Pilar Zeta builds environments like dreams that feel like stepping into a thought mid-formation. Her sculptural works take shape in the form of portals and objects that invite direct engagement, as visitors are invited to walk through them and notice subtle shifts in perception.
When I finished art school, I thought I was going to do monumental sculpture, big works, and I did for a while. But what I started loving the most-actually always loved the most-was the start, where you figure out what you want to say.
We don't eat batteries. They take away the water; they take away life. This pronouncement, in Spanish, appears in a photograph that the artist Tomás Saraceno sent via WhatsApp last month from Salinas Grandes, a high-altitude salt flat in northern Argentina. There, in one of the world's largest lithium reserves, the artist is working alongside 11 Indigenous communities to build El Santuario del Agua (The Water Sanctuary), a monumental work about the global energy transition.
In honor of the 100th anniversary of the painter and multimedia artist's birth, the Robert Rauschenberg Foundation is presenting a one-time award of $100,000 to four artists. Senga Nengudi won the Rauschenberg Centennial Award for visual art, David Thomson for performance, Chandra McCormick and Keith Calhoun for photography, and Patricia Spears Jones for writing.
Bendetta's latest single, "Headshot," captures the moment when something shifts: when violent thoughts arise, yet the urge to maintain control prevails. This track navigates themes of anger, boundaries, and the conscious decision to no longer absorb harm without letting it transform you into the one inflicting it. Rather than offering comfort or resolution, "Headshot" demands clarity: it focuses on naming feelings, standing firm within them, and refusing to downplay their significance.
Going out and demonstrating is really important. But if you don't feel comfortable demonstrating, you can volunteer for organizations, you can donate to organizations, you can sign petitions, you can call your senator. There's no excuse not to be involved on some level.
Each artist functions almost as a musical key signature of their own, which together 'refuse the orchestral bombast and goose-step military marches and come alive in the quiet tones, the lower frequencies.' That description comes from Rasha Salti, one of the exhibition advisors who spoke at yesterday's announcement of the roster. It's an apt invitation to think of curation as an act of composition, with Kouoh's vision singing at every turn.
Regina Silveira has spent the better part of three decades considering the relationship between media and meaning, particularly as it relates to Latin America. First presented in 1997, "To Be Continued..." features 100 black-and-white reproductions of photos, newspaper clippings, propaganda, advertisements, and more. Silveira nests each image into an oversized puzzle piece, which cuts off faces and scenes to leave fragments of pop culture icons, flora and fauna, and even the occasional mugshot spliced next to one another.
OSCAR MURILLO (b. 1986, La Paila, Colombia) has developed a multifaceted and challenging practice that spans painting, collaborative projects, video, sound and installation. Through each body of work, the artist probes ideas of collectivity and shared culture, demonstrating a commitment to the power of material presence alongside complex meditations on contemporary society. A focus on the social dimension that sits on the border between performance and events is also central to Murillo's practice.
Galerie Nordenhake Mexico City is pleased to present Zigzags and Curves, an exhibition by Sarah Crowner that brings together her sustained research into geometry, abstraction, and the expanded language of painting. Presented across two sites - the gallery's Mexico City space and Casa Roja in Lomas de Chapultepec-the exhibition takes its title from the fundamental graphic elements that structure Crowner's visual vocabulary: the zigzag and the curve.
In the language of climate, water is dialectical: It is overabundance and scarcity; needed as well as dreaded. Psychologically, it can represent the unconscious, the maternal, the prelapsarian. Artist Deborah Jack disrupts any viewer's impulse to find recreational soothing in the ocean's tidal landscape, as she openly critiques the legitimacy of cartography, empire, and ecological adaptation. Jack's six-channel video installation "a sea desalts, creeping in the collapse... in the expanse...a rhizome looks for reason... whispers an elegy instead"
The only thing most people know about epiphytes, if they know about them at all, is that they're rootless. That's not quite true - they develop highly specialized root systems adapted to wherever they land. In Epiphytic Elucidations at Patel Brown Gallery, Calgary-based artist Marigold Santos takes this fact as more than a metaphor. The exhibition uses epiphytes - plants that grow on other plants without harming them - as a framework for the expansive ways diasporas form through material labor.
The path to the first New York solo show for Elda Cerrato (1930-2023), now on view at Galerie Lelong, was a long and winding one. Born in Italy to Jewish parents, Cerrato was a child when her family fled fascism in Europe for South America. Authoritarianism continued to shape her life in adulthood, as Cerrato and her husband and son were forced to leave Argentina to escape persecution at the hands of the country's military junta in 1973.
On January 22, artist Gabrielle Goliath and curator Ingrid Masondo filed a founding affidavit in the High Court of South Africa in Pretoria, stating their intention to challenge South African Minister of Sport, Arts and Culture Gayton McKenzie's unilateral decision to terminate the video and performance series, Elegy, at its national pavilion at the 2026 Venice Biennale. McKenzie had attempted to characterize Goliath's piece, which would have centered Palestinians enduring genocide in Gaza, as "highly divisive" and not aligned with South Africa's interests - even though the country famously brought a legal case against Israel at the International Court of Justice (ICJ) in The Hague over allegations of genocide in Gaza.
Monia Ben Hamouda's work weaves calligraphy, material transformation and ancestral memory into sculptures and installations that oscillate between language and form. In conversation, we traced the conceptual and sensory threads of her practice, unfolding through key works that reflect on heritage, embodiment and translation. Using materials such as iron, stone and pigment, her installations become sites where history is not only referenced but physically felt.
Handcrafted Artful Embroideries of Everyday Products by Alicja Kozowska Well of Eternity: Stunning Sci-Fi Concept Artworks of Sung Choi Traveller's Joy The Key To The Countryside Beautiful Shell Adverts From The Mid-1950s These Animal Illustrations Accurately Express Our Monday Blues And Friday Feels Dark, Surreal And Moody Photo Works By Simon Kerola Artist Replaces Jurassic Park Dinosaurs With Those From The Show Dinosaurs "Deathmask Divine": The Superb Dark Paintings of Bahrull Marta
An exhibition of Wifredo Lam is about as safe a bet as the Museum of Modern Art can place and still plausibly say that it's a bet on expanding the canon. The Cuban artist is one of the most famous painters of the 20th century, featured in almost every single key show about Surrealism. MoMA acquired his famous painting The Jungle in 1946, a few years after he made it.
