Art

Faith Wilding’s retrospective at Anat Ebgi New York honors the pioneering artist’s 50 years of dedication to life, women, and nature.

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 Bruce Weber’s exhibition in Prague feels ever-present, in part because the images abide by the prevailing cultural gaze that he helped create. 

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At New York Life Gallery, James Bantone captures fleeting moments in foolproof materials.

Mariam Ghani makes sense of loss in an increasingly tumultuous landscape. Her new short film and sculptures offer alternative structures to hold grief.

Rick Lowe’s practice is religious: rooted in the world around him, enriching and restorative. When it comes to his paintings and community-oriented projects, art is a resource and a way forward.

The world is big, unfathomably so. This much Alicja Kwade knows. The rest, her work seems to posit, is ineffable—a stellar and atomic blip in time.

Creative Time addresses our most pertinent political and social concerns, amplifying them like a megaphone through monumental interventions that overtake vacant buildings, city streets, beaches, buses, and everywhere in between. At its core are its people who have changed the world for the past 50 years and counting.

Is the best art conceived in solitude? As Light and Space legend Larry Bell, who moved to the sparse Southwest from LA, reflects with the prolific Joan Jonas, a frequent traveler to the far-flung island of Cape Breton, Nova Scotia, oftentimes the answer is yes.

For the last six decades and counting, Paul McCarthy has danced a fine line between provocation and play. Three concurrent exhibitions offer entry points to his genre-less practice, which spans video, performance, sculpture, drawings, and more. 

With work displayed across seven galleries and museums worldwide, including a new, bicoastal solo show in New York and Los Angeles, 82-year-old Pippa Garner is still the moment.

Movement takes Kyle Abraham places, and his audience is along for the ride. Time collapses into nostalgia and unflinching reckonings as the choreographer leaves it all on the floor.

Emma Stern’s uncanny universe is a reflection of the world as we know it: technicolor and computer-generated, desire-drenched and fantasy-filled.

Beeple flew under the radar of the art world until a multi-million dollar NFT sale put him on the map. His first institutional solo show at China’s Deji Art Museum envisions the infinite paths forward for the world as it confronts technological acceleration—be they fantastical, pragmatic, or outright dystopic.

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Chilean artist Cecilia Vicuña’s solo exhibition at Lehmann Maupin in New York presents nature as a mirror.

At Xavier Hufkens in Brussels, David Altmejd taps into his subconscious with new sculptures and drawings that are many things at once.

A new body of work by photographer Jesse Gouveia revisits childhood memories of fort-building while considering the poignant nature of time’s passage.

 In Los Angeles, William Eggleston presents an exhibition of dye-transfer prints––the last of their kind.

In her West Coast debut, Sabine Moritz enters new territory with works that include human forms, yet at the heart of it all is her love for nature.

Legendary artist Lee Bul's latest project in New York City transforms the iconic facade of The Metropolitan Museum of Art—marking the museum's new collaboration with Genesis.

Andrea Chung’s mid-career retrospective at MOCA North Miami interrogates the history of colonialism through a wide array of angles and mediums—including a sugar-based installation with a disturbing hidden message.

Samara Golden’s body of water made of hand-made objects is both claustrophobic and expansive. At the Nasher Sculpture Center in Dallas, Texas, it begs to be seen, and sat with, in person.

Ada Friedman marches into mysterious territories, guided by the words of the late poet Helen Adam.

A quiet yet entrancing new suite of paintings from Francesco Clemente debuts at Lévy Gorvy Dayan, pulling from his extensive travels and inner reflections alike.

Isabelle Albuquerque is expanding, making room for flowers and other forms to grow from her self-referential practice. For her current two-person show with the late artist Robert Therrien’s estate, her sculptures become charged with a new energy.