Portia Zvavahera @ David Zwirner, Los Angeles - 'Zvibereko zvemweya wangu' Exhibition

Portia Zvavahera

Zvibereko zvemweya wangu

David Zwirner, Los Angeles

November 14, 2025 – February 7, 2026

Portia Zvavahera

Takasunungurwa, 2025 

© Portia Zvavahera. Courtesy Stevenson and David Zwirner

David Zwirner presents Zvibereko zvemweya wangu, its third solo exhibition with the Zimbabwean artist Portia Zvavahera. Taking place at the gallery’s 606 N Western Avenue location in Los Angeles, this presentation features a series of new works that continues to develop Zvavahera’s experiments with different painting processes and subject matter by joining her carefully charted dream worlds with her lived experience and daily rituals. Portia Zvavahera expands her practice with familiar motifs and narratives; her works are populated by symbolic creatures that become powerful conduits for the interpretation of spiritual visions and the contemplation of our earthly existence. 

In her paintings, Portia Zvavahera gives form to emotions beyond the domains of everyday life and thought. Her vivid imagery is rooted in the cornerstones of our earthly existence—life and death, pain and pleasure, isolation and connection, and love and loss. These deeply personal visions are realized through layers of vibrant color and ornate, veil-like patterns that the artist builds up into palimpsestic surfaces through a combination of expressive brushwork and elaborate printmaking techniques. Zvavahera’s compositions draw on particular traditions of figuration in past and present Zimbabwe, first expressed in the work of Thomas Mukarobgwa in the 1960s, while also pointing to postwar artistic practices that probe the nature of the human condition.

Zvavahera’s latest exhibition powerfully continues this exploration of the human condition. Themes of love, loss, fear, family, and protection recur throughout this new series of paintings, mirroring her broader practice. The show title Zvibereko zvemweya wangu loosely translates from Shona as the “fruits of my soul,” aptly describing the intense creative output behind these works. These monumental paintings are among her most energetic to date, deeply inspired by her love for family and, particularly, the passing of her late grandmother. Here, Portia Zvavahera resumes her study of dreamscapes, delving into subject matter that women, especially mothers, have experienced across time. She strips away the protective veneer of modern society, exposing core emotions that relate to the profundity of life and death. Incorporating new motifs like vessels, trees, water lilies, and snakes, Zvavahera’s paintings guide viewers on journeys, telling abstracted stories about the strength within the maternal and matriarchal world, where reality and imagination merge.

Shona is the artist’s native language, which she speaks at home; titles in Shona are provided with a translation only when Portia Zvavahera feels that the English words suffice. Experimenting with batik and block printing, oil sticks, and acrylic paints, Zvavahera's canvases are applied with layers, and then, like dreams, unfold into camouflaged compositions rich in symbolism and psychological depth. Within Zvibereko zvemweya wangu, Portia Zvavahera portrays small figures, children unbound by the canvas and surrounded by protecting arms and feathered veils painted with leaves, using a traditional wax-resist batik method, in works such as Kubuditswa muhari (2025). Others like Kubudiswa (redeemed) (2025) show a series of bowing figures—a community seemingly praying as a form of collective strength, demonstrating their power in numbers.

Artist Portia Zvavahera

Portia Zvavahera was born in 1985 in Harare, Zimbabwe, where she currently lives and works. She studied at the BAT Visual Arts Studio, National Gallery of Zimbabwe, from 2003 to 2005. She then received a diploma in fine arts from Harare Polytechnic in 2006.

Portia Ndakaoneswa murima, the artist’s first solo presentation in New York and her second with the gallery, was on view at David Zwirner, New York, in 2021. Zvavahera’s first exhibition with the gallery, Ndakavata pasi ndikamutswa nekuti anonditsigira, was at its London location in 2020.

The artist has presented several solo exhibitions with Stevenson, Cape Town and Johannesburg (2014–2020), and a solo exhibition with Marc Foxx Gallery, Los Angeles (2017). The National Gallery of Zimbabwe, Harare, presented her solo exhibition Under My Skin in 2010, and in 2020, the Institute of Contemporary Art Indian Ocean, Port Louis, Mauritius, held her solo exhibition Walk of Life. She was invited to show her work as part of the Zimbabwean Pavilion exhibition Dudziro: Interrogating the Visions of Religious Beliefs at the 55th Venice Biennale in 2013. In 2022, her work was included in the 59th Venice Biennale.

In 2024, Kettle’s Yard, University of Cambridge, England, presented Portia Zvakazarurwa, a solo exhibition of the artist’s work organized in collaboration with Fruitmarket Gallery, Edinburgh, where the show traveled in 2025. Curated by Tamar Garb, this exhibition marked Zvavahera’s first solo institutional presentation in the United Kingdom. Also in 2024, the Fondation Louis Vuitton, Paris, presented Imba yerumbidzo (House of praise), as the fifteenth iteration of its Open Space solo exhibition series. The Institute of Contemporary Art, Boston, opened Hidden Battles / Hondo dzakavanzika, Zvavahera's first institutional solo exhibition in the United States, in August 2025. The artist also opened her first solo institutional exhibition in Germany at Fridericianum, Kassel, on September 27, 2025.

DAVID ZWIRNER LOS ANGELES

616 N Western Avenue, Los Angeles, CA

www.davidzwirner.com

Louise Bourgeois @ Hauser & Wirth NYC - 'Gathering Wool' Exhibition

Louise Bourgeois. Gathering Wool 

Hauser & Wirth New York 

6 November 2025 – 24 January 2026 

Over the course of her seven-decade career, Louise Bourgeois never privileged figuration over abstraction, any more than she favored one material over another, and yet her relationship to abstraction has been less well defined and understood, less easily situated within the main currents of postwar art.

Gathering Wool, explores the artist's complex relationship to abstraction through a series of late sculptures, reliefs and works on paper, many of which have never been exhibited before. These are installed alongside a selection of earlier works to illuminate the consistency of Bourgeois’s themes and her development of a symbolic abstract language. 

The exhibition takes its title from an enigmatic work Louise Bourgeois created in 1990. Gathering wool is an expression signifying rumination, daydreaming, letting the mind wander—a break from conscious, purposive thinking. This was the mental state in which Bourgeois worked as she experimented with forms and processes in her studio. She trusted the process by which these thought traces, fragments of dreams, idle speculations, hunches, fancies and intuitions coalesced into a form, but it remained mysterious even to her. The piece itself consists of seven wooden spheres arranged in a circle in front of a tall semicircular screen made up of four panels. ‘Gathering Wool’ (1990) is a precursor of her celebrated Cells in that it is both a sculpture and an environmental installation.

The exhibition begins on the first floor with the large installation ‘Twosome,’ (1991) in which a small tank on a track moves endlessly in and out of a larger tank. For Louise Bourgeois, this mechanism represented the mother-child relationship. The same gallery also features a video clip from her 1978 performance ‘A Fashion Show of Body Parts,’ in which the actress Suzan Cooper belts out the song, ‘She Abandoned Me,’ which addresses the fear of separation from the mother. This juxtaposition of works manifests how the same psychologically charged emotions which gave rise to Bourgeois’s more figurative works also underpin the formal devices in her more abstract works.

An iconography of things protruding out of other things prevails in many works on the ground floor. In ‘Untitled (With Hand)’ (1989) a child-like arm protrudes from a large sphere, in ‘Mamelles’ (1991) water spills from a long frieze of bronze breasts, in ‘Gathering Wool’ (1990) mushrooms grow out of the cracks and crevasses of the wooden spheres, and in ‘Le Défi II’ (1992) light emanates from glass elements meticulously arranged on the shelves of a metal cabinet. These works probe the boundary and the slippage between container and contained, past and present, the conscious realm with its rationality and order and the timelessness of the unconscious.

On the fifth floor, the works are predominantly abstract, consisting of vertical progressions and stacked forms. For Louise Bourgeois, stacking was an ordering action that attempted to impose regularity and predictability on the chaos of her emotions. Each formal device she deployed corresponded to an emotional or psychological state or impulse. Thus, the repetition and stacking of like elements signify obsession and compulsion. The precarious balance of top-heavy forms indicates fragility and instability. Interlocking forms are safeguards against the fear of abandonment that dogged Bourgeois throughout her life. Triangular forms are expressions of jealousy. The pathological roots of Bourgeois’s art generated a vocabulary of eccentric abstract forms. As the artist once wrote, ‘I am the author of my own world with its internal logic and with its value that no one can deny.’

Born in France in 1911, and working in America from 1938 until her death in 2010, Louise Bourgeois is recognized as one of the most important and influential artists of our time. For over seven decades, Bourgeois’s creative process was fueled by an introspective reality, often rooted in cathartic re-visitations of early childhood trauma and frank examinations of female sexuality. Articulated by recurrent motifs (including body parts, houses and spiders), personal symbolism and psychological release, the conceptual and stylistic complexity of Bourgeois’s oeuvre—employing a variety of genres, media and materials—plays upon the powers of association, memory, fantasy, and fear.

HAUSER & WIRTH 

542 West 22nd Street New York 10011

www.hauserwirth.com

Jane Irish @ Locks Gallery, Philadelphia - 'An Absolute Reciprocity of Adaptation' Exhibition

Jane Irish 

An Absolute Reciprocity of Adaptation 

Locks Gallery, Philadelphia 

October 3 – November 15, 2025 

Jane Irish 

Archimedean Spiral, 2024

Oil on linen with clear gesso ground, 56 x 50 inches

© Jane Irish, courtesy Locks Gallery

Locks Gallery presents An Absolute Reciprocity of Adaptation, an exhibition of new and recent paintings by Jane Irish (b. 1955). This marks the artist’s tenth solo exhibition with the gallery.

Excavating traumas of war and colonialism and embedding these histories into elaborate architectural settings, Irish’s disorienting scenes are layered with multiple visual narratives. Of this new body of work, the artist says:

“Painting representationally or figuratively can be an act of imagination, but entails a code of truth, especially of the interior… The depictions of colonialism and the luxury items in French chateaus, which are often my subject matters, have an overt or covert connection to world systems of exploitation, including especially French involvement in Indochina...I try to exploit a certain doubleness: a harsh critique coexisting with the optimism of political prefiguration.”

Foregrounded by prefigurative politics—an activist approach to ideating a future society—her work analyzes the roots of Western painting and exposes its violent remnants. Within the title, “An Absolute Reciprocity of Adaptation”, she reinterprets the concept of symbiosis drawn from Edgar Allan Poe’s epic poem Eureka. Focusing on a reciprocal adaptation of ideas and mediums, Irish understands how these relations produce a “prefiguration of peace.” Her persistent interest in the cultural memory of the American War in Vietnam reappears in these new works, including references to the anti-war group Vietnam Veterans Against The War (VVAW), which the artist has worked with for decades. 

Jane Irish 

Return, 2025 

Oil on linen with clear gesso ground, 55 x 64 inches

© Jane Irish, courtesy Locks Gallery

In a large painting on bamboo paper titled Our Testimony (2025), she embosses the VVAW preamble from a 1971 U.S. Congressional record atop an ornately decorated living room. In another painting titled Agent Orange (2025), Jane Irish calls to mind the pollutant used in herbicidal warfare programs with a muddy, darkened palette, while mutating, floating apparitions haunt the room and her 2021 painting Phosphorous hangs on the wall. Of the painting, Jane Irish says,  “I emphasize the violence in the room’s decor. With a breaking heart I ask, ‘Why wouldn’t we repeat and preserve the abuse and killing since we idolize our lives around these acts?’”

Meta references continue in Return (2025), where she transforms her series of colonial scenes titled Decay Puits Sauvage (2025) into a phantasmic wallpaper. Paintings of the decaying wall are shown alongside the semi-fictionalized setting in Return, signaling a spiral of meaning and “coevolution.” Juxtaposing images of colonial violence with the indigenous Vietnamese cloud flooring, Irish’s room becomes both contemplative and confrontational.

Also on view is a large-scale study for Irish’s Renaissance-style ceiling painting titled Cosmos Beyond Atrocity (2024), which was commissioned for the new building of the Princeton University Art Museum. Mounting the study as a wallpaper and hanging the drawings in front, the installation presents Irish’s adaptive process to illuminate the layered temporalities and spatial collisions.

Artist Jane Irish

Jane Irish (b. 1955) received her MFA in 1980 from Queens College, CUNY. She got her start as an artist in the East Village in the 1980s and moved to Philadelphia in 1982. 

She has exhibited at the Philadelphia Museum of Art; Pennsylvania Academy of the Fine Arts, and the Institute of Contemporary Art, Philadelphia, PA; the Walker Art Center, Minneapolis, MN; Delaware Center for Contemporary Art, Wilmington, DE; the Baltimore Museum of Art, Baltimore, MD; Contemporary Arts Center, New Orleans, LA; and the Museum of Fine Arts, Houston, TX. 

She is the recipient of a Pollock-Krasner Artist Grant (2025), a BAU Institute Arts Residency Award from the Camargo Foundation (2025), a Louis Comfort Tiffany Foundation Biennial Grant (2024), a Pew Fellowship in the Arts (2011), a Painters and Sculptors Grant from the Joan Mitchell Foundation (2009), a Painting Fellowship from the Pennsylvania Council of the Arts (1984), and a Painting Fellowship from the National Endowment for the Arts (1982). 

Her work is held in public collections including the Philadelphia Museum of Art, the Pennsylvania Academy of the Fine Arts, the Princeton University Art Museum, and the Hirshhorn Museum and Sculpture Garden.

LOCKS GALLERY

600 Washington Square South, Philadelphia, PA 19106

www.locksgallery.com

Luc Tuymans: The Fruit Basket @ David Zwirner, NYC + Los Angeles

Luc Tuymans: The Fruit Basket 

David Zwirner, New York 

November 6 – December 19, 2025 

Luc Tuymans

The Family, 2025

© Luc Tuymans. All rights reserved

Courtesy Studio Luc Tuymans, Antwerp, and David Zwirner

David Zwirner presents an exhibition of new paintings by Belgian artist Luc Tuymans on view at the gallery’s newly renovated 533 West 19th Street location. Luc Tuymans has been represented by David Zwirner since 1994; this is the celebrated artist’s eighteenth solo show with the gallery. The Fruit Basket will travel to David Zwirner Los Angeles in February 2026.

One of the most important painters working today, Luc Tuymans pioneered a distinctive style of figurative painting beginning in the 1980s that has been singularly influential to his peers as well as subsequent generations of artists. Featuring subject matter that ranges from the mundane to the profound, the artist’s deeply resonant compositions insist on the power of images to simultaneously reveal and withhold meaning. Over time, Luc Tuymans has adapted both the content and formal construction of his works to engage with contemporary visual culture and the sociopolitical contexts in which they are shown, thereby continually asserting the relevance of painting in a digitally saturated world.

Thematically, The Fruit Basket picks up where Tuymans’s previous exhibition—The Barn, held at David Zwirner New York in 2023—left off, delving further into the deleterious effects of the conflation of image and reality. The exhibition considers the pervasive atmosphere of fracture that is specific to the United States at this moment. Foregrounding the highly mediated state of contemporary experience, Luc Tuymans reinforces a growing sense of dissolution through varied subject matter and formal approaches, which are installed in an unexpected cadence across the show. Throughout, he modulates the tonality of his colors to match the heightened artifi ciality of the imagery he has carefully chosen, creating thought-provoking juxtapositions of scale and technique. 

Measuring sixteen feet tall and more than twenty-three feet wide, The Fruit Basket (2025)—from which the exhibition takes its title—presents a picture that is literally fragmented, composed of nine distinct parts arranged into a grid. Based on an iPhone photo that Luc Tuymans took of an actual basket of fermenting fruit projected onto a blue-cast multipart screen, the eerie tones and diffuse focus of this painting betray the presence of digital light. An object of fascination for the artist, the fruit basket—sometimes seen as a symbol of plenty—and its contents are distorted almost beyond recognition, becoming something else entirely, a kind of memento mori. Due to the sheer size of the composition, the viewer must step back to take in the work in full, only to notice the intrusion of the artist’s fingers at the bottom corner that indexes his engagement with the image on his phone. The strong diagonal that cuts across the picture plane mimics the construction of the similarly scaled epic history painting The Raft of the Medusa (1818–1819) by Théodore Géricault. In likening a fruit basket—an object that is also commonly gifted to the sick—to Géricault’s raft of the dying, adrift from a shipwreck, Luc Tuymans emphasizes decay rather than abundance. 

A related group of four large-scale works, collectively titled Illumination, is installed throughout the show, appearing at first as fields of color that are lit from within in a manner akin to the rectilinear abstractions of Mark Rothko—a prodigious artist whose life ended in tragedy, and an ongoing interest for Tuymans. Tuymans’s paintings harken back to 1950s and 1960s abstract expressionism and color field painting, non-referential styles that had their heyday during a period of intense sociopolitical turmoil in the US and are now the subject of renewed interest. In contrast to the spontaneity of abstract painting, Tuymans’s works are deliberately constructed, based on zoomed-in stills captured on his phone from a documentary about the restoration of fifteenth-century illuminated manuscripts. Luc Tuymans decided to encase these compositions in nearly black hues (though using no actual black pigment), applied by hand in thick bands around their borders. These off-square “frames” occupy almost as large a portion of the canvas as the actual image, further emphasizing the light that these colorful passages seem to emit—in this case reproducing the bright and mottled light that artifi cially results from taking a photo of a screen with a smartphone and drastically enlarging it. The subject of these paintings is amorphous, opening onto multiple readings that signal the instability of memory and the ways in which the past can be reinvented through image. 

Another group of canvases, painted in Tuymans’s distinctive and recognizable style, literalizes a feeling of intrusion at the heart of the exhibition. Hollow (2025) features the empty interior of a prosthetic latex mask, which floats against a dark, monochromatic ground. The inverse of a face, this image foregrounds the question of what is real and what is fake. Meanwhile, the smallest work in the show, The Maggot (2025) presents a close-up of the titular insect, alternately considered a harbinger of decay and rot and a medical cure capable of cleansing an open wound. Migrants (2025) glows urgently with hot reds and oranges and a looser treatment of paint. Rendered in an impressionistic style that is legible only from a distance, the image of dozens of faceless figures cloaked in shadow derives from a news photograph of migrants waiting at a border—the only work in the show to be based on an unmanipulated, “real” image. 

Finally, a group of four canvases based on 3D-printed figurines of actual people feature individuals that in different ways read as quintessentially American. Appearing at once uncannily lifelike and frozen in time, the people are rendered with an increased feeling of dimensionality, hinting at their status as objects. Executed on a more intimate scale that brings the viewer face-to-face with the subjects depicted, these paintings are meant to project optimism. However, Luc Tuymans has bestowed the canvases with an ashen underlayer, coupled with a thin treatment of paint, causing the figures to appear as if they were never alive to begin with. Paintings from this group both open and close the exhibition. In the first gallery, Hall of Fame (2025) features a figure donning the yellow NFL Hall of Fame jacket and holding a football between his hands as he stares vacantly ahead, a champion of the most American of pastimes. Likewise, the last painting in the show, The Family (2025) features a group portrait of three generations clustered together, smiling brightly while receding before our very eyes, underscoring the impossibility of a certain kind of reality.

Artist Luc Tuymans

Born in 1958 in Mortsel, Belgium, Luc Tuymans is one of the most important painters of his generation. His first major museum presentations were held in 1990 at the Provinciaal Museum voor Moderne Kunst, Ostend, Belgium, and the Vereniging voor het Museum van Hedendaagse Kunst, Ghent. In 1992, the artist participated in Documenta IX in Kassel, in addition to having a solo exhibition at Kunsthalle Bern, which helped cement his growing reputation in Europe. In 1994, Luc Tuymans: Superstition debuted at Portikus, Frankfurt, and traveled to David Zwirner, New York; the Art Gallery of York University, Toronto; The Renaissance Society at the University of Chicago; the Institute of Contemporary Arts, London; and Goldie Paley Gallery, Moore College of Art & Design, Philadelphia, establishing him as a major influential artist abroad. In 2001, the artist represented Belgium at the Venice Biennale to great acclaim. Luc Tuymans lives and works in Antwerp. 

One of the first artists to be represented by David Zwirner, Luc Tuymans has had numerous solo exhibitions at the gallery since joining its roster in 1994. In May 2023, David Zwirner presented The Barn, a solo exhibition of Tuymans’s work, at the gallery’s 537 West 20th Street location in New York. This was the artist’s seventeenth show with the gallery and his first solo presentation in the United States since 2016. Previous shows at David Zwirner include Eternity (2022); Monkey Business (2021); Good Luck (2020); Le Mépris (2016); The Shore (2015); The Summer is Over (2013); Allo! (2012); Corporate (2010); Forever, The Management of Magic (2008); Proper (2005); Fortune (2003); Mwana Kitoko: Beautiful White Man (2000); Security (1998); The Heritage (1996); Francis Picabia and Luc Tuymans: Paintings (1995); and Superstition (1994). 

Luc Tuymans has been featured in numerous solo exhibitions at prestigious institutions worldwide. An in-situ temporary mural by the artist, L’Orphelin, was on view at the Rotunda Valentin de Boulogne in the Musée du Louvre, Paris, in 2024–2025. In 2024, the UCCA Center for Contemporary Art, Beijing, presented The Past, a major exhibition of the artist's work. Other solo presentations include those held at Palazzo Grassi, Venice (2019); De Pont Museum, Tilburg, The Netherlands (2019); Museum aan de Stroom (MAS), Antwerp (2016), which traveled to the National Portrait Gallery, London (2016); Qatar Museums Gallery – Al Riwaq, Doha (2015); Menil Collection, Houston (2013); the Wexner Center for the Arts, Columbus, Ohio (2009), which traveled to San Francisco Museum of Modern Art, Dallas Museum of Art, Museum of Contemporary Art Chicago, and BOZAR – Palais des Beaux-Arts, Brussels; and Tate Modern, London (2004), which traveled to K21 Kunstsammlung Nordrhein-Westfalen, Düsseldorf.

The artist has received numerous awards and honors, including the Medal of Honor, International Congress of Contemporary Painting (ICOCEP), Porto, Portugal (2019); the Coutts Contemporary Art Foundation Award, Zurich (2000); and the Flemish Culture Award for Visual Arts (1993). His works are featured in museum collections worldwide, including the Art Institute of Chicago; Centre Pompidou, Paris; Fondazione Prada, Milan; Los Angeles County Museum of Art; The Museum of Modern Art, New York; National Gallery of Art, Washington, DC; The National Museum of Art, Osaka; Pinakothek der Moderne, Munich; Pinault Collection, Paris; Solomon R. Guggenheim Museum, New York; San Francisco Museum of Modern Art; and Tate, United Kingdom. 

Luc Tuymans’s catalogue raisonné of paintings, from 1972 to 2018, is available from David Zwirner Books and Yale University Press. The three volumes feature full-color images and documentation of more than five hundred paintings.

DAVID ZWIRNER

533 West 19th Street, New York, NY 10011

www.davidzwirner.com

Kader Attia @ Lehmann Maupin, NYC - 'Shattering and Gathering our Traces' Exhibition

Kader Attia 

Shattering and Gathering our Traces 

Lehmann Maupin, New York 

October 30 – December 13, 2025 

Lehmann Maupin presents Shattering and Gathering our Traces, an exhibition of new work by French-Algerian artist KADER ATTIA, marking his first solo presentation in New York in over five years and the US debut of several new bodies of work. Featuring sculpture, installation, collage, and film, the exhibition bridges Attia’s long-standing engagement with repair, identity, and postcolonial critique with a new body of work centered around shattering and gathering. Across the exhibition, Attia seeks to reconstruct interpersonal connection and understanding by engaging viewers in a collective and poetic space. This exhibition comes on the heels of a string of institutional presentations around the world, including the solo exhibitions A Descent into Paradise, which traveled to MUAC in Mexico City and the Amparo Museum in Puebla, Mexico, and The Lost Paradise at CAAC Sevilla in Spain. Additionally, Kader Attia is currently included in the 36th São Paulo Biennial, entitled Not All Travelers Walk Roads / Of Humanity as Practice, on view through January 11, 2026. He recently served as an artist in residence at the Louvre Museum in Paris, France, through the institution’s “Les Hôtes du Louvre” (The Hosts of the Louvre) program, where he maintained an on-site studio.

Kader Attia grew up between Bab el Oued, Algeria and the suburbs of Paris. Drawing from his experience of living within two disparate cultures, he has developed a complex, multi-media practice that examines the intricacies of social, historical, and cultural differences across the globe, demonstrating how individual and cultural identity is constructed within the context of political domination and conflict. Often using artifacts, discarded quotidian objects, and wartime ephemera to create poetic installations, Kader Attia transforms the space of a gallery into one of introspection, allowing the viewer to become aware of the complicated and often inaccurate depiction of our multiple histories. 

Shattering and Gathering our Traces draws on Attia’s background in history and politics to speak to the reconstruction of identity within the structures of contemporary society. As with much of his work, Attia introduces sculptural interventions across the exhibition through the use of fragmented mirrors, interactive elements, and familiar objects like suitcases to turn his works into sites of self-reflection by implicating the viewer in their activation. Here, Attia focuses on gathering in response to shattering; specifically, the artist positions gathering as a means of collective identity building by resisting the lure of individualism enabled by an increasingly digital world. In particular, the works in Shattering and Gathering our Traces address our contemporary fixation with technology and social media, which creates digital crowds of countless isolated individuals under the guise of connection.

Resonance /ˈrezənən(t)s/ (noun):

Resonance describes the amplified vibration of a system when stimulated at its natural frequency, as well as the quality of a sound that is loud and clear, or a deep connection and shared understanding between people or ideas

Anchoring the exhibition is an interactive site-specific installation entitled Resonance (2025), which seeks to foster gathering as an individuating space of freedom. Filling the main gallery, numerous bird cages hang by slender rope from the ceiling, each at a different height and with a small bell inside. Additional pieces of bulky rope hang from the bottom of each birdcage, extending the installation to the floor. As viewers navigate the gallery and brush against or even pull on the lower ropes, the bells within each cage move and tinkle, filling the space with sound. In this way, Resonance brings viewers into the experience of art as a tangible interaction between their gaze and body and the artwork; they are invited to interact with the installation as subjects, both concretely and metaphorically. Each bird cage could refer to an isolated individual expressing themselves under the guise of freedom, yet barely audible when they all speak at once—a cacophony similar to social media. Indeed, when engaging on various digital platforms, users think they are communicating with the whole world, while in reality they are part of a small echo chamber filled with like-minded individuals, as explained by Cass Sunstein 20 years ago in his book Republic.com 2.0. The artwork Resonance creates a space of gathering that allows both escape from and criticism of the alienating grip of algorithmic governance and the isolation of digital social networks.

Meanwhile, in the film La Valise oubliée [The Forgotten Suitcase] (2024)—which is on view in Not All Travelers Walk Roads / Of Humanity as Practice, the 36th São Paulo Biennial—Kader Attia takes the suitcase as a dynamic metaphor for both past obscurities and future potentialities, playing with the idea of an unfinished narrative. Kader Attia unpacks archival materials (primarily Algerian War [1954-1962] memorabilia like letters, photographs, and journal entries) from three suitcases attributed to three individual stories that interweave threads of our collective history: those of French artist and Algerian sympathizer Jean-Jacques Lebel, feminist decolonial thinker Françoise Vergès, and Attia’s own mother. Through this act of gathering fragments, Kader Attia tells the story both of his family and of the countless, nameless men and women who resisted and organized in the shadows against colonialism.

Kader Attia transformed three similar suitcases into sculptural installation works, which provide a tangible experience of the powerful symbolic abstraction that these items have on our psyche. Each suitcase lays open and is filled with shards of broken glass, brightly illuminated in a manner that casts sparkling reflections onto the walls. In these sculptures, Attia invites viewers to gather around that which has been shattered—and that which reflects. The shattered mirrors and their reflections materialize the traces that the suitcases carry as memories. These mnemonic traces are at once abstract, diverse, and unpredictable—they are the ghosts that make us what we are, individually and collectively.

LEHMANN MAUPIN NEW YORK

501 West 24th Street, New York, NY 10011

www.lehmannmaupin.com

The Philadelphia Museum of Art is now the Philadelphia Art Museum

The Philadelphia Museum of Art is now the Philadelphia Art Museum

Philadelphia Art Museum

Photo by Rob Cusick

Philadelphia Art Museum

Photo by Rob Cusick

The Philadelphia Museum of Art reintroduced (October 8, 2025) itself to the city, the nation, and the world as the Philadelphia Art Museum.

The museum has unveiled a new brand that places Philadelphia front and center, celebrating the city's grit creativity, and industrial heritage. Developed with Gretel, a nationally renowned branding, strategy, and design studio, the new identity reflects the museum’s transformation into a more engaging and expansive institution.

Philadelphia Art Museum

Photo by Rob Cusick

Philadelphia Art Museum

Photo by Rob Cusick

Every design choice deliberately embraces Philadelphia's independent spirit—from custom typography that merges the museum’s institutional heritage with the city’s visual language to reviving the iconic griffin in the logo as protector of the arts. The new brand identity captures Philadelphia’s vibrant culture, reflecting how art influences everyday life and resonates across the city’s diverse communities. It embodies the mission to bring art into the everyday, making the museum accessible, relevant, and deeply connected to the people it serves.

“The Philadelphia Art Museum has long been the cultural heart of the city, and it’s our duty to maintain that role,” said Sasha Suda, George D. Widener Director and CEO of the Philadelphia Art Museum. “Our focus and vision are unabashedly Philadelphian; we’re opening our doors to become more collaborative and future-focused for all.”

 

New Philadelphia Art Museum merch 

Photo by Rob Cusick

New Philadelphia Art Museum merch 

Photo by Rob Cusick

The Philadelphia Art Museum is a local, national, and international treasure that belongs to the city. The rebrand reinforces the museum’s commitment to engaging Philadelphia’s communities and visitors from around the world in dynamic conversations about art and life.

“This project is the result of more than a year of research, collaboration, creative development and iteration,” Ryan Moore, Executive Creative Director and Partner at Gretel, said. “Our main objective was to ‘come down the steps’ by putting the museum in dialogue with its community, which is and always has been the city itself. This new identity reflects the future of the institution: more engaging, more dynamic, and more inviting to new audiences.”

Philadelphia Art Museum

Social Media Social Stickers

PHILADELPHIA ART MUSEUM

2600 Benjamin Franklin Parkway, Philadelphia, PA 19130

www.visitpham.org

Miró and the United States @ Fundació Joan Miró, Barcelona + The Phillips Collection, Washington DC - A Major Exhibition

Miró and the United States

Fundació Joan Miró, Barcelona

10 October 2025 – 22 February 2026

The Phillips Collection, Washington 

21 March – 5 July 2026

The Fundació Joan Miró in Barcelona, in collaboration with The Phillips Collection in Washington, presents a new and revealing exhibition entitled Miró and the United States, which highlights the intense, bidirectional and intergenerational relationship between Joan Miró and his contemporaries in North America. While it is well known that many North American artists were inspired by Miró, it is less well known that he was also inspired by North American art, particularly gestural, action and large format painting. This exchange and creative flow spanned continents and generations and is one of the central themes of the exhibition, which is part of the commemoration of the 50th anniversary of the Fundació Joan Miró. Coming from a Spain devastated by the Franco dictatorship, the United States represented for Joan Miró not only art, but also a country of large open horizons, hope, democracy, future and endless possibilities.

Miró and the United States brings together an outstanding selection of paintings, drawings, sculptures, prints, films and archival documents from American and European collections, as well as new studies by renowned specialists on Miró’s artistic evolution.

Miró and the United States is a unique exhibition because it offers a fresh look at Miró’s place in modern art, a reading that places the North American context at its heart. In other words, rather than focusing on the French context, which is essential for understanding his work from the 1920s and 1930s onwards, the show situates the United States as a pivotal territory in the evolution of Joan Miró’s artistic language, his international recognition and his connections with other artists. The United States enabled Joan Miró to undertake large-scale public projects – such as the sculpture Moon, Sun and One Star, made for Chicago – that would have been unfeasible in Spain at the time. The open and experimental environment of the United States helped Miró to consolidate his creative freedom and international recognition.

The exhibition therefore showcases key moments in Miró’s career in the USA: his two retrospectives in New York (in 1941 and 1959), his seven visits between 1947 and 1968, and also the pivotal role played by his dealer, Pierre Matisse, as well as the support of various American institutions and collectors.

The exhibition is a unique event as it displays 138 works from American and European collections as well as those from the Fundació Joan Miró’s own holdings, including both works by Joan Miró and approximately forty other artists. The selection is based on known connections and intergenerational relationships of admiration, including the likes of Louise Bourgeois, Alexander Calder, Helen Frankenthaler, Arshile Gorky, Lee Krasner, Alice Trumbull Mason, Jackson Pollock and Mark Rothko, among many others. This artistic conversation demonstrates how Miró’s legacy continues to live on.

Based on years of research, the exhibition re-examines the established narratives about Miró’s position in the history of art through the selection of artists who feature in it. The different sections of Miró and the United States explore this relationship between Joan Miró and forty-nine contemporary artists from different generations. The exhibition also includes many artists who, despite not being originally from the country, moved or went there temporarily to develop part of their artistic careers. Driven by immigration, exile, the search for opportunities or cultural exchange, these creators played a decisive role in shaping the diverse and international North American art scene.

Although it has become commonplace, the fact that the centre of the art world shifted from Paris to New York is historically grounded. The global upheaval of the Second World War led to many European artists and intellectuals being exiled to the United States, fostering the emergence of North American Abstract Expressionism. This geopolitical and cultural shift was examined in a pioneering manner by Serge Guilbaut in How New York Stole the Idea of Modern Art (1985), in which he argues how New York appropriated the symbolic leadership of modern art.

Joan Miró witnessed and participated in the shift of artistic capital from Paris to New York in the period immediately following the turbulent years of the Second World War. This geopolitical and cultural reconfiguration, which may have once seemed distant, now resonates with an urgency and topicality that would have seemed unimaginable just a few years ago. One of the major attractions of Miró and the United States is the curatorial proposal, which brings together works and artists that reveal connections between Miró and the North American art scene that have never been seen before. The exhibition also offers the public an exceptional opportunity to view works that have never previously been exhibited in Spain, including Lee Krasner’s The Seasons, which is on loan from the Whitney Museum for the first time.

Another exhibition highlight is the presence of Miró's Mural Painting, 20 March 1961 (1961), a monumental work that was exhibited several times in the 1960s: in 1961 at the Galerie Maeght in Paris and the Pierre Matisse Gallery in New York, and in 1964 in London and Zurich as part of the Miró retrospective organised by Roland Penrose. Since then, once Josep Lluís Sert had donated the mural to the Harvard Art Museums, this is the first time they have authorised its loan for an exhibition in Europe, a fact that makes its presence in the Miró and the United States exhibition a truly exceptional event.

Moreover, in an unprecedented move, the first two works that Joan Miró exhibited in the United States are reunited for the first time: Le Renversement (1924) and Painting (1926), which were originally presented at the Brooklyn Museum.

As part of Miró and the United States, the Fundació Joan Miró is presenting 22 pochoirs on paper of Constellations, dated 1959. Like the original Constellations of 1940-1941, they were conceived by Joan Miró so that they could be viewed from both sides. While these pieces have been previously exhibited in other settings, this is the first time they have been displayed according to this original, double-sided design, exactly as the artist had intended. This unprecedented curatorial commitment recovers his original vision, offering the public a fresh look at the formal freedom and experimental spirit that define his work.

Alongside important works admired by Joan Miró, such as Jackson Pollock's Number 14, are more surprising dialogues, such as that with Janet Sobel, whose Illusion of Solidity (1945) shows her to be the precursor of the dripping technique One of the exhibition’s crowning works is Lee Krasner’s The Seasons, a piece of imposing dimensions and sublime visual and emotional impact that is travelling to Spain for the first time. The exhibition also sheds light on female artists who had to use male pseudonyms to gain recognition, such as Henrietta Myers (Peter Miller) and Corinne Michelle West (Michael West).

The Miró and the United States exhibition arrives at a particularly opportune moment, filling a clear need in Miró’s artistic story. It transports us to another time and place – full of light, curiosity and risk – when art was a bold commitment to a better future. Amidst a 20th century marked by repression and instability, contact with the United States represented a source of creative energy and openness for Joan Miró, a democratic and dynamic horizon full of artistic opportunities. Miró actively engaged in dialogue with the North American artistic community, which became a place of inspiration and transformation. This fruitful exchange not only renewed his career, but also reinforced his ability to connect with a world in motion, full of contrasts and possibilities. The exhibition therefore invites us to look back and move forward with hope, to continue taking risks and to believe in the power of art as a tool for change and expanding horizons.

Miró and the United States

© Courtesy Fundació Joan Miró, Barcelona

The exhibition is accompanied by the publication Miró and the United States, available in Catalan, Spanish and English. It includes texts by renowned Miró curators and specialists: Dawn Ades, Beatriz Cordero Martín, Marko Daniel, Matthew Gale, Patricia Juncosa, Robert Lubar Messeri, Teresa Montaner, Dolors Rodríguez Roig, Élisa Sclaunick, Elsa Smithgall and Anne Umland.

The Miró and the United States exhibition, co-organised with The Phillips Collection in Washington, will also be on show there from 21 March to 5 July 2026.

Curatorship: Marko Daniel, Matthew Gale and Dolors Rodríguez Roig from the Fundació Joan Miró, in collaboration with Elsa Smithgall from The Phillips Collection

FUNDACIO JOAN MIRO, BARCELONA

www.fmirobcn.org

Hans-Peter Feldmann @ 303 Gallery, NYC - Exhibition of photographs, sculptures and paintings

Hans-Peter Feldmann

303 Gallery, New York

November 5 - December 20, 2025

303 Gallery presents a solo exhibition dedicated to the work of Hans-Peter Feldmann (1941-2023). Coinciding with his retrospective at the Kunstpalast Düsseldorf (September 18, 2025 – January 11, 2026), this presentation brings together over 40 photographs, sculptures and paintings spanning the artist’s 60-year career.

Düsseldorf-based Hans-Peter Feldmann was a passionate collector of images and ephemera, an original thinker and one of the first conceptual artists. Hans-Peter Feldmann focused on photography and artist books since the late sixties. Often collaging found images from magazines, postcards, books, advertisements, and stamps, Feldman used familiar motifs to explore the boundaries between art and everyday life. Unmade beds, car radios – Feldmann focalized unattended moments for a contemplative narrative based on being rather than acting.

Influenced by the Dadaist, the Situationists, Fluxus and Vienna Actionists, Hans-Peter Feldmann viewed art as an impression rather than the object. Feldmann's practice was defined not by materiality but by ideas. On view are several works from Feldmann’s Time series which began in 1970, which use analogue film rolls to shoot continuously the same place, object, or person. Modest subjects and trivial themes are chronicled frame by frame, recording the passage of time. His methods focused on the sequence rather than a single frame; it was through repetition that ideas became more conscious and deeper insight could be gleaned. His work Beine consists of 30 photographs of women’s legs – where one photograph of a woman’s legs may simply be provocative, 30 photographs pinned together becomes something more. In Alle Kleider einer Frau, 70 pieces of woman’s garment are displayed one photo at a time, the woman hidden, the artist emotionally distant, opening up space for the viewer’s interpretation.

In 2007, Hans-Peter Feldmann returned to painting without assuming the traditional role of the painter. Modifying and appropriating 19th Century paintings sourced from auctions and flea markets, Feldmann would transform classical depictions into post-modern caricatures by adding red noses or smudged lipstick to portraits, tattoos or tan lines to nudes. Feldmann’s work Horizont consists of 11 landscape paintings from various time periods. Differing in size, the pictures are aligned with their horizon line to create a continuous thread and reveal a new genre of landscape. Several paintings on view are suspended from the ceiling, a call back to Lina Bo Bardi’s design for the Museu de Arte de Sao Paolo (1968), this ‘floating installation’ democratizes the experience of the artwork, putting the viewer on equal ground with the paintings. 

Hans-Peter Feldmann spent his career challenging the social role of images and subverting expectations, reframing notions of beauty and representation. Feldmann believed art isn't confined to a gallery or museum but woven into everyday life – his works are a reflection on looking, an ability that every viewer holds.

303 GALLERY

555 W 21 Street, New York, NY 10011

www.303gallery.com

Related Post:

Hans-Peter Feldmann: 100 Years

P.S.1, Long Island City, NY, October 15, 2004 - February 21, 2005

Richard Prince: Posters Exhibition @ Galerie Max Hetzler, Marfa, Texas

Richard Prince: Posters

Galerie Max Hetzler, Marfa, Texas

Through 7 December 2025

Richard Prince 

Untitled, 2016 

Courtesy of Richard Prince Studio

Hetzler presents Posters, a solo exhibition of works by Richard Prince, for the gallery’s annual presentation in Marfa, Texas, through December 7, 2025.

One of the foremost representatives of appropriation art, Richard Prince has been recontextualising images and ideas from mass media, advertising and entertainment since the 1970s. Often based on products of everyday American culture, his practice is one of ‘post-production’, which reworks cultural phenomena and their attributes to rewrite received narratives and our understanding of history.

The present exhibition brings together a large body of Richard Prince’s Poster works on canvas and on paper, created between 2014 and 2024. The large canvases show reproductions of advertisements for mail-order posters, as were often found at the back of magazines in the second half of the 20th century. Hugely popular at the time, these printed images represent touchstones of early counter-cultural magazines, which are among Richard Prince’s long-term interests. The motifs of political slogans and far-out art in the form of cheap posters are singled out and chosen by the artist. They find their origins in the hippie head-shop culture of the late ’60s, which also encompassed magazines, music and comedy records. Taped-off and blocked-out from the pages where they were listed, the images have been blown up so that the resulting works are far larger than the original posters.

In their seemingly arbitrary selection, the poster images combine anti-war slogans, reproductions of Modern art, graphic-design interpretations of nude couples, and pictures of cats in sometimes humorously disparate compilations. The revolutionary attitude of the late ’60s student protests is juxtaposed against the self-indulgence of hippie culture in this side-by-side illustration of popular visual language.

If cultural attitudes are transported through everyday imagery, then  Richard Prince makes them transparent by applying the focus of his artistic practice to these source materials. Method and implication are translated into different contexts and, with his meticulous attention to detail, the artist decodes the communication of contemporary visual language and the ideas which are concealed within it.

Artist Richard Prince

Richard Prince (b. 1949, Panama Canal Zone) lives and works in Upstate New York. Prince’s work has been the subject of numerous solo exhibitions in international institutions, including Georgia Museum of Art, Athens (2024); Louisiana Museum of Art, Humblebaek; The Karpidas Collection (both 2022–2023); Museum for Modern Art, Weserburg (2021); Museum of Contemporary Art Detroit (2019–2020); Museo de Arte Latinoamericano de Buenos Aires Malba; Espace Louis Vuitton, Beijing; Astrup Fearnley Museet, Oslo (all 2018); Los Angeles County Museum of Art (2017–2018); Kunsthaus Bregenz (2014); Picasso Museum, Malaga (2012); Le Consortium, Dijon (2011); Serpentine Gallery, London; Walker Art Center, Minneapolis (both 2008); Guggenheim Museum, New York (2007–2008); Kunsthalle Zürich (2002); Museum für Gegenwartskunst, Basel (2001); and MAK, Vienna (2000), among others. The artist participated in the Venice Biennale in 2007 and 2003, as well as the Whitney Biennial in 2004, 1997, 1987 and 1985.

Works by Richard Prince are in the collections of international museums including the Art Institute of Chicago; Astrup Fearnley Museet, Oslo; The Broad, Los Angeles; Centre Pompidou, Paris; Fondation Louis Vuitton, Paris; Institute of Contemporary Arts, Boston; Kunstmuseum Basel; Los Angeles County Museum of Art; The Metropolitan Museum of Art, New York; Modern Art Museum of Fort Worth; Museum of Contemporary Art, Chicago; Museum of Contemporary Art, Los Angeles; The Museum of Modern Art, New York; Palazzo Grassi, Pinault Collection, Venice; San Francisco Museum of Modern Art; Solomon R. Guggenheim Museum, New York; Tate, London; Victoria and Albert Museum, London; and Whitney Museum of American Art, New York, among others.

GALERIE MAX HETZLER

1976 Antelope Hills Road, Marfa, Texas

www.maxhetzler.com

Richard Prince: Posters

Galerie Max Hetzler, Marfa, Texas, 17 May – 7 December 2025

Recall. Reframe. Respond. The Art of Paul Scott @ Cincinnati Art Museum

Recall. Reframe. Respond. The Art of Paul Scott 

Cincinnati Art Museum

October 10, 2025 – January 4, 2026

Ceramic tableware with intricate blue patterning has been a staple in dining room décor for centuries. Contemporary artist Paul Scott (British, b. 1953) carries this tradition forward, yet his designs are anything but conventional. More than 50 of his works, which present updated narratives about art, history and American experiences, will be on view at the Cincinnati Art Museum (CAM) in the exhibition Recall. Reframe. Respond. The Art of Paul Scott.

Paul Scott breaks, reassembles, erases and adds details to ceramics from the 1800s and 1900s using transfer-printing and collage processes to create new “historical” patterns. In addition to these repurposed antique pieces and the artist’s new ceramic forms, Recall. Reframe. Respond. debuts Scott’s limited-edition letterpress artist book. A selection of his works will be paired with artworks from CAM’s American art collection to “reframe” the way audiences see, experience and reflect on these objects.

“This is not your grandparents’ blue-and-white china,” notes Amy Dehan, the museum’s curator of decorative arts and design. “Paul Scott’s work is subversive in the best way—witty, wry and challenging. It urges us to look critically at dominant narratives while making connections across human experience, places and time.”

Recall. Reframe. Respond. also celebrates local artists and voices, featuring responses to a selection of Scott’s works written by community members. Notably, the exhibition also presents two transferware pieces on which he collaborated with Cincinnati-based artist Terence Hammonds.

Based in the northwest English county of Cumbria, Paul Scott is an artist, author, curator and educator who is best known for his unique ability to employ extensive historical and technical knowledge of ceramics to create provocative artworks and social commentary. During a visit to Ohio State University in 1999, Paul Scott became inspired by historical British-made blue-and-white ceramic transferwares that depicted American scenes, directly engaging American consumers. After his visit, Paul Scott challenged himself to create his own versions that recontextualize the messages embedded within these historical works by focusing on contemporary imagery and subjects. Scott’s New American Scenery series reflects his personal experiences of being and traveling in America, and, in his words, the need to “rebalance the narrative with something more contemporary and inclusive.”

Paul Scott shares: “Industrial transferwares were part of the new media revolution in the late 18th and early 19th centuries. They have always carried images and patterns which have journeyed through media, time, histories and geographies, capturing and changing meanings as they have travelled. Cumbrian Blue(s) contemporary artworks reference these original wares, so I very much enjoy opportunities which allow me to juxtapose my 21st century iterations alongside the historic in visual dialogues that act to re-animate (sometimes forgotten) objects from museum stores. For Recall. Reframe. Respond., I am excited to extend this process to include paintings, prints, photographs and other artworks from Cincinnati Art Museum’s extensive collections, creating new ‘conversations’ and reanimations.”

Over the last three decades, Paul Scott has established an international reputation. His work can be found in public and private collections around the globe including The National Museum of Art, Architecture and Design in Norway, the Victoria and Albert Museum in London and the Smithsonian American Art Museum in Washington, DC.

Transfer-printed ware, or transferware, describes industrially produced ceramic tableware that has a decorative pattern applied by transferring a print first from an engraved copper plate to specialized paper and finally to the ceramic’s surface. This term also applies to modern wares with printed graphic surfaces made using more recent printmaking techniques and decal transfer technologies.

The exhibition will be on view in the Sara M. and Michelle Vance Waddell Gallery and the Manuel and Rhoda Mayerson Gallery (124 and 125) located across from the Terrace Café. Several works will be displayed in other museum galleries, to be in conversation with the collections.

CINCINNATI ART MUSEUM

953 Eden Park Drive, Cincinnati, OH 45202

www.cincinnatiartmuseum.org

Andy Warhol: Vanitas @ The Andy Warhol Museum, Pittsburgh

Andy Warhol: Vanitas 

The Andy Warhol Museum, Pittsburgh 

October 10, 2025 – March 9, 2026 

Andy Warhol, Self-Portrait, 1986 

© The Andy Warhol Foundation for the Visual Arts, Inc.

Andy Warhol, Sleep, 1963 

© The Andy Warhol Museum

The Andy Warhol Museum presents Andy Warhol: Vanitas, an exhibition which explores the ephemeral nature of life as seen through the eyes of one of the most iconic artists of the 20th century. Andy Warhol, a pivotal figure in the Pop Art movement, was strongly influenced by his Byzantine Catholic upbringing and the religious iconography that pervaded his early life. This spiritual undercurrent appears throughout his oeuvre, where themes of mortality, vanity and the passage of time are recurrent motifs.

Andy Warhol 

Details of Renaissance Paintings 

(Leonardo da Vinci The Annunciation 1472), 1984 

© The Andy Warhol Foundation for the Visual Arts, Inc.

This exhibition examines Warhol’s contemplation of life’s transient nature through the lens of three themes: Mortality, Vanitas and Temporality. Each theme offers a lens through which his fascination with death, the fleeting nature of beauty and the passage of time can be understood. Warhol explored these themes in his work with seriousness, and he infused them with irony and humor, showcasing his unique, often philosophical and contemplative, perspective.

“Museum audiences have increasingly taken an interest in exploring other aspects of Warhol’s career beyond his well-known Pop Art masterpieces,” said Amber Morgan, director of collections and exhibitions. “Andy Warhol: Vanitas, while perhaps seeming a bit dark in theme, speaks to Warhol’s willingness to confront universal big questions and explore multiple paths in his search for answers.”

Andy Warhol, Skull, 1976 

© The Andy Warhol Foundation for the Visual Arts, Inc.

Andy Warhol, Skull, 1976 

© The Andy Warhol Foundation for the Visual Arts, Inc.

Andy Warhol, Self-Portrait with Skull, 1978

© The Andy Warhol Foundation for the Visual Arts, Inc.

Vanitas, derived from the Latin word for “vanity”, refers to a genre of still-life painting that thrived in the 17th century, amongst others in The Netherlands and Flanders. It typically features collections of symbolic objects representing the transience of life, the emptiness of worldly pleasure and the inevitability of death. These works are designed to remind viewers of their mortality and the insignificance of worldly goods and pleasures. Rich in symbolic imagery, vanitas prints often depict skulls, extinguished candles, wilting flowers, soap bubbles and timepieces, all serving as memento mori (Latin for “remember that you must die”). The Vanitas theme was a constant subject for Warhol in works featuring skulls, disasters and tragic beauty. The exhibition includes a small selection of vanitas Dutch artworks on loan from the Rijksmuseum in Amsterdam

“The SCHUNCK Museum is grateful to collaborate with The Warhol on this exhibition, inspired by the 17th-century Dutch and Flemish Vanitas tradition in painting,” said Fabian de Kloe, artistic director at the SCHUNCK museum. “Vanitas invites reflection on themes such as faith, identity and mortality—echoing not only the Catholic heritage of the Southern Netherlands but also the personal and spiritual explorations in Andy Warhol’s work. Rooted in two post-industrial cities, Pittsburgh and Heerlen, this partnership creates space to reflect on our shared histories and how these timeless questions continue to shape our lives today.”

Andy Warhol: Vanitas is curated by Patrick Moore, former director of The Warhol, in collaboration with the SCHUNCK museum.

THE ANDY WARHOL MUSEUM

117 Sandusky Street, Pittsburgh, PA 15212

www.warhol.org

Richard Serra: Running Arcs (For John Cage), 1992 @ Gagosian, New York

Richard Serra

Running Arcs (For John Cage), 1992

Gagosian, New York

September 12 – December 20, 2025

Gagosian presents the US exhibition debut of Running Arcs (For John Cage) (1992), a large-scale sculpture by RICHARD SERRA (1938–2024). The work has been exhibited only once before, more than thirty years ago, opening on September 12, 1992, at Kunstsammlung Nordrhein-Westfalen in Düsseldorf, Germany. Running Arcs (For John Cage), on view at Gagosian’s 522 West 21st Street gallery, openened thirty-three years—to the date—after its initial presentation.

Running Arcs (For John Cage) is composed of three identical conical steel segments, inverted relative to each other, installed in a staggered formation. Each panel is approximately 52 feet long, 13 feet high, and 2 inches thick.

GAGOSIAN

522 West 21st Street, New York, NY 10011

gagosian.com

New Photography 2025 @ MoMA, NYC - "Lines of Belonging" - The Museum of Modern Art, New York

New Photography 2025 

Lines of Belonging

MoMA, New York

September 14, 2025 – January 17, 2026 

Prasiit Sthapit 

Saloni and friends (2013) 

from Change of Course. 2012-18 

© 2025 Prasiit Sthapit. Courtesy the artist

Renee Royale 

River at Chalmette Battlefield (Fazendeville) 

from Landscapes of Matter, 2023 

© 2025 Renee Royale. Courtesy the artist

Lindokuhle Sobekwa 

uMthimkhulu IV (The Great Tree). 2025 

Installation with photographs, Japanese kozo paper, 

gampi paper, colored pencil, oil pastel, acrylic paint, 

and polymer photogravure

© 2025 Lindokuhle Sobekwa

The Museum of Modern Art presents New Photography 2025: Lines of Belonging, the 40th anniversary edition of MoMA’s celebrated New Photography series. This exhibition brings together a group of 13 international artists and collectives, from four different cities around the world, who are expanding the horizons of the photographic field in the 21st century. Each at various stages in their careers, these artists are presenting distinct bodies of work for the first time in New York. Their creative contributions interweave personal narratives with structural, environmental, and colonial histories to consider forms of belonging that shape communities.

Tania Franco Klein 

Mirrored Table, Person (Subject #14) 

from Subject Studies: Chapter 1, 2022 

Inkjet print, 29 1/2 × 39 1/2″ (74.9 × 100.3 cm) 

© 2025 Tania Franco Klein. Courtesy the artist

L. Kasimu Harris

“King” Joe Lindsey and his Royal Setup 

(Roberton’s Vieux Carre Lounge), New Orleans 

from Vanishing Black Bars and Lounges, 2022 

Inkjet print, 24 x 36” (61 x 91.4 cm) 

© 2025 L. Kasimu Harris. Courtesy the artist

Sabelo Mlangeni

Faith and Sakhi Moruping, Thembisa Township (2004) 

from Isivumelwano, 2003-20 

Gelatin silver print, 14 5/8 × 10 9/16″ (37.1 × 26.8 cm) 

© 2025 Sabelo Mlangeni

Since it was launched in 1985, New Photography has introduced MoMA audiences to the innovative practices of more than 150 international artists. The featured practitioners in New Photography 2025 work in and out of one of four cities that have existed as centers of life, creativity, and communion for longer than the nation states within which they are presently situated: Johannesburg, Kathmandu, New Orleans, and Mexico City.

“The 40th anniversary of the program offers an opportunity for curatorial reflection on creative expressions of kinship and solidarity in a tumultuous political moment, centering artists who sustain communities, and drawing out connective threads within, across, and beyond the idea of borders,” Roxana Marcoci says. 

 

Clockwise from top left: Sandra Blow. Tony, 2018. Inkjet Print, 7 5/8 × 11 3/8″ (19.4 × 28.9 cm) © 2025 Sandra Blow; L. Kasimu Harris. Come Tuesday (Marwan Pleasant at Sportsman’s Corner), New Orleans, 2020. Inkjet Print, 24 x 36 in. (61 x 91 cm) © 2025 L. Kasimu Harris. Courtesy the artist; Saraswati Rai Collection / Nepal Picture Library. Print from digital archive. Courtesy GEFONT Collection / Nepal Picture Library; Sabelo Mlangeni, Mbulelo and Friends, Thembisa Township, 2004. Gelatin silver print, 9 5/8 × 14 3/8″ (24.4 × 36.5 cm) © 2025 Sabelo Mlangeni

 

Installation view of 

New Photography 2025: Lines of Belonging 

on view at The Museum of Modern Art, New York, 

from September 14, 2025, through January 17, 2026

Photo by Robert Gerhardt

Organized across three gallery spaces, New Photography 2025 includes works by artists who variously explore the natural, manmade, and immaterial forms that shape communal lives and personal histories—from rivers to museums to family trees. 

Saraswati Rai Collection / Nepal Picture Library 

A mass meeting of former kamlaris (women bonded labourers) 

in Kanchanpur, Nepal (2010) 

from The Public Life of Women: A Feminist Memory Project, 2023 

Digital Image

Courtesy GEFONT Collection / Nepal Picture Library

Some reimagine the notion of the archive to formulate expressions of collectivity and interconnectedness, including a site-specific presentation of images preserved by the Nepal Picture Library, a digital archive. Titled The Public Life of Women: A Feminist Memory Project, it brings visibility to Nepali women’s lived experiences. 

Gabrielle Garcia Steib 

Still from The Past is a Foreign Country. 2020 

Super 8 and archival footage. 3 min. 19 sec. 

© 2025 Gabrielle Garcia Steib. Courtesy the artist

Transforming family archives into moving images and installation, New Orleans–based artist Gabrielle Garcia Steib explores personal and structural connections between Latin America and the southern United States. 

Others give space to tender and emancipatory possibilities of chosen families and social forms of kinship, positing a politics of everyday life that invites inclusiveness and resilience. 

Gabrielle Goliath

Berenice 29–39 (detail)

Eleven inkjet prints 

Each 35 7/16 × 35 7/16″ (90 × 90 cm)

© 2025 Gabrielle Goliath. Photo: Martin Parsekian

Installation view of 

New Photography 2025: Lines of Belonging 

on view at The Museum of Modern Art, New York, 

from September 14, 2025, through January 17, 2026

Photo by Robert Gerhardt

Johannesburg artist Gabrielle Goliath’s 2022 serial photographic work Berenice 29–39 is featured among other works that engage iterative modes of address. 

Sandra Blow 

Allan Balthazar (2017) from Untitled, 2017-20 

Inkjet print, 43 1/4 × 28 13/16″ (109.9 × 73.2 cm) 

© 2025 Sandra Blow

The exhibition concludes with a group of photographs by artist Sandra Blow that celebrate the vibrancy of LGBTQ+ youth culture and artistry in Mexico City. 

Engaging a shared set of concerns—from notions of intergenerational memory to the living nature of the archive and the transnational stakes of cultural expression—the artists of New Photography 2025 collectively offer persistence and care as a rejoinder to the viral and profit-driven speed of contemporary image culture.

Lebohang Kganye 

Untouched by the ancient caress of time, 2022 

Installation view of Staging Memories, 

the Grand Prix Images Vevey 2021/2022 winning project, 

produced by Images Vevey (Switzerland) 

and premiered at the Biennale Images Vevey 2022 

Photo: Emilien Itim

Sheelasha Rajbhandari 

Agony of the New Bed (detail), 2023 

Thirty inkjet prints on linen, embroidery thread, metal thread, 

glass beads, on 30 beds, wood, imitation gold leaf 

Each 12 3/8 × 8 7/16 × 6 1/2″ (31.5 × 21.5 × 16.5 cm) 

© 2025 Sheelasha Rajbhandari

New Photography 2025: Featured artists

Sandra Blow (b. 1990, lives and works in Mexico City)

Gabrielle Goliath (b. 1983, lives and works in Johannesburg)

L Kasimu Harris (b. 1978, lives and works in New Orleans)

Lebohang Kganye (b. 1990, lives and works in Johannesburg)

Tania Franco Klein (b. 1990, lives and works in Mexico City)

Sheelasha Rajbhandari (b. 1988, lives and works in Kathmandu)

Renee Royale (b. 1990, lives and works in New Orleans and Chicago)

Nepal Picture Library (est. 2011, based in Kathmandu)

Sabelo Mlangeni (b. 1980, lives and works in Johannesburg)

Lindokuhle Sobekwa (b. 1995, lives and works in Johannesburg)

Gabrielle Garcia Steib (b. 1994, lives and works in New Orleans)

Prasiit Sthapit (b. 1988, lives and works in Kathmandu)

Lake Verea (Francisca Rivero-Lake, b. 1973; Carla Verea Hernández, b. 1978, live and work in Mexico City)

Lake Verea 

(Carla Verea Hernández and Francisca Rivero-Lake) 

Hojas de Metal (Metal Leaves), 2019 

Chromogenic print. 118 1/8 × 72″ (300 × 182.9 cm) 

© 2025 Lake Verea. Courtesy the artists

New Photography 2025: Lines of Belonging is organized by Lucy Gallun, Curator; Roxana Marcoci, Acting Chief Curator and The David Dechman Senior Curator; Oluremi C. Onabanjo, The Peter Schub Curator; and Caitlin Ryan, Assistant Curator, Department of Photography.

MoMA - THE MUSEUM OF MODERN ART, NEW YORK

11 West 53 Street, New York, NY 10019

www.moma.org