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.

He Yunchang’s performance on July 19th, 2025, stopped time and let presence take primacy.

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.

Eleanor Mahin Thorp explores ancestral relationships to the land as an alternative source of guidance for the future.

Matić transforms the photographic shadow into evidence of self.

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

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

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

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

On collaboration, caricature, and the marketability of Asian individuality.

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

Prosperous Fools turns a nonprofit ballet into a battlefield of ego, excess, and uneasy laughs.

Bryan Castro’s solo exhibition at D. D. D. D. shares the frustrations of communicating through the digital digestion of word and form.

Anvil, before anything else, is a delicate portrait of perseverance at a time when being crushed feels inevitable.

Join IMPULSE journalists at artist studios this month.

Sehnsucht, at its core, is a complex mix of longing, yearning, and craving for something unattainable or ideal.