With Saville’s retrospective at the National Portrait Gallery, The Anatomy of Painting, receiving wide acclaim, Jessica Lack explores how the artist has reinvented figurative art for the 21st century.

The exhibition “Perseverance: A Woman’s Journey West” offers a rare look at the American West through the often-overlooked eyes of a pioneer woman.

You may think the frame is an afterthought compared to the painting it contains—added by the purchaser to hold the art.

Featuring portraits of Nan Goldin and Cookie Mueller, a major new show documents the avant-garde creative scenes in 70s New York and Boston.

80 years after the atomic bomb decimated Hiroshima, Kawada’s new exhibition, Endless Map: Invisible, plots the story of post-WW2 Japan and delves into the mysteries of the cosmos.

Legendary dealers like Tim Blum and Adam Lindemann are stepping down, making room for a generation of younger dealers and professionals with nothing to lose and everything to prove.

Sikkema Malloy Jenkins congratulates william córdova on being named a 2025 Trellis Art Fund Milestone Grantee.

Ho Tzu Nyen is a Singaporean artist, filmmaker and theatremaker who is considered as one of the most innovative artists to emerge internationally in the past 20 years.

When considering a historical moment that feels as destabilized as our current world order, I can’t help but ruminate on the notion of the zeitgeist, that ever-felicitous term derived from the German words for “time” and “spirit.”

At once a sensory organ and a seemingly transparent screen, the eye has captivated artists for centuries—none more obsessively, perhaps, than the Guatemalan painter and printmaker of Palestinian descent, Rodolfo Abularach.

Hubba Hideout is like the best of house parties. You’re certain of buzzy conversation, the promise of erotic frisson, and the certainty of seeing friends, old and new.

Indigenous Group of Seven artists broke barriers, resisting systemic exclusion and redefining Indigenous art within Canada and beyond.

Koo Jeong A’s exhibition “Land of Ousss [Kangse]” feels oddly scattered. Contrary to what the title implies, it isn’t concerned with a land – although it makes frequent references to real places, countries, and especially to Arles, France, where it is being shown at LUMA.

What are the stakes of insisting upon political hope, in all its felt potential for redeeming past injustices, when progressivism is under attack globally? This is the question taken up by “The Gatherers” at MoMA PS1.

The Japanese-born, Berlin-based artist Leiko Ikemura has had a cult following in the United States since the early nineties.