morgan and Elina Ansary, the salon-style show runs for 10 days through September 25, drawing inspiration from Edward Anthony's 1922 fairytale "The Pussycat Princess" and illustrator Louis Wain's anthropomorphic cat drawings. The exhibition includes works by artists such as Lisa Lebofsky, Tatiana Tatum, Steve Keister, Erika Ranee, Juan Hinojosa, Emily Weiskopf, and Leeza Meksin, with some pieces serving as memorials for deceased feline companions.
Art Basel has unveiled its lineup of newcomer galleries for the upcoming fair, featuring seven emerging and rediscovered artists from around the world. The debutants include Kyiv-based Sana Shahmuradova Tanska, whose monumental painting addresses the war in Ukraine; Japanese textile artist Junko Oki, showing embroidered vintage garments; and Italian feminist poet Mirella Bentivoglio, represented by a participatory tree sculpture. Other highlights include Parisian Ndayé Kouagou's video work on mass media, conceptual feminist Tina Girouard's wallpaper pieces from the 1970s, London-based Alexandra Metcalf's deconstructed grandfather clocks, and Georgian artist Nika Kutateladze's installation about rural depopulation. The galleries presenting these artists are Gunia Nowik Gallery (Warsaw), Kosaku Kanechika (Tokyo), Repetto Gallery (Lugano), Nir Altman (Munich), Anat Ebgi (Los Angeles), Ginny on Frederick (London), and Gallery Artbeat (Tbilisi).
Art Basel Paris has announced the exhibitor lineup for its 2025 edition, which will bring 203 galleries to the Grand Palais this autumn. The fourth edition features 89% returning exhibitors from last year and 25 newcomers, with a strong Parisian presence—one-third of participants operate a space in the French capital. The main sector includes 177 exhibitors such as Thaddaeus Ropac, Mor Charpentier, and Acquavella Galleries, while the Emergence section offers 16 solo stands for emerging artists, and the Premise sector challenges art historical canons with pre-1900 works and obscure practices. Highlights include a joint presentation by Gordon Robichaux and Stars of Janet Olivia Henry's dioramas, and a solo stand by Arash Nassiri at Ginny on Frederick.
Vu[e]s de dos. Une figure sans portrait
The exhibition "Vu[e]s de dos. Une figure sans portrait" at Les Franciscaines in Deauville, running from February 28 to May 31, 2026, explores the artistic motif of figures seen from behind. Curated by director Annie Madet-Vache, the show was inspired by a small painting from the museum's own collection, André Hambourg's *L'Enterrement de Poincaré*. Unable to secure loans of iconic works such as those by Friedrich, Delacroix, Ingres, or Vermeer, Madet-Vache instead displays large black-and-white reproductions of these masterpieces alongside contemporary works they inspired, turning the absence of the originals into a conceptual strength.
Morocco is debuting its first national pavilion at the Venice Biennale with a monumental installation titled "Asetta" by artist Amina Agueznay. The 300-square-meter site-specific work, located in the Arsenale, draws on centuries-old Moroccan craft traditions, including weaving, beadwork, and embroidery. Agueznay conducted field research across Morocco and collaborated with over 130 artisans, mostly women, some of whom she has worked with for decades. The installation explores the transmission of traditional craftsmanship and shared memory, and incorporates the concept of the threshold (âatba) from Moroccan vernacular architecture, offering visitors both an immersive experience and functional seating.
The LensCulture Portrait Awards 2026 have announced their winning and shortlisted photographers, showcasing a diverse range of styles from documentary realism to conceptual invention. Highlights include an Australian photographer's winning portrait of a 'barefoot volcanologist' and poignant series documenting the ongoing conflict in Ukraine and the reclamation of identity in post-colonial contexts.
Archaeological research from Colorado State University has identified the world's oldest known dice, created by Native American hunter-gatherers on the western Great Plains over 12,000 years ago. These two-sided "binary lots," found at Folsom-period sites in Wyoming, Colorado, and New Mexico, predate the earliest known Old World dice by more than 6,000 years. The study reclassifies artifacts previously overlooked or misidentified, highlighting that these objects were the only decorated, non-utilitarian items found at these late-Pleistocene sites.
Ai-Da, the world's first robot artist, has debuted a retro-futuristic architecture concept at the Utzon Center in Aalborg, Denmark, as part of the exhibition "I'm not a robot." The design, a smooth-edged pod with sweeping curved windows, imagines a space-age co-living space for humans and humanoids. Ai-Da, created by British gallerist Aidan Meller in 2019, uses A.I. to generate her works, and the building concept emerged from discussions between the robot and her team. The exhibition runs through October 18, and Ai-Da's designs will also be shown in London later this year.
Writer and theorist Nadia Asparouhova has published a new book titled *Antimemetics: Why Some Ideas Resist Spreading*, which introduces the concept of "anti-memes"—cultural phenomena whose influence derives from being hard to find or difficult to understand, rather than from popularity and visibility. The book is released by the Dark Forest Collective, a group of artists and thinkers inspired by Yancey Strickler's metaphor of the internet as a "dark forest," where meaningful exchange retreats to private spaces away from commercial and contentious public platforms. Artnet News critic Ben Davis reviews the book, connecting its ideas to contemporary art that deliberately operates below the radar.
The Venice Biennale will proceed with its 2026 edition despite the unexpected death of its curator, Koyo Kouoh, earlier this month. The Biennale announced on Tuesday that it will realize Kouoh's exhibition, titled "In Minor Keys," which she had already begun planning before her passing. Kouoh had selected artists, developed commissions, and established the central concept. The show will be carried forward by a team of five advisers she personally chose: curators Gabe Beckhurst Feijoo, Marie Helene Pereira, and Rasha Salti; critic Siddartha Mitter as editor; and Rory Tsapayi as assistant. The exhibition remains scheduled to open on May 9, 2026, with the full support of Kouoh's family.
London-based Gallery Les Bois, founded in late 2024 by Claire-Julia Hill, is establishing itself as a pioneering force in sustainable contemporary art. The gallery features a diverse roster of artists who work with eco-conscious materials and techniques, such as transforming natural resources from impacted waterways into pigments and repurposing textile waste. In an interview, Hill discusses her background studying art history at Cambridge University, her inspiration to integrate sustainability into the art world, and the gallery's mission to champion artists who combine ecological responsibility with aesthetic excellence and conceptual rigor.
Photographer Peter Fraser has collaborated with Bottega Veneta on a new series of 27 photographs exploring Venice, capturing both its iconic landmarks—canals, marble floors, Byzantine façades—and its overlooked details like construction cranes, discarded plaster casts, and beached boats. The images are juxtaposed with Bottega Veneta's intrecciato bags from Louise Trotter's first collection, nodding to the fashion house's long history in the Veneto region. In an interview, Fraser discusses his approach to photographing a city burdened by its own legacy, emphasizing the need to distance himself from preconceptions and to shoot based on feeling rather than appearance.
SAGG Napoli, a multidisciplinary artist who incorporates Naples into her name, presents her latest exhibition at Champ Lacombe in London from March 26 to May 16, 2025. For the first time, her own body is absent from the work; instead, she shows a new sculpture and a film juxtaposing volcanic eruptions of Mount Vesuvius with New Year's Eve celebrations in Naples. The article includes a studio visit interview where Napoli discusses her creative process, her training as a competitive archer, and her concept of 'South Aesthetics.'
French artist Mimosa Echard presents "Facial," a new exhibition at Amant in East Williamsburg, Brooklyn, running through February 16, 2026. The show features a series of palimpsest-like canvases and a video work of Times Square, inspired by Echard's pedestrian observations of New York City. Key motifs include ginkgo trees—which she links to survival, ancient sexuality, and the city's olfactory character—and the repetitive eye imagery found on beauty salon facades, which she interprets as a form of "sweet surveillance." Echard, who won the Prix Marcel Duchamp in 2022, created the works during a two-month residency in the neighborhood, drawing on her characteristic blend of botanical and digital themes.