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

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.

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.

At Hunter College’s first MFA thesis presentation of the year, process takes precedence over polish.

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

Standout artists, galleries, and booths at Material Art Fair, Salón ACME, and Zona Maco.

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.”

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.

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.

When must the movement match the mission?

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

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