“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.

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.