Alexandria Couch, Kimberly Heard, and Tuere Nicole blend interior and exterior worlds.

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

Crap Shoot at Parent Company critically engages with the act and outcome of creation facilitated by statistical probability.

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.”

Pam Lins and Roger White rethink material limits and political urgency under conditions of perpetual crisis.

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

At 15 Orient, Jay Payton reimagines the legacy of abstraction through destruction, renewal, and historical reckoning.

The artist’s debut solo exhibition in NYC is imbued with historicity and a sense of the sacred. 

Ye Cheng and Xinran Guan’s paintings on view at LATITUDE Gallery dialogue in their playfulness.

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

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

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.

Dark humor, animal metaphors, and socio-political commentaries come together in oil. 

A group exhibition at OXH Gallery considers culture’s entwinement with a commodity economy.

Grace Caiazza discusses the art of exhibition design and her design for KAJE World’s Arachnophobia.

A painter’s tricky techniques both obscure and reveal—and illustrate a contemporary logic of images.