Hito Steyerl’s The Island and an interdimensional quest that traverses the AI universe. 

Lam’s 83% Perfect examines how systems of evaluation and “acceptable” dissent produce institutional compliance.

A solo show about collecting implicates notions of authorship, safeguarding, and compounded signification.

At MAMA Projects, Nicki Cherry’s petrified blooms go under the knife.

“We should all aspire to be better people. So change yer sheets. Now. And welcome to 2026.”

Standout exhibitions in New York City and beyond.

A duo exhibition featuring Lite Zhang and Pavlos Liaretidis traces how time settles matter.

They Call Me Witch considers feminine agency and challenges the orthodoxy of knowledge systems.

The 14th edition of Mumbai Gallery Weekend is ambitious and exhilarating.

Fusco’s first institutional US survey spans three decades of socio-political critique.

Diane Simpson’s volumetric sculptures at the American Academy of Arts and Letters collapse into silhouette, foregrounding reflection on movement, perception, and bodily presence. 

Nicolas Poblete picks highlight booths from Art Basel, Untitled Art Fair, and NADA.

Goldin+Senneby ponder fragile bodies on a fragile planet.

Thread Count at The Hole goes above and beyond, even its own framework.

In the performances that comprise Tierra Mojada (Wet Land), Aguilera holds her own body tantalizingly out of reach.

Monika Baer’s Schweine Steine Scherben at Greene Naftali complicates the material, aesthetic, and political.

Ruby Sky Stiler’s solo exhibition at Alexander Gray Associates reconsiders art historical female archetypes.

Por abrasión o contagio collapses skin, landscape, and material process into unstable surfaces.

At the Museo Tamayo, Manuela Solano’s pop-culture portraits examine painting as a means of self-perception.

Standout exhibitions in New York City and beyond.