Wembley Park has launched a new openair photography exhibition, Brothers: Liam and Noel Through the Lens of Kevin Cummins, offering a powerful new perspective on one of British music’s most iconic sibling relationships.

At Galerie Krinziger, Vienna, the artist’s spontaneous works act as a record of thought in motion.

At Grand Union, Birmingham, the artist forges a devotional lineage of queer and trans lives in Qajar-era Iran.

Ai Weiwei’s “Zodiac Heads: Gold” is on view at BlackBook, Southampton through Sept 31.

Maurizio Cattelan’s banana artwork “The Comedian” gets devoured again, this time at Centre-Pompidou-Metz.

Pipilotti Rist has spent three decades reworking the relationship between video art and and the human body through hypnotic fields of touch and color.

The hybridized energy of Woolfalk’s art is infectious; it permeates everything we see, while prodding us to question what we imagine the future might look like.

A survey of work by the pioneering Mexican feminist artist reimagine landscapes and home interiors as sites of political and emotional tension.

Like the subjects of his artwork, Shahn gets removed from his communal and organizational context in the Jewish Museum’s exhibition.

Vielmetter Los Angeles is excited to announce Be Your Own Cool, an exhibition of new works by Ghanaian artist Kwesi Botchway. On view through September 13th, this exhibition marks Botchway’s second solo presentation with the gallery.

PCAI presents its new exhibition by musician and composer Konstantinos Vita (also known as Konstantinos Beta and Κ.Β.) titled Space and Memory, curated by Kika Kyriakakou, PCAI artistic director.

From the architecture of an old hilltop city in Turkey to the demolished Heygate Estate in south London, Nelson’s interest in entropic landscapes weaves through this exhibition like a guiding thread.

Tony Oursler is considered a pioneer of video art. Since the 1980s, he has been developing experimental installations that uncouple videos from the screen and create immersive environments.

“Art, given the right circumstances, could get very small, hermetic and quiet—or big and messy.

In the days leading up to the 13th Berlin Biennale, I heard two things about it: that everyone knows it’s “cursed” and that no one ever remembers it’s happening.