An exhibition titled "The New York Sari" is on view at the New York Historical Society, exploring the sari as a living art form, heirloom, document, and political statement for the South Asian diaspora in New York City. The show features contemporary artworks, historical materials, and personal garments, framing the sari not as a static cultural artifact but as a dynamic site of identity, labor, and community history.
Kelly Akashi presents her first exhibition with Lisson Gallery in New York, titled 'Heirloom,' featuring a new body of work that explores loss, grief, and absence through sculpture. The exhibition includes bronze, Corten steel, flame-worked glass, and carved stone pieces, many inspired by her garden and personal artifacts like an inherited stone ring and her grandmother's lace tablecloth. It coincides with her participation in the 2026 Whitney Biennial and a commission for John F. Kennedy International Airport's New Terminal One.
Artist Kelly Akashi has created a major installation for the 2026 Whitney Biennial titled 'Monument (Altadena)', a 13-foot-tall chimney and walkway made of clear glass bricks. The work is a direct response to the 2025 Los Angeles wildfires, which destroyed her home and studio, leaving only the original brick chimney standing. She collaborated with mason Christian Inga to meticulously reconstruct this remnant in a new, spectral form.
Wereldmuseum Amsterdam is presenting "Rogue Agents of History," the first solo exhibition in the Netherlands by Palestinian artist Larissa Sansour. Running from April 24 to September 27, 2026, the show features three films—including the premiere of "A Sunken Tale of Losses Delayed" commissioned by the museum—alongside Sansour's artworks, personal heirlooms, film props, and historical objects. Curated by Nat Muller, the exhibition explores themes of identity, memory, belonging, and loss through a science-fiction lens, drawing on the Palestinian context and blurring boundaries between fact and fiction.
The Hyde Park Art Center in Chicago presents “Mark Me, Too: Five Artists,” a group exhibition curated by Dr. Rikki Byrd, the center’s inaugural Radicle Curatorial Resident. The show features works by Lisa DeAbreu, Lex Marie, Natasha Moustache, Lola Ayisha Ogbara, and Ciarra K. Walters, each exploring mark-making as a conceptual and material practice. Highlights include Walters’ video “Eileen’s Daughters,” which uses fragile eggshell-covered suits to evoke familial intimacy and vulnerability; DeAbreu’s textile works that transform household items into visual heirlooms; Ogbara’s sculptural piece “Hopscotch (A Safe Space to Land),” combining bronze and soil to address Black beauty and West African heritage; and Marie’s reimagined American flags made from hospital blankets and beads, critiquing the nation’s relationship with Black maternity and childhood.
More than 150 works on paper and 19 paintings by Pre-Raphaelite artist John Everett Millais, along with personal correspondence, brushes, palettes, jewelry, and family heirlooms belonging to his wife Effie Gray, have been placed on long-term loan to Perth Art Gallery in Scotland. The collection, donated by Millais’s great-grandson Geoffroy Millais, includes highlights such as the painting *Halcyon Weather* (1892) and an 1853 watercolor portrait of Effie Gray. A free exhibition titled *Millais in Perthshire* will open on 25 July, featuring over 25 key objects from the loan alongside works from the gallery’s own holdings, including *Waking (Just Awake)* (1865) and *Portrait of Effie Millais* (1873).
The article profiles Coolwater, a historic estate in Norfolk, Connecticut, owned by the Childs family for over a century. Originally a colonial farmhouse built around 1803, it was purchased by Starling Winston Childs in 1909. The property features a later addition designed by architect Alfredo Taylor, a prolific local designer who created over 50 buildings in the area. The estate is filled with family heirlooms, including Currier & Ives lithographs, a Jubilee-era tapestry, and eclectic decor that blends Adirondack lodge style with Colonial Revival elements. Siblings Starling Winston Childs and Elisabeth Gill, now the family elders, share stories of the house's quirks, such as its poor insulation and a subterranean basketball court.
Artist Janet Fry discovered a 150-year-old pocket diary belonging to her great-great-grandmother, Caroline Currey Kelso, which had been stored in a nightstand drawer for nearly two decades. In May 2024, Fry decided to create an exhibition titled "The 1875 Diary Project" at Storage Space Gallery, opening October 17. The show features recorded diary excerpts read by 12 women artists, enlarged reproductions of the diary pages, and Fry's own artistic responses. Fry transcribed the diary using a magnifying glass, revealing Kelso's experiences as a 19th-century Illinois housewife, including her loneliness, daily chores, and repeated pregnancies.
A new art gallery concept, Prospect Refuge Gallery, opens in Northeast Minneapolis, led by Victoria Sass of Prospect Refuge Studio. The gallery's inaugural exhibition, "Homecoming: Objects of Origin," features works by New York-based ceramicist Jeremy Anderson, a Twin Cities native, showcasing ceramic vessels, lighting, and bronze-cast furniture that draw influence from Midwest rural architecture. The gallery aims to rotate regional talent through exhibitions focused on collectable design.
McLean Project for the Arts (MPA) has announced the opening of its 2026 Spring Solo Exhibitions, featuring three distinct solo presentations by Sabine Carlson, Zsudayka Nzinga, and Darlene R. Taylor. The exhibitions include Nzinga’s exploration of American labor and diaspora through mixed media, Taylor’s textile-based portraits honoring Black motherhood, and Carlson’s paintings depicting environmental rescue efforts between humans and water birds. The shows will run from April 30 through June 13, 2026, at the McLean Community Center.
TIA KI – Nagaland Art Space in Dimapur is hosting 'Flower Moon: May Special', a week-long art exhibition running from May 2 to 9, 2026. The exhibition features 12 participating artists and brands from Nagaland, including KINTEM, Hues of Hills, and Smallshop by Jason Anshu, with works spanning poetry, spoken word, textiles, drapery, dance, and performance. The opening on May 1 featured a performance art piece written by Anungla Zoe Longkumer, performed by Virieno Christina Zakiesato and Carol Humstoe, with styling by Imchatsung Imchen.
The Orillia Museum of Art & History (OMAH) has opened a new exhibition titled 'From Hand to Heirloom: The Art of Craft.' The show features historical and contemporary craft objects like quilts, embroidery, and beadwork, highlighting their personal, cultural, and intergenerational significance. It includes works by local and Indigenous makers and aims to reframe craft as a vital form of artistic expression.