The article presents a curated guide to 10 art exhibitions opening in the Bay Area this fall, highlighting shows by artists such as Mike Henderson, Julio César Morales, Auudi Dorsey, and Jim Melchert. It covers venues ranging from Haines Gallery and Gallery Wendi Norris to the Manetti Shrem Museum and di Rosa SF, with works addressing Black Oakland history, immigration, segregation-era Black leisure, and conceptual ceramic art.
Boston Art Review (BAR) has published a guide to must-see museum exhibitions for fall 2026, highlighting major shows across the United States. The article curates a selection of institutional presentations that are expected to draw significant attention during the autumn season, though the specific exhibitions and venues are not detailed in the provided text.
This article presents a quarterly analysis of which living artists are most featured in temporary exhibitions across U.S. museums during September 2025. The author ranks artists based on the number and type of shows they appear in, prioritizing career retrospectives, dedicated exhibitions, and special commissions. The list is dominated by Black and Indigenous artists whose work addresses racism, colonialism, and nature, with Jeffrey Gibson topping the chart due to his Met facade commission, Broad show, and Venice Biennale U.S. Pavilion recreation. Other prominent artists include Firelei Báez, Rashid Johnson, Anila Quayyum Agha, and Ai Weiwei, the only non-U.S.-based artist on the list.
Artists Jennifer Packer and Marie Watt have been named winners of this year's Heinz Awards for the Arts, receiving an unrestricted cash prize of $250,000 each. The awards, now in their 30th edition, are bestowed by the Pittsburgh-based Heinz Family Foundation and honor individuals in the arts, economy, and environment. Packer, a painter known for boldly colorful figurative works, and Watt, whose practice spans steel sculpture and textiles rooted in Indigenous traditions, will be honored at a ceremony in Pittsburgh next month.
A rarely seen Walter Sickert painting, *Ennui* (1913), will be offered for sale in a selling exhibition at Piano Nobile gallery in London on 26 September. The work, once owned by Hollywood actor Edward G. Robinson and later by collectors Herbert and Ann Lucas, has not been publicly exhibited since 2001. Priced around £750,000, it is one of five versions Sickert painted in the 1910s depicting a pub landlord and his wife; three are held by British institutions including the Royal Collection and the Ashmolean Museum. The sale also includes a Sickert pastel of a sex worker unseen since 1908, plus works from his Dieppe period.
The latest episode of The Art Newspaper's podcast 'The Week in Art' covers three major stories. Host Ben Luke tours the newly opened David Bowie Centre at the V&A East Storehouse in London, a permanent repository for thousands of items from Bowie's archive, discussing the displays with curator Madeleine Haddon. The episode also reports on the inaugural Bukhara Biennial in Uzbekistan, with art market editor Kabir Jhala delivering a verdict from the opening and curator Diana Campbell offering insights. Finally, the podcast features a 'Work of the Week' segment on two paintings—Hurvin Anderson's 'Untitled' (2025) and Kara Walker's 'West Indies' (2014)—shown in an exhibition at Michael Werner Gallery in London curated by critic and writer Hilton Als, which explores the life and work of Dominican-born writer Jean Rhys.
Edward Burtynsky, the renowned Canadian photographer known for his large-scale depictions of industrial landscapes, is the subject of a feature titled "Edward Burtynsky: Taking Place." The article highlights his 40-year career documenting humanity's impact on the planet, from his early influences in St. Catharines, Ontario, to his recent exhibition "BURTYNSKY: Extraction/Abstraction," which premiered at London's Saatchi Gallery in February 2024 before traveling to M9 in Mestre, Italy. It also notes his founding of Toronto Image Works and his ongoing solo and group exhibitions worldwide.
This article is a guide to 20 fall art excursions outside New York City, highlighting exhibitions in Upstate New York, Connecticut, Massachusetts, and Rhode Island. Featured shows include the 'Trees Never End and Houses Never End Biennial Exhibition' at Sky High Farm in Germantown, Nancy Friedemann-Sánchez's 'Dream Map and Cornucopia' at the Everson Museum of Art in Syracuse, and 'All Manner of Experiments: Legacies of the Baghdad Modern Art Group' at the Hessel Museum of Art at Bard College. Other notable stops include Jeffrey Gibson's exhibition at MASS MoCA, Kiyan Williams's installations at Art Omi, and 'Human Marks: Tattooing in Contemporary Art' at the Joseloff Gallery in Connecticut.
The Courtauld Gallery in London has announced its 2026 programme, headlined by Pakistani-born, New York-based painter Salman Toor's first solo exhibition in Europe. Titled "Someone Like You," the show will feature around 20 of Toor's emblematic canvases, including "The Bar on East 13th" (2019), which directly references Édouard Manet's "A Bar at the Folies-Bergère" (1882) from the Courtauld's collection. The exhibition will also include a selection of Toor's works on paper, such as "Fag Puddle in Vitrine" (2021), recently acquired by the museum. Toor's profile has risen sharply over the past five years as his intimate paintings of queer, South Asian men have resonated with institutions and the art market.
The Studio Museum in Harlem announced it will reopen on November 15, 2025, after being closed since 2018 for construction of its new building on 125th Street. The museum shared details about opening celebrations, community day, suggested admission prices, and hours. In other August 2025 news, Brazilian artist Ana Cláudia Almeida joined Stephen Friedman Gallery (London/New York) alongside Quadra and Fortes D’Aloia & Gabriel; Ekow Eshun was named curator of British Art Show 10, opening in September 2026 across five UK cities; and Vanity Fair previewed the new Studio Museum building in its September issue, featuring interviews with Director Thelma Golden and artists Karon Davis and Tshabalala Self.
David Kordansky Gallery presents "Weather Report," an exhibition of new paintings by Shara Hughes, opening September 4 through October 18, 2025, at its 520 W. 20th St. location in New York. This marks the artist's first solo show in New York in six years, featuring works such as "Rift" (2025), "Bigger Person" (2024), "Find My Way" (2025), "Niagara" (2024), "Only Slightly Rare" (2025), "The Good Light" (2025), "Pearly Gates" (2025), "Gossip" (2025), and "MaMa" (2025), all created in oil, acrylic, and dye on canvas or linen.
This fall, Los Angeles museums are presenting a diverse array of exhibitions that explore community, justice, and historical reclamation. Highlights include a historical survey of Mail Art in Latin America, a traveling exhibition of radical Chicano prints from the Smithsonian at the Huntington, a show at the Getty drawn from the Guerrilla Girls' archive, and a two-person exhibition at Skirball pairing Philip Guston with Trenton Doyle Hancock. Other notable shows include 'Monuments' co-organized by the Brick and the Museum of Contemporary Art, solo exhibitions by Guadalupe Maravilla at REDCAT and by American Artist on Octavia E. Butler, and the California Biennial at the Orange County Museum of Art. The article also lists shows at Oxy Arts, the Museum of Contemporary Art, and other venues, featuring artists such as Ken Gonzales-Day, Tavares Strachan, and Stanya Kahn.
The University of Michigan Museum of Art presents 'Both Sides of the Line: Carmen Herrera & Leon Polk Smith' from 30 August 2025 to 4 January 2026. The exhibition features over 45 works—including paintings, works on paper, and three-dimensional objects—that explore the creative dialogue between the two geometric abstraction pioneers, who were neighbors and friends. It is the first time their work has been shown together at this scale, highlighting Herrera's crisp lines and bold colors alongside Smith's sweeping curves and expansive forms.
Hal Bromm, a New York art dealer who opened his gallery in Tribeca decades before it became a gallery hub, is celebrating 50 years in the neighborhood. He opened in 1974, predating the wave of galleries that moved to Tribeca around 2013, and has remained at 90 West Broadway since 1977. To mark the milestone, he will present the exhibition “50: The View from Tribeca” on September 19 and publish a book, *New Art, Old Buildings: Stories from Hal Bromm’s Tribeca*. Bromm reflects on his early career, including introducing artists like Donald Judd, Alighiero Boetti, and Mario Merz to New York audiences, and his instinct-driven approach to selecting artists.
The article examines how the transfer of wealth from Baby Boomers to younger generations is reshaping the Australian art market. As Boomers downsize or pass away, their tightly held collections—featuring artists like Grace Cossington Smith, Howard Arkley, and Brett Whiteley—are entering auction houses, creating rare buying opportunities. Meanwhile, younger collectors (Gen X, Millennials, Gen Z) face economic uncertainty, leading to a softening in the ultra-contemporary market and a decline in NFTs. New models of online and agency representation are bypassing traditional galleries, and galleries themselves are undergoing generational change, with some closing and others like Ames Yavuz and D'Lan Contemporary expanding.
PaperCity launches a new series called Dallas Art Watch, highlighting five must-see art exhibitions opening in Dallas this fall. Featured shows include Laura Wilson's 'Roaming Mexico' at the Meadows Museum, 'Constellations: Contemporary Jewelry' at the Dallas Museum of Art, Pam Evelyn's first major U.S. institutional exhibition at Dallas Contemporary, 'SURVEY: Antony Gormley' at the Nasher Sculpture Center, and 'Groundbreakers: Post-War Japan and Korea from the DMA Collection' at the Crow Museum of Asian Art at UT Dallas. The exhibitions span photography, jewelry, abstract painting, sculpture, and post-war Asian art.
Krannert Art Museum in Champaign, Illinois, is reopening on August 28 with a major reinstallation of its Andean gallery, featuring the exhibition "Fragmented Histories: Andean Art Before 1600." The gallery, co-curated by Kasia Szremski and Allyson Purpura, moves away from a linear display to explore the mobility of objects, their histories of looting, and their ongoing cultural significance. The reopening also includes a solo exhibition by contemporary artist Ronny Quevedo, titled "Ronny Quevedo: a l l s t a r s," and reinstallations of European and American art in the Bow and Trees galleries.
This article is a podcast interview with artist Teresita Fernández, who discusses her three-decade career as a landscape artist and sculptor. She explores landscapes not only as visual phenomena but also as cultural spaces, using materials like graphite, iron ore, gold, and pyrite. Fernández reflects on influences including Wilfredo Lam, Eva Hesse, Jack Whitten, Robert Smithson, and Cecilia Vicuña, and shares insights from her studio practice. The podcast is sponsored by Bloomberg Connects, which highlights institutions that have shown her work, such as the Philadelphia Museum of Art, MASS MoCA, and SITE Santa Fe.
This article previews ten art exhibitions opening in the San Francisco Bay Area during fall 2025. Highlights include "Object Oriented" at BAMPFA, focusing on artists' interpretations of everyday objects; "Super Flex: Powered by Alter Egos and Shadow Selves," a festival in Chinatown curated by Candace Huey, Taraneh Hemami, and Theo Lau; solo shows by Laura Figa and Fran Herndon at Et al.; Julio César Morales's "My America" at Gallery Wendi Norris, featuring a sound installation with Mexican Institute of Sound; and "Art of Manga" at the de Young Museum, showcasing original drawings by 11 manga artists including Taniguchi Jiro and Takahashi Rumiko.
The Pérez Art Museum Miami (PAMM) is presenting "Language and Image: Conceptual and Performance-Based Photography from the Jorge M. Pérez Collection," an exhibition curated by Fabiana Sotillo that traces the evolution of photography as a fine art form. Featuring works by artists including Thomas Struth, Marina Abramović, Zanele Muholi, Wolfgang Tillmans, Isaac Julien, and María Teresa Hincapié, the show explores photography’s shift from documentary tool to conceptual medium, with a focus on performance art and the camera’s ability to preserve ephemeral moments. The exhibition also draws parallels between historic photographic innovation and contemporary developments like artificial intelligence.
Hyundai Motor Company and the Los Angeles County Museum of Art (LACMA) have announced the exhibition "Tavares Strachan: The Day Tomorrow Began," opening at LACMA on October 12, 2025 and running through March 29, 2026. This is the artist's first major museum exhibition in Los Angeles, featuring over 20 new works including his most expansive neon piece and one of his largest sculptures to date. The multi-sensory exhibition, presented through the ongoing Hyundai Project at LACMA partnership since 2015, immerses viewers in environments such as a barbershop, a laundromat, and a field of Indian-Rice Grass across seven galleries, weaving together sculpture, painting, text, and music to excavate overlooked histories, particularly those related to the Black diaspora.
The National Museum of Women in the Arts (NMWA) in Washington, D.C., will present "Tawny Chatmon: Sanctuaries of Truth, Dissolution of Lies," a solo exhibition of over 25 large-scale photographs by artist Tawny Chatmon, running from October 15, 2025, to March 8, 2026. The works, drawn from series dating from 2019 to the present, blend photography with hand-applied paint, gold leaf, and precious materials, depicting Black children and families in gilded frames inspired by Gustav Klimt and medieval icons. This is Chatmon's first museum exhibition in the nation's capital.
CXW 2025, Chicago's bold art celebration, is set to return this fall. The event showcases contemporary visual art across the city, featuring exhibitions, installations, and programming that highlight both local and international artists. The article announces the upcoming edition and its significance for Chicago's cultural calendar.
Nanette Carter, an abstract artist working since the 1970s, will present her solo exhibition *Nanette Carter: Afro Sentinels* at the Wexner Center for the Arts in Columbus, Ohio, opening August 22. The show includes a new three-dimensional metal commission, marking her first move off the wall, alongside collages, paintings, and sculptures that explore themes of balance, Black subjectivity, and political turmoil. Carter, born in Columbus in 1956, studied at Oberlin College and the Pratt Institute, where she taught for 20 years, and her work draws on jazz, Russian Constructivism, and her father's civil rights legacy.
The 2025 Aspen Art Fair returns to the Hotel Jerome for its second edition, running through August 2, with over 40 exhibitors from more than 15 countries. The fair has more than doubled in size from its inaugural year, now featuring 44 galleries, curated projects, conversations, and cultural programming. Highlights include a solo exhibition by Marc Dennis at Harper’s, featuring works inspired by the 1990 Isabella Stewart Gardner Museum heist, and Marjorie Strider’s Pop Art relief paintings at Galerie Gmurzynska. The fair is part of Aspen Art Week, which also includes the Aspen Art Museum’s ArtCrush Gala and Auction, Anderson Ranch Arts Center conversations, and public art projects.
The article announces the exhibition 'Making Their Mark: Works from the Shah Garg Collection' at Washington University in St. Louis (WashU). The show features works from the collection of Shah Garg, highlighting a selection of contemporary artworks.
The June 2025 edition of Culture Type's 'The Month in Black Art' roundup reports multiple developments: the Detroit Institute of Arts acquired Tiff Massey's installation 'Baby Bling' (2023) for its reimagined Modern and Contemporary galleries opening in 2026; Aperture magazine released a summer issue guest-edited by Tanisha C. Ford focusing on Black style and fashion; Different Leaf, a cannabis culture journal, relaunched with guest editors Nick Cave and Bob Faust; and Sean Kelly Gallery announced representation of artist Lindsay Adams in collaboration with PATRON Gallery. The article also notes updates on the Studio Museum in Harlem, a shakeup at the Afro Brazil Museum, new Art Basel Awards, and Suzanne Jackson's exhibition at SFMOMA.
The article explores the trend of commercial art galleries expanding into rural locations, using Hauser & Wirth Somerset in Bruton, the New Art Centre at Roche Court, Messums West in Tisbury, and Thirsk Hall in North Yorkshire as key examples. These galleries have transformed former farms, historic barns, and country estates into exhibition spaces that combine contemporary art with pastoral settings, attracting significant visitor numbers and fostering local engagement.
The 53rd annual Prix de West Invitational Art Exhibition & Sale took place in late June at the National Cowboy & Western Heritage Museum in Oklahoma City, featuring nearly 300 original works by nearly 100 artists. The event generated over $3.2 million in sales, with Utah-based artist James Morgan winning the prestigious Purchase Award for his oil-on-linen painting *White on White*, which will enter the museum's permanent collection. Morgan also received the Robert Lougheed Memorial Award for best display of three or more works.
The International Center of Photography (ICP) in New York is presenting "Edward Burtynsky: The Great Acceleration," a retrospective of over 70 photographs by Canadian photographer Edward Burtynsky, on view until September 28. Curated by ICP creative director David Campany, the exhibition spans Burtynsky's 40-year career documenting humanity's industrial transformation of natural landscapes, from Ontario mines and Texas oilfields to shipbreaking yards in Bangladesh and e-waste sites in China. The show is organized thematically rather than chronologically, featuring early small-scale works alongside massive recent prints, including a 10-foot-wide image of a copper mine in the Democratic Republic of Congo and a 30-foot mural of a Texas farm printed on adhesive vinyl.