Stories

The article explores the enduring influence of early 20th-century Viennese art movements like the Vienna Secession and Wiener Werkstätte on contemporary artists today. Highlighting the resurgence of interest sparked by cultural moments such as the film Woman in Gold and major exhibitions at the Neue Galerie, it profiles five innovative artists—Sarah Crowner, Josiah McElheny, Verena Dengler, Lucy McKenzie, and Hope Gangloff—who draw inspiration from Viennese aesthetics, architecture, and interdisciplinary creativity. From Crowner’s geometric fabric-inspired paintings to McElheny’s glass sculptures honoring Modernist visionaries, and Dengler’s multimedia homages to Vienna’s avant-garde women, these artists revive the collaborative, boundary-crossing spirit of Vienna circa 1900, blending historical reverence with vibrant contemporary expression.

Agathe Snow, a vibrant force from the raw 1990s New York art scene, has always blurred the lines between art, life, and community through her wild dance marathons, impromptu dinner parties, and exuberant trash sculptures. Rising from her early uncertainty about her artistic identity—shaped by the impact of 9/11 and fueled by deep friendships and shared creativity—Snow’s work captures the intimate power of togetherness and playful rebellion. Now, her decade-old footage of a legendary 24-hour party near Ground Zero is being revived at the Guggenheim, offering a rare, immersive glimpse into a unique post-9/11 moment of youthful abandon, loss, and lasting camaraderie. As she embraces motherhood and a new chapter on Long Island, Snow reflects on growth, nostalgia, and the evolving spirit of New York’s art community, celebrating a fresh generation marked by kindness and global awareness.

Our tweets, those fleeting bursts of wit and self-expression, may vanish quickly in the relentless Twitter timeline, but Shane’s Tweet Heaven transforms them into monumental, three-dimensional sculptures in a captivating digital space. This interactive online experience turns your ephemeral tweets into towering tributes, breathing new life and grandeur into your once-overlooked posts. Navigating your personal tweet landscape, accompanied by robotic voices and quirky avatars, you explore a surreal cyber mausoleum that both celebrates and immortalizes your digital musings in a way Twitter never could.

After a nine-year hiatus from New York’s exhibition scene, Lisa Ruyter returns with a striking new series that revisits the Farm Security Administration’s iconic photo archive through her signature large-scale paintings in vivid neon hues. Blending appropriation with her own artistic vision, Ruyter explores themes of American identity, economic upheaval, and the complex relationship between photography and representation, all while challenging traditional notions of abstraction. Reflecting on her decade in Vienna and her evolution from gallerist to artist, she brings fresh energy to her work and new ambitions, including a monumental stained glass project that reconnects with her early craft. This two-venue show marks a vibrant homecoming for an artist who continues to push the boundaries of image, memory, and cultural narrative.

From the enigmatic and sensual installations of Venice Biennale breakout star Pamela Rosenkranz to the iconic, all-American text paintings of Ed Ruscha, this curated collection offers a vibrant snapshot of contemporary and modern art at its finest. Featuring the intricately crafted bottle-cap tapestries of Ghanaian sculptor El Anatsui, bold and empathetic portraits by Chantal Joffe, and the understated yet profound landscapes of Wayne Thiebaud, these works embody a rich diversity of styles and stories. Adding to this dynamic mix is Tseng Kwong Chi’s witty and poignant exploration of East-West cultural contrasts, making this selection a must-see for canny collectors eager to engage with art that resonates across generations and geographies.

Oliver Laric’s exhibition "Giving Away The Moulds Will Cause No Damage to His Majesty’s Casts" at the Austrian Cultural Forum in London invites visitors into a discreet, windowless space where ancient sculptures are reborn through 21st-century technology. Eschewing traditional labels, Laric presents a collection of 3-D scans from renowned museum pieces, transformed from marble to digital image and back into tangible, often plastic, forms that challenge the boundaries of authenticity and reproduction. His work probes the image economy, mining existing artworks and artifacts to create new interpretations that feel both familiar and unsettling—such as wafer-thin Greco-Roman figures highlighted with dyes that evoke both the delicate texture of old book covers and preserved anatomical specimens. Laric’s show is a thoughtful meditation on the journey of images and objects, blurring the line between original and copy in a space steeped in faded grandeur and historical resonance.

Chiswell Langhorne’s SoHo apartment is a masterclass in inventive art display, blending his passion for collecting with a keen sense of spatial creativity. Living in a glass-walled Philip Johnson building, Langhorne maximizes every inch of wall space by integrating artwork seamlessly with his surroundings—sliding a television behind a painting, and layering smaller works over shelves packed with art books and curiosities. His collection, spanning artists from Cy Twombly and Paul McCarthy to emerging talents like Erica Baum and Darren Bader, reflects his eclectic taste and writer’s eye for narrative and text-based art. Langhorne’s home is not just a gallery but a living wunderkammer, where art, literature, and personal interests like Stanley Kubrick merge into a dynamic, ever-evolving environment that inspires and delights.

Lauren Seiden, a New York-based artist, redefines the medium of graphite on paper by transforming delicate sheets into sculptural forms that balance fragility and strength. Her labor-intensive, physical process involves molding wet paper around stretchers and layering graphite to create works that resemble metal or marble, complete with folds, tears, and textures that reveal the material’s vulnerability and resilience. Moving beyond traditional framed drawings, Seiden embraces chance and imperfection, allowing each piece to evolve organically. She emphasizes the bravery required to commit fully to her studio practice amid the pressures of the digital art world, advocating for deep engagement and slow, thoughtful creation over fleeting online trends. Her work challenges conventional boundaries between drawing and sculpture, inviting viewers into an intimate dialogue with materiality and form.

Meet Miss Pickle, the charming art dog and VIP guide at NADA New York, offering a playful and unique perspective on this vibrant contemporary art fair. From cozy naps at The Apartment to quirky encounters with sculptures behind glass, Miss Pickle’s whimsical commentary brings the art scene to life with humor and curiosity. As she sniffs out favorite installations from galleries like Jack Hanley, Nicole Klagsbrun, and Kristen Lorello, her playful observations—from pondering “funky toes” to questioning why art moves—invite readers to experience NADA through the eyes of an art-loving pup who’s just as captivated by the creativity as her human companions.

At this year’s NADA New York, artists boldly embrace unconventional materials, channeling a spirit of “Weirdo Realism” or “Browser Conceptualism” by transforming everyday and internet-culture objects into thought-provoking gallery pieces. From Adrian Wong’s shimmering lenticular box portraits inspired by a dinosaur skull’s past lives, to Puppies Puppies’ playful, meme-infused readymades like painted horseshoe crabs and masked mannequins, the fair is a vibrant celebration of creativity and context-shifting. Magic Flying Carpets offers ancient Moroccan rugs as contemporary art treasures, while Caroline Chandler’s hand-knit yarn works intimately explore gender transition. Jesse Greenberg’s resin sculptures invite tactile curiosity despite their hardness, and Chloe Wise intriguingly blends Judaic bread with luxury brand motifs in urethane. Environmental commentary flows through Michael Assiff’s vinyl collages, and Clive Murphy crafts confusing yet familiar forms from repurposed cardboard boxes. Andrew J. Greene reimagines urban flotsam with studio-crafted perfection, while Jill Baroff’s Yves Klein blue wooden sculptures mesmerize with light and texture. Together, these ten diverse works illuminate the playful, perceptual, and conceptual possibilities at the intersection of art and everyday life.

For its inaugural New York edition, the 1:54 contemporary African art fair takes center stage at Red Hook’s Pioneer Works, showcasing vibrant and diverse works from 16 galleries representing artists across Africa and the diaspora. From Bille Zangewa’s intimate silk tapestries and Edson Chagas’s striking photographic portraits to Olu Amoda’s inventive assemblages of industrial materials and Theo Eshetu’s mesmerizing video art, the fair offers a rich tapestry of creativity. Highlights include William Kentridge’s compelling linocuts, Fabrice Monteiro’s stylish portraits blending fashion and anthropology, and Chéri Samba’s powerful social realist paintings. Emphasizing both emerging talents and established voices, 1:54 opens a fresh window into Africa’s dynamic contemporary art scene, inviting visitors to explore profound narratives, innovative techniques, and the continent’s vibrant artistic pulse.

Collectors and philanthropists Susan and Michael Hort share their insightful picks from the May 2015 NADA and Frieze art fairs, highlighting a dynamic range of contemporary artists. From Alexander Nolan’s quirky, well-crafted drawings and Lauren Luloff’s mixed-media collages to Max Frintrop’s evolving, exuberant brushwork, the Horts celebrate artists pushing boundaries and exploring new territories. They introduce fresh talent like Chris Hood, who paints innovatively on canvas reversals, alongside established names such as the bold, three-dimensional works of Ron Gorchov and the playful, abstract pieces of Ellen Berkenblit. Their selections reflect a deep appreciation for both artistic growth and distinctive styles, offering a vibrant snapshot of today’s cutting-edge art scene.

Ajay Kurian, known for his sci-fi-inflected sculptures that balance wit and urgency, reflects on the evolving culture of art fairs and the intuitive undercurrents shaping contemporary art. Highlighting artists from the NADA New York fair, he praises Lukas Geronimas’s evocative graphite-covered bathtubs, Puppies Puppies’s nuanced post-Internet vernacular, and Hayley Silverman’s atmospheric sculptural noodle bowls, among others. Kurian explores intuition not as a relic of past art movements but as a complex synthesis of experience and insight that drives innovation and authentic expression. Through his keen eye, he reveals a new generation of artists who blend rigor with instinct, creating work that is both critically engaging and subtly powerful.

Candace Worth, founder of Worth Art Advisory, highlights her top picks from this year’s NADA New York art fair, showcasing a vibrant selection of contemporary artists pushing creative boundaries. From Lucas Ajemian’s innovative “laundered” paintings that transform works by his artist friends into layered abstractions, to Tomoo Gokita’s hauntingly surreal, monochromatic compositions blurring figuration and abstraction, the fair pulses with fresh energy. Jay Heikes offers complex mixed-media pieces inspired by musical scores and avant-garde influences, while Misaki Kawai injects humor and pop culture wit with her colorful, superflat-inspired sculptures. Florian Meisenberg explores the intersection of analog and digital through minimalistic gestures and video art commissioned by a cutting-edge online platform, and Brie Ruais breaks new ground in ceramics, crafting large, performative sculptures that resonate with her physical presence. Together, these artists weave a captivating narrative of contemporary art’s evolving forms and ideas.

The photogram, a cameraless photographic technique dating back to pioneers like William Henry Fox Talbot, has been revitalized by contemporary artists seeking a tactile, analog experience and a return to darkroom experimentation. At NADA New York 2015, artists like Katherine Bauer, Shannon Bool, and Tatiana Kronberg showcased inventive photogram works that blend performance, collage, and surrealist influences. Bauer’s dramatic live performances involve dressing photo-sensitive paper with liquids while exposed to film light, creating vivid, crystal-studded images. Bool’s layered photograms combine historical fashion photography with exotic patterns, crafting enigmatic figures that blur gender and cultural boundaries. Kronberg’s large-scale, folded-paper photograms conjure eerie, playful compositions populated by pressed body parts and unexpected objects, evoking the spirit of Surrealist games and Man Ray’s iconic Rayograms. These artists breathe new life into an old art form, blending history, mystery, and modern creativity.

Rob Teeters, a former architect turned sought-after art consultant in New York, spotlights his favorite discoveries at this year’s NADA New York through his art advisory and exhibition space, Front Desk Apparatus. Among the highlights are French painter Claude Viallat, a key figure in the post-1968 Supports/Surfaces movement; Paul Chan, known for his inventive installation work involving deconstructed books; and Gerald Davis, whose psychologically charged paintings evoke dark, misanthropic narratives with echoes of Guston and Ensor. Teeters also features Cameron, an occult-influenced Los Angeles artist whose mystical figurative linework captivates; David Rappeneau’s distorted, digital-filter-inspired drawings of youthful angst; and Imi Knoebel, a protégé of Joseph Beuys whose layered, sculptural paintings command a strong physical presence. This curated selection celebrates a rich spectrum of contemporary and historic voices infused with bold experimentation and evocative storytelling.

Art fairs often pose challenges for video art due to noise and crowds, but NADA New York 2015 showcased innovative approaches that reimagine the medium. Siebren Versteeg at bitforms presented algorithmically-generated paintings that blend physical gestures with dynamic digital rendering, while Michael Manning’s 3-D printed canvases and interactive transparent LCD screen installation invite viewers into a tactile, sculptural experience. Meanwhile, Daata Editions launched a fresh platform for digital art sales, featuring exclusive video and sound works by contemporary artists like Jon Rafman, whose hypnotic footage of a crowded wave pool offers a serene, almost Impressionistic escape. These forward-thinking exhibits highlight how artists are pushing the boundaries of digital video art in exciting new directions.

Ceramics have stepped out of the shadows and into the spotlight at Frieze New York, showcasing a vibrant spectrum of artistic innovation that challenges traditional views of the medium. From Milena Muzquiz’s floral-inspired vases that engage sight and scent to Kris Lemsalu’s surreal performance beneath a bejeweled ceramic turtle shell, the fair offers a diverse array of captivating works. The exhibit also pays homage to midcentury Italian masters like Lucio Fontana, while highlighting contemporary creators such as Zachary Leener, whose glossy, playful sculptures flirt with form and color. Polish artist Paulina Olowska brings historical caricatures to life in porcelain, blending rococo flair with bold storytelling, proving that ceramics are far more than functional objects—they’re powerful vessels of creativity and expression.

The Venice Biennale’s recent vernissage laid bare the persistent global inequities embedded in our history and still shaping the future, but Frieze New York offers a refreshing antidote with an abundance of captivating paintings. From Lesley Vance’s richly textured abstractions to Rudolf Stingel’s evocative carpet works that meditate on time’s wear, the fair showcases a stunning range of contemporary art. Ryan McLaughlin’s fusion of abstraction and cryptic signage, Loredana Sperini’s tactile encaustic slabs, and Dan McCarthy’s vibrant, spontaneous rainbows add layers of sensory and emotional depth. Irma Blank’s intricate pen drawings and Kasper Bosmans’s poetic, narrative boards engage the intellect, while Viktor Kopp’s playful letter canvases tease the collector’s dilemma. Among the highlights are Gabriele De Santis’s witty reimagining of Picasso’s motifs and Korakrit Arunandonchai’s bold, painted massage chairs, inviting visitors to unwind in style. This dazzling array of artworks offers joy, reflection, and a comforting balm for the soul amid a turbulent world.

At this year’s NADA New York art fair, painter Jackie Saccoccio received the prestigious 2015 Artadia NADA award for her captivating work, *Portrait (Cosmic Baroque)*. Selected by leading curators Tom Eccles and Kelly Taxter, the piece dazzles with its vibrant, sensuous colors and abstract composition, while subtly nodding to Italian Renaissance portraiture through hints of figuration. Now gaining recognition beyond New York, Saccoccio’s art has recently entered notable collections like the Rose Art Museum and MCA Chicago, with a solo show on the horizon. Her award-winning painting, embodying a joyous blend of abstraction and classical inspiration, was available for purchase at the fair, reflecting her rising status in the contemporary art world.

Artist Jeanette Hayes brings her playful and witty perspective to this year’s NADA New York art fair, sharing her top picks in painting and mixed media with infectious enthusiasm. From the hauntingly beautiful works of Genieve Figgis to the captivating figurative paintings by Jansson Stegner, Hayes highlights pieces that ignite her passion as a painter. She also celebrates the innovative 3D creations of her friend Michael Manning, praises the vibrant compositions of Adrian Wong, and admires the consistent brilliance of Sibren Versteeg and Anthony Miller. With a nod to all the artists participating, Hayes invites art lovers to explore the fair in person and discover those secret gems that make art such an exciting adventure.

“Delirious Picasso,” an inventive new exhibition at the historic Academy Mansion on East 63rd Street, masterfully intertwines the genius of Pablo Picasso with the refined artistry of Japan’s Edo period. Curated by House of the Nobleman, this vibrant show features striking mashups by British artist Wolfe von Lenkiewicz, blending Picasso’s iconic works with the elegant styles of 19th-century Japanese masters like Kikugawa Eizan. Supplemented by playful takes from George Condo and Richard Prince, as well as original pieces by Picasso, the installation celebrates the artist’s complex relationship with Japanese art and broader art historical influences, offering a fresh perspective on how we compose our own histories. Opening in the wake of Picasso’s record-breaking auction sale, the exhibit not only honors the enduring impact of this modern master but also invites collectors to engage with works that range up to $1.5 million.

In the vibrant world of contemporary art, meaningful dialogue extends far beyond mere transactions, inviting collectors, artists, and curators into an ongoing conversation about the life and impact of artworks. Highlighting innovative practices from NADA New York, this article explores the dynamic interplay between traditional and non-traditional media through the works of Torben Ribe, Anders Holen, and Hayley Silverman, who blend materials and concepts to challenge perceptions of art’s past and future. Meanwhile, painters like Amy Feldman, Sadie Benning, Jackie Saccoccio, and Wendy White bring a muscular energy to the canvas, each revealing their process through powerful gestures and textures. Together, these artists and their works embody the rich, complex discourse that fuels the contemporary art scene beyond the art fair itself.

This year's Frieze New York fair takes visitors on a deliberately disorienting journey inspired by Fluxus artist George Maciunas’s 1976 Flux-Labyrinth, featuring a series of playful and perplexing installations. Highlights include Samara Golden’s eerie secret chamber beneath the tent filled with infinity mirrors and blacklights; Aki Sasamoto’s maze that tests visitors’ personalities through subtle choices; Pia Camil’s vibrant wearable art pieces echoing Brazilian samba culture; and Korakrit Arunanondchai’s calming denim-covered massage chairs offering respite from fair fatigue. Outside, Allyson Viera’s imposing structure made from compressed plastic waste challenges notions of consumerism, while the tribute Flux-Labyrinth installation invites visitors into a whimsical obstacle course blending historical Fluxus pieces with new artist-designed hurdles. Together, these projects disrupt the fair’s usual rhythm, inviting reflection, play, and unexpected encounters.

Since the 1990s, Puerto Rican collector and psychiatrist César Reyes and his wife Mimi have distinguished themselves with a keen eye for international art, building an impressive collection that includes works by Peter Doig, Abraham Cruzvillegas, and Elizabeth Peyton. In this year’s NADA New York art fair, Reyes highlights his favorite pieces, from Genieve Figgis’s eerie, emotionally charged portraits to Joan Jonas’s fluid and dynamic imagery. He admires Patrick Berran’s textured urban scenes, Jenny Monick’s transparent and minimal patterns, and Daniel Heidkamp’s serene compositions. Reyes also celebrates the surreal and abstract collages of 93-year-old Elisabeth Wild, Jackie Saccoccio’s vibrant explosions of color, and Lucas Ajemian’s provocative challenge to artistic authorship by “laundering” paintings. Lastly, he appreciates Elham Rokni’s nostalgic, ornament-rich works that captivate with their beauty and memory.

This year’s Venice Biennale unfolds as a contemplative journey through evocative, immersive works that challenge and captivate. Berlin-based artist Hito Steyerl’s German Pavilion delivers a dense, sci-fi-infused video exploring surveillance, corporate control, and virtual realities with haunting urgency. Meanwhile, Sarah Lucas’s British Pavilion boldly confronts themes of sex, power, and gender through provocative, humor-laced sculptures overflowing with raw physicality and subversion. The French Pavilion offers a breath of fresh air with Céleste Boursier-Mougenot’s serene installation where mobile trees, powered by sap and light, drift gracefully, blending technology with nature in an elegant, hopeful vision for the future. Together, these standout pavilions epitomize a Biennale steeped in reflection, intensity, and poetic innovation.

Kelly Taxter, assistant curator at the Jewish Museum and former co-founder of the renowned Taxter & Spengemann gallery, shares her top 10 picks from the NADA New York 2015 art fair, spotlighting diverse and compelling works that range from Sadie Benning’s evocative video art to Heather Bursch’s playful signature paint rollers. The selections traverse poetic landscapes by Benjamin Butler, vibrant textile collages by Lucky Debellevue, and haunting figurative paintings from Genieve Figgis. Taxter also highlights Jay Heikes’ enigmatic blend of abstraction and representation, Elizabeth Jaeger’s bold sculptures challenging social taboos, and Tatiana Kronberg’s mysterious sculptural photographs. Alongside these are Nancy Shaver’s joyous reflections on life and B. Wurtz’s minimalist poetry in everyday materials, showcasing a vibrant panorama of contemporary art that resonates with emotional depth and innovative spirit.

NADA New York 2015 promises a vibrant showcase of contemporary art, featuring a diverse lineup of compelling artists. Katherine Bradford captivates with her playful, sci-fi-inspired landscapes blending heroic and aquatic imagery, while José León Cerrillo offers thought-provoking conceptual works that merge philosophy and modern art. Lucky DeBellevue dazzles with his inventive, decorative paintings, and Genieve Figgis transforms refined scenes into delightfully unsettling visions. The fair also highlights Dan Herschlein’s eerie installations, Josef Hofer’s raw, emotive figure drawings, and Mariah Robertson’s expansive, experimental photographic prints. Elham Rokni explores identity through intimate, pattern-rich works, while Amalia Ulman critiques consumer culture with her striking conceptual pieces. Spanish artist Luis Úrculo presents intriguing architectural explorations with a twist. Together, these artists make NADA 2015 an unmissable event rich with innovation, edge, and diverse artistic voices.

Joan Jonas’s haunting installation at the Venice Biennale’s American Pavilion invites viewers into a world where transcendence and animism intertwine through evocative video projections and ceremonial imagery. Featuring children in ethereal white garb interacting with elements like bees, fish, and wind, the multi-room exhibit channels a spirit both ancient and mystical, underscored by ghostly narratives and ritualistic performances. Drawing from workshops with New York schoolchildren, Jonas transforms the pavilion into a dreamlike space filled with symbolic artifacts, masked figures, and nature-inspired gestures, culminating in a poignant moment where the artist herself connects with the natural world. This immersive experience offers a spellbinding meditation on communion, movement, and the unseen forces that animate life.

Jenny Holzer's 2007 special benefit edition, MONEY CREATES TASTE, revisits her groundbreaking “Truisms” series—around 300 aphorisms originally penned between 1977 and 1979 to challenge the clichés fed by advertising. These thought-provoking statements have since become iconic, appearing on marble, public buildings, embassies, and more. For this edition, Holzer engraved the phrase “Money Creates Taste” onto a silver soup spoon, cleverly riffing on the idea of being born with a silver spoon and the nuances of taste itself. Holzer’s influence is profound: in 1990, she made history as the first woman to represent the U.S. at the Venice Biennale, winning the Golden Lion with an installation that streamed her “Truisms” on electric tickers throughout the pavilion.

Since February, the Dulwich Picture Gallery in London has hosted a clever art experiment by American artist Doug Fishbone, who secretly installed a meticulously crafted replica of a classic painting among its Old Master collection. Titled *Made in China*, the project challenged visitors to use their connoisseurship skills to spot the imposter. After much speculation, the reveal showcased Fishbone’s contemporary copy of Jean-Honoré Fragonard’s *Portrait of a Young Woman* alongside the original, prompting reflections on authenticity, art forgery, and perception. This playful yet thought-provoking installation invites art lovers to question the boundaries between original masterpieces and masterful reproductions.

Architect Lee Skolnick is renowned for crafting homes that are masterpieces in themselves—designed specifically to showcase art in its best light. His latest project, a modern beach house on Long Island for a prominent collector couple, exemplifies this approach: the architecture not only embraces the natural environment of sea, sky, and sand but also actively guides the evolving art collection. Skolnick collaborates closely with clients and art advisors, using digital modeling to visualize artworks in the space and carefully balancing light, scale, and atmosphere to create a serene, gallery-like home where art truly takes center stage. With a refined taste leaning towards mid-to-late 20th-century abstraction and minimalism, the residence features thoughtfully placed pieces that engage viewers throughout the expansive and intimate spaces alike. Skolnick’s insider perspective also sheds light on the nuances of preserving and displaying art in private homes, the unique dynamics of artist collectors’ eclectic environments, and the art of harmonizing furniture and décor so the artwork shines unimpeded. Ultimately, his work is a celebration of creativity that integrates architecture and art into a singular, immersive experience.

In her London show "The Plastic Unit" at David Zwirner, sculptor Carol Bove presents a compelling evolution of her work, blending abstract glyphic forms with organic materials like petrified wood and concrete. Departing from her previous High Line installation’s weathered urban vibe, Bove crafts meticulously arranged sculptures that evoke both natural history and the Manhattan skyline. Embracing concrete as a quietly romantic medium and exploring intricate connections between materials, this exhibition marks a deeply personal statement, free of external references—an unfiltered expression of her artistic vision that invites viewers to discover subtle dialogues within each piece.

Tseng Kwong Chi, a trailblazing Chinese-born photographer of the late 1970s and ’80s, captivated New York’s art and social scenes with his theatrical self-portraits and clever performances donning a thrifted Mao suit. Blending satire, cultural critique, and vibrant East Village nightlife, Tseng uniquely captured moments from exclusive Met galas to provocative political encounters, challenging perceptions of identity and belonging. His influential work, mingling staged diplomacy with candid club portraits and reflective landscapes, lives on through artists like Ai Weiwei and is celebrated in the nationwide exhibition “Tseng Kwong Chi: Performing for the Camera,” honoring a career cut tragically short by AIDS in 1990.

The Whitney Museum of American Art’s much-anticipated move to a stunning Renzo Piano-designed building in the Meatpacking District heralds a transformative chapter for the institution and the New York art scene. Doubling its exhibition space and introducing innovative features such as expansive column-free galleries, outdoor terraces as urban stages, and versatile performance spaces, the museum embraces a renewed mission centered on living artists and an open, porous approach to American art history. With a rich collection that now more fully represents diverse voices—including women and artists of color—the Whitney balances honoring its legacy with a forward-looking vision that reflects America’s evolving cultural fabric. The new building not only fosters deep artist engagement and experimental programming but also responds thoughtfully to the complexities of today’s digital and market-driven art world. As the Whitney reimagines its iconic Biennial and deepens its role as a social and creative hub, it stands poised to redefine what it means to be a museum of American art in a global, interconnected era.

The Whitney Museum’s new downtown location celebrates its inaugural exhibition, “America Is Hard to See,” with a dazzling 600-piece showcase that brings to light decades of previously hidden works from its permanent collection alongside fresh acquisitions. Spanning an eclectic array of American art, from James Daugherty’s Futurist-inspired baseball scenes to Chiura Obata’s serene Japanese woodblock landscapes and powerful social realist drawings tackling lynching, the exhibition offers a diverse and vibrant panorama. Highlights include Carmen Herrera’s hard-edged abstractions, Malcolm Bailey’s poignant reflections on history through Pop art, and immersive new works by Karen Kilimnik and Nicole Eisenman, reflecting identity, politics, and contemporary struggles. This bold installation not only honors canonical masters like Warhol and Pollock but also shines a spotlight on overlooked voices and fresh perspectives, redefining the American artistic narrative for a new generation.

The fifth annual Brooklyn Artists Ball at the Brooklyn Museum was a vibrant celebration honoring retiring director Arnold Lehman, whose visionary leadership transformed the institution over nearly two decades. Guests were greeted by life-sized decals of Lehman dancing through the museum’s revolving doors, setting a festive tone for the evening. Artists contributed extraordinary works and designed exuberant tables, featuring creations from acclaimed figures like OLEK, Swoon, FAILE, and Dustin Yellin, adding a burst of creativity to the benefit auction. The atmosphere buzzed with excitement as the museum community came together to pay tribute to Lehman’s legacy and support the future of this cultural landmark.

Since its launch in 2011, the Google Art Project has transformed the way we experience art online by integrating immersive Street View technology with museum and heritage site tours. Its latest achievement is an impressive collection of 303 high-definition 3-D digital models from six international museums, offering viewers the rare opportunity to explore ancient artifacts and natural history specimens from every angle. Highlights include Emperor Augustus’ bust, a 4,000-year-old Egyptian hippopotamus figure, and Itzhak Danziger’s modernist sculpture Nimrod. The California Academy of Sciences contributes an extensive array of vertebrate skulls, showcasing fascinating natural forms from eels to elephants, including quirky examples like the English bulldog’s skull and the bizarre babirusa with its unconventional nasal “horns.” With detailed textures and a seamless interface, this digital trove invites art lovers and curious minds alike to virtually handle these priceless pieces of human and natural history like never before.

Roger Ballen, the New York-born photographer based in Johannesburg, takes us on a psychological and existential journey through his haunting black-and-white images that expose the raw realities of impoverished South Africans. Beyond his own work, Ballen shares his admiration for a diverse collection of artists—from Elliott Erwitt’s subtle humor and Pierre Molinier’s surreal sexuality to Jean-Michel Basquiat’s powerful archetypal forms and Weegee’s timeless New York scenes. He finds deep connections with the psychological intensity of Francis Bacon, the textural echoes of Edvard Munch in Peter Doig’s paintings, and the primitive energy in Leon Golub’s modernist works. Ballen’s reflections extend to Keith Haring’s decorative abstraction, William Kentridge’s Johannesburg-inspired charcoal work, and Tony Oursler’s multimedia sculptures that blend the real with the surreal—each artist illuminating facets of the human condition that resonate with his own artistic vision.

This April, art collectors have a thrilling opportunity to acquire standout works from some of today’s most captivating artists. From Shezad Dawood’s mystical and avant-garde paintings heating up the market, to Lisa Yuskavage’s provocative prints that parallel her famed erotic canvases, the selection is dazzling. Angel Otero’s innovative abstract process and rising market presence offers an intriguing investment, while Pablo Picasso’s iconic 1968 etching from his “374 Suite” brings a historic, playful edge linking modern and contemporary art eras. Christopher Wool’s minimalist, conceptual print delivers exceptional value from an acclaimed market star, and Tauba Auerbach’s ultramodern geometric tabletop piece and collaborative portfolio epitomize refined craftsmanship and cutting-edge creativity. Now is the perfect moment to deepen your collection with these exceptional and diverse pieces.

Philip-Lorca di Corcia’s latest series, “East of Eden,” showcases his masterful blend of staged and spontaneous photography, exploring themes of loss, innocence, and disillusionment through intensely cinematic and symbolic imagery. Inspired by the financial crisis of 2008 and nodding to biblical and literary narratives, the work features carefully posed subjects—ranging from blind couples to nude pregnant women—and incorporates overt references to Cain and Abel, encapsulating a distinctly American tale of fall and redemption. Departing from his earlier street photography, di Corcia experiments with landscapes and digital manipulation to heighten the narrative, creating moody, evocative scenes that challenge viewers to find meaning beyond the obvious. Throughout the project, he balances meticulous control with the unpredictability of chance, weaving personal connections and fashion commissions into a poignant meditation on contemporary culture and inequality.

Thomas Nozkowski, a veteran abstract painter renowned for his modestly scaled works, exemplifies creative freedom within self-imposed constraints. Rejecting the grandiose scale of his contemporaries, he embraced intimate canvases that fit in small apartments and cars, allowing rapid experimentation and a deep connection to everyday life. Drawing inspiration from his surroundings, especially the Hudson Valley’s Shawangunk mountains, Nozkowski’s paintings and drawings blend subtle color shifts and evolving forms without adhering to a fixed style. His approach is rooted in sincerity, improvisation, and a respect for materials, seeking to capture not grand narratives but the quiet, complex beauty of commonplace moments. Through decades of evolving practice, he challenges the idea of a signature style, instead celebrating each work’s unique problem and embrace of the unknown, finding liberation in the act of making art that reflects both place and personal experience.

Paul Chan’s *The Libertine Reader* (2011) is a striking work that merges his passion for books with his conceptual art practice, reimagining a Great Depression-era textbook cover with a decadent twist inspired by the Marquis de Sade. As the winner of the Guggenheim’s Hugo Boss Prize and a notable figure in global art circles including the Whitney and Venice biennials, Chan brings a politically charged and multidimensional approach to his creations. Beyond his art, he founded the innovative publishing press Badlands Unlimited, producing provocative works like collections of Saddam Hussein’s speeches and his own critical essays. His powerful contributions extend beyond the studio, with projects in conflict zones and post-disaster areas that engage local communities in unique, socially conscious performances. This piece and others from his expansive oeuvre recently formed the centerpiece of a major exhibition at the Schaulager Museum in Basel, cementing Chan’s status as a visionary artist who blends intellectual rigor with profound human empathy.

Net art, an Internet-based art movement from the 1990s, harnessed the emerging web to explore new realms of creativity far beyond traditional galleries. Artists like Heath Bunting and Yael Kanarek embraced the digital frontier with projects that encouraged participation, chance encounters, and immersive storytelling. The radical explorations varied widely—from Bunting’s interactive phone-in at London’s King's Cross to Kanarek’s expansive online diary weaving love letters and retro-futuristic landscapes. Iconic works such as Jodi.org’s intricate HTML “text-drawings,” Olia Lialina’s emotionally charged browser-based netfilm, John F. Simon Jr.’s mathematically infinite Every Icon, and Vuk Cosic’s digital reimagining of *Deep Throat* in ASCII highlight the creativity and conceptual depth of early net art. With artists like Young-Hae Chang Heavy Industries pioneering rhythmic text animations synced to jazz, this movement not only broke conventions but anticipated today’s digital and participatory art landscapes, blending code, narrative, and communal experience into a truly unique artistic legacy.

The Museum of Arts and Design’s landmark exhibition, “Richard Estes: Painting New York,” offers a deep dive into the photorealist painter’s meticulously crafted cityscapes, highlighting his unique blend of photographic precision and artistic vision. While the museum frames Estes’s work through the lens of craft, emphasizing his technical prowess, this perspective brings to light the longstanding tension between photorealism’s mechanical accuracy and its artistic depth. The show captures the evolving New York City landscape, from gritty mom-and-pop shops to sleek modern architecture, inviting viewers to consider how Estes’s selective use of photography and visual editing transforms ordinary scenes into vivid, almost cinematic experiences. Though the focus on craft may feel limiting in the broader context of contemporary art, the exhibition ultimately celebrates Estes’s contributions as both a consummate artisan and a nuanced realist.

Berlin-based artist Paul McDevitt, known for his precise draftsmanship and playful subversion of his own talents, pushes drawing beyond solitary practice into collaborative, multi-disciplinary realms including publishing, music, and curation. In conversation, McDevitt reflects on the fluctuating appreciation for technical skill in art, his embrace of quicker, larger works, and the creative tension and surprise that collaboration brings—especially with longtime partner Cornelius Quabeck. Their ventures extend into artist books and the unique record label Infinite Greyscale, blending art and music in innovative ways. Drawing influence from figures like Henry Moore and Piet Mondrian, McDevitt’s work navigates cultural history, urban change, and artistic failure, exemplified in his latest series inspired by abandoned UK storefronts and their ghostly whitewashed windows. Rooted in drawing as a primal, direct form of expression, his practice remains a dynamic dialogue between medium, context, and chance.

Piotr Uklański, the Warsaw-born New York artist known for his provocative blend of humor and critique, is currently spotlighted at the Metropolitan Museum of Art with two distinct exhibitions: a focused survey of his photography and an artist-curated selection from the Met’s collection exploring themes of sex, death, and memory. Reflecting on his journey from the underground art scene with flashing disco floors to mainstream recognition, Uklański embraces both amateur-friendly techniques and complex historical narratives. His photographic work, often infused with “cheerful pessimism,” revisits ideas from the Kodak manual “The Joy of Photography” and appropriated imagery, while his curated selection challenges traditional museum hierarchies and highlights underrepresented perspectives, including the scarcity of Eastern European and female artists. With installations that mix eras and media, and a signature ironic undertone, Uklański invites viewers to rethink the roles of photography and art history within the grand scope of human experience and mortality.

Attracting over 60,000 visitors, Art Basel Hong Kong showcased 233 galleries from 37 countries, spotlighting emerging contemporary artists in the vibrant "Discoveries" sector. Highlights included Atif Khan’s intricate Chinese-style scrolls blending Mughal history with modern themes, and Yang Yongliang’s captivating photographic montages that transform urban landscapes into traditional Chinese ink paintings. Hong Kong’s Samson Young impressed with a sound-and-art installation exploring the power of music in wartime, while Trevor Yeung’s inventive botanical installations combined photography and mixed media to intriguing effect. Australian Coen Young challenged boundaries between painting and photography with his experimental layered surfaces, and Joey Ka-yin Leung amazed with surreal mixed media pieces fusing comic illustration and classical Chinese ink traditions, creating playful yet profound cross-cultural dialogues.

Amy Phelan, trustee and prominent contemporary art patron, transforms her Aspen home into a vibrant art haven each summer during Aspen ArtCrush, drawing celebrated artists and collectors together. Central to her curatorial vision is the striking Stonefox Architects-designed stairwell, where new acquisitions and cherished works create a dynamic showcase. This luminous, multi-level space features a lively mix of Pop paintings by Warhol and Murakami, dreamlike sculptures by Jim Hodges and Ron Mueck, and statement pieces like the DZINE chandelier. Thoughtfully arranged with careful planning and a keen sense of color and atmosphere, the collection evokes an engaging, positive energy that celebrates both the spirit of Aspen’s art scene and the recent opening of the Aspen Art Museum.

Performance and video artist Jacolby Satterwhite reflects on the profound impact Icelandic avant-pop star Björk has had on contemporary visual and sonic aesthetics, crediting her innovative approach to concept albums and collaborations as a crucial source of inspiration for his own artistic development. Celebrating her boundary-pushing sound experiments and iconic music videos, Satterwhite highlights how Björk’s work blurs the lines between pop culture and fine art, challenging traditional notions of Modernism while fostering new creative lexicons for younger artists. He praises her fearless fusion of technology, surrealism, and personal narrative, arguing that her contributions deserve serious recognition—even as some critics remain hesitant to fully embrace her museum retrospective. Ultimately, Satterwhite champions Björk’s legacy as a daring visionary who transforms eccentricity into art, provoking necessary friction within the cultural landscape.

In the latest Art & Tech spotlight, digital artist Rafaël Rozendaal unveils Abstract Browsing, a vibrant Google Chrome extension that transforms any webpage into a dynamic canvas of shifting Microsoft Paint colors. Known for his innovative “website-as-sellable-artwork” concept, Rozendaal’s newest creation playfully reimagines browsing by placing contrasting colored boxes around site elements that continuously change hues, offering an endlessly fresh visual experience. Building on his previous Text Free Browsing tool, this aesthetic experiment invites users to see the web through an artistic lens—no practical purpose, just pure, colorful fun. Download it for free and watch ordinary pages come to life in a kaleidoscope of digital art.

This article highlights a dynamic array of contemporary and modern artists whose work challenges and redefines artistic boundaries. From Eileen Quinlan’s captivating interplay of analog and digital photography that blurs the line between representation and abstraction, to Sam Francis’s exuberant posthumous resurgence blending Abstract Expressionism with Japanese ink painting influences, each artist offers a unique lens on creativity. Pedro Vélez critiques societal issues through blistering, text-based art rooted in political discourse, while Sherrie Levine provocatively questions the nature of originality and authorship by appropriating masterpieces as her own. Dario Robleto’s intricate prints meld pop culture with dark meditations on mortality, subverting ’60s aesthetics into haunting narratives. Finally, Barbara Kruger’s powerful visual slogans disrupt media conventions, challenging viewers to reconsider gender, identity, and the often predatory art world itself. Together, these works invite reflection on the evolving dialogue between art, culture, and society.

Anicka Yi’s groundbreaking installation "You Can Call Me F." at The Kitchen invites viewers into a sensory exploration that challenges the art world’s traditional dominance of the visual by focusing on smell and biology. Collaborating with synthetic biologists at MIT, Yi creates immersive environments featuring living bacterial cultures sourced from over 100 women, evoking themes of femininity, contagion, and societal anxieties around cleanliness and gender. Her work confronts the art world’s discomfort with the feminine and scent, juxtaposing the pungent, warm odors of human bacteria against the sterile, odorless atmosphere of elite spaces like the Gagosian Gallery. Through sculptural objects like quarantine tents and bowls filled with organic materials, Yi not only reclaims the neglected senses of smell and touch but also critiques power structures, gender dynamics, and our culture’s fear of intimacy and difference—ultimately crafting art that is as provocative as it is alive.

Laurie Simmons, renowned for her haunting “plastic portraits” of dolls and dollhouses, has spent decades exploring the psychological depths of her subjects—whether inanimate objects or real people—through carefully staged tableaux. Emerging as part of the Pictures Generation in the late 1970s, Simmons carved a distinctive niche by infusing female dolls with fraught emotions and highlighting the contradictions of traditional domestic roles through subtle feminism. Over the years, her work evolved from photographing dollhouses and ventriloquist dummies to experimenting with human-object hybrids and adult-themed life-size dolls. Her recent exhibition at the Jewish Museum, "How We See," marks a compelling shift to real human subjects disguised in surreal, doll-like costumes, blurring the line between lifelessness and humanity, and reflecting a full-circle journey that challenges how we perceive identity and empathy.

The Armory Show 2015 showcased a dynamic array of contemporary artists whose works blend personal history, cultural critique, and innovative materials. Highlights include Alan Vega’s electrifying homage to Van Gogh, crafted from tangled electric detritus; Elias Sime’s intricately woven canvases made from scavenged urban refuse in Addis Ababa; and Ian Tweedy’s near-photorealistic paintings inspired by WWII memorabilia. Jonathan Marshall’s data-driven visual narratives captivate with their graphic intensity, while Nina Beier and Simon Dybbroe Møller’s eerie painted hand sculptures offer a macabre twist on classical forms. Przemek Pyszczek’s architectural metalwork evokes Poland’s past, and Zippora Fried’s delicate abstract mark-making delights with its textured beauty. Emerging talents like Jesse Stecklow push conceptual boundaries through layered photographic work, while Michael E. Smith’s battle-worn sculptures confront the decay of industrial Detroit. The venerable Huguette Caland, once a bold voice of Middle Eastern eroticism, commands renewed attention with her colorful, free-hanging canvases as global institutions recognize her legacy. Together, these artists demonstrate a vibrant cross-section of today’s art world, merging history, identity, and raw materiality into compelling contemporary expressions.

New York’s Armory Week buzzes with collectors and art lovers, but it’s the scrappy, curator-driven satellite fairs like The (un)SCENE and Spring/Break that inject fresh energy into the scene. The (un)SCENE offers an intimate space filled with provocative performances and intricate works, such as Thomas Deininger’s mesmerizing sculptural self-portrait and Moon Ribas’s stunning earthquake-inspired dance. Meanwhile, Spring/Break transforms the historic Farley post office into a maze of discovery, showcasing playful and immersive installations like Myla DalBesio’s New Age-inspired environment, Philip/Pippa Garner’s whimsical retro inventions, and Brent Birnbaum’s hypnotic kinetic treadmill sculpture. These vibrant, unconventional fairs provide a compelling counterpoint to the more polished main events, celebrating innovation, humor, and the unexpected.

Michael and Susan Hort, renowned patrons of emerging contemporary art and founders of the Rema Hort Mann Foundation, share their favorite discoveries from New York’s vibrant art fairs. From Armin Boehm’s intimate night scenes rich with detail to Peter Linde Busk’s electrifying blend of abstract and figurative chaos, their collection showcases a dynamic range of artistic expression. They highlight the exquisite craftsmanship in Fuyuki Maehara’s hand-painted wooden sculptures, the diverse abstracts of Jon Pestoni, and Gabriel Pionkowski’s painstakingly threaded canvases. The Horts also celebrate Lisa Ruyter’s strikingly colorful yet flat portraits of ordinary people and Dan Voinea’s hauntingly detailed, moody paintings, exemplifying their passion for art that challenges, intrigues, and captivates.

The ADAA Art Show this year showcased a dynamic mix of celebrated solo artists and exciting new discoveries, highlighting the rich interplay of art history and contemporary expression. Standout presentations included the geometric abstractions of Lebanese artist Saloua Raouda Choucair making her U.S. solo debut, and Jan Groover’s philosophical still-life photographs that transform the mundane into Surrealist compositions. Al Held’s early gestural works revealed a fresh side of the hard-edge abstractionist, while Tsuyoshi Maekawa’s textured Gutai paintings echoed connections to Arte Povera. Claudio Parmiggiani’s haunting soot-infused assemblages, Christina Ramberg’s intimate, diagram-like explorations of constrained femininity, and Anton van Dalen’s gritty graphite scenes of the East Village nightlife all added depth to the fair’s narrative. Together, these presentations created a compelling dialogue between past and present, tradition and innovation.

After a decade at the Whitney, Shamim M. Momin embraced the vibrant, boundary-pushing spirit of Los Angeles to found LAND, a nonprofit dedicated to innovative public art beyond traditional museum walls. Rooted in L.A.'s unique culture of spontaneous, artist-led projects, LAND has realized ambitious ventures like the Eugenia Butler retrospective and the nomadic Manifest Destiny Billboard Project spanning the U.S. interstates. With no fixed exhibition space, each project unfolds in fresh venues, fostering dynamic collaborations and community engagement. Highlighting L.A.’s intimate and evolving art scene, Momin reflects on its contrast with New York’s established hierarchy, celebrating the city’s openness and grassroots creativity while charting LAND’s exciting trajectory as it brings contemporary art directly into public life.

Embarking on a career as a professional artist demands more than just talent—it requires discipline, resilience, and a strong network. Akademie X: Lessons in Art + Life, a fresh anthology featuring 36 accomplished artists and writers, offers invaluable insights into navigating art school, the challenges of creative practice, and the art world’s realities. Contributors share personal stories and practical advice, from embracing your unique creative rhythms and learning to work for yourself, to understanding when to present your work seriously and how to cultivate supportive relationships with fellow artists. With guidance ranging from managing insecurity and reading between the lines in rejection letters to setting unconventional “homework” like listening to Miles Davis or watching Buster Keaton films, this collection serves as an inspiring, honest roadmap for emerging artists ready to forge their own paths.

Sarah Sze, renowned for her intricate installations that weave everyday objects into towering, complex networks, invites viewers to explore themes of consumption, excess, and global interconnectedness. Her 2005 print, Untitled, distills these sprawling sculptural systems into a captivating two-dimensional work set against a serene periwinkle background, making her ambitious vision accessible in a new form. Notably, her eco-conscious approach gained international acclaim at the 2013 Venice Biennale, where she transformed the U.S. pavilion into a dynamic, nature-inspired landscape that extended beyond the building’s façade, blurring the lines between art, architecture, and environment.

This curated selection highlights some of the most compelling contemporary artists redefining photography and performance art today. Sandy Kim captures intimate, edgy portraits with raw vitality, while Anicka Yi’s innovative use of unconventional materials blurs the lines between art and the organic. Ryan McNamara channels digital culture through immersive dance performances that resonate with meme-like intensity. Rochelle Feinstein’s work fuses abstraction with graffiti-like diary entries, creating vibrant, unpredictable canvases. James Welling offers a contemplative, conceptually rich photographic homage to art history, and Zoe Leonard’s globally minded images serve as anthropological explorations of marginalized urban landscapes. Together, these works underscore the diverse, evolving nature of modern artistic expression.

From the romantic solitude of classic studios to the dynamic, boundary-pushing workspaces of today’s artists, the concept of the studio has evolved but remains central to creativity. The Gagosian Gallery’s "In the Studio" exhibition in New York showcases this rich history, featuring stunning works—from Jean-Baptiste Simeon Chardin’s intimate still life of artistic tools to Constantin Brancusi’s mythical Paris atelier layered with light and shadow. Lucian Freud’s focus on a humble sink reveals a psychological depth, while Josef Sudek’s photographs capture the tension between confinement and escape within his Prague workspace. Jasper Johns blurs the line between painting and reality, inviting viewers into an elusive artist’s sanctum. Together, these pieces celebrate the studio not just as a physical space, but as the heart of artistic process and identity.

Minimalism emerged in the 1960s as a groundbreaking artistic movement defined by its raw, geometric forms, industrial materials, and immersive scale, marking a stark departure from the emotive brushwork of Abstract Expressionism and the irony of Pop Art. Pioneered by artists like Donald Judd, Carl Andre, Dan Flavin, and Robert Morris, Minimalism emphasized the physical presence of objects—often large, symmetrical sculptures—that challenged viewers to engage with space and form without traditional symbolism or narrative. Critics were divided, some dismissing it as cold or overly reductive, while others recognized its radical break from artistic conventions, inviting a new conversation about the boundaries of art. Through the use of commonplace materials such as metal, neon, and wood, and a focus on shape, size, and materiality, Minimalism transformed galleries into environments of spatial awareness and conceptual clarity, forever altering the trajectory of contemporary art.

“Come As You Are: Art of the 1990s” at the Montclair Art Museum offers a vibrant and expansive exploration of a transformative decade in art, stretching from 1989 to 2001 and reaching beyond New York to highlight the rise of Los Angeles and global influences. Curated by Alexandra Schwartz, the exhibition spotlights seminal works and movements such as early Internet art, the emergence of Relational Aesthetics, and the dynamic intersection of identity politics and globalization. Featuring standout pieces like Aziz + Cucher’s digitally altered “Man With a Computer,” Jason Rhoades’s chaotic “scatter art,” Daniel Joseph Martinez’s provocative political paintings, and Alex Bag’s prescient video satire, the show captures the restless creativity and cultural shifts of the era. From Elizabeth Peyton’s haunting portraits of Kurt Cobain to Mark Dion’s institutional critiques and Mendi & Keith Obadike’s viral Internet intervention on race, the exhibition reveals how ’90s art continues to influence and challenge contemporary conversations in unexpected and compelling ways.

Judith Hopf, the effortlessly cool Berlin-born artist and professor at Frankfurt’s Städelschule, captivates with her playful yet thought-provoking films and sculptures that blend slapstick humor with sharp social critique. Her work, featuring whimsical motifs like cement sheep and people in egg costumes, slyly addresses issues of politics, identity, and collective experience while embracing what she calls “productive stupidity” as a form of creative freedom. Emerging artistically during the transformative post-Berlin Wall era, Hopf balances a tongue-in-cheek approach with earnest hope, inviting viewers to laugh at art and life’s absurdities without taking things too seriously. From alternative spaces to prestigious biennials, her experimental and accessible pieces challenge conventions and celebrate the joy and embarrassment inherent in artistic expression.

Alexis Bittar, a trailblazing jewelry designer renowned for his hand-carved Lucite® pieces, celebrates 25 years of transforming this material into wearable art with a special auction featuring works by four acclaimed artists. His journey began on New York’s streets as a teenager and evolved into a global presence, blending sculptural artistry with fashion in a way that redefined jewelry’s role. Deeply connected to the LGBT Community Center of New York, Bittar not only champions innovative design but also advocates for community and self-expression. Sharing insights on his craft, artistic influences, and the evolving landscape for young designers, he underscores the importance of originality, patience, and dedication in building a meaningful career.

Mexico City's Material Art Fair offers a fresh, youthful alternative to traditional art fairs, spotlighting emerging talents who blend contemporary culture with art history in innovative ways. From K.R.M. Mooney's alchemical sculptures that blur craft and fine art, to David Rappenau’s elegant, Manga-inspired drawings capturing modern ennui, the fair is a vibrant playground for discovery. Marco Braunschweiler’s evocative floral photographs and time-lapse videos meditate on impermanence, while Jeanette Hayes cleverly merges Instagram aesthetics with high Modernism through playful, meme-infused paintings. Meanwhile, the artist-run bar Beverly’s redefines the boundaries of art and labor through a social media-driven installation, making the fair a dynamic intersection of creativity, technology, and culture.

At Zona Maco 2015, a dynamic array of contemporary Latin American and international artists captivated audiences with works that challenge tradition and explore time, identity, and history. Laura Owens dazzled with her innovative “Clock” paintings combining diverse mediums into mechanized compositions that reflect her career’s breadth. Mexico City’s Jorge de la Garza invited viewers to remix historical images via projected slides, while Mauricio Ianês’s blood-red flags vividly evoked Latin America’s revolutionary past and future struggles. Mariana Telleria’s enigmatic “Slow Time Machine” and Tatiana Pérez Córdova’s subtly spinning, disco-motor ceiling fan toyed with paradoxes and altered perceptions of time. John McCallister brought luminous fauvist paintings rooted in classical influences, and emerging sculptor Jose Dávila balanced industrial materials with delicate precision, inspired by art historical collaborations. Photography and archival treasures also shone, from Jitka Hanzlová’s candid animal portraits to Ge Galería’s prized André Breton collection, spotlighting surrealist Mexico and its enduring legacy. Overall, the fair presented a vibrant cross-section of innovative voices redefining contemporary art’s narratives and techniques.

Alec Soth’s latest project, Songbook, merges the lyrical and poetic with the everyday realities of small-town America, inspired by his experiments with journalism and art photography through the Little Brown Mushroom Dispatches. Moving from large-format color to quick, evocative black-and-white images, Soth embraces a nostalgic yet practical approach to storytelling that blurs the line between reportage and fine art. Drawing on influences like Winesburg, Ohio and iconic documentary couples, he crafts a mythical, intimate portrait of American life that resonates beyond straightforward narrative. His embrace of Instagram and contemporary media adds a fresh, playful dimension to his work, revealing an artist navigating tradition and innovation with thoughtful creativity and a touch of humor.

Set against the nostalgic backdrop of an old Hollywood frontier town, the Paramount Ranch art fair in Los Angeles showcased a vibrant mix of indie contemporary art that felt both timeless and fresh. Founded by artists Liz Craft and Pentti Monkkonen in collaboration with Freedman Fitzpatrick gallery, the event featured exceptional, approachable works that captured a playful yet thoughtful atmosphere. Highlights included Aleksander Hardashnakov’s eerie “necro-pastoral” paintings, Jake Cruzen’s ironic yet tender dolphin homage, and Sanya Kantarovsky’s reflective, timeless figures. The fair also spotlighted Dingam’s innovative surfboard installations merging art and lifestyle, alongside Max Hooper Schneider’s haunting vitrines filled with soil and neon signs that confront themes of disease and decay—all contributing to an unforgettable celebration of creativity where past and future seamlessly collide.

This year’s Outsider Art Fair at Center 548 in Chelsea highlights the evolving and vital nature of outsider art, showcasing a dynamic blend of self-taught and developmentally disabled artists alongside a few “insiders.” The fair reflects a shift in focus from biography to geography, featuring artists like James Castle, Judith Scott, and fresh voices such as Andrew Frieder, whose mythological figures vibrate with energy, and Marianne Schipaanboord, who expresses her daily life with urgent, lively drawings. Bruce Davenport Jr.’s intricate depictions of marching bands and T. A. Hay’s delicate shoe-polish paintings on found objects bring unique perspectives, while Jerry Torre’s enigmatic limestone sculptures add a tactile dimension to the predominantly paper-based exhibition, making this edition both historically rich and refreshingly contemporary.

The article highlights a dynamic range of contemporary artists showcased at a recent art fair, from New Zealand’s Peter Stichbury, whose haunting portraits of women abductees blend portraiture with the occult, to Matthew Brandt’s innovative photographic experiments that manipulate resin and light to reveal hidden images. Danish artist Rose Eken captures the chaotic spirit of CBGBs through hyper-detailed ceramic recreations of discarded club detritus, while Michael Berryhill explores a neo-Nabis abstraction that merges subtle narratives with vibrant grids. Meanwhile, Antwerp’s Nel Aerts juxtaposes cartoonish oddities with existential dread, and Zach Harris carves vivid wooden canvases bringing a tactile abstract landscape to life. Adding a playful, conceptual edge, Ann Cathrin November Høibo suspends industrial containers as quirky found sculptures, proving that in contemporary art, weirdness often translates into compelling fun.

Araya Rasdjarmrearnsook, a pioneering Thai artist and professor, transforms teaching into a profound art form by engaging with unconventional participants—including stray dogs, cadavers, and mental hospital patients—to explore spirituality, ethics, and human-animal relationships. Her deeply ritualistic and empathetic works challenge traditional art and academic boundaries, blending Buddhist beliefs with intimate, seminar-style dialogues that question life, death, and cultural norms. From sculpting alongside clay figures to lecturing to the dead, and from filming villagers’ candid reactions to Western art to caring for stray dogs, Rasdjarmrearnsook invites us to reconsider the meaning of connection, compassion, and the unexpected classrooms that shape our understanding of existence.

Ryan McNamara has had a remarkable year, captivating audiences worldwide with performances that blur the boundaries between dance, performance art, and technology. From his dynamic, immersive work in Hong Kong and Miami to his innovative High Line commission, McNamara seamlessly integrates choreography with conceptual artistry, challenging how audiences engage with live and gallery experiences. His recent studio exhibition at Mary Boone Gallery transforms remnants of past performances—costumes, props, and lights—into evocative sculptures that echo his performative vision. Navigating the intersections of the ephemeral and the tangible, McNamara explores how objects carry performance histories while embracing contemporary issues like technology’s role in art and audience interaction. Amid discussions of creative process, funding, and audience dynamics, he reveals a passionate yet honest reflection on the relentless drive behind his multifaceted practice, making his work a compelling testament to the evolving landscape of contemporary performance and visual art.

The presentation of live animals as art has evolved from radical Dadaist gestures to nuanced contemporary explorations, challenging traditional boundaries of sculpture, performance, and installation. From Jannis Kounellis’s imposing 1969 installation of horses redefining installation art, to Joseph Beuys’s tense, shared space with a live coyote, artists have used animals to provoke ethical questions and highlight human-animal relationships. David Wojnarowicz’s subversive release of “cock-a-bunnies” at MoMA PS1 and Damien Hirst’s visceral displays of life cycles involve life, death, and metamorphosis in stark, sometimes unsettling ways. Meanwhile, Adel Abdessemed’s brutal videos starkly confront violence, prompting controversy and reflection on humanity’s role in the food chain. More playful and ephemeral works by Darren Bader and Pierre Huyghe introduce animals as dynamic collaborators, blurring art and life in immersive environments that question control, agency, and the coexistence of species, making the use of animals in art a provocative, continually evolving dialogue.

This collection highlights a fascinating array of contemporary artists whose works blend history, politics, and innovative aesthetics. Lorna Simpson’s elegant collages evoke the complex legacy of Black womanhood, while Roman Signer’s kinetic art transforms everyday objects into moments of explosive wonder. Rachel Harrison’s quirky taxonomies challenge conventions with playful, grotesque juxtapositions, and Jimmie Durham’s politically charged pieces confront environmental and indigenous issues with striking visual metaphors. Luc Tuymans offers haunting reflections on power through washed-out portraits tied to historical trauma, and Duncan Campbell’s film-inspired works intertwine cultural narratives with sleek, biomorphic forms, creating a rich tapestry of urgent and thought-provoking contemporary art.

Mark Landis, an unlikely art forger, captivated museums across the U.S. not for profit but for recognition and respect—a desire sparked by his mother’s pride. Armed with a unique memory trick and using inexpensive materials, Landis masterfully replicated works from masters like Picasso and Watteau, even adopting elaborate personas inspired by film scenes to present his donations. Unlike typical forgers driven by greed, Landis's motivations were deeply personal, rooted in a lifelong struggle with schizophrenia and a craving for dignity. His spree unraveled when Oklahoma City Museum registrar Matthew Leininger spotted repeated copies, leading to media scrutiny and the documentary Art and Craft. Despite never profiting, Landis’s story challenges ideas about legality, creativity, and the nature of art itself, revealing a complex figure who found solace and identity in his extraordinary mimicry, while gradually earning recognition for his original work through local patrons.

Earlier this month, I joined Marina Abramovic in Miami to lead “Slow Motion Walk,” an immersive exercise from her Marina Abramovic Method that invites participants to slow down, focus, and be fully present with every deliberate step. Originally developed during her years as a durational performance artist and experienced firsthand during her MoMA retrospective, this practice strips away distraction and encourages deep self-awareness through slow, mindful movement. Set within the glowing stained-glass sanctuary of the historic “Jewel Box,” the exercise unfolded over several days, with participants ranging from curious locals to long-time collaborators, all embracing the unusual rhythm of walking broken down into four precise movements. The experience, at times meditative and at times challenging, became a shared pause in the rush of Art Basel Miami Beach—a space to reconnect with the body, breath, and moment, where even laughter found its place amidst quiet contemplation.

Massimo Bottura, the visionary chef behind Italy’s acclaimed Osteria Francescana, redefines contemporary cuisine by merging intricate Italian flavors with classical French techniques and molecular gastronomy, all deeply inspired by contemporary art. His innovative dishes, such as the playful “Oops, I Dropped the Lemon Tart,” echo powerful artistic gestures, transforming dining into a multi-sensory art experience enriched by works from renowned artists displayed throughout his restaurant. Bottura views his culinary creations as social sculptures, blending passion, irony, and profound cultural narratives to challenge diners’ perceptions and celebrate the artisanal heritage of Italy. Beyond the kitchen, he channels his creativity into philanthropic projects and collaborations with artists, aiming to push the boundaries between food, art, and social impact while fostering a dialogue that elevates cuisine to an artistic and cultural expression.

This year’s Art Basel Miami Beach dazzled with a blend of high-profile spectacle and groundbreaking art, from Miley Cyrus’s surprise pop performance to record-breaking sales fueled by fresh Latin American collectors. The fair showcased a rich tapestry of works, including Oskar Schlemmer’s Bauhaus-inspired ballet masks, Hrair Sarkissian’s poignant videos reflecting on Syria’s turmoil, and Alex Hubbard’s inventive “Trash Paintings” made from ocean debris. Highlights ranged from Naomi Fisher’s playful ballet-themed murals and Sam Francis’s vibrant, Zen-influenced abstractions to Jeff Koons’s monumental, surreal sculptures that blur kitsch and ritual. Emerging voices like Nicolás Guagnini explored complex histories through striking ceramics, while Jack Early’s poignant comeback highlighted themes of identity and resilience. Together, these diverse offerings underscored Art Basel Miami Beach’s evolution into a dynamic, multifaceted celebration of contemporary creativity and cultural dialogue.

Art Basel Miami Beach has evolved into a mature and serious art fair, showcasing remarkable works that span generations and styles. Highlights include my grandfather Alexander Calder’s unique 1944 wooden "torso" sculpture, Agnes Martin’s rare nonlinear paintings from the mid-1950s with their delicate, ashen palettes, and David Hammonds’ dynamic piece blending modernist traditions with a spiritual weight. Jiro Takamatsu’s elegant "The Pole of Wave" intrigues with its illusionistic geometry, while Yves Tanguy’s 1943 painting offers a fresh, melancholic glimpse into surrealist mindscapes. Contemporary works like Joel Shapiro’s vibrant, suspended sculpture challenge expectations with its bold color and unexpected aggression, reflecting an artist embracing newfound freedom. This edition of Art Basel Miami Beach balances reverence with innovation, drawing visitors into a rich dialogue between past and present.

At NADA Miami, a dynamic group of emerging artists captivated audiences with innovative explorations of form, technology, and social themes. Mika Tajima transformed a classic Jacuzzi shell into a vibrant enamel painting reflecting on ergonomics and body conditioning, while Florian Baudrexel’s monumental cardboard sculptures meld brutal materials with refined craftsmanship. Sara Cwynar’s photographic collages interrogated scale and archival imagery with a playful, tactile approach. Graham Collins offered delicate bronze sculptures cast from everyday objects like chips and toothbrushes, blurring lines between the ancient and contemporary. Jack McConville’s loose, comic paintings dissected wealth and social status through bold brushwork, and Peter Dreher presented his meditative glass series, a four-decade-long study in subtle light and form. Addie Wagenknecht delved into the digital underbelly with provocative 3-D-printed gun art, while Jon Rafman pushed virtual reality into new artistic realms, inviting viewers into a surreal, pixelated world that questions the boundaries between the virtual and real. Together, these artists showcased a thrilling cross-section of creativity and critical engagement in today’s art scene.

Amid the whirlwind of Miami’s famed art fairs and luxury events, this guide offers a refreshing escape with chic dining, vibrant nightlife, iconic architecture, and avant-garde shopping spots. Indulge in neighborhood favorite Michael’s Genuine Food & Drink’s modern American fare or savor the lavish ambiance at The Forge and Casa Tua’s Mediterranean villa setting. For unforgettable drinks, dive into the edgy cabaret vibe at Bardot or the sleek ultra-lounge scene at Wall. Architecture lovers will admire Herzog & de Meuron’s sculptural 1111 Lincoln Road and the postmodern Atlantis Condominium, a Miami Vice icon. Meanwhile, fashion enthusiasts can explore The Webster’s luxury offerings or discover cutting-edge design pieces at Luminaire Lab, blending creativity and style in Miami’s dynamic landscape.

Explore a dynamic array of contemporary art in this captivating collection that celebrates innovation and tradition alike. From Daniel Gordon’s digitally reimagined still lifes inspired by Matisse’s cut-outs, to Walton Ford’s hauntingly surreal depictions of nature’s brutal realities, each piece offers a unique lens on modern creativity. Xylor Jane’s vibrant, numerically inspired abstractions invite deep reflection, while Dave Hardy’s textural sculptures blend unexpected materials into tactile marvels. Iconic works like Andy Warhol’s intimate Polaroid self-portrait and Joanne Greenbaum’s exuberant, painterly ceramics complete this vivid survey of artists pushing boundaries across mediums and styles.

This vibrant fair blurs the lines between art fair, exhibition, and avant-garde biennial, offering a dynamic platform for galleries to spotlight singular artists and uncover hidden gems. From June Hamper’s emotive terra-cotta vessels reflecting a deeply personal creative journey, to Virginia Overton’s minimalist architectural forms crafted in mere hours, and Aura Rosenberg’s transformation of vintage pornographic imagery into strikingly beautiful works, the event thrives on discovery and surprise. Sound, sculpture, and painting converge in bold, often unsettling pieces—Haroon Mirza’s electrical symphony, Yves Klein’s tactile performance revived decades later, and Dan Attoe’s hauntingly luminous canvases all captivate. With prices ranging from accessible to high-end and many works quickly sold, the fair celebrates the unexpected and the innovative, spotlighting both emerging talents and radical reimaginings of art history.

The postwar avant-garde movement ZERO, founded in 1957 in Düsseldorf by Heinz Mack, Otto Piene, and later joined by Günther Uecker, is finally receiving its long-overdue art historical recognition. Emerging as a reaction against subjective postwar styles, ZERO artists explored light, motion, space, and monochrome color, emphasizing materials over the artist’s hand to create immersive experiences of pure possibility and new beginnings. Unlike traditional groups, ZERO functioned as an open network of international artists united by collaboration rather than a manifesto, interfacing with contemporaneous movements like Japan’s Gutai and France’s Nouveaux Réalistes. Their innovative exhibitions, self-organized in the absence of a gallery system, and pioneering works such as Piene’s Light Ballets and Mack’s light reliefs, combined kinetic energy and spatial seriality, reshaping perceptions of art and light. After gaining momentum through influential shows in Europe and entering the American scene in the mid-60s, ZERO’s legacy continues today through ongoing exhibitions and new works by surviving members like Mack, affirming the group’s global impact and enduring quest to redefine artistic possibility.

Nam June Paik, hailed as the father of video art, revolutionized television by transforming it from a mere household device into a groundbreaking artistic medium. From his early avant-garde performances influenced by composers like John Cage, to pioneering video installations and electronic sculptures throughout his prolific career, Paik pushed the boundaries of technology and creativity. He famously collaborated with cellist Charlotte Moorman, creating iconic works like the TV Bra for Living Sculpture that humanized technology with playful intimacy. Paik’s visionary experiments extended into international broadcasts such as Good Morning, Mr. Orwell, which celebrated interactive media’s potential, and his whimsical Family of Robot sculptures blended futuristic innovation with warm, familial themes. His legacy continues to resonate, inspiring contemporary artists and reshaping how we perceive video and technology in art.

FIAC at the Grand Palais showcased an extraordinary collection of high-quality, Eurocentric art against a tense cultural backdrop marked by the attack on artist Paul McCarthy and rising xenophobia in France. Despite the shadow cast by social unrest, the fair thrilled with standout works from a diverse range of artists: Marcel Broodthaers’s enigmatic sculptures exploring language and communication; Martin Kippenberger’s textured, playful paintings; James Siena’s meditative pattern-driven canvases; and Laurent Grasso’s mysterious Renaissance-style works blending myth and reality. Paul McCarthy’s provocative sculptures sparked both controversy and admiration, while the show also celebrated pioneering figures like Raymond Hains and Robert Gober’s unsettling, surreal body-part sculptures. Emerging talents such as Christian Rosa impressed with vibrant, historically infused styles, and Debo Eilers captivated with his darkly playful, otherworldly installations. FIAC proved to be a compelling intersection of artistic innovation and cultural reflection amid a fraught social climate.

Celebrating visionary contemporary artists, this collection highlights Jasper Johns’ masterful prints that blur painting and conceptual art, Lee Krasner’s pioneering abstract expressionism intertwined with Jackson Pollock’s legacy, and Mark Dion’s evocative ecological installations exploring the primal rituals of hunting. Cecily Brown reinvents abstraction with sensual, layered imagery drawing from historic masters, while Iona Rozeal Brown fuses Japanese and African American cultures in striking large-scale paintings. Rising star Laure Prouvost captivates with playful, multimedia works like her tropical homage to avant-garde filmmaker Chris Marker, showcasing the vibrant breadth and innovation shaping today’s art world.

The Sunday Art Fair, housed in a gritty former concrete factory near Madame Tussaud’s, offers a fresh, fast-paced glimpse into contemporary art through the works of six dynamic young artists. Sophie Michael’s richly layered 16mm films blend formal technique with vibrant synesthetic beauty, while Ditte Ejlerskov reimagines traditional painting by weaving portraits of feminist icons like Rihanna into textured, triptych tapestries. Christopher Chiappa transforms Swiss cheese slices into playful, powdery yellow aluminum sculptures, merging found beauty with sharp design sensibility. Florian Auer explores displaced tragedies through striking fiberglass male torsos infused with digital and advertising motifs, creating an immersive visual tension. Emily Mae Smith cleverly feminizes the male-dominated artist studio trope with art-nouveau-inflected paintings that blend whimsy and critique, and the duo Calla Henkel & Max Pitegoff capture Berlin’s vibrant social fabric through evocative photographs born from their experimental theater project. Together, their work pulses with the energy of youthful creativity and boundary-pushing innovation.

Frieze Masters presents a captivating journey through art history, showcasing masterpieces that span centuries and continents, each with rich provenance and fascinating backstories. Highlights include a rare late-period Rembrandt portrait created during his financial hardship, Freud’s intimate depiction of his beloved dog Pluto, and Picasso’s economically painted Rose Period work with ties to his Parisian circle. The fair also features a striking African We Mask influential in Modernism, an exquisitely detailed Mannerist painting with royal provenance, a poignant early Gauguin drawing connected to artistic friendships, an ornate ancient Egyptian mummy mask rich in symbolism, and a haunting World War II-era drawing by Hans Bellmer reflecting personal and historical struggles. These works not only embody artistic innovation but also reveal intriguing narratives of ownership and cultural interplay, making Frieze Masters a treasure trove for collectors and art lovers alike.

At this year’s Frieze Art Fair in London, the spotlight shifted from traditional painting to innovative multimedia, film, and technology-driven art, reflecting a dynamic evolution in contemporary creativity. Highlights included Ulrike Müller’s lush enamel works bridging painting and sculpture; Michael Smith’s nostalgic 1980s video art reimagining suburban survivalism; and Ian Cheng’s captivating, rule-based animated app blurring the line between gaming and art. Other standout pieces ranged from Will Benedict’s slyly framed paintings to Robert Breer’s vintage kinetic sculptures resurrected for a new era. The fair also showcased socially conscious video diaries by Oscar Murillo, a robotic vacuum-painted Turner homage by the fictional Reena Spaulings, and Harun Farocki’s profound exploration of video game boundaries as philosophical spaces. Adding humor, Cory Arcangel’s ongoing performance involved gallery staff perpetually watching a Will Ferrell movie, underscoring art’s playful, disruptive potential amidst serious innovation. Together, the works revealed a vibrant scene where technology and performance redefine the artistic landscape.

For over thirty years, Sebastião Salgado has dedicated his photography to capturing the resilience and dignity of marginalized human communities before turning his lens to the untouched wonders of the natural world. His latest project, Genesis, is an eight-year visual pilgrimage across 32 countries, showcasing pristine ecosystems and diverse species in stunning black-and-white images that evoke both ecological reverence and a call to protect Earth's remaining wild places. Rejecting labels like "activist" and "artist," Salgado sees his role as a patient observer, deeply connected to nature and its movements. Through Genesis, exhibited at the International Center of Photography in New York, he invites us to rediscover our intrinsic bond with the planet and reflect on the urgent need to preserve its fragile beauty before it’s lost.

As the Frieze Art Fair draws art aficionados to Regent’s Park, London pulses with creativity and culture, offering an enticing mix of dining, drinks, architecture, and shopping perfectly curated for discerning visitors. From the vibrant East London eateries like Beagle’s locally sourced fare and Story’s innovative British cuisine to the elegant Basque flavors at Ametsa, the city’s food scene is as dynamic as ever. Cocktail lovers can unwind at the chic Experimental Cocktail Club or the stylish Clove Club, while architecture enthusiasts can marvel at iconic landmarks like the Gherkin’s futuristic design, The Shard’s towering elegance, and the luminous Laban Building. For those seeking unique shopping experiences, the city’s design galleries and boutiques, including Gallery Fumi’s exclusive pieces and Alexander McQueen’s Savile Row flagship, showcase London’s cutting-edge style and craftsmanship. Whether indulging in a gourmet meal or exploring artistic spaces, London offers Frieze-goers a rich tapestry of cultural delights beyond the fair itself.

SculptureCenter’s newly renovated space in Long Island City ushers in a fresh chapter for the beloved nonprofit, blending subtle architectural upgrades with an inspired curatorial vision. The redesigned entrance welcomes visitors with a thoughtful, deliberate flow, while the addition of an elevator improves accessibility to the gritty, treasured basement galleries. The opening exhibition "Puddle, Pothole, Portal" features striking installations that engage with the building’s industrial character, showcasing artists like Maria Loboda and Abigail DeVille. Rooted in an 86-year history of artistic restlessness and bold choices, SculptureCenter reaffirms its role as a vibrant hub for emerging and overlooked talents, inviting a broader audience to explore its unique blend of history, innovation, and artistic daring in Queens.

Irving Sandler is a uniquely immersive art historian whose lifelong dedication to understanding artists from within their creative communities set him apart from his contemporaries. Beginning in the 1950s, Sandler chronicled the evolution of American art through direct conversations and friendships with key figures of Abstract Expressionism and beyond, crafting a rich, empathetic narrative that captures the intentions and visions of artists themselves. His seminal work, *The Triumph of American Painting*, exemplifies this participatory approach, blending firsthand insight with historical scholarship. Far from imposing his own judgments, Sandler sought to reflect the living pulse of the art world, valuing artists' voices over critics' dogma. His enduring influence spans decades—as curator, critic, educator, and advocate—making him an indispensable figure in American art history whose legacy continues to inspire new generations.

This fall’s art-book releases offer a rich feast for collectors undeterred by overflowing shelves, featuring dazzling explorations of postwar masters, contemporary movements, and overlooked artists. Highlights include an intimate compendium on British sculptor Anthony Caro, a sweeping A-to-Z survey of 21st-century global artists, and a vibrant monograph on New York painter Alex Katz. Photography lovers will enjoy Aperture’s journey through the American road trip and Phaidon’s insightful look at architecture through the lens of contemporary photographers. The season also spotlights West Coast legend George Herms’s poetic collages and the boldly sensual work of Dorothy Iannone, whose art mixes memoir and spirituality. Finally, a fascinating transatlantic study traces America’s enduring passion for Dutch Golden Age painters, revealing new dimensions to a timeless story. Together, these books invite readers to deepen their connection to art’s dynamic past and present.

Showcasing a dynamic range of contemporary and modern art, this collection highlights powerhouse creators like Hito Steyerl, whose sharp, witty works challenge surveillance culture, and the Swiss duo Fischli/Weiss, known for their playful yet profound tabletop object balances. Jason Middlebrook honors nature's cyclical beauty through vibrant wood plank paintings, while Andrea Bowers uses striking colored pencil drawings to merge art with activism, advocating for the DREAM Act. Vintage meets vibrant in Andy Warhol’s iconic cow-themed wallpaper, a cheeky nod to pastoral subjects reimagined through Pop art. Meanwhile, Kristen Morgin mesmerizes with meticulously crafted clay recreations of nostalgic childhood ephemera, transforming the familiar into extraordinary sculptural narratives. Together, these artists blend conceptual rigor with aesthetic allure, inviting viewers into worlds where art is both thought-provoking and visually enchanting.

From Bob Dylan’s artistic ventures to underground art collectives, a fascinating number of visual artists have ventured boldly into the world of music, blending their creative boundaries. Detroit’s Destroy All Monsters fused heavy metal and punk with avant-garde art, while Gang Gang Dance’s synth-driven, percussive soundscapes carve out a unique niche of synth rock infused with Eastern influences. The experimental supergroup XXX Macarena combines avant-garde violin, synths, and looping guitar into cerebral sound experiments. Kim Gordon of Sonic Youth redefined noise rock with her freeform guitar assault, all while nurturing deep art-world connections. Other artist-musicians include the eerie cabaret rock of The X-Patsys, the proto-punk origins of The Primitives—featuring future art legends—and the genre-bending performance rap of Korakrit Arunandchai. Iceland’s Ragnar Kjartansson mixed electro-punk with R&B sensibility before becoming a celebrated contemporary artist known for his emotive, marathon performances. Together, these artists demonstrate how the interplay of visual art and music can generate electrifying, boundary-pushing creativity.

The Temple of Dendur, an ancient Egyptian shrine dating back to 15 B.C., has long been a centerpiece of the Metropolitan Museum of Art, renowned for its striking glass pavilion and vibrant social gatherings. This week, the temple took on a fresh role as the dramatic backdrop for the Met's launch of its new smartphone app—a beautifully illustrated digital guide designed to bring the museum’s treasures to audiences everywhere. The app’s release was celebrated with a rare live performance by Interpol, whose sleek, melancholic sound and sharp suits lent a contemporary edge to the historic space. Melding ancient art with modern technology and music, the event underscored the Met's ongoing commitment to innovation and cultural accessibility.

Maya Lin, renowned for her groundbreaking Vietnam Veterans Memorial, continues to captivate with her innovative blend of architecture, fine art, and ecological advocacy. Her current exhibition at the Parrish Art Museum transforms maps and waterways of the Hamptons into delicate silver sculptures and intricate installations like Pin River—Sandy, inviting contemplation on the vital yet vulnerable nature of water. Lin’s work eloquently merges scientific precision with poetic symbolism, exploring water’s fluidity and ecological significance. As she expands her legacy of memorials with the final project “What Is Missing?,” Lin channels her artistic vision toward raising awareness of habitat loss and environmental crises, urging viewers to engage thoughtfully with the natural world and our shared future. Balancing large-scale public installations with intimate gallery pieces and ongoing architectural commissions, Lin remains a powerful force in reminding us of the deep histories and pressing necessities embedded in the landscapes around us.

Brittany Bailey, a lifelong dancer and performance artist, has forged a unique path that blends durational dance, sculptural body shapes, and deep meditative practice. Having trained with luminaries like Merce Cunningham and performed Marina Abramovic’s iconic works, Bailey approaches dance as a meditative exploration of space and time, often holding singular shapes for extended periods to invite reflection and stillness. Her meticulous daily routine combines technique, improvisation with collaborator Bryce Hackford, and self-observation through video, revealing a process rooted in endurance and presence. From a childhood devoted to dance in North Carolina to residencies at the Watermill Center and performances at MoMA, Bailey creates works that challenge perceptions of time, encouraging audiences to immerse themselves in the subtle beauty of the body’s forms and the poetic suspension of movement.

A century after the upheavals of World War I reshaped art and society, The Twenty First Century Art Book by Phaidon celebrates over 280 groundbreaking artists from 50 countries who are redefining contemporary art. These visionaries use a diverse array of media to explore themes of identity, politics, and the blurred lines between reality and the virtual. From Karla Black’s ethereal installations and Yto Barrada’s socially charged depictions of Tangier, to Tamy Ben-Tor’s satirical performances and Mircea Cantor’s politically infused multimedia works, this collection highlights artists who challenge and expand our perspectives. Featuring voices like Jimmie Durham’s activism-infused creations, Luisa Lambri’s intimate architectural photographs, and Zoe Leonard’s insightful documentations, the book captures the dynamic spirit of today’s art world. With contributions from worldwide talents such as Lucy McKenzie, Amalia Pica, and Gianni Motti, this volume offers a compelling snapshot of how art continues to provoke, engage, and inspire in our complex, rapidly changing era.

Jason Middlebrook’s art vividly explores the clash between humanity and nature through recycled materials and evocative forms, from uprooted tree roots to post-apocalyptic models. Recently relocated from Brooklyn to upstate New York, Middlebrook’s new project, Your General Store, reinvents an old shipping container into a dynamic art bartering post, fostering a communal exchange that challenges the money-driven art market. Rooted in his grandmother’s ethos of reuse, his work reflects a deep respect for nature’s endurance and transformation, capturing the tension and harmony between man-made and natural worlds. Embracing life in the countryside, Middlebrook finds inspiration in nature’s resilience and the slower rhythms of rural community, bringing a fresh, hopeful perspective to environmental themes while pushing the boundaries of public and conceptual art.

Since the dawn of avant-garde art, creators have relentlessly pushed the boundaries of traditional painting, experimenting with radical methods that transform the canvas into a site of performance, destruction, and provocative expression. From Yves Klein’s scorching flames and Niki de Saint Phalle’s paint-filled bullet holes to the Gutai group’s physical assaults on their work, artists have challenged conventions by injecting movement, violence, and even bodily fluids into their creations. Warhol’s provocative use of urine, Lucio Fontana’s spatial slashes, and Robert Rauschenberg’s incorporation of everyday objects into his Combines all redefined what a painting could be, blurring lines between sculpture, performance, and conceptual art. Meanwhile, Gustav Metzger’s auto-destructive acid paintings embodied the era’s anti-capitalist spirit, demonstrating that art could be both ephemeral and revolutionary. These daring and sometimes shocking approaches reveal a vibrant history of innovation, rebellion, and the relentless pursuit of new artistic frontiers.

Meyer Schapiro was a towering figure in 20th-century art history whose influence extended far beyond his relatively modest published output. A lifelong New Yorker and Columbia University professor, he revolutionized the study of Romanesque sculpture by insisting on understanding art within its social context. Deeply embedded in the vibrant New York art scene, Schapiro bridged academic, political, and artistic circles, encouraging groundbreaking artists like Willem de Kooning and Jackson Pollock. His belief that art and society are inseparable challenged prevailing ideas, emphasizing that even abstract art is shaped by experience and social conditions. While known as an inspiring lecturer and cultural connector, Schapiro also curated seminal exhibitions that mapped evolving movements like Post-Abstract Expressionism. His legacy endures not just through his essays and curatorial work, but through the generations of artists and historians shaped by his vision of art as a living dialogue between form, history, and society.

Photographer Jo Ann Callis’s evocative and surreal images, created over 40 years ago but only now publicly exhibited, explore intimate and complex facets of human sexuality, vulnerability, and desire through staged tableaux rich with domestic objects and subtle emotional narratives. Blending her background in sculpture with a nuanced photographic eye, Callis crafts scenes that feel both sensual and unsettling, inviting the viewer into a private world where fear, pleasure, and play intertwine. Encouraged by mentor Robert Heinecken, she pioneered a deeply personal artistic language that challenges conventional depictions of the female body and explores psychological landscapes within familiar, yet disquieting, domestic settings. Her newly published collection, *Other Rooms*, reveals the enduring power and contemporary resonance of her work, which celebrates beauty, control, and imagination beyond literal storytelling.

Summer is the perfect season to immerse yourself in the vibrant world of art on Instagram, and following the right tastemakers can transform your feed into a captivating gallery. From Cecilia Alemani, curator of Manhattan’s High Line Art known for showcasing global art installations, to Mills Moran, managing director of the hip OHWOW gallery blending contemporary art with indie culture, these accounts offer unparalleled access to the art scene’s hottest events, emerging talents, and behind-the-scenes moments. Heather Flow’s savvy art consultancy tips keep you ahead in the collector’s game, while the anonymous @icallb delivers sharp, hilarious critiques that challenge the art world’s hype. Dive into Niels Kantor's eclectic Los Angeles gallery highlights and family life, Loic Gouzer’s auction previews blending luxury and artistry, and Klaus Biesenbach’s star-studded museum adventures that blur fine art with pop culture. Whether you crave exclusive art reveals, incisive commentary, or insider glimpses of artists and collectors, these Instagram accounts are your ultimate summer art fix.

This captivating collection showcases the unique visions of contemporary artists pushing the boundaries of form and meaning. From Jason Middlebrook’s elegant fusion of nature and spray paint on black birch, to Lisi Raskin’s haunting Constructivist-inspired reflections on global conflict, each piece tells a compelling story. Margaret Lee’s provocative still-life photographs blur cultural references while Richard Learoyd’s painstakingly crafted portraits reveal hyperreal beauty with Vermeer-like light. Cory Arcangel’s playful digital art bridges gaming and fine art, and Miroslaw Balka’s minimalist works poignantly channel historical trauma through stark, evocative installations. Together, these works invite viewers into a rich dialogue about identity, memory, and the evolving language of contemporary art.

The Düsseldorf School of Photography emerged as a groundbreaking movement in late 20th-century Germany, redefining photography as a legitimate form of modern art. Rooted in the disciplined, methodical approach of teachers Bernd and Hilla Becher—who meticulously documented industrial structures with scientific precision—the school embraced a cool, documentary style that contrasted sharply with the emotional experimentation of earlier subjective photography. Drawing inspiration from the prewar New Objectivity movement and artists like August Sander, the Bechers and their students transformed mundane architectural forms into powerful conceptual art, influencing a generation of photographers including Andreas Gursky, Candida Höfer, and Thomas Struth. Their legacy continues to shape photographic art, pushing boundaries through rigorous technique and thoughtful exploration of form, space, and society.

The West Coast continues to blaze as a vibrant hub for groundbreaking art, featuring an eclectic mix of legendary figures and dynamic newcomers. From Ed Ruscha’s iconic explorations of Hollywood’s graphic culture to Laura Owens’ innovative blend of digital and traditional painting techniques, these artists push creative boundaries with urgency and flair. Mark Bradford transforms urban detritus into layered abstractions, while Andrea Bowers channels activism into multi-medium statements on pressing social issues. The diverse talents extend from Catherine Opie’s poignant documentary photography to Liz Craft’s whimsical fusion of vintage craft and satire. With visionaries like John Baldessari, the godfather of conceptual art, and playful storytellers like Jay Stuckey and Matt Lipps, the West Coast art scene pulses with energy and fresh perspectives that are reshaping contemporary art’s landscape.

Spencer Finch, a master of light and color, unveils three striking installations this summer, transforming spaces at the Morgan Library, the 9/11 Memorial Museum, and Britain’s Turner Contemporary. At the Morgan, Finch abstracts the medieval Books of Hours into a vibrant, seasonal calendar of 365 colored squares that shift with the sunlight, creating an immersive, ever-changing experience. His Turner Contemporary work, inspired by “The Wizard of Oz,” explores the fading of color into gray at dusk, inviting viewers to contemplate perception and the passage of time. Meanwhile, at the solemn 9/11 Museum, Finch’s delicate watercolor homage captures the iconic “severe blue” sky of that tragic day, bringing light and contemplation to a subterranean space. Throughout, Finch’s devotion to materiality and concept shines through, demonstrating his fearless embrace of diverse mediums to illuminate our relationship with light, memory, and time.

Clement Greenberg, one of America’s most influential art critics, shaped the postwar art scene with his passionate advocacy for formalist, "non-objective" art. Championing figures like Jackson Pollock and the Washington Color School painters, Greenberg emphasized the importance of flatness and purity in painting, insisting that art should be about painting itself rather than subject matter. While his rigid views eventually faced backlash from artists pursuing new directions, his essays and critiques remain essential for understanding Abstract Expressionism and Modernism. Beyond criticism, Greenberg’s complex relationships with artists, his occasional curatorial work, and his lesser-known pursuits like poetry highlight a multifaceted figure whose legacy continues to provoke and inspire.

This summer, the American West offers a rich tapestry of art and culture, from Donald Judd’s expansive minimalist installations at the Chinati Foundation in Marfa, Texas, to SITE Santa Fe’s groundbreaking "Unsettled Landscapes" biennial, showcasing 40 artists exploring themes of land and migration. Explore mid-career and emerging contemporary photography at Gilman Contemporary in Ketchum, Idaho, or dive into the Southwest’s deep cultural heritage at the Arizona State Museum in Tucson, home to over three million artifacts. Don’t miss the artist-run Tops Gallery in Memphis, Tennessee, featuring innovative contemporary works, or the Aspen Art Museum in Colorado, renowned for its edgy international shows and soon-to-be unveiled Shigeru Ban-designed building. Whether it’s monumental sculpture, provocative installations, or historic textiles, this curated road trip promises unforgettable encounters with some of the region’s most compelling creative spaces.

Art parks blend creativity and nature, offering immersive experiences where sculpture and landscape coalesce. Francesca Cigola’s Art Parks: A Tour of America’s Sculpture Parks and Gardens highlights over 50 such sites, many just a short trip from New York City. From the sprawling 500-acre Storm King Art Center, showcasing monumental works by Maya Lin and Richard Serra, to the innovative Socrates Sculpture Park in Long Island City, founded on reclaimed industrial land, these destinations invite exploration of contemporary and historic masterpieces in open-air settings. The Metropolitan Museum of Art’s roof garden provides a unique urban vantage with rotating installations by leading artists, while the Rockefeller estate’s Kykiut Gardens reveal a storied collection amid elegant terraces. Just across the river, Grounds for Sculpture in New Jersey transforms former fairgrounds into a vibrant 40-acre haven featuring works by Tom Otterness and Kiki Smith. Perfect for sunny days, these parks offer fresh air, striking art, and inspiring escapes from the city bustle.

In an era dominated by digital imagery and virtual storage, a renewed fascination is emerging around the physicality of photography through the hybrid art form of photo-sculpture. From its 19th-century origins—where François Willème’s “photosculptures” combined multiple photographs to create three-dimensional portraits—to contemporary artists who treat photographs as tangible materials or “skins” stretched over sculptural forms, this crossover challenges traditional notions of photography as merely a reproducible image. Exhibitions revisiting the medium's materiality highlight its evolving role, from ephemeral snapshots to complex objects blurring the boundaries between image and physical presence. As advances in 3D printing and experimental techniques push photography beyond conventional limits, the art world grapples with defining where photography ends and new artistic forms begin, reflecting both a historical lineage and forward-looking innovation.

Art galleries hold a unique place, balancing art as both a commercial venture and a philosophical pursuit, where success isn't solely measured by profit but by cultural impact. This article highlights ten historically significant galleries—from Los Angeles' Ferus Gallery, which launched iconic artists like Warhol and Ruscha, to Paris' Iris Clert Gallery, famous for debuting Yves Klein’s International Klein Blue works, and New York’s Green Gallery, a stepping stone for major Pop artists. Despite their profound influence on the art world, each gallery faced challenges—from financial struggles and changing public interests to political controversies—that ultimately led to their closure, reminding us that even the most pioneering art spaces often have fragile lifespans.

Zöe and Joel Dictrow embody a passionate and thoughtful approach to art collecting that contrasts sharply with today’s high-stakes, speculative market. Living in a cozy West Village apartment filled with works from icons like Gerhard Richter to emerging talents, they cherish collecting as a lifelong joy and form of connection, constantly engaging with galleries, artists, and fairs worldwide. Their shared yet distinct tastes, reverence for gallery ecosystems, and commitment to supporting younger artists reflect a deep, personal relationship with art that transcends mere acquisition. Known for their meticulously curated annual open-house tours during the Armory Show, the Dictrows value the ongoing dialogue art fosters—not only within their home but across a vibrant, evolving community—as they navigate the challenges and changes of an increasingly frothy market with patience, insight, and a spirited love for discovery.

This summer, New York’s galleries burst with vibrant group shows and solo exhibitions that spotlight fresh perspectives and bold conceptual work. At David Zwirner, junior staff curate industrial-inspired sculptures, while Louise Lawler’s vinyl wall drawings at Metro Pictures riff on art appropriation. Zach Feuer brings classical themes back to painting with emerging talents, and Petzel Gallery’s “A Machinery for Living” playfully probes invisible systems of daily life. Todd Levin’s “Another Look at Detroit” beautifully traces the city’s complex history beyond decay, while Anton Kern explores the art of display itself. Rico Gatson’s kaleidoscopic homage to Black Panther history enlivens Bushwick, and BFFA3AE’s multimedia exploration of modern relationships revitalizes the Lower East Side. Meanwhile, Gagosian celebrates Duchamp’s revolutionary readymades, and Hauser & Wirth revisits the intersection of photography and sculpture with a playful nod to summer leisure. Together, these exhibitions capture the restless energy and inventive spirit that define NYC’s art scene in the dog days of summer.

Sol LeWitt’s pioneering work in conceptual art challenges the expectation that minimalism equates to cold, inaccessible creativity by revealing the vibrant intellectual labor behind deceptively simple lines, colors, and shapes. Central to his practice are written instructions and texts, like his seminal "Paragraphs on Conceptual Art," which laid the groundwork for the movement by emphasizing intuition, lyrical expression, and the viewer’s interpretation. LeWitt’s art often involves permutations of basic forms, inviting chance and variation through collaborative fabrication. His iconic wall drawings—ephemeral works created from precise instructions—transform any space into a canvas and embody the interplay between idea and execution. These works continue to captivate audiences, embodying an enduring legacy that redefines how art can engage the mind and space.

Summer is the perfect time to immerse yourself in vibrant culture and art, and boutique art hotels across the U.S. offer an extraordinary way to do just that. From San Francisco’s Hotel des Arts, where graffiti transforms every room into a unique urban gallery, to Louisville’s 21c Museum Hotel that merges a living museum with luxurious lodging, these destinations blend creativity and comfort seamlessly. Seattle’s Hotel Max celebrates the city’s punk rock roots with original photography and vinyl, while New York’s Gramercy Park Hotel showcases prestigious contemporary artworks and a lavish design by artist Julian Schnabel. In Miami, Hotel Beaux Arts combines sleek, art-inspired design with access to cutting-edge local museums, making each stay a culturally rich experience. Whether you crave bold street art, immersive installations, or elegant contemporary décor, these hotels offer guests an inspiring retreat that dazzles both the eye and the soul.

Before exploring Jeff Koons’s unprecedented full-building retrospective at the Whitney Museum, this engaging quiz offers a deep dive into the artist’s remarkable career and distinctive style. Known for blending suburban Americana with grand scale and high-end craftsmanship, Koons thrives in the liminal space between kitsch and high art. From his early days as a Wall Street stockbroker to the massive, meticulously fabricated sculptures like the iconic stainless steel "Rabbit" and the topiary "Puppy," the quiz uncovers fascinating facts about his studio, influences, and record-breaking auction sales. With playful references to his controversial exhibitions, artistic philosophy, and personal life, this article invites readers to test their knowledge of one of contemporary art’s most polarizing figures.

Artists have long harbored complex feelings toward art criticism, with figures like Cézanne and Delacroix expressing skepticism, yet many artists have also embraced the critic’s role themselves. Donald Judd, for example, wrote concise and candid reviews that sparked both controversy and admiration, while Mel Bochner saw criticism as a way to engage with and shape the art world beyond the studio. From Marsden Hartley challenging the superficiality of early 20th-century criticism to Barnett Newman and John Miller using their critical voices to deepen understanding of art, artist-critics have historically used their dual roles to influence audiences and art culture. Today, artists like Walter Robinson and Julia Dault continue this tradition, highlighting how artist-critics not only critique but also cultivate appreciation, challenging and expanding the dialogue around art itself.

This collection showcases a dynamic array of contemporary artworks that blend tradition with innovation, featuring Michelle Grabner’s mesmerizing geometric canvases inspired by domestic patterns, Leo Villareal’s LED American flag sculpture echoing iconic imagery, and Jon Rafman’s thought-provoking Post-Internet interiors cloaked in art-historical motifs. Boris Mikhailov’s haunting photographs capture the harsh realities of post-Soviet life, while Jasper Johns’ masterful lithographs pack decades of signature symbolism into a single plane. Meanwhile, Marianne Vitale’s rugged shingle paintings evoke the rugged spirit of the American frontier, transforming reclaimed materials into powerful statements of perseverance and heritage. Each piece invites the viewer into a vivid dialogue between history, identity, and artistic expression.

For two decades, Anita and Poju Zabludowicz have passionately built a stunning collection of some 3,000 artworks by emerging and mid-career artists, displayed across their London home, public exhibition spaces, and an artist residency in Finland. Anita’s recent whirlwind tour of Art Basel and Liste reveals her keen eye for fresh, surprising art—from a child-sized Louise Bourgeois spider at Hauser & Wirth to Josh Kline’s thought-provoking sculptures and Philipp Timischl’s intense digital collages. Highlights include Sam Falls’ poetic crate imprint cloth, Carsten Nicolai’s immersive unidisplay, and Jeff Koons’s vibrant Incredible Hulk installation. Despite the frenetic pace, Anita finds moments of delight in Gavin Brown’s dynamic lineup, the ambitious but time-demanding 14 Rooms project, and compelling performances by Otobong Nkanga and Bruce Nauman. Back in London, she reflects with excitement on new works by Samara Scott and the serene installations by Sam Falls, underscoring her lifelong commitment to championing inventive artists and unexpected discoveries.

Alexander S.C. Rower, head of the Calder Foundation and grandson of the legendary Alexander Calder, shares his top five favorite works at Art Basel 2014, blending deep art historical insight with a collector’s keen eye. From Dorothy Norman’s hauntingly intimate photograph capturing the complex dynamics of Alfred Stieglitz and Georgia O’Keeffe, to the subtle originality of Alina Szapocznikow’s sculptural lamp recalling Duchamp, Rower’s selections celebrate both historical resonance and contemporary innovation. He reflects on Julio Gonzalez’s rare sheet metal reliefs that echo his grandfather’s volumetric wire sculptures, grapples with Magali Reus’s provocative post-functional objects that challenge traditional sculpture, and marvels at the powerful modernity of Thomas Houseago’s large-scale "Striding Figure II." Together, these pieces showcase a rich dialogue across time, highlighting Art Basel’s dynamic and evolving art landscape.

Curator Dieter Buchhart’s exhibition “Poetics of the Gesture” at New York’s Nahmad Contemporary boldly reunites the expressive lines of Egon Schiele, Cy Twombly, and Jean-Michel Basquiat, challenging traditional linear art history by highlighting their shared mastery of gesture and drawing. Buchhart reveals fascinating parallels between Schiele’s intense early 20th-century figurative work, Twombly’s poetic, calligraphic forms of the 1960s, and Basquiat’s dynamic, conceptually rich graffiti-inspired creations of the 1980s. Central to the show is Basquiat—not just a Neo-Expressionist but a deeply conceptual artist whose art functions as a multidimensional “knowledge space,” bridging historical styles through his unique, body-driven mark-making. This fluid, transhistorical approach redefines how we perceive artistic influence and legacy, exploring the profound physicality, motion, and intellectual depth that bind these seminal artists across time.

Fred Tomaselli, a celebrated artist known for embedding hallucinogenic pills in his vibrant paintings, has shifted his approach after nearly a decade of sobriety, now exploring new ways to transport viewers to mystical realms. Working in his Brooklyn studio surrounded by meticulously organized nature cutouts, he creates psychedelic collages that blend natural elements with the chaotic overload of visual culture. His latest exhibit at James Cohan Gallery highlights the intersection of social and political commentary, transforming New York Times front pages into surreal scenes where tornado clouds become eyes and world leaders are reimagined as provocative figures. Tomaselli views his art as a form of editorial expression, layering his subjective voice over the ostensibly objective news, while embracing ambiguity and cosmic beauty amid modern turmoil. Influenced by a steady influx of news and media from all sides, his work captures the tension between reality and escapism, inviting us to reflect on how we mutate ourselves and our perceptions in an ever-shifting world.

The artist’s studio has long been a captivating and complex space, evolving alongside art itself from the Renaissance bottega, where artists worked under the patronage system, to the reflective studios of the 17th century and the ateliers and academies that shaped the 19th century. The industrial era revolutionized painting with portable materials that spurred en plein air landscapes, while the 20th century ushered in the "post-studio" condition where creation extended beyond solitary workrooms into dynamic collaborative and conceptual environments. Icons like Andy Warhol transformed studios into vibrant cultural factories, blending production with performance, a legacy amplified today by Jeff Koons’s highly professionalized art factory employing skilled specialists. This rich history reveals the studio’s enduring role as both a site of artistic labor and a symbol of creativity’s changing spirit over time.

47 Canal, a Lower East Side gallery founded by artist Margaret Lee and Oliver Newton, has become a hub for boundary-pushing contemporary art that feels like a glimpse into an unsettling near future. From postapocalyptic sculptures to surreal culinary works, the gallery is dedicated to putting artists first, fostering experimental practices without compromising creative vision. Emerging in the wake of the 2008 recession, 47 Canal has thrived through a commitment to community, artist-driven exhibitions, and a thoughtful balance between commerce and artistic integrity. Lee’s journey from hosting underground parties to running a respected gallery reveals a passionate devotion to nurturing innovative voices outside mainstream art markets, all while navigating the challenges of sustaining an idealistic and rigorous program in today’s art world.

Artists, much like X-Men, possess unique powers that set them apart from ordinary people, carrying the mission of saving humanity through their creativity despite facing skepticism and hostility. The article explores this idea through encounters with notable art-world figures like KAWS, who transformed graffiti roots into a global brand, and Julia Chiang, known for her evocative ceramic works. It highlights the dynamic New York art scene—from established icons to emerging voices at the innovative NEWD fair in Bushwick—where collaboration, risk, and a spirit of magic drive the vibrant ecosystem. Ultimately, the art world emerges as a vast, open playground fueled by ambition, luck, and a relentless desire for a piece of its ever-expanding fortune.

Mika Tajima’s work explores the intersection of production, performance, and the body within shifting industrial and technological landscapes. Rooted in her long experience in Bushwick’s evolving post-industrial environment, Tajima creates installations that blur sculpture and performance while engaging collaborators ranging from contortionists to philosophers. Her recent “Negative Entropy” series transforms industrial and digital soundscapes into woven textiles that visualize the mechanized rhythms of fading textile factories and rising information economies. Drawing on Modernist design and corporate architecture, Tajima interrogates how historical aesthetics and workspace forms shape human behavior and freedom in contemporary labor. Through projects like the collaborative New Humans and site-responsive performances, she examines the roles objects and people play in producing meaning and experience. Looking ahead to her upcoming solo show, Tajima continues to blend form and function, creating hybrid sculptures that reflect on health, leisure, and the evolving relationship between bodies and environments shaped by industrial technology.

Since the Renaissance, painting aimed to replicate the world as seen through human vision, but the early 20th century saw a revolutionary shift with Cubism, pioneered by Pablo Picasso and Georges Braque. Inspired by non-Western art and advancements in photography, Cubism abandoned traditional perspective to depict multiple viewpoints simultaneously, creating fragmented, intellectual compositions that challenged perception itself. This movement evolved from Analytic Cubism’s muted palettes and angular forms to Synthetic Cubism’s collage techniques, fundamentally altering the relationship between artwork and reality. Though initially controversial and derided by critics, Cubism’s radical ideas reshaped modern art and influenced literature, poetry, and music, leaving a legacy that continues to shape contemporary culture and our understanding of perception today.

Garry Winogrand, a prolific mid-century American street photographer, captured the restless energy and layered complexity of 1960s America with a fierce, almost manic dedication. Known for his instinctive eye and relentless pace—shooting tens of thousands of rolls of film without immediate review—Winogrand’s work reveals spontaneous moments charged with wild energy, visual rhymes, and unexpected juxtapositions. His photographs, ranging from bustling street scenes to intimate portraits, blur the lines between candid documentation and fine art, presenting a vibrant, chaotic tapestry of everyday life. Though occasionally controversial, especially his “Women Are Beautiful” series, Winogrand’s images provoke a mix of elation and discomfort that lingers, inviting viewers to grapple with the ambiguity of beauty, liberation, and voyeurism. His legacy as a “student of America” is immortalized through a Met retrospective that unearths his vast, unedited body of work, offering a fresh, nuanced look at a transformative era.

Summer invites us to soak up not only Vitamin D but also a hearty dose of art-world gossip, revealing a world as colorful and scandalous as the masterpieces it produces. From Thomas Hoving’s daring, borderline illicit acquisitions at the Metropolitan Museum of Art to Larry Rivers’ wild artist memoir filled with jazz, lovers, and bold escapades, these insider tales pull back the velvet curtain on the art industry’s most tantalizing secrets. Enter the gritty backrooms of 1980s New York galleries with Anthony Haden-Guest, uncover Andy Warhol’s manipulative charm through Bob Colacello’s intimate portrait, and explore the volatile rise and tragic fall of Basquiat via Phoebe Hoban’s incisive narrative. Peggy Guggenheim’s candid confessions reveal the passionate pursuits behind art patronage, while Amy Newman’s oral history of Artforum magazine chronicles fierce battles and iconic moments that shaped contemporary art discourse. Finally, Geordie Greig’s revealing memoir of Lucian Freud exposes the man’s wild, complex nature behind his celebrated works. Together, these vivid accounts form a mosaic of ambition, excess, and intrigue that bring the art world’s dazzling surface—and its shadowy depths—vividly to life.

Margaret Lee is a multifaceted force in the contemporary art world—an artist whose sculptures and installations transform mundane subjects like produce into charged, surreal statements; the founder of the avant-garde Lower East Side gallery 47 Canal; and the trusted studio manager for legendary artist Cindy Sherman. Though she never pursued formal art school training, Lee carved her path through apprenticeships and a keen, instinctual approach to creation, favoring clear ideas over endless experimentation. Her work reflects a fascination with desire, consumption, and the complex blend of her immigrant upbringing and Western cultural ideals, often using commercial imagery and familiar objects to explore how technology and capitalism shape identity. Balancing a sharp intellect with a playful irreverence, Lee captures a world in flux—where art, technology, and daily life collide in intriguingly unexpected ways.

From the historic halls of Europe’s Staatliche Kunstakademie Düsseldorf, founded well before American independence, to the cutting-edge contemporary programs emerging in cities like Beijing and Johannesburg, the world's most influential art schools offer diverse and dynamic paths for aspiring artists. Whether it’s Frankfurt’s internationally minded Städelschule with its unique Mesterschüler(in) honor, Finland’s interdisciplinary Aalto University blending art and science, or London’s ultra-competitive Royal Academy of Arts with its state-of-the-art facilities, each institution brings a distinct legacy and vision. Meanwhile, China’s Central Academy of Fine Arts stands out for its rigorous selection and specialized graduate programs, and South Africa’s Wits School of the Arts champions artistic innovation across the continent. Across continents, these renowned institutions share a commitment to nurturing visionary talent and shaping the future of art on a global scale.

This article celebrates a diverse array of contemporary and modern artists, each offering a unique lens on creativity and cultural commentary. Alicia McCarthy shines with her vibrant, mood-lifting rainbow paintings rooted in the Mission School’s fusion of street art and gallery aesthetics. Bernard Buffet’s postwar figuration reemerges from obscurity, his poignant vanitas works hinting at a lasting legacy beyond Picasso’s shadow. Robert Heinecken’s provocative photo-collages dissect consumer culture with a bold, surreal intimacy, while Daniel Buren’s signature vertical stripes meld art with architectural space, now electrified through fiber optics. Paul McCarthy darkly subverts Disney nostalgia, transforming iconic imagery into unsettling reflections on innocence lost. Lastly, Allyson Viera’s haunting camera obscura captures the monumental construction of the Freedom Tower, inviting us to reconsider perspective and the very act of seeing. Together, these artists challenge, enchant, and redefine the boundaries of visual experience.

Juliette Binoche, acclaimed French actress and artist, brings a uniquely authentic touch to her latest film *Words and Pictures*, where she plays Dina, an art teacher grappling with rheumatoid arthritis that impacts her painting. Uniquely, all the artwork seen in the movie is created by Binoche herself, showcasing her real-life talent as she adapts her style to reflect her character’s evolving physical challenges. This creative choice sets the film apart from typical art-centric movies, where on-screen art is often produced by others or only briefly shown. Binoche’s long-standing passion for painting, previously featured in her 1991 film *The Lovers on the Bridge*, lends a genuine depth to her role, offering audiences a rare glimpse of her artistic skill alongside her celebrated acting career.

New Yorkers are currently experiencing a vibrant selection of documentary films that offer intimate and compelling portraits of contemporary artists both celebrated and overlooked. From the visionary environmental architect Eugene Tssui, who blends futurism with eccentricity, to Llyn Foulkes, a cantankerous septuagenarian revising his art as he prepares for a New York comeback, these films pull back the curtain on creative lives. The gripping tale of Chinese dissident Ai Weiwei reveals his harrowing house arrest amid political oppression, while Carolee Schneemann’s groundbreaking feminist art challenges taboos with visceral honesty. Minimalist master Sol LeWitt’s meticulous process is revealed with quiet reverence, and the story of Fritz, an unnoticed painter persevering against the odds, exposes the exclusionary nature of the art world. “Sign Painters” nostalgically memorializes a fading craft, capturing the intimate skill behind a lost American tradition. Together, these documentaries invite viewers into the backstage drama of art, revealing both its power and its struggles in today’s world.

Throughout the 20th century, avant-garde artists boldly proclaimed their visions through manifestos that defined their movements, but today’s contemporary art resists such clear-cut declarations, often relying on critics to label trends like conceptual art or new media. Instead of pioneering aesthetic agendas, modern artist manifestos tend to be defensive, framing complex ideas to help audiences grasp works that diffuse traditional boundaries and resist market forces. Artists like Seth Price, Hito Steyerl, Slavs and Tatars, Liam Gillick, Artie Vierkant, and Andrea Fraser exemplify this shift, merging provocative texts with their art to challenge notions of originality, language, social hierarchy, and the tangled relationship between art and economics. Their writings tether elusive, decentralized artworks to critical discourse, inviting deeper reflection on how art functions in an increasingly fragmented, image-saturated, and market-driven world.

On a cold night in 1970 New York, a life-changing moment led Bernie Taupin—best known as Elton John’s longtime songwriting partner—to rediscover a passion far beyond music: modern art. Having grown up surrounded by poetry and music, Taupin’s unexpected immersion in the city’s galleries ignited a creative fire that would later see him trade lyrics for brushstrokes. Now settled in California, he channels his energy into bold, abstract paintings that invite viewers to find their own meanings, distinct from his storytelling in song. With influences from the great Modernists and a keen eye for color and mood, Taupin embraces the physicality and freedom of painting, relishing this new artistic journey while acknowledging the challenges and preconceptions of moving from musical fame to visual arts. Ultimately, he defines himself simply as an artist—driven by passion, curiosity, and a relentless desire to create.

Pakistani artist Imran Qureshi’s signature perylene maroon paint evokes both the visceral impact of blood and the delicate beauty of traditional miniature painting, creating a powerful dialogue between violence and rebirth. His work spans monumental site-specific installations and tiny, intricate pieces, often merging these extremes to explore themes of death, beauty, and resilience. Whether sprawling across the Metropolitan Museum of Art’s rooftop or responding to Zaha Hadid’s architectural spaces, Qureshi’s art invites viewers into a haunting yet poetic reflection on global violence and human fragility. By weaving together abstract marks and precise hand-painted foliage, he transcends geographic and cultural boundaries, encouraging personal, emotional responses that unify diverse audiences through shared experience.

The rich history of alternative art spaces in the United States, flourishing in the vibrant experimental spirit of the 1970s, reveals a legacy of innovation and community-driven creativity. From Allen Ruppersburg’s immersive Al’s Grand Hotel to artist-run hubs like Food in Soho and The Kitchen in New York, these spaces challenged commercial norms by prioritizing political engagement and artistic discourse over market considerations. Despite drastic funding cuts during the Reagan era that shuttered many such venues, institutions like Artists Space, Franklin Furnace, and the Mattress Factory have endured, nurturing groundbreaking work across disciplines. These spaces fostered legendary figures in performance, conceptual art, and experimental media, while others like The Woman’s Building catalyzed feminist artistic movements. Spanning cities from New York to Seattle and Philadelphia, these alternative venues continue to incubate and promote visionary art, ensuring that the spirit of creative risk and cultural relevance thrives for future generations.

Showcasing a dynamic range of contemporary art, this collection highlights innovative approaches from a diverse group of artists. Sara Cwynar’s immersive collaged photographs challenge spatial perception, while Matthew Brandt redefines photography with unconventional materials like dust and lake water. Dave Hardy’s minimalist sculptures use found materials to create gravity-defying forms, contrasting with Summer Wheat’s bold, textured paintings that explore the beauty in imperfection. Xaviera Simmons interrogates history and identity through multimedia cycles, and David X. Levine impresses with monumental colored pencil and collage works. Lena Henke blurs boundaries between sculpture and photography with her unique transparent objects, and Douglas Melini’s meticulously layered paintings captivate with rich textures and an earthy palette. Together, these artists push the limits of medium and meaning, making for an engaging and thought-provoking exhibition.

David Lynch, hailed as "the first popular Surrealist," has crafted a unique artistic legacy that bridges unsettling cinema and evocative visual art. Beginning as a painter before transitioning to film, Lynch's work—from his cult classic Eraserhead to groundbreaking projects like Twin Peaks and Mulholland Drive—blends darkness and psychological depth with an oddly humorous surrealism. His paintings and drawings extend this sensibility, using fragmented text and symbolic imagery to evoke narrative mysteries and dream logic, inviting viewers into a space where foreboding lingers without resolution. Influenced by transcendental meditation, Lynch embraces darkness not as an end but as a gateway to infinity, creating minimalist, static compositions that pulsate with hidden meanings and cosmic depths. This multifaceted approach to art reveals a visionary who continuously explores the uncanny intersections of mind, dream, and reality.

April’s art scene proves there’s no slowing down after March Madness, with vibrant events from London to New York celebrating both established legends and rising stars. Highlights include the spirited Annual Art Quiz supporting Parasol Unit, Shezad Dawood’s intriguing new exhibition blending film and sculpture, and Calvert 22’s tribute to groundbreaking Perestroika-era artist Timur Novikov. Meanwhile, London’s Tate Modern showcases powerful Russian revolutionary posters, and the Serpentine Gallery debuts a playful, design-focused exhibition curated by Martino Gamper. Across the Atlantic, New York embraces a European flair with Pierre Soulages’s retrospective and a buzzing Free Arts Auction spotlighting emerging talents, all woven together by a shared passion for art history, innovation, and cultural exchange.

Art has the power to inspire and provoke, but some pieces take a delightfully strange turn, blending humor with absurdity to challenge our expectations and authority. From Garry Winogrand’s uncanny portrait of a boy resembling his sheep, to David Shrigley’s bleakly comedic prison cartoon, and Jeff Koons’s turducken-like stacked sculptures that revel in cliché, these works invite queasy laughter and reflection. Janice Kerbel’s theatrical “Kill the Workers!” plays with industry jargon, while Paul McCarthy’s unsettling Santa with a butt plug and Cindy Sherman’s mischievous Mrs. Claus twist festive iconography into something both hilarious and discomforting. Navid Nuur’s interactive foam brick implicates viewers in art’s fragility, Amy Sillman caricatures art-world pretensions with witty cartoons, and Gelitin’s mysterious roast chicken sculpture leaves you questioning reality. Finally, Anthea Hamilton’s pasta-covered “Manarch” brings a quirky, edible twist to classic Italian imagery—this collection celebrates art that makes us laugh, squirm, and think all at once.

Emerging as a radiant counterpoint to the austere Minimalism dominating 1960s New York, the Light and Space movement blossomed in Southern California with a unique focus on immersive, sensory experiences. Characterized by ethereal works that manipulate light, transparency, and reflection, artists like James Turrell, Doug Wheeler, and Robert Irwin transformed everyday materials using innovative, space-age fabrication techniques influenced by surf culture and industrial design. Celebrated for their playful, boundary-dissolving sculptures that invite viewers into an active relationship with art, Light and Space challenged the dominance of Minimalism’s rigid geometries by emphasizing atmosphere and perception. Rooted in California’s technological advances and aesthetic sheen, the movement left an indelible mark on post-Minimalism and continues to inspire contemporary artists exploring light, environment, and the act of seeing itself.

This article highlights a curated selection of influential contemporary and historical artists whose work spans photography, painting, and conceptual art. From Rochelle Feinstein’s vibrant, mixed-media pieces and David Benjamin Sherry’s ecologically charged, color-saturated landscapes, to Annette Kelm’s cerebral yet elegant commercial-photography-infused imagery, the featured artists exemplify diverse and compelling practices. The legacy of icons like Jennifer Bartlett’s intellectual grid-based paintings, Morgan Fisher’s avant-garde film explorations, and Garry Winogrand’s gritty New York street photography is celebrated alongside rising stars shaping the future of art, offering readers a captivating glimpse into the rich, evolving dialogue across artistic disciplines.

Sarah Lucas, a prominent figure in contemporary British art, reflects on her unconventional path—from dropping out of high school to studying art and collaborating with fellow YBA Tracey Emin—to her bold, often provocative works that challenge traditional aesthetics and gender norms. Known for her large-scale sculptures and installations infused with off-color wit and autobiographical elements, Lucas continues to push boundaries, recently earning the honor of representing Britain at the 2015 Venice Biennale. Her work blends theatricality, personal narrative, and social commentary, with pieces ranging from her iconic “bunnies” to evolving bronze “Nuds,” showing a journey from abjection to empowerment. Lucas also emphasizes the importance of context, collaboration, and life itself as integral to creativity, offering an insightful glimpse into her evolving practice and the vibrant contemporary art scene in Britain.

As graduation nears and back-to-school season looms, we take a deep dive into the world’s top 10 Masters of Fine Arts programs, highlighting prestigious institutions like Yale, Columbia, Goldsmiths College, and RISD. These programs, though pricey, offer unmatched opportunities for aspiring artists to connect with influential curators, critics, and galleries, blending rigorous technical skill-building with innovative interdisciplinary approaches. From Yale’s cutting-edge eco-friendly facilities and high-profile faculty to Bard’s pioneering low-residency model and UCLA’s affordable, acclaimed "New Genres" program, these MFAs pave diverse paths into the art world. Whether your focus is traditional painting, sound art, or digital media, these elite programs are launching pads for the next generation of creative visionaries.

Since 1974, when John Szarkowski introduced New Japanese Photography to Western audiences, a distinct and bold tradition of Japanese photographers has flourished, known for their experimental and fleeting glimpses into reality. From Gen Aihara’s abstract silver gelatin prints to Naoya Hatakeyama’s explosive quarry blasts captured with kinetic energy, and Yuichi Hibi’s gritty nocturnal cityscapes of New York, these artists push the boundaries of photographic art. Iconic figures like Daido Moriyama embrace a raw, blurry aesthetic that captures the restless spirit of urban night walks, while Tokihiro Sato uses long exposures and light manipulation to create whimsical trails of illumination. Yasumasa Morimura’s transformative self-portraits explore cultural identity through playful impersonations of Western icons, and Hiroshi Sugimoto’s ethereal seascapes blur the lines between memory and reality. Together, these masters reveal a spectrum of Japanese photography that is simultaneously intimate, provocative, and deeply poetic.

Tracey Emin’s provocative sculpture *My Bed* (1998), featuring her untidy, unmade bed with scattered personal items, sparked intense debate when first exhibited at London’s Tate in 1999, challenging conventional notions of what constitutes art. This work is deeply rooted in the tradition of the "readymade," a concept pioneered by Marcel Duchamp in the early 20th century, who transformed everyday objects like urinals and bicycle wheels into autonomous artworks, shifting the focus from technical skill to the artist’s idea and choice. From Duchamp’s radical interventions through Dada and Surrealism to Pop Art’s embrace of consumer goods and beyond, the readymade has continuously redefined art’s boundaries, inspiring contemporaries to elevate the mundane and blur distinctions between art and life. Today, artists like Isa Genzken and Haim Steinbach continue this lineage, arranging found objects and consumer goods into new visual dialogues, while global perspectives on appropriation and reuse expand the conversation beyond Western art history.

Art museums are innovating to engage audiences increasingly captivated by screens, blending technology with traditional art experiences in inventive ways. From Scott Stulen’s guerrilla video festivals redefining public viewing to Shelley Bernstein’s crowd-sourced exhibitions that empower visitors as curators, these leaders are transforming engagement. Jake Barton’s interactive touchscreen installations merge technology with timeless art appreciation, while Amy Heibel revives LACMA’s Art + Technology Lab to pair artists with cutting-edge corporations. Shyam Oberoi brings deep digital expertise to the Dallas Museum of Art, poised to boost its online presence, and Heather Corcoran directs Rhizome’s pioneering efforts to preserve and critically examine digital art’s evolving landscape. Together, these visionaries are forging dynamic intersections of art, technology, and audience participation for the digital age.

Ceramics, an ancient medium with roots dating back tens of thousands of years, is experiencing a vibrant contemporary renaissance in the art world. From major exhibitions like the Whitney Biennial to innovative gallery shows, artists are redefining ceramics beyond traditional notions of craft, embracing its tactile authenticity and hand-imprinted uniqueness in contrast to sleek, conceptual art. This revival is driven by diverse creators such as Alice Mackler’s abstract forms, Sara Magenheimer’s hybrid assemblages, and Shinichi Sawada’s outsider art figures, all exploring ceramics as a versatile, expressive medium. The surge also highlights shifting art world dynamics, with many ceramicists being women or older artists traditionally marginalized, now gaining recognition. Whether through Jennie Jieun Lee’s striking glazed masks, Sterling Ruby’s sedimentary, graffiti-influenced vessels, or Liz Craft’s eerily lifelike snakes, contemporary ceramics reveals a rich interplay between history, personal narrative, and avant-garde experimentation, making fired clay a compelling force in today’s art landscape.

Dive into a captivating world where art blurs the line between reality and illusion, featuring ten mesmerizing works that challenge your perception. From Carlos Cruz-Diez's vibrant, three-dimensional color planes to Sheree Hovsepian’s floating shapes that tease the senses, each piece invites you to see the ordinary in extraordinary ways. Explore Robert Heinecken’s surreal photographic overlays, Tomma Abts' mind-bending geometric abstractions, and Aaron Young’s enigmatic floating figures evoking iconic faces. Sara Greenberger Rafferty’s playful nod to vintage trick photography, Adam McEwen’s hyper-realistic graphite sculptures, and Barbara Kasten’s intricate mirror setups further deepen the spell. Ivan Navarro’s infinite light sculptures and Cerith Wyn Evans' poetic interplay of space conclude this dazzling lineup, making you question where illusion ends and reality begins.

San Francisco-based artist Matt Lipps explores the evolution of photography through his innovative hybrid photo-sculptures that blend collage, assemblage, and seriality. Drawing from vintage photography manuals and his own archival negatives, Lipps stages cutout images from 1970s instructional books into theatrical, three-dimensional tableaux, which he then re-photographs, creating layered narratives that challenge our digital age’s obsession with image reproduction and remix culture. His work reflects on the history and intimacy of photography, bridging analog processes with contemporary image saturation, while inviting viewers to engage in playful recognition and reinterpretation of iconic and everyday photographs. Through this tactile, thoughtful approach, Lipps revitalizes the ways we see and interact with photographic history, memory, and meaning.

The AIPAD Photography Show in New York showcases the vast and evolving scope of photography, from 19th-century hand-colored prints to cutting-edge digital works, all while celebrating the medium’s enduring connection to history, science, and reality. Highlights include Raphaël Dallaporta’s vivid autopsy images that capture the fleeting natural colors of organs, Weegee’s stark urban crime scenes alongside an iconic Groucho Marx portrait, and Zhang Wei’s hyper-real Renaissance-inspired digital portraits. The fair also features Sameer Makarius’s neo-primitivist Buenos Aires scenes, Robert Heinecken’s innovative magazine collages, and Jeffrey Wolin’s intimate diptychs chronicling lives over time. Keith Smith’s mixed-media photo reworkings, Mark Power’s moody landscapes paired with British shipping forecasts, and Ayano Sudo’s ethereal missing persons-inspired self-portraits add further depth. Daniel Blau’s mini-exhibition “Consequence: Photographic Sequence” poignantly underscores photography’s power to freeze and sequence moments across time, reaffirming its unique role in a rapidly changing media landscape.

In recent years, museums across America have embraced a new wave of digital leadership, with innovative roles like "Curator of Audience Experiences" and "Director of Digital Engagement" transforming how art is experienced and shared. Trailblazers like Lauren Cornell at the New Museum are pushing the boundaries of new-media art and internet culture through groundbreaking programs like the Triennial and the “Seven on Seven” conference, while Sree Sreenivasan at the Met is revolutionizing visitor interaction with cutting-edge apps and digital storytelling. At MoMA, Paola Antonelli blends design with digital innovation, introducing provocative projects and even video games into the museum's collection. Meanwhile, New Museum’s Julia Kaganskiy is creating a vibrant incubator for art-tech collaboration, and Whitney’s Sarah Hromack champions the digital evolution of the museum experience—from rebranding websites to encouraging “museum selfies” as a form of engagement. Together, these visionaries are not only reshaping the future of museums but also forging dynamic connections between art, technology, and diverse audiences worldwide.

The São Paulo International Art Fair, SP-Arte, set in Oscar Niemeyer’s iconic pavilion, continues to affirm São Paulo as a vital hub of contemporary art in Latin America. This year's edition showcased a rich mix of established international galleries and exciting newcomers, presenting an impressive array of works from modern masters like Calder and Judd to vibrant contemporary artists such as Anna Bella Geiger, Pae White, and Oscar Murillo. Highlights included thoughtfully curated solo exhibitions, dynamic group installations, and striking sculptures that blended craftsmanship with conceptual depth. From bold Italian 1960s showstoppers to delicate Brazilian wooden sculptures and poignant political floor pieces, SP-Arte offered a compelling dialogue of textures, forms, and ideas. The fair’s blend of historical significance, artistic diversity, and cutting-edge presentations ensures it remains a must-visit event for collectors, curators, and art lovers worldwide.

Jens Hoffmann’s latest exhibition, "Other Primary Structures," revisits the groundbreaking 1966 show "Primary Structures" at the Jewish Museum, challenging its Western-male-centric legacy by incorporating diverse global perspectives and exploring the evolving role of contemporary art exhibitions as cultural events. This revival sparks a broader conversation about exhibition history, highlighting transformative shows like Harald Szeemann's "When Attitudes Become Form," Kynaston McShine's "Information," and Jean-Hubert Martin's "Magiciens de la Terre," each redefining artistic boundaries and curatorial practice through political engagement, global inclusion, and experimental formats. From the politically charged border-crossing projects of "inSITE" to the socially interactive works in Nicolas Bourriaud’s "Traffic," these landmark exhibitions have not only shaped art history but continue to influence how audiences and artists experience contemporary art today.

The annual Lucky Draw benefit at SculptureCenter in Long Island City is a thrilling fast-paced raffle-auction where every attendee is guaranteed to take home a unique artwork by some of New York's most exciting emerging artists. This year’s event features an eclectic mix of pieces—from Cara Benedetto’s enigmatic photo documents and A.K. Burns’s influential nonprofit collaborations to Stacy Fisher’s witty sculptures inspired by minimalism, and Ethan Greenbaum’s textured urban landscapes. Highlights include James Hoff’s conceptually rich umbrella handles, Park McArthur’s thought-provoking repurposed wheelchair ramp signs, and a rare Claes Oldenburg print of a playful monumental sculpture. Other standout works include Letha Wilson’s boundary-defying mixed media, B. Wurtz’s found-object sculptures challenging artistic norms, and David Berezin’s quirky “Babies in Baja,” a fun and unexpected conversation starter. Whether you're a seasoned collector or a newcomer, this event promises both artistic discovery and the thrill of the draw.

The recent uproar sparked by art flipper Stefan Simchowitz sheds light on the often opaque workings of the art market, revealing how deeply intertwined commerce and creativity have always been. Far from a simple battle between pure and compromised art, the reality is a complex ecosystem where power brokers like dealers, museums, and digital communities shape trends and value. A striking trend emerging from this milieu is what the author dubs "Zombie Formalism"—a revival of reductive, abstract painting styles once championed by critics like Clement Greenberg, now resurrected with a contemporary twist by artists such as Jacob Kassay and Lucien Smith. These works, elegant yet commercially savvy, embody a simulacrum of originality that plays deftly into market dynamics, blending a chic aesthetic with subtle philosophical undertones. Even as this movement provokes debate, it reflects the enduring dance between originality, value, and cultural capital in the evolving art world.

Paul P.'s latest show at Broadway 1602 in Manhattan invites viewers into what he calls an "aesthetic interior," merging Victorian Anglo-Japanese-inspired mahogany furniture, woven wool rugs derived from collaged paper, and abstract paintings that together create a sensuous, immersive atmosphere. Drawing from historical periods like the interwar "Bright Young People" and the late Victorian era, Paul intertwines themes of sensuality, romance, and coded queer histories, crafting a space where art transcends the canvas to become a lived experience. His works blur the lines between function and sculpture—delicate desks and stools that beckon interaction yet defy conventional use—and explore the evocative light and architecture of places like Venice. Rooted in deep fascination and a commitment to love as a driving force in art, Paul’s pieces invite us to reconsider the emotional and aesthetic potential of interiors, history, and form in contemporary art.

Qatar and the United Arab Emirates have transformed from traditional Bedouin societies into vibrant global art powerhouses through ambitious cultural strategies fueled by vast oil wealth. Both nations are rapidly developing world-class museums and cultural districts, often collaborating with renowned Western architects and institutions. Landmark projects like Abu Dhabi’s Guggenheim and Louvre on Saadiyat Island showcase cutting-edge architecture alongside extensive collections spanning local and global art histories. Doha’s pioneering museums highlight Islamic and modern Arab art, complementing the Gulf’s quest to position itself as a dynamic center of the art world. Despite challenges such as labor controversies and commercial pressures, these visionary endeavors promise to reshape the cultural landscape of the region for decades to come.

Artist residencies serve as vital milestones in an artist's career, offering immersive experiences that foster creative growth and industry recognition. From the rustic, nine-week program at Skowhegan School of Painting and Sculpture to the tech-forward, open-ended residencies at Eyebeam, these programs vary widely in location, duration, and focus. Historic residencies like the MacDowell Colony and the Chinati Foundation provide serene environments steeped in artistic legacy, while international opportunities such as the Rome Prize Fellowship and the DAAD Artist-in-Residence program encourage cross-cultural exchange and dialogue. Unique models like The Land in rural Thailand emphasize community engagement and architectural experimentation, redefining what an artist residency can be. Together, these prestigious residencies form a diverse tapestry of support and inspiration essential for artists dedicated to advancing their craft and vision.

The 2014 Whitney Biennial has met with mixed reviews, seen as exhausting and uneven by critics who find it apolitical and overly familiar. Yet beneath the critique lies a fascinating exploration of self-effacement and generosity among artists and curators, with many works highlighting collaboration and re-presentation rather than ego-driven shows. From Gaylen Gerber’s minimalist wall-mimicking painting juxtaposed with Trevor Shimizu’s provocative canvases, to Diego Leclery’s playful live game of Civilization as performance art, the exhibition presents a thoughtful, if subtle, meditation on art’s histories and purposes. Female painters dominate the gestural abstraction scenes, prompting reflections on gender and artistic identity, while Laura Owens’s imaginative blend of cartoon imagery and abstract illusionism humorously captures art’s enduring resilience. In a postmodern world, the biennial invites visitors to immerse themselves multiple times, with the best experience coming from the personal act of looking.

From the raw rebellious spirit of 1960s Swiss counterculture captured by Karlheinz Weinberger to the boundary-blurring abstractions of Amy Sillman and the hauntingly elegant portraits by Paul P., this curated selection showcases a dynamic range of contemporary art that savvy collectors will crave. Highlights include Ben Schumacher’s intellectually charged Post-Internet installations, Liliana Porter’s masterful exploration of space and light, and Ed Atkins’ unsettling hyperreal prints that challenge perceptions of the body and technology. These works, tied together by their innovative approach and critical acclaim, offer a compelling glimpse into the evolving landscape of modern art, featuring artists represented in major institutions and high-profile biennials worldwide.

The "Art Post-Internet" exhibition at Beijing’s Ullens Center for Contemporary Art explores a groundbreaking movement that transcends traditional internet art by using digital tools to create works both online and in physical form. Unlike early Net Art, which existed solely on the web, post-Internet artists like Artie Vierkant, Oliver Laric, Petra Cortright, and Seth Price blur the lines between virtual and real worlds, examining our evolving relationship with images, authorship, and digital culture. This generation harnesses the reproducibility and fluidity of online visuals to produce sculptures, prints, videos, and interactive objects that reflect the complexities of contemporary media and identity. As these artists navigate the interplay of digital and physical realms, their work challenges us to consider how art will endure and transform alongside ever-changing technologies, making post-Internet art a vivid expression of our current moment.

In 1968, Lawrence Weiner revolutionized art by declaring that the artist’s role ends with the concept, leaving the realization and interpretation to the viewer. Moving away from traditional materials, he transformed language itself into sculpture, creating over 1,000 text-based pieces that challenge how we perceive the world around us. From spray-paint instructions to poetic propositions etched onto manhole covers and historic towers, Weiner’s work democratizes art, dissolving boundaries between creator, object, and audience. Blending philosophy, performance, and public installations, his bold, materialist approach invites us all to participate in completing the artistic experience, turning everyday spaces into thought-provoking canvases that resonate far beyond conventional art forms.

The Whitney Biennial's final show in its iconic Breuer building invites viewers to dive into a provocative and diverse array of contemporary artworks that boldly merge art and life. From Zoe Leonard’s mesmerizing camera obscura transforming a gallery window into a living painting of the city, to Bjarne Melgaard’s audacious, irreverent installation overflowing with provocative imagery, the exhibition pulses with unexpected energy. Literary fans will be drawn to the late David Foster Wallace’s intimate notebooks, offering a glimpse into his creative mind and unfinished novel. Laura Owens stuns with her monumental, multi-technique painting that demands awe and closer inspection, while French artist Diego Leclery blurs the boundaries of art and endurance by playing a never-ending game of "Civilization" live for the duration of the Biennial. Together, these works challenge visitors to reconsider art’s role in daily life, all set against the backdrop of the Whitney’s final days in its storied home.

Marking the centennial of Marcel Duchamp’s provocative 1917 readymade sculpture, contemporary artists continue to redefine sculpture by transforming everyday commercial objects into powerful artistic statements. Building on Surrealist and Minimalist traditions, they layer found materials with rich narratives, personal histories, and cultural critiques, inviting viewers to look beyond appearances and engage intellectually with the works. From Jason Dodge’s subtle juxtapositions and Darren Bader’s playful use of perishables to Danh Vo’s historically charged artifacts and Timur Si-Qin’s commentary on meme culture, today’s sculptures challenge perceptions, merging the mundane with the conceptual in a post-conceptual landscape where anything—shopping bags, burritos, or even a disassembled chandelier—can become a meaningful emblem of our complex social, political, and digital world.

Now in its 27th year, The Art Show by the Art Dealers Association of America continues to captivate art lovers with its expertly curated and intimate format, featuring 72 booths spotlighting both emerging talents and established icons. Highlights include diverse presentations such as Kõji Enokura’s postwar Japanese assemblages at Blum & Poe, Roxy Paine’s intricate ink drawings at Marianne Boesky, and Diane Arbus’s poignant couple portraits at Fraenkel Gallery. The fair also showcases Jeff Wall’s meditative lightboxes, Fairfield Porter’s lyrical realism, and Petah Coyne’s evocative mixed-media installations. From H.C. Westermann’s handcrafted wood sculptures to Dana Schutz’s playful yet masterful charcoal works and Charles LeDray’s painstakingly detailed miniatures, the event offers a rich tapestry of creativity that honors both tradition and innovation in contemporary art.

In early 2014, the London art scene buzzed with excitement, from George Condo’s striking cubist portraits at Simon Lee Gallery to Daniel Lefcourt’s mesmerizing “accidental cryogenics” paintings in the East End and Mark Flood’s textured lace artworks at Modern Art. The city’s auction houses stirred lively debate, spotlighting emerging talents like Israel Lund and David Ostrowski, while the evolving art market continued to intrigue collectors and commentators alike. Amidst the galleries and soirées, an unexpected neighborly dispute over a neon artwork by Shezad Dawood added a colorful twist to the week. The art-rich atmosphere was mirrored by a cultural homage at the Sochi Olympics, where Malevich, Kandinsky, and Chagall’s visionary works were celebrated in spectacular ceremonies, offering a poignant reminder of Russia’s profound artistic heritage beyond the headlines.

Discover how these visionary artists blur the lines between street art and fine art, bringing the raw energy of graffiti into galleries around the world. From Brazilian artist Cabelo’s vibrant, colorful lines to Alexandre Orion’s compelling blend of photography and street interventions, and French “photograffeur” JR’s monumental urban portraits, each creator reinvents the cityscape as their canvas. Meanwhile, pop culture influences leap to life in Kenny Scharf’s playful characters, and the iconic legacies of Jean-Michel Basquiat and Keith Haring continue to inspire new generations. Dive into this dynamic fusion of art and urban expression, complete with unique projects like Rona Yefman’s interactive graffiti kit inviting you to join the movement.

As the art world shifted from Paris to New York after the war, the New York School of artists sought to distinguish themselves from European Surrealism, yet undeniable connections between the two movements remain. Both celebrate spontaneity and the subconscious, influencing contemporary art that blurs the line between Surrealism and Abstract Expressionism. Works by artists such as Joanne Greenbaum, Anna Ostoya, Jill Moser, Malcolm Morely, Richard Anuszkiewicz, and Denise Kuperschmidt illustrate this dynamic interplay through gestural strokes, abstract forms, and explorations of color, emotion, and psychological depth, showcasing the ongoing dialogue between automatism, expression, and minimalism in modern art.

Portraiture has evolved dramatically from its origins glorifying the powerful elite, shifting focus from status and authority to capturing emotion, personality, and everyday life. Beginning in the late 19th century as artists moved beyond illusionism and traditional subjects, portraiture embraced new perspectives, fueled by photography’s ability to capture exact likenesses. Contemporary artists now explore diverse techniques and media, from Deborah Brown’s impressionistic military portrait that questions genre conventions, to Chuck Close’s photorealistic self-portraits celebrating every imperfection. Meanwhile, Alex Katz experiments with vibrant printmaking and familiar subjects, Paul Jung captures fleeting emotion through photography, and Thomas Hoepker combines multiple views in one image of Andy Warhol, transforming photography into a tool for reimagining reality. Maxine Smith’s dynamic, color-rich portrayals of everyday people continue to challenge idealization, demonstrating how portraiture remains a deeply expressive and evolving art form.

Discover the hidden wonders within five captivating artworks on Artspace, where zooming in reveals intricate details and surprising stories. From Joe Fig’s miniature diorama capturing Chuck Close’s studio to Gonkar Gyatso’s vibrant collage of brand stickers and Buddhist imagery, each piece invites a closer look. Werner Bischof’s contact sheet transports you to the majestic Swiss Alps, while Wangechi Mutu’s collage layers culture and nature on the female form with striking complexity. Lastly, Huang Yan’s work blends traditional Chinese painting with living identity through body art. Dive into these selections and uncover the rich textures and secrets waiting just beneath the surface.

Blue has long held a profound and multifaceted significance in art, symbolizing everything from royal prestige to spiritual transcendence, the vastness of the sky, and even raw human emotion. Historically, ultramarine blue, made from precious lapis lazuli, was reserved for royalty and sacred figures, while artists like Wassily Kandinsky and Barnett Newman used blue to evoke heavenly and immersive experiences. The color also captures the awe-inspiring beauty of the sky, as seen in Joan Miró’s dreamlike works and contemporary installations by James Turrell and Ólafur Elíasson. Yet, blue is not just symbolic; artists like Yves Klein and Andy Warhol have explored it as a pure, formal element, stripping it down to its essence. Beyond its lofty meanings, blue also powerfully conveys sorrow and melancholy, from Picasso’s somber Blue Period to Tracey Emin’s intimate expressions of grief and loss, revealing the color’s enduring emotional depth across centuries of art.

Tony Feher’s new installation at ACME in Los Angeles transforms everyday objects like martini glasses, ashtrays, and antique drinking vessels into a vibrant suspended rainbow of color and form. Known for his minimalist yet richly rhythmic use of found materials, Feher plays with light and color to create a glowing, almost ironic constellation that invites viewers to see the familiar in new, unexpected ways. This delicate and provocatively titled installation is on view until July 6, while a 25-year retrospective of Feher’s work continues to travel nationwide, currently exhibiting at the deCordova Sculpture Park and Museum and soon at the Bronx Museum for the Arts.

Maria Baibakova, founder of Moscow's Baibakov Art Projects and strategic director of Artspace, highlights five contemporary artists making waves at Art Basel. Among her picks are the thought-provoking textile works of Slavs and Tatars, who cleverly explore geography and ethnicity with humor, and Eva Rothschild, whose evolving plastic forms captivate with their tactile intrigue. Eduardo Terrazas enchants with his meticulous wool yarn patterns that mimic stitching, while Mark Bradford impresses with textured pieces reminiscent of petrified wood, marking a fresh chapter in his career. Finally, Daniel Lefcourt’s intriguing installation at Campoli Presti signals a promising new talent worth watching.

Michael and Susan Hort have long been recognized as visionary collectors of emerging artists, consistently identifying and supporting groundbreaking talent early in their careers. Their discerning eye has led them to acquire pivotal works by artists such as Chris Ofili, Adrian Ghenie, and Richard Prince, while their dedication extends beyond acquisition to fostering creativity through the Rema Hort Foundation, established in memory of their late daughter. Recently, the Horts explored the buzzing art fairs in Basel, spotlighting standout pieces from the international contemporary scene. Highlights included Oscar Murillo’s provocative installations, Tomás Saraceno’s mesmerizing illuminated spider-web sculptures, and the evocative works of Billy Childish, Jakub Julian Ziółkowski, and Jonas Wood, among others, reflecting their ongoing commitment to the vibrant and experimental fringes of contemporary art.

This year’s Art Basel fair showcases a captivating array of works that span groundbreaking abstraction, poignant installations, and clever object transformations. Gerhard Richter’s early abstract piece reveals his evolution from photo-based art to vibrant, layered canvases, while Barbara Bloom’s post-accident creations poignantly explore fragility and resilience. Claes Oldenburg’s whimsical soft sculpture reimagines everyday objects with humor and grace, contrasted by Andreas Gursky’s surreal, digitally altered photograph that pays homage to pop culture villainy. Dominique Gonzalez-Foerster invites viewers into a labyrinth of historical and philosophical allusions with her immersive installation, while Gabriel Kuri’s fusion of Minimalism and found materials brings a witty, tactile elegance to marble and cigarette butts. Finally, Roger Hiorns captivates with his shimmering copper sulfate-coated engines, a striking meditation on the fleeting nature of technology and beauty.

Alexander S. C. Rower, president of the Calder Foundation and grandson of the iconic sculptor Alexander Calder, shared his top five favorite artworks from Art Basel this year, highlighting pieces that blend history, social relevance, and artistic innovation. From Francis Picabia’s enigmatic wartime portrait of an unknown woman, to Kawamata’s socially engaging Favela Café installation made from scavenged materials, Rower’s selections capture a vibrant dialogue between past and present. He also praises Darren Bader’s intellectually provocative assemblage that melds humor and discomfort, Giuseppe Penone’s moving exploration of time through direct wood carving, and Josef Sudek’s poetic photographs, which have soared in value for their unique depth and handmade quality. Each work offers a distinctive encounter with creativity that challenges and enchants art lovers alike.

This year’s Art Basel Unlimited section, curated by Gianni Jetzer, showcases a thrilling array of ambitious installations that blur the lines between gallery and museum-scale art. Highlights include Jonah Freeman and Justin Lowe’s immersive Artichoke Underground, a psychedelic environment centered around a fictional anarchist zine; Simryn Gill’s haunting black-and-white photographs of a decaying Malaysian ghost-town; Rob Pruitt’s charmingly heartfelt cartoon faces layered over vibrant gradients; Günther Förg’s serene abstract paintings that echo Bauhaus minimalism; and Betty Woodman’s inventive ceramics installation that boldly dialogues with Matisse’s masterpieces. Together, these diverse works create a dynamic and thought-provoking experience that captivates both the eye and imagination.

Art Basel feels like an endless loop of familiar faces and repetitive scenes, yet amidst the seeming monotony, the fair reveals fleeting moments of surprise and intrigue. From the buzzing galleries of Zurich showcasing Basquiat's skyrocketing market appeal to the labyrinthine charm of Liste housed in a repurposed brewery, the event blends the high stakes of commerce with the thrill of discovery. Despite cramped hotel rooms and the relentless pace, the author finds delight in genuine art encounters, quirky interactions, and the ever-present dance of power and influence that defines the art world. Beneath the surface of glossy exhibitions and high-profile dinners, there’s a candid, often humorous reflection on the rituals, personalities, and contradictions that make Art Basel both exhausting and irresistibly magnetic.

Art Basel opened with its signature Swiss precision, unveiling two floors teeming with exceptional works from the world’s leading galleries, capturing the vibrant pulse of contemporary art in a Venice Biennale year. The fair showcased an exhilarating mix of iconic legends like Roy Lichtenstein, Pablo Picasso, and Mark Rothko alongside rising stars such as David Adamo and Mai-Thu Perret. Highlights included playful and provocative installations, from Andreas Slominski’s clever enamel cans and Yüksel Arslan’s intense outsider paintings to delicate kinetic sculptures by Alexander Calder. Whether it was the gritty self-portraits of Martin Kippenberger, the stunning abstraction of Adrian Ghenie, or the pop culture-infused works of Richard Phillips and Robert Longo, the show offered a rich spectrum of styles and narratives, blending humor, sophistication, and emotional depth. With striking sculptures, mesmerizing paintings, and inventive new media pieces, Art Basel once again affirmed its place as the ultimate global stage where bold creativity meets discerning collectors’ eager eyes.

Artadia recently launched its Summer Open Studios program during DUMBO’s "First Thursdays," featuring past awardees in an immersive exhibition series at their DUMBO project space. The spotlight in June is on Micah Stansell, a 2011 Atlanta Artadia awardee known for his captivating multi-channel video and sound installations that transform entire environments. For this more intimate showcase, Stansell created a mesmerizing installation spanning three walls, where overlapping circles display haunting water imagery and ghostly moons, including scenes like a woman swimming seamlessly across the walls and another slowly reading in a studio flooding with water, creating a mosaic-like effect. Following Stansell, artist Gyun Hur, also a 2011 Atlanta awardee, will present his work at the space in July.

Sara Sosnowy’s latest solo show at Lesley Heller Workspace, running through July 3, vividly showcases her unique creative process of transforming everyday images into lush, abstract paintings. Inspired by a deep red curtain in the New York Times and historical Dutch Master paintings, Sosnowy’s works like Red Curtain and Holbein Curtain invite viewers into her intellectual explorations. Her evolving "Ribbon Gowns" series, emerging from studio ribbons and gown motifs, features large, vibrant canvases that ripple with life and ambiguity. Drawing from both art history and the natural world—such as the blue spruce tree she recently photographed at Brooklyn Botanical Gardens—Sosnowy’s paintings blur the lines between representational and abstract, inviting viewers to discover new forms and meanings within familiar objects.

The Costume Institute at the Metropolitan Museum of Art continues to push the boundaries of fashion as an art form with its latest exhibition “PUNK: Chaos to Couture,” blending rebellion and haute couture in a dynamic display. Since the groundbreaking 1983-84 Yves Saint Laurent retrospective curated by Diana Vreeland, fashion exhibitions have evolved from being seen as mere costume displays to critically acclaimed cultural events. Despite ongoing debates about the commercial ties and academic status of fashion in museums, institutions worldwide—including the Met, the Louvre, and the Victoria and Albert Museum—have embraced fashion’s vital role in contemporary visual culture. Collaborative events like MoMA PS1’s MOVE! demonstrate the exciting fusion of art and fashion, spotlighting creative partnerships that energize both fields. Blockbuster shows such as Alexander McQueen: Savage Beauty prove that fashion exhibitions can captivate vast audiences, affirming fashion’s rightful place at the intersection of art and culture.

During the whirlwind first week of the Venice Biennale, the city transforms into a vibrant playground for art lovers, bustling with excitement and discovery. From the playful political musings at Jeremy Deller’s British pavilion to Sarah Sze’s immersive American installation, and Antti Laitinen’s delicate Finnish tree reconstructions, each pavilion offers a unique encounter. Curator Massimiliano Gioni’s central pavilion dazzles with diverse works, including engaging sculptures and poignant performances, while the sprawling Arsenale showcases an eclectic mix of 158 artists, from immersive videos to earthy sculptures. Highlights include Ai Weiwei’s haunting reflections on detention and the Sichuan earthquake, Sonia Falcone’s colorful spice fields in the Bolivian Pavilion, and the sparkling “700 Snowballs” glass installation by Not Vital. Crowds and parties pulse through the city, celebrating art and life late into the night. Despite the frenzy, moments of serene contemplation await in hidden gems like Palazzo Peckham, capped by a stirring recreation of the groundbreaking 1969 “When Attitudes Become Form” exhibition at the Prada Foundation. As the week closes, the writer longs to return to Venice’s enchanting labyrinth for a quieter, more personal experience amid its boundless artistic treasures.

SoHo, once a gritty artist enclave below Houston Street, emerged in the late 1960s as a vibrant hub of creativity and informality, attracting artists with its vast, affordable loft spaces that doubled as studios and homes. Pioneers like Paula Cooper Gallery and figures such as Donald Judd played a pivotal role in shaping this avant-garde neighborhood, which grew to house thousands of artists despite zoning challenges and police resistance. Today, the legacy of SoHo’s artistic heyday is celebrated with restored landmarks like Judd’s iconic 101 Spring Street, showcasing works by luminaries including Claes Oldenburg and Dan Flavin. SoHo’s transformation from a bohemian community to a luxury hotspot epitomizes the “SoHo Effect,” illustrating how art can dramatically reshape urban landscapes and economies.

Since its inception in 1969, the Whitney Museum's Independent Study Program has been a powerful incubator for influential artists and critics, including Roberta Smith, who credits it with shaping her career profoundly. The program continues to inspire new generations across critical studies, studio arts, and curatorial fields. Recently, graduating fellows curated "Maintenance Required" at The Kitchen, an exhibition spotlighting the vital but often overlooked systems of maintenance that sustain society, from public sanitation to data storage. Featuring works by artists like Sam Lewitt, Mierle Laderman Ukeles, and Masaru Iwai, the show challenges viewers to reconsider the infrastructure of everyday life through powerful performances, installations, and conceptual art. With connections to ongoing public events and a dynamic community of past and present ISP alumni, the Whitney ISP remains a cornerstone of contemporary art education and innovation.

This vibrant roundup captures highlights from the world of contemporary art and exhibitions, featuring Annie Dorsen’s innovative chatbot dialogue between Noam Chomsky and Michel Foucault at bitforms, Leah Tinari’s playful paintings inspired by her young son at Mixed Greens, and the rare sunny moment at Venice’s 55th Biennale. Standout events include Walter De Maria’s iconic "Art by Telephone" reenactment answered by Miuccia Prada, John Outterbridge’s assemblage in the “Encyclopedic Palace,” and Ragnar Kjartansson’s beloved S.S. Hangover performance sailing through the city. Other notable moments spotlight works by Albert Oehlen, Laurie Simmons and Adam McCollum’s “Actual Photos,” Sarah Sze’s intricate American pavilion sculpture, and Ai Weiwei’s striking “Bang” installation at the German pavilion, all weaving together a dynamic portrait of today’s art scene.

The Metropolitan Museum of Art’s European painting galleries have reopened after a major reinstallation, showcasing over 700 works—more than ever before—in brilliantly lit, spacious new settings designed for clearer, more immersive viewing. Highlights include iconic paintings from Vermeer, Caravaggio, El Greco, and Rembrandt, each brought to vivid life through fresh framing, lighting, and thoughtful organization by chronology and region. Visitors can now experience Vanitas still lifes that sparkle with intricate detail, grand Tiepolo canvases that greet guests upon arrival, and a rare permanent display of five Vermeers. The galleries buzz with renewed energy, as exemplified by an artist recreating Velázquez’s Juan de Pareja live, inviting museumgoers to connect intimately with centuries of artistic mastery.

Barry McGee’s new exhibition at the Institute of Contemporary Art Boston blurs the boundaries between street art and gallery space, reflecting his roots as a street artist in 1980s San Francisco amid social upheaval. Known for his “Twist” tag, McGee brings humor, irony, and monumental installations that challenge notions of public versus private space and question the nature of gallery-going itself. Highlights include rusted aerosol cans arranged like an altar to graffiti, an animatronic tagger defacing gallery walls, and a recreated surreal mural from San Francisco’s Yerba Buena Center. The show’s playful, twisted Disneyland atmosphere features recurring characters, noisy paint-spraying totems, and a tower of glowing TVs, culminating in a satirical “Contemporary Art Centre” where McGee mocks the art world by elevating trash and vandalism guides to gallery status, underscoring the provocative spirit at the heart of his work.

Outside Hangzhou, China, an uncanny mini replica of Paris—with landmarks like the Eiffel Tower and Champs-Élysée—is taking shape amidst half-finished buildings and barren land. This surreal pastiche forms the backdrop for Jesper Just’s multi-channel film installation at the Venice Biennale’s Danish Pavilion, where three men navigate the architectural fantasy across five screens woven into a uniquely constructed environment. Just’s work explores themes of appropriation and cultural exchange, reflecting on China’s role as a cultural importer reimagining Western cityscapes while challenging traditional notions of national identity in a globalized art world. Through striking visuals and a parallel poster campaign spanning global cities, the installation invites viewers to reconsider originality, authenticity, and the fluid, sometimes strange intersections between East and West.

This week in art highlights captivating moments from the Museum of Modern Art garden party where Maillol’s sculptures seemed to blend seamlessly with their surroundings, to John Chamberlain’s dynamic work The Hedge displayed at the Lever House Lobby through August. Nate Lowman offered an exclusive look inside his Tribeca studio ahead of the Lyon Biennale, featuring his signature smiley-face paintings. Celebrations continued at the Webby Awards dinner at Cipriani, where Artspace was honored for Best Email Newsletter. Meanwhile, Jeff Koons’s latest "Gazing Ball" exhibition at David Zwirner Gallery juxtaposes classical Greco-Roman plaster figures with whimsical elements like a surprising snowman, creating a playful dialogue between past and present.

On May 4th, we visited Storm King Art Center to experience Thomas Houseago's first U.S. museum exhibition, "As I Went Out One Morning," inspired by a Bob Dylan song that highlights music's influence on his art. The show features a captivating mix of sculptures in bronze, aluminum, wood, plaster, and charcoal, including inviting plaster chairs that reflect Houseago's deep connection to his studio practice. Set amid Storm King’s breathtaking 500-acre landscape in the Hudson Valley, the exhibition offers a perfect harmony between art and nature. We explored the grounds by tram, encountering iconic works by Alexander Calder, Maya Lin, Richard Serra, Andy Goldsworthy, Marc di Suvero, and David Smith, making it clear that another visit is a must to fully appreciate this inspiring fusion of sculpture and environment.

Philip Johnson’s Da Monsta, a striking red-and-black structure at the Glass House estate, comes alive this season with artist E.V. Day’s site-specific installation, SNAP!, which weaves vibrant red ropes into web-like formations both inside and out, blurring the line between architecture and nature as real spiders even join in. Inside, Day’s sculptural works—including the scanned petals of Pollinator and the stretched fragments of a Bandage Dress—invite viewers into a tactile, immersive experience, while the Purring Chamber bathes the space in soft color and gentle, feline sounds, honoring Johnson’s vision of the building as a living entity. Complementing this dynamic display, Tauba Auerbach’s Gnomon/Wave Fulgurite I.I enchants within the Glass House itself, its rippling sand-and-resin form playing with light and shadow in tribute to Giacometti’s lost sculpture. Together, these installations transform the Glass House into a vibrant dialogue between art, architecture, and nature.

The Brant Foundation Art Study Center in Greenwich recently unveiled a stunning new survey of Andy Warhol’s work, showcasing pieces spanning the artist’s prolific career from iconic Campbell’s Soup cans to his bold “Death and Disaster” series and vibrant celebrity portraits. Owned by longtime Warhol collector Peter Brant, whose passion for the artist began with a purchase at age 20, the exhibition draws heavily from his personal trove of around 200 works. Highlights include Warhol’s monumental, cartoonishly large Last Supper and his playful Pop art renditions of Chairman Mao. The opening event attracted a star-studded crowd including Leonardo DiCaprio, Christopher Walken, and Owen Wilson, alongside art world elites like Jose Mugrabi and Jeffrey Deitch, creating an atmosphere befitting Warhol’s enduring legacy and influence.

This vibrant roundup captures the dynamic energy of New York's art scene, from the farewell to Frieze New York's "Art Island" to Dan Colen's enchanting new show "The Spirits That I Called" at Oko's intimate East 10th Street space. Classic and contemporary artworks mingle, with John Anster Fitzgerald’s whimsical Midsummer Night’s Dream-themed painting setting the tone alongside fantasy-inspired pieces by Colen. The city's art lovers packed tiny storefront galleries, mingled at exclusive cocktail parties hosted by prominent collectors like Susan and Michael Hort, and admired installations by Sarah Sze. The excitement continued at high-profile events such as Aby Rosen’s star-studded birthday bash at the Paramount Hotel and the immersive Drawing Restraint exhibition at the Morgan Library. The week concluded with gallerygoers marveling at Esteban Pastorino's latest show at Praxis International Art, highlighting the rich diversity and spirited atmosphere fueling New York’s contemporary art world.

We had the pleasure of previewing Esteban Pastorino's latest exhibition at Praxis International Art, where he showcases his innovative photography using a custom-built camera. His backlit images capture successive moments in a single location, creating a mesmerizing visual narrative that contrasts beautifully with the gallery’s dim lighting. This exclusive first look reveals Pastorino’s captivating technique and invites art lovers to experience his work in person at the opening reception. Don’t miss the stunning photographs and an accompanying video loop that bring to life the world’s longest photograph in a truly unforgettable way.

From Ragnar Kjartansson’s marathon six-hour rendition of The National’s “Sorrow” at MoMA PS1 to the vibrant gatherings honoring curatorial excellence and artistic innovation, the week was a dynamic celebration of contemporary art. Highlights included the Vanguard awards for Visual AIDS founders, immersive installations at the Calder Foundation, screenings of Jack Goldstein’s films, and bold exhibitions by Tim Noble and Sue Webster, Marianne Vitale, and Christian Holstad. Visitors explored kinetic sculptures by Carolee Schneeman, Matthew Barney’s evocative drawings at the Morgan Library, and unique photo series by Arne Svenson. The energy culminated in bustling opening parties for the Brant Foundation’s Andy Warhol survey and group shows at Marlborough Chelsea, showcasing the rich diversity and creativity defining the current art scene.

Bill Claps offers a compelling tour through this week’s Pulse and NADA art fairs, highlighting a range of innovative and thought-provoking works. At Pulse, Beatrice Pediconi’s fluid, abstract photographs and videos merge performance and painting to capture transient moments, perfectly complemented by Mia Pearlman’s organic blown-glass sculptures. Etsuko Ichikawa’s “glass pyrographs” immortalize fleeting gestures with molten glass on paper, while Ambreen Butt’s powerful mixed-media piece interrogates post-9/11 erosion of rights through intricate, hand-cut trial transcripts. Jessica Drenk’s installation transforms wax-encased books into enigmatic archaeological fragments, exploring humanity’s quest for knowledge. Over at NADA, David Kennedy Cutler’s aluminum sculptures evoke classic abstract forms through a blend of photography and metalwork, and Sara Greenberger Rafferty’s collages use manipulated paint on photographic images to confront themes of gender and the darker facets of performance and comedy with unsettling intensity. Together, these artists reveal fresh, unexpected engagements with form and meaning across mediums.

Last week, the international art scene converged in New York for the vibrant second edition of Frieze New York, hosted in the striking Frieze Tent on Randall's Island, designed by SO-IL. Amid the 180 booths, mirrors emerged as the star motif, captivating audiences with their reflective and transformative qualities. From Jeppe Hein's signature interpenetrating mirror sculptures at Berlin's Johann König to Olafur Eliasson's mirrored walls at Tanya Bonakdar Gallery, and Anish Kapoor's large-scale convex piece at London's Lisson Gallery distorting space, the fair was awash with glimmers and reflections. Other highlights included Sam Durant's bold messages on mirrors, Pae White’s kaleidoscopic suspended discs, Jim Lambie’s colorful enamel-mirror sculptures, and David Altmejd’s futuristic cracked mirrored forms. This dazzling exploration of mirrors highlighted themes of perception, identity, and playfulness, making Frieze New York a captivating spectacle of contemporary art’s luminous edge.

Cutlog, having captivated Paris for five years, made a vibrant New York debut by transforming the Clemente Soto Veléz building into a dynamic hub for emerging contemporary artists. Over five days, nearly 50 galleries from across the globe—from Los Angeles to Beijing—brought fresh, underrepresented voices to the Lower East Side, creating an eclectic mix of visual art, live performances, and film projections. Highlights included Brooklyn sculptor Kennedy Yanko’s striking installation, QR-coded portraits addressing social issues from DataSpaceTime, and mesmerizing body painting combined with 3D sculpture by Andy Golub. Visitors also experienced colorful toothpick assemblages, dynamic “Pour paintings,” and innovative musical performances using felt instruments, all underscoring the fair’s commitment to showcasing bold, boundary-pushing art in an intimate, community-centered setting.

The inaugural Collective Design Fair debuted at Pier 57 in Manhattan, bringing together 23 international galleries to showcase a vibrant array of contemporary design. Founded by a collective of designers, curators, and collectors, the fair filled a much-needed space for innovative artistic expression, featuring everything from welded nickel sculptures and multifunctional fan installations to explorations in hardwood craftsmanship. Highlights included a special exhibition of Gaetano Pesce’s work—his first New York show in over 25 years—and engaging installations like Peter Dayton’s immersive collages and playful “Pier Pong” tournament. This dynamic event not only celebrated creative design but also offered a refreshing glimpse into the cutting-edge ideas shaping the art world today.

The second edition of the New Art Dealers Alliance (NADA) New York fair took a vibrant leap from Chelsea’s Dia building to the dynamic Basketball City on the Lower East Side, transforming a sports arena into a playground for emerging art. The fair buzzed with playful, fresh energy as galleries like Eleven Rivington showcased bold mixed-media works and witty airbrushed canvases that resonated with today’s digital age. Highlights included the Brooklyn Academy of Music’s exclusive print portfolio featuring prominent contemporary artists, and East Hampton’s Halsey McKay Gallery’s elegant solo show by Denise Kupferschmidt. SculptureCenter's cleverly presented editions and photo-prints created a tactile experience, while Feature Inc. brightened the space with colorful, eclectic paintings. Meanwhile, Los Angeles's Anat Egbi gallery introduced textured, ethereal canvases by Joe Reihsen, rounding out a fair that celebrated innovation and artistic experimentation in an unexpected yet fitting setting.

Frieze New York dazzles this year with a vibrant mix of groundbreaking works from celebrated artists alongside early-career gems, sparking conversations around appropriation and artistic rivalry, notably Paul McCarthy’s provocative balloon dog sculptures targeting Jeff Koons. Highlights include Tino Sehgal’s immersive performance featuring “Ann Lee,” a captivating manga-inspired character challenging visitors’ perceptions of humanity, and Richard Prince’s evolution away from controversial appropriation toward a more personal photographic approach. Sculptural marvels like Do Ho Suh’s glowing Berlin corridor and Tom Friedman’s playful styrofoam food pieces add whimsical yet profound layers, while poignant works by Huma Bhabha and Thomas Ruff explore themes of memory, identity, and desolation. From Collier Schorr’s feminist-tinged portrait to Damien Hirst’s chilling yet mesmerizing medical sculptures, the fair offers an electrifying glimpse into the complex dialogues shaping contemporary art today.

As the 54th Venice Biennale approaches its May 29 opening, excitement builds around the diverse array of pavilions and parallel programs set to debut. Highlights include the Georgian pavilion Kamikaze Loggia featuring innovative works by Thea Djordjadze and others, Dina Nasser-Khadivi’s compelling project showcasing contemporary art from Azerbaijan and neighbors, and the intriguing Central Asia Pavilion curated by Tiago Bom, Ayatgali Tuleubek, and Suzanne Winterling, inspired by Kazakh poetry and regional themes. With the intense Adriatic summer as a backdrop, the art promises a fascinating contrast. Meanwhile, ArtReview offers a daily dose of insight through interviews with participating artists, kicking off with Jesper Just, Denmark’s representative, whose immersive video installation Intercourses is already generating buzz.

Tracey Emin’s latest exhibition, “I Followed You to the Sun,” at Lehmann Maupin presents a bold and intimate collection of 100 artworks spanning embroideries, drawings, sculptures, and a film across two New York spaces. Known for her raw emotional honesty, Emin explores themes of love, loss, and vulnerability—from her poignant short film “Love Never Wanted Me,” which poetically compares a fox in the wild to a fleeing lover, to a series of nude self-portraits rendered in gouache and pen. Highlights include a striking monoprint with bluntly emotional text and a captivating series of painted bronze animal sculptures engraved with personal statements, cast in a foundry famously used by Louise Bourgeois. This expansive show invites viewers into Emin’s deeply personal world, unfiltered and powerfully human.

The opening of "Richard Serra: Early Work" and "Palermo: Works on Paper 1976-1977" at David Zwirner's West 20th Street gallery offers a captivating exploration of groundbreaking art within a stunning LEED-certified space. Serra’s early sculptures, crafted from materials like vulcanized rubber and hot-rolled steel, challenge traditional notions of sculpture and space, with standout pieces such as "Strike: To Roberta and Rudy" on display. Upstairs, the Palermo exhibition honors the German artist’s vibrant, series-based works created shortly before his untimely death, showcasing striking acrylic drawings like the dynamic seven-part "1–7 Untitled," revealing his masterful command of color and form.

This week’s art scene buzzed with vibrant energy, from the stylish Whitney Art Party co-hosted by Maria Giulia Maramotti, Hannah Bronfman, and Nichole Galicia, to exclusive gatherings like the Performa soirée at Marianne Vitale’s Long Island City studio showcasing a forthcoming outdoor sculpture for Randall’s Island. Highlights included the engaging Artspace Offline event at Cirkers, where guests admired Daniel Joseph Martinez’s striking sculpture, and the lively opening of Adam Tetzloff’s "Trashure Island" exhibition featuring a captivating performance by storyteller T-Berry. Madison Square Park was transformed by Orly Genger’s stunning "Red, Yellow, and Blue" rope sculptures, while the Jewish Museum offered a unique blend of art and therapy through docent-led tours of Barbara Bloom’s collection. The week rounded out with gallery-goers enjoying the serene ambiance at Mathieu Malouf’s latest show in Brooklyn’s Real Fine Arts.

This week’s roundup celebrates a vibrant mix of art and culture around town, featuring the Push Pop Collective’s dynamic performance at the Brooklyn Museum gala honoring visionary artists, Patrick Lee’s captivating photo-realist portraits at Ameringer McEnery Yohe gallery, and Jerry Blackman’s enchanting ceramics at Williamsburg’s 109 Gallery. Ugo Rondinone’s monumental bluestone sculptures make a striking statement at Rockefeller Center, while Alexandre Arrechea reimagines the skyscraper in his new Park Avenue public art series. Visitors to David Zwirner’s sleek West 20th Street space admired late works by Blinky Palermo, and the Artspace softball team preps for their upcoming season with spirited batting practice at Chelsea Piers. A lively blend of tradition, innovation, and community energy pulses through this week’s artistic happenings.

In a controversial move, New York’s Museum of Modern Art announced plans to demolish the architecturally striking yet functionally challenging former American Folk Art Museum building, designed by Tod Williams and Billie Tsien, to create a more cohesive and practical space for its collection. Despite its status as a modern icon with a distinctive origami façade, the building’s vertical galleries have long been criticized for being ill-suited to MoMA’s signature “white box” exhibition style. The decision has sparked heated debate among architects and critics, with some viewing it as a betrayal of architectural innovation, while others see it as a necessary step to prioritize the experience of art over form. The Folk Art Museum itself emphasized that a museum’s identity lies beyond its physical space, underscoring the complex balance between architectural ambition and art presentation.

The upcoming Impressionist and Contemporary May sales at Sotheby’s and Christie’s promise an exciting lineup of masterpieces and record-breaking potential. Highlights from Sotheby’s include Francis Bacon’s Study for Portrait of P.L., Gerhard Richter’s Domplatz—potentially setting a new record for the artist—and works by Jeff Koons, Jackson Pollock, and Cy Twombly. Meanwhile, Christie’s showcases Jean-Michel Basquiat’s Dustheads, possibly fetching a new record, alongside Roy Lichtenstein, Jackson Pollock, and Ed Ruscha. Both sales feature a mix of evening and day sessions with exceptional pieces from private collections and notable donations benefiting the Whitney Museum. Collectors and art enthusiasts can look forward to a vibrant auction season packed with rare and coveted works from modern and contemporary art legends.

Several renowned fashion designers have seamlessly transitioned from the runway to the gallery, redefining themselves as visual artists. Helmut Lang moved from fashion to sculpture, transforming shredded garments into striking black-and-white totemic structures. Kenzo Takada embraced painting, showcasing vibrant depictions inspired by his signature floral kimonos. Issey Miyake, who famously rejects the label "fashion designer," pioneered innovative fabric techniques like A-POC, earning a permanent place in the Museum of Modern Art. Meanwhile, Karl Lagerfeld channeled his creativity into photography, producing evocative, fire-etched portraits of his muses that challenge traditional portraiture. These artists blur the lines between fashion and fine art, proving their creativity knows no bounds.

In her 2013 New York Times piece, Alice Gregory explores the surprising disconnect between the booming tech industry and the traditional art world, highlighting how newly minted tech millionaires rarely engage with or support contemporary art institutions. Despite their wealth and influence, social media entrepreneurs often find the art scene's social codes baffling and unwelcoming, leaving many frustrated with gallery experiences. While Gregory focuses on this cultural clash, the article also points to evolving efforts bridging these two spheres, such as online art platforms like Artsy and Artspace, and innovative initiatives like Rhizome’s Seven-on-Seven conference, which pairs artists with technologists to collaborate and create new forms of art and technology in just one day. This cross-pollination signals a promising shift towards more inclusive and digitally savvy art communities.

Hope Gangloff, celebrated for her vivid portraits capturing the essence of her friends, has evolved her artistic vision since moving from Brooklyn to upstate New York, embracing a more spacious studio and a connection to her surroundings. Her new show at Susan Inglett Gallery showcases nine large-scale paintings that reflect this shift, while she continues to explore the intimate dynamics of portraiture with close friends who model for her. Rejecting photographs for their lifelessness and color limitations, Gangloff prefers to paint from life, capturing candid moments and the subtle distortions of human presence through careful observation and measurement. Alongside her portraits, she creates small “postcard” drawings during travels and draws inspiration from colorful objects, collected fabrics, vintage typefaces, and even furniture, embedding these influences into her work. Ever prolific and creatively restless, Gangloff finds endless joy in painting, drawing, and sewing, constantly fueled by a deep love of people and visual storytelling.

This year’s Armory Show and Independent fairs reveal a striking shift in the art world’s focus from conceptual Dada antics to a deeper embrace of Surrealism, marked by uncanny, materially-driven figuration and a fascination with artifact-like aesthetics. Artists showcased a variety of evocative works, from Matthew Monahan’s Frankensteinian bronze sculptures and Nathan Mabry’s modified relics to eerie body-fragment motifs and craft-infused textiles. Exhibits ranged widely, featuring everything from outmoded technologies and handcrafted tapestries to artist-designed wallpapers, underscoring a renewed interest in history, craftsmanship, and surreal narratives. This rich tapestry of mediums and influences breathes new life into contemporary art, evoking both the mysterious past and playful innovation.

This year’s Armory Show celebrates a century since its groundbreaking 1913 debut that introduced Modern art to America, while showcasing today’s most dynamic and adventurous gallery booths. Highlights include Norwegian gallery Rod Bianco’s buzzworthy collaboration between Bjarne Melgaard and Sverre Bjertnes, featuring playful, immersive installations inspired by art dealer Mary Boone; David Zwirner’s cutting-edge presentation of Diana Thater’s mesmerizing video work ‘Day for Night’ on expansive, curved screens; Gagosian’s striking large-scale Andy Warhol camouflage paintings that stand out amid younger artists in the “Focus: USA” section; and Kysa Johnson’s thought-provoking Morgan Lehman booth, whose chalk drawings evoke both particle decay and ancient ruins, inviting reflection on art’s transient yet timeless nature. These inventive displays transform the traditional white-cube fair environment into captivating art experiences in their own right.

The ADAA Art Show offers an extraordinary blend of past and present artworks, captivating collectors with an eclectic selection that ranges from Mona Hatoum’s surreal steel daybed to Mary Corse’s luminous glass bead paintings. Highlights include Brie Ruais’s performative clay wall piece, Milton Avery’s early darkly atmospheric dancehall scenes, and Louise Lawler’s inventive RGB triptych homage to Degas. The show also celebrates Martin Wong’s gritty New York City narratives, Tam Van Tran’s shimmering bronze and palm frond paintings, and Karen Kilimnik’s hauntingly abstract portraits. Fred Tomaselli’s witty New York Times collages and Isca Greenfield-Sanders’s delicate, photo-inspired paintings round out a dynamic exhibition that brilliantly melds sculpture, painting, and unique storytelling in contemporary art.