At OCDChinatown, Devan Diaz’s “Bad Girls” is a pink altar to transsexual potency.
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.
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.
The American meal torn apart into a jigsaw. A clock whose hands never quite leave you at peace. The distant and disparate in-between. These eight contemporary artists from diverse disciplines and backgrounds warp reality to radical extremes, forcing us to reconsider ourselves and our daily experiences.
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.
Clementine Keith-Roach explores motherhood and collective identity through modern ruins that blend personal and historical forms into fragile yet resilient vessels.
At art fair’s 19th edition, Osman Can Yerebakan explores the highlights amidst the city’s art world fixtures and international collectors.
With its sprawling inaugural group show featuring every artist on its roster, Marian Goodman Gallery’s newly minted TriBeCa flagship gives a taste of what’s to come.
The world is spinning out of control, and Meriem Bennani is excavating the center, fingers on the pulse as she digs beneath its surface. But what happens when she extends her exacting, witty, and nuanced perspective beyond the collective present? Orian Barki finds out.
In Cincinnati, Ohio, Chip Thomas’ mural of William Rankins Jr. captures the heart and soul of a community being pushed out by development.
For artist Paige K. B., the work of dissecting and rearranging pillars of global image culture has just begun.
This month, Gregory Crewdson brings his cinematic depictions of small-town America to Louis Vuitton’s exhibition space in Munich.
No stranger to the art and artifice of performance, Nora Turato stays wary of the authenticity trap. Her audience would be wise to do the same.
From global group shows to local newcomers, Frieze London brings emerging and established artists together under one roof to showcase the latest in contemporary art. Here's what's of note.
A savory Chanel dupe catapulted Chloe Wise into virality when it ended up on the red carpet of the luxury label’s very real event. A decade later, the irony may be quieter, but the appeal of luscious foodstuffs in inedible manifestations has taken over.
For its American debut, irreverent Italian art collective Canemorto is staging a faux-fish market complete with drawings and paintings that come fried, frozen, and rolled up in jars of oil.
Larry Stanton compulsively sketched the people and world he belonged to—that of New York City’s gay community in the ‘70s and ‘80s. Now in Brescia, Italy, Apalazzo Gallery presents the late artist’s first-ever retrospective, four decades after his untimely death in 1984.
At a refurbished photo studio on New York’s Canal Street, three different artists use their respective styles to disrupt concepts of normalcy.
