Becky Brown’s conceptually-charged, text-laden paintings address the “Internet Complex.”

Polina Osipova’s New York City debut gleans universal insight from ancestral myth and memory.

Nicolas Poblete reviews four standout exhibitions that opened during Miami Art Week.

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

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

Simms discusses making work with found objects and integrating art historical references with folk cultures.

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

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

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.

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

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

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.

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

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

A new art fair by gallerist Brigitte Mulholland foregrounds access, genuine relationships, and shared vision.

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.