A group exhibition co-curated by Art in Latin America and CM Art Advisory is a site of self-interrogation under migratory contexts.

Tracings and Arrangements at Emmelines prompts a reconsideration of how individuals relate to commodities.

In a show supposedly about disgust, Anna Ting Möller’s In Tandem considers symbology and gestures of care instead.

Bitrán reinterprets Titanic through DIY approaches, improvisation, and communal participation.

What feels most consequential about this exhibition is not the death of a technique, but the altered life of the images themselves.

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.