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.

Brandi Twilley’s flowers meditate on life and death at Sargent’s Daughters.

Matić transforms the photographic shadow into evidence of self.

Alongside a biennial, a book fair, and cultural festivities, CXW 2025 kicks off a new season of cultural productions.

Internet Archaeology dives deep into the whimsy and the contemplation of our shared digital youth.

A Room Just So at Bergdorf Goodman spotlights six artists engaging with brands, material, and textiles.

Wael Haffar Habbal’s exhibition at GHOSTMACHINE trace journeys across a fractured landscape.

In Julia Masli’s Ha Ha Ha Ha Ha Ha Ha, laughter is the foundation of building community and collective problem-solving.