This summer, the Museum of Arts and Design (MAD) unveils Dana Barnes: Untamed Gestures, the first major museum exhibition spotlighting the singular vision of artist Dana Barnes, whose fiber-based sculptures dissolve the boundaries between art, architecture, and the organic world.

On the upper level of the Kunsthalle, the sculpture The Dark Ages (1996) draws from two unexpected sources: the science fiction writer Philip K. Dick and the metaphysical painter Giorgio de Chirico.

Athens, Georgia, is known far and wide as a music town, and the collection at the Georgia Museum of Art at the University of Georgia is no exception.

The Grand Rapids Art Museum is presenting David Hockney: Perspective Should Be Reversed, Prints from the Collections of Jordan D. Schnitzer and His Family Foundation, on view May 31 through Nov. 2, 2025.

‘We couldn’t sit down together without creating something new, conjuring up dreams.’—Niki de Saint Phalle, ‘A little of my story with you Jean’ (1996)

The Pola Museum of Art is presenting an exhibition featuring the most recent works of Ryan Gander (b. 1976).

This summer, the South London Gallery presents a new site-specific sculpture by American artist Leonardo Drew (b. 1961).

Known for his striking portraits of high-society figures, John Singer Sargent was one of the most successful painters of his day.

Children Eating Grapes and a Melon, currently located in the Alte Pinakothek, is one of the most famous paintings by Bartolomé Esteban Murillo.

Self-Portrait with Her Daughter, Julie by Élisabeth Vigée Le Brun is a portrait masterpiece blending fashionable elegance and emotional naturalism. 

Originally titled A Portrait of a Young Gentleman, this iconic painting by Thomas Gainsborough was first presented at the Royal Academy exhibition of 1770.

Child’s Bath by Mary Cassatt is an iconic masterpiece featuring the love between mother and child. Let’s take a closer look at it.

The Met’s exhibition expands Black fashion history by centering ordinary individuals and their dress practices.

I wanted to hate these artworks, then I wished to poke my finger through their holes, and finally they became a perfect aestheticization of the contemporary moment.

In Nina Chanel Abney’s solo exhibition “Winging It” at Jeffrey Deitch Los Angeles the artist didn’t preach—but didn’t let anyone off the hook either—creating a space that focused on where people place their faith.