In a show supposedly about disgust, Anna Ting Möller’s In Tandem considers symbology and gestures of care instead.

Bitrán reinterprets Titanic through DIY approaches, improvisation, and communal participation.

Paz Sher’s solo exhibition exposes the brutal ecosystem hidden beneath myths of justice and nature.

Pressing close; closer. Split open, then gathered. Still in pieces (all over), and gathered again.

The 12th SITE Santa Fe International Biennial proposed value as generated via circulation and dispersion.

Artists from the 2024 and 2025 AIM Fellowship cohorts engage closely with community and connection.

Liu’s solo exhibition stages tension and misalignment, where gravity and withheld sound quietly animate form.

Sanna Almajedi, Sofia Thiệu D’Amico, Eva Mayhabal Davis, and Anna Khimasia will co-curate the biennial’s third edition.

Leah Dixon’s solo exhibition at Underdonk questions architectural permanence in changing political contexts.

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

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

Two nuptials, readings, and performances—happiness is in the air at Accent Sisters.

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

Safina’s curatorial eye and market instinct grant her gallery another season of success.

Girmay and Mooses consider how the materiality of poetry and visual art speak to one another.

The third edition of Art Mumbai foregrounds care and slow looking.

Repeatedly failing to align with light at Camera Austria offered a site where light and its opposite unfold together.

On Kawara’s telegrams stage the banal fact of existence as a formal event.

Anna de Castro Barbosa’s sculptures render intimacy porous and estranged, resisting transparency while bearing desire’s traces.

Esther Gatón creates a porous space where matter, memory, and meaning gently collide.