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Raven Chacon: Scores for Coming Storms

Raven Chacon's first solo exhibition at Sikkema Malloy Jenkins, "Scores for Coming Storms," runs from May 14 to June 20, 2026, in New York. The show features a layered installation of sonic and visual works, including a large graphite wall drawing, framed ink drawings, a sound installation, and a wall textile. Central to the exhibition is "American Ledger No. 1" (2018), a musical score for percussion and woodwinds that chronicles the origin story of the United States through Indigenous perspectives, alongside other works like "Tiguex" and "Volcano Choir" that map performances across Albuquerque's landscape.

Antonia Lucy Gehnrich: Das Parfum

Antonia Lucy Gehnrich's solo exhibition "Das Parfum" at Alex Berns gallery in New York features a single large-scale installation, *Variable Floor Sculpture (Das Parfum)* (2026), comprising 231 glass mirrors arranged in a rectangle on a black carpet, topped with 2,000 vintage perfume bottles. The work, on view from May 15 to June 13, 2026, creates a dazzling, reflective field that challenges visual perception. Critic Bryan Martin praises the piece as one of the strongest gallery shows by a living artist this spring, but finds its conceptual framework lacking, arguing that comparisons to Robert Smithson and Rob Pruitt are inapt and that the work's meaning remains superficial despite its formal allure.

Isabel Nolan: Dreamshook

Isabel Nolan's exhibition 'Dreamshook' represents Ireland at the 2026 Venice Biennale, running from May 9 to November 22. The show features fourteen new works—including sculptures, drawings, and tufted tapestries—that explore the life of Venetian printer Aldo Manuzio, who introduced the semicolon, italics, and pocket-sized books. Nolan, a Dublin-based artist born in 1974, draws on themes of imagination, shared knowledge, and the transformation of dreams into communal reality, with works like the central tapestry 'Aldus Dreams of a Plentiful Supply of Good Books' blending fantasy and history in a vivid, cartoon-like style.

Still Joy: From Ukraine into the World

Still Joy: From Ukraine into the World is an exhibition at Palazzo Contarini Polignac during the 2026 Venice Biennale, organized by the PinchukArtCentre and Victor Pinchuk Foundation. Featuring artists mainly from Ukraine, the show explores finding joy amid hardship and war, with works including videos of raves in Kyiv by Roman Khimei and Yarema Malashchuk, a candy chandelier installation by Simone Post, and harrowing bodycam footage from Ukrainian soldiers by Yurii Gruzinov and Oleksiy Sai. The exhibition contrasts carefree moments with themes of displacement, loss, and ecological fragility, culminating in a powerful emotional experience for visitors.

Julie Mehretu: Our Days, Like a Shadow (a non-abiding hauntology)

Julie Mehretu's exhibition "Our Days, Like a Shadow (a non-abiding hauntology)" opens at Marian Goodman Gallery in New York from April 14 to June 6, 2026. The show spans three floors with three distinct bodies of work: paintings, drawings, and hybrid paintings/sculptures created in collaboration with sculptor Nairy Baghramian, all produced between 2023 and 2026. The installation encourages slow viewing and meandering, with works including the "Black Paintings" series, pen-and-ink drawings, and pieces like "Black Monolith" (2024–26), which pays homage to Jack Whitten. Mehretu's recent shift involves masking ground layers with manipulated media photographs of societal upheavals and natural disasters, embedding her markings within chromatic blurs.

Karla Black

Karla Black presents a new solo exhibition at Rodder, a New York gallery housed in a Neo-Renaissance apartment, from May 5 to June 18, 2026. The show features her signature Post-Minimalist installations that embrace disarray, using fugitive materials, smeared oil paints on mirrors, and ornamental clutter to challenge sculptural conventions. Key works include "Nature at the Court" (2026), a large gestural piece that blends confection and confusion. The exhibition responds to the domestic, Rococo-influenced setting, with mirrored elements and pastel pigments creating a visceral, temporal experience.

John Armleder: Ripple: Furniture Sculpture and Painting after 1982

The article reviews John Armleder's exhibition "Ripple: Furniture Sculpture and Painting after 1982" at David Kordansky Gallery in New York, running from May 7 to June 13, 2026. It examines Armleder's practice from his Fluxus-influenced anti-art gestures of the 1960s and '70s to his poured and striped paintings, surrogates, and furniture sculptures of the 1980s and '90s. The Swiss artist uses chance, indifference, and ambient conditions—informed by John Cage—to create works that function as loosely scored situations, blurring boundaries between art and furnishing, contemplation and domestic comfort.

Manet & Morisot

The Cleveland Museum of Art presents "Manet & Morisot," an exhibition running from March 29 to July 5, 2026, that explores the artistic relationship between Édouard Manet and Berthe Morisot. Curated by Heather Lemonedes Brown, the show begins with Manet's portraits of Morisot, positioning her as his model, but progressively shifts focus to Morisot's own paintings, revealing her as an active observer and a more commanding artist. The exhibition culminates in a section titled "Morisot After Manet," featuring her self-portraits that demonstrate an intensity and assurance Manet never achieved in his own self-portraits. Originally mounted at the Legion of Honor in San Francisco, the Cleveland iteration is reduced to just over forty works but retains its intellectual and emotional impact.

Cecilia Vicuña: Reverse Migration, a Poetic Journey

Cecilia Vicuña's solo exhibition 'Reverse Migration, a Poetic Journey' opens at the Irish Museum of Modern Art (IMMA) in Dublin, running from November 7, 2025, to July 5, 2026. Originally planned as a retrospective, the show evolved after Vicuña discovered her ancestral ties to the Oisín Clan in Northern Ireland, becoming an exploration of interconnectedness between Chile and Ireland. Central works include 'Aran Quipu' (2025), a knotted-cord installation using heritage wool from Galway Wool Co-op, and 'Mourning Dialogue' (2025), an immersive sound piece blending chants for disappearing glaciers with the call of Ireland's endangered Curlew bird. The exhibition also features photographs from 'A Poetic Journey in Northern Ireland' (2006) and a Sheela-na-gig on loan from Ireland's National Museum.

Lynette Yiadom-Boakye: Many A Moonlit Caveat

Lynette Yiadom-Boakye's latest exhibition, "Many A Moonlit Caveat," opens at Jack Shainman Gallery across both its New York locations from April 24 to July 31, 2026. The show features new oil paintings, including the prose poem "Wake-Keeper" (2026) and "The Honour Between Thieves" (2025), which depict fictional figures in states of repose and tension, blending gothic symbolism with romanticism. The review highlights Yiadom-Boakye's narrative depth and refusal to impose clear moral content, inviting viewers to re-read her transgressive imagery.

ROD BIGELOW with Joachim Pissarro & Jennifer Stockman

Crystal Bridges Museum of American Art in Bentonville, Arkansas, will open 114,000 square feet of new galleries, studios, and visitor spaces in June, designed by architect Moshe Safdie. In an interview, Executive Director Rod Bigelow discusses the museum's mission with Guggenheim President Emeritus Jennifer Stockman and Rail Consulting Editor Joachim Pissarro, covering topics such as the origin of the museum's name (from Crystal Spring), the 2019 exhibition "Crystals in Art" curated by Pissarro, and founder Alice Walton's vision of democratizing access to American art.

Marat Guelman and the group + - Komma: First of all, it’s beautiful

Marat Guelman's exhibition at Ethan Cohen Gallery in New York (April 23–May 30, 2026) features AI-generated monoprints created in collaboration with the Montenegrin digital art group + - Komma. None of the works were painted by Guelman himself; instead, he programmed AI outputs based on historical models by artists like Picasso, Gauguin, Monet, Warhol, Lichtenstein, Turner, Matisse, and Richter. Every piece in the show incorporates an image of an atomic mushroom cloud, a motif Guelman uses to respond to Vladimir Putin's nuclear threats during the Ukraine war.

Farah Al Qasimi: Psychic Repair

Emirati photographer and musician Farah Al Qasimi presents her solo exhibition "Psychic Repair" at the SCAD Museum of Art in Savannah, Georgia, running from January to June 7, 2026. Curated by SCAD Museum Associate Curator Brittany Richmond, the show explores self-presentation and consumerism through staged domestic interiors, vinyl works, framed photographs, and music videos. Key pieces include "Beauty Salon" (2024), "Aquarium" (2024), "Clothing Store" (2023), and "Painting and Astroturf" (2023), which appropriate signifiers of the attention economy. The exhibition is strategically positioned to respond to Savannah's history as a port city built on trade in cotton, indigo, rice, and enslaved people, with the museum itself occupying a former railway depot made of Savannah Gray brick produced by enslaved laborers.

Matisse: The Pursuit of Harmony

Acquavella Galleries in New York presents "Matisse: The Pursuit of Harmony," an exhibition running from April 9 to May 22, 2026, featuring fifty works by Henri Matisse including paintings, sculptures, and works on paper. The show is organized across two floors, with early pieces on the ground floor north gallery, sculptures and early works on the second floor north, later works on the second floor south, and a concluding display of the four bronze castings of Matisse's "Back" series on the ground floor south. Key highlights include the painting *Male Model* (ca. 1900) paired with the bronze *The Serf* (1900–04), and the portrait *Mademoiselle Yvonne Landsberg* (1914), which demonstrate Matisse's transformative approach to traditional genres.

WeWork (oralmoral)

The article reviews "WeWork (oralmoral)," a temporary exhibition at The Gallery in Crown Heights, Brooklyn, curated by artist-turned-curator Florian Meisenberg. The show transforms a former office space into a free-form, non-hierarchical environment where works by over a dozen artists are placed unpredictably—in trash bins, closets, ventilation shafts, and on whiteboards left by the previous tenant. Artists span three generations, from Post-Minimal figures like B. Wurtz and David Humphrey to younger digital-savvy artists such as Lucas Blalock and Anna K.E., whose sound piece "Tamada" greets visitors. The exhibition runs from April 10 to May 18, 2026.

The Earth, the Fire, the Water, and the Winds: For a Museum of Errantry with Édouard Glissant

The Center for Art, Research and Alliances in New York presents "The Earth, the Fire, the Water, and the Winds: For a Museum of Errantry with Édouard Glissant," running from February 28 to May 10, 2026. The exhibition focuses on the Martinican poet and philosopher Édouard Glissant's personal art collection, tracing how his key concepts—opacity, relation, and creolization—emerged through his engagement with artworks and artists. It features works by artists such as Agustín Cárdenas, Victor Anicet, Eduardo Zamora, Gerardo Chávez, José Gamarra, and M. Emile, and travels from Instituto Tomie Ohtake in São Paulo.

Paris Diary 1

The article is a first-person diary entry from an unnamed narrator visiting Paris and Brussels. The narrator recounts working in the studio of painter Camila Oliveira Fairclough, attending a public dialogue at Almine Rech gallery in Brussels with artist Erik Lindman, and viewing an exhibition pairing Lindman's paintings with works by Robert Motherwell and two Picassos chosen by Bernard Picasso. The narrator also visits a posthumous exhibition of Didier Demozay at Galerie Bernard Jordan and sees a temporary mural by Marielle Paul in a Paris housing complex, later visiting her studio in a historic 19th-century artist building once occupied by Eugène Carrière.

Katie DeGroot: The Arboreal Life

Katie DeGroot's exhibition "The Arboreal Life" at Kathryn Markel Fine Arts in New York (April 2–May 9) presents tree paintings that anthropomorphize branches into human-like figures. Works such as "Chit Chat" (2026) and "Family Matters" (2025) depict trees leaning, gesturing, and tangling in ways that suggest intimate relationships, arguments, and familial bonds. DeGroot, who moved from New York City to a farm in upstate Fort Edward, began using fallen branches as models after lacking human subjects, developing compositions that emphasize color, texture, and the interplay of fungi and lichen. Her use of opaque and translucent watercolors balances natural observation with poetic interpretation.

A Tribute to Asher Remy-Toledo

Asher Remy-Toledo, a visionary gallerist, curator, and collector, has passed away after a career spanning over three decades. He founded influential initiatives including Remy Toledo Gallery in Chelsea (2004), Hyphen Hub (2013), No Longer Empty (2009), and Yuanfen Gallery in Beijing, the first new media gallery in mainland China. Remy-Toledo was a tireless champion of women artists, supporting figures such as Carolee Schneemann, Judy Chicago, Mary Beth Edelson, and Ana Mendieta, as well as emerging international artists. He also amassed significant private collections, including works by the article's author and Schneemann's Infinity Kisses series.

Vian Sora: Tepe Gawra

Vian Sora’s solo exhibition "Tepe Gawra" at Bortolami Gallery marks her debut with the gallery, featuring a series of large-scale paintings that bridge ancient Mesopotamian history with contemporary Iraqi experience. The works, such as 'Celestial capsule' and 'Scarlet', utilize a complex layering process of poured acrylics and precise oil applications to explore themes of mortality, survival, and the aftermath of conflict.

Bay Area Then

Yerba Buena Center for the Arts in San Francisco presents 'Bay Area Then,' an exhibition running from August 1, 2025, to January 25, 2026, that surveys the Northern California art scene between 1990 and 2005. Guest curated by Eungie Joo, the show features works by nineteen artists or collaborations, including Manuel Ocampo, Margaret Kilgallen, Bill Daniel, Ruby Neri, and Carolyn Castaño, mixing historical pieces with recent productions by artists who emerged during that era.

Painting in Space

The article announces "Singing in Unison: Painting in Space," an exhibition curated by Michael David at Art Cake in Brooklyn, running from October 18 to December 7, 2025. It features works from the 1980s and '90s by four abstract artists—Al Held, Frank Stella, Elizabeth Murray, and Judy Pfaff—who each explored the interplay between two-dimensionality and three-dimensionality, flatness and depth, and spatial boundaries in painting. The exhibition includes an opening reception with a cooking performance by Rirkrit Tiravanija and Tomas Vu, a panel discussion, and a closing poetry reading.

Roaring: Art, Fashion, and the Automobile in France, 1918–1939

The Saint Louis Art Museum is presenting "Roaring: Art, Fashion, and the Automobile in France, 1918–1939," a major exhibition on view from April 12 to July 27, 2025. Curated by Genevieve Cortinovis, the show brings together automobiles, haute couture, painting, sculpture, photography, film, and decorative arts to explore the intertwined evolution of fashion and car design in early 20th-century France. Highlights include a 1917 painting by Henri Matisse depicting the view from his Renault, juxtapositions of Alfa Romeo and Citroën logos with works by Piet Mondrian and Charles Loupot, and a c. 1927 dress by Suzanne Talbot inspired by Tutankhamun's funerary mask. The exhibition draws heavily from local and midwestern collections, including the Missouri Historical Society.

Rhea Anastas

Rhea Anastas, an art historian, critic, and curator, publishes a critical essay challenging the dominance of market-driven values in contemporary visual art. She argues that the art world's focus on auction prices, luxury investment, and professional categorization has obscured the true purpose of artistic practice, which she sees as rooted in experimental culture, Black culture, performance, and film. Anastas condemns the past two decades as marked by dishonesty, particularly regarding how art history and criticism have been built on white-on-Black dispossession and violence. She calls for an end to the commodification of artists' lives and works, advocating instead for attention to non-visible practices, critique, and embodiment.

Indigenous Identities: Here, Now & Always

The Zimmerli Art Museum at Rutgers University in New Brunswick, New Jersey, is presenting "Indigenous Identities: Here, Now & Always," on view from February 1 through December 21, 2025. This exhibition is the largest and final show organized by the late Native artist Jaune Quick-to-See Smith, featuring over one hundred works by ninety-seven artists representing some seventy Nations and communities. The show is organized around four thematic sections—Political, Tribal, Social, and Land—and includes a separate gallery of Quick-to-See Smith's own prints, notably the "Survival Suite" (1996). The exhibition is intergenerational, with artists ranging from their eighties to those born at the end of the twentieth century, and most works date from the twenty-first century.

Shirin Neshat: Born of Fire

The Parrish Art Museum in Water Mill, New York, presents "Born of Fire," a major exhibition of Iranian-born artist Shirin Neshat running from April 20 to September 1, 2025. The show features three photographic series—"Women of Allah" (1993–97), "The Book of Kings" (2012), and "Land of Dreams" (2019)—alongside two double-channel videos and a full-length film. Neshat's work explores themes of alienation, repression, and identity, drawing on her experience of living between Iranian and American cultures after the 1979 Islamic Revolution prevented her from returning home.