Exhibited together for the first time, these early paintings embellished with love hearts, graphic text, suggestive shapes and depictions of friends and lovers reveal David Hockney’s precocious talent during the most formative chapter of his career.

Pace announced its representation of the German-born, Los Angeles-based artist Friedrich Kunath, who is known for his layered, lyrical work across painting, drawing, sculpture, installation, and video.

Galerie Lelong is presenting "Sweet Life", the first solo exhibition in Europe by American artist Alison Saar, whose poetic yet critical approach explores the complex history of sugar cane in America and its links to Africa and Europe.

Galerie Eva Presenhuber is presenting Momma’s Baby, Daddy’s Maybe, the gallery’s second solo exhibition with the US artist Chase Hall. For his first exhibition in Vienna, Hall has produced a series of new paintings and works on paper.

Italian abstract artist Monica Maja Richardson has revealed a new series of paintings from her “Primavera” series in a solo exhibition located in London’s vibrant Notting Hill.

In 2016, journalist Véronique Hyland coined the term “millennial pink” in New York magazine, a phrase that defined an era of skin-care brand campaigns, Big 5 book covers, and crop-top micro trends.

This absorbing exhibition by Robert Grosvenor featured a selection of untitled works made between 1990 and 2023: a speedboat, three automobiles, two scooters—all of which were modified by the artist—a uniquely constructed car piece, and eighteen small-scale photographs.

Born into the recovery period after the fall of the Khmer Rouge, Vandy Rattana found himself perturbed by the loss of personal snapshots, journals, and other keepsakes documenting the lives of Cambodians—their hardship and endurance.

Collapsing Clouds Form Stars, 2025, consists of 279 long, slender blue ribbons, each bearing an inscription—taken from sources such as songs, poems, protest signs, letters, public speeches, and so on—and dangling from a wooden dowel.

For some, history is lifeless. Like a fossilized dinosaur bone, it lies deep beneath the ground of the present. For others, history is alive and unruly, something that cannot be buried.

The male nude is a recurring subject in Louis Fratino’s work. It appears in scenes of domestic and sexual intimacy, including explicit tableaux that are not only the representation of homoerotic desire but that also describe vulnerability, tenderness.

The title of this compendious essay exhibition was borrowed from “Romance de la luna, luna” (Ballad of the Moon, Moon), the opening poem of Federico García Lorca’s well-known collection Romancero gitano (Gypsy Ballads, 1924–27).

Leonardo Pellicanò’s exhibition “Fear Fear, Fear Sky, Play Fear, Fear Work” included four large paintings, each with a palette as distinct as a fairy tale’s four seasons.

Venice, a city of reflections and labyrinths, where each stone seems to tell a story and each canal whispers a secret, the 193 Gallery hosts a singular exhibition: “Bricks and Grids”.

The complexity and significance of queer art cannot be fully encapsulated within a single article.