Earthwork Exhibition @ Art Museum at the University of Toronto - Curated by Mikinaak Migwans

Earthwork 

Alex Jacobs-Blum, Art Hunter, BUSH Gallery, Edward Poitras, Faye HeavyShield, Lisa Myers, Michael Belmore, Mike MacDonald, Protect the Tract Collective

Curated by Mikinaak Migwans 

Art Museum at the University of Toronto

September 4 – December 20, 2025

Faye HeavyShield

Clan (performance documentation), 2019 

Courtesy of Blaine Campbell

BUSH gallery 

MOMENTA 2021

Photo by Jean-Michael Seminaro 

The Art Museum at the University of Toronto presents the exhibition Earthwork, which reassesses the art historical framing of the “earthwork” popularized by the land art movement of the 1960s and ’70s, reclaiming it from an Indigenous perspective. It is curated by Mikinaak Migwans, Curator of Indigenous Contemporary Art at the Art Museum and Assistant Professor in the Department of Art History at the University of Toronto.

Works by Alex Jacobs-Blum, Art Hunter, BUSH Gallery, Edward Poitras, Faye HeavyShield, Lisa Myers, Michael Belmore, Mike MacDonald, Protect the Tract Collective

Earthwork redefines a term that until now has referred to a type of artistic practice associated within the larger conceptual framework of land art. In this exhibition, Mikinaak Migwans shifts our understanding of earthwork to refer to a way of working, rather than the making of singular objects — similar to the term “beadwork.” With a Canada-wide scope emphasizing the Great Lakes region, the exhibition takes as its starting point an understanding of ancestral earthworks less as monuments and more as sites of ongoing stewardship and care. It considers multiple layers of engagement with the land, including a history of land defense movements, medicine walks, and ancestral practices of prescribed burns, alongside contemporary artworks as creative acts of relational intervention.

“Redefining earthwork in this way helps us think about land as part of the cycles of life and death, rather than eternal monuments outside of time,” says Mikinaak Migwans. “It also helps us to see the huge labour investment that goes into maintaining relations on the land, getting away from this idea that the natural is something opposite to the human. Indigenous connections to land, especially, have been erased in colonial accounts that talk about a natural environment that is ‘virgin,’ ‘untouched,’ and in this way, unclaimed. But recent scholarship is starting to show that North America’s ecosystems were carefully cultivated and maintained by Indigenous Peoples. They’ve quite literally shaped the landscape through generations.” 

Art Hunter 

Untitled (Controlled burn at Kay-nah-chi-wah-nung mounds), 2023

Digital print

Photo courtesy of the artist

Art Hunter 

Untitled (Controlled burn at Kay-nah-chi-wah-nung mounds), 2023

Digital print

Photo courtesy of the artist

Central to the exhibition is photo and video documentation by Art Hunter of land stewardship practices at the ancestral Kay-Nah-Chi-Wah-Nung Historical Centre, a national historic site and one of the most significant places of early habitation and ceremonial burial in Canada located in northwestern Ontario. Art Hunter’s description of the Anishinaabe community’s controlled burn and other processes to maintain the site’s special ecology served as the inspiration point for Earthwork. 

Michael Belmore

drift, 2025 

Steel, wood, 2.43 m x 9 m x 4.5 m

Photo courtesy of the artist.

Michael Belmore

drift, 2025 

Steel, wood, 2.43 m x 9 m x 4.5 m

Photo courtesy of the artist

Internationally recognized artist Michael Belmore will create a new piece in his snow fence series, which will be on view from November 2025 through March 2026—following the seasonal cycle rather than the exhibition cycle. 

A new audio work by independent curator and artist Lisa Myers helps visitors think about land relations through walking and listening. 

Other featured artists are #BUSH Gallery (Gabrielle L’Hirondelle Hill, Peter Morin, Tania Willard), Alex Jacobs-Blum, Faye HeavyShield, Mike MacDonald, Edward Poitras, and Protect the Tract Collective. 

The exhibition offers visitors a printed Engagement Guide, to better connect with the works on view by sharing specific histories and information in an accessible way.

ART MUSEUM AT THE UNIVERSITY OF TORONTO

University of Toronto Art Centre

University College, 15 King’s College Circle, Toronto, Ontario M5S 3H7

artmuseum.utoronto.ca

The Bridges of Michael Kenna @ Robert Mann Gallery, New York

The Bridges of Michael Kenna

Robert Mann Gallery, New York

September 4 - October 18, 2025

Bridges span rivers, connect cities, and carry us over what once seemed impassable. Where once there was only a divide — a river too wide, a ravine too deep — now there is a line drawn through space. We drive over bridges, walk across them, sometimes without even thinking. Yet Michael Kenna impressively photographs these bridges stretching across the globe in a unique light of the feat of human construction through time.

Kenna’s first show with Robert Mann Gallery opened in 1997 around the time the movie, The Bridges of Madison County was released; a moving love story about a photographer on an assignment to shoot historic bridges. Michael Kenna shares this fascination in capturing these structures, 

“Bridge structures are usually geometric and stationary with straight lines, verticals, horizontals and other angular constructs. The universe is constantly moving, flowing organic, uncontrollable and unpredictable. The abstract relationship between the two, almost like yin and yang, can be visually stunning and continues to fascinate and attract me.”--Michael Kenna

The bridges in this exhibition cross over bodies of water, from Sydney Harbour Bridge, Study 1, Sydney, New South Wales, Australia, to Brooklyn Bridge, Study 1, New York City, USA carrying multiple lanes of traffic, trains, and possibilities. While other small bridges such as Canal Bridge, Banbury, Oxfordshire, England and Ponte dei Sospiri, Venice, Italy stretch a short distance suitable only for individuals to journey across. Each bridge featured in the exhibition has its own historical significance and the possibility of one day being replaced. Michael Kenna beautifully captures the bridge’s story, often at dawn or dusk, along with often solidifying its place in the world. 

What was once the end of the road becomes a place of crossing. What was once isolation becomes relationship. The landscape is no longer defined by separation, but by the possibility of reaching across. In The Bridges of Michael Kenna, the artist’s careful treatment of each composition is apparent from frame to frame, in which every detail is given its due consideration to express this relationship between the bridge and the land. The images in the exhibition represent over 50 years of Kenna’s exploration of this subject matter.

With dozens of monographs and hundreds of solo exhibitions held around the world, Michael Kenna is one of the most widely exhibited and beloved photographers working today. His work has been shown at the Tacoma Art Museum, the Palazzo Magnani Museum in Reggio Emilia, Italy, and Bibliothèque Nationale de France, to name a few. Kenna's photographs are included in many distinguished public collections including the National Gallery of Art, Washington, D.C.; Museum of Modern Art, New York; the San Francisco Museum of Modern Art; the Shanghai Art Museum; the Tokyo Metropolitan Museum of Photography; the National Museum of Modern and Contemporary Art, Seoul, Korea; the Museum of Decorative Arts, Prague; Museum of Art and Photography, Bangalore, India; and the Victoria and Albert Museum, London.

The Bridges of Michael Kenna is on view in conjunction with the artist’s exhibition, Japan: A Love Story, at the International Center of Photography through September 28, 2025. 

ROBERT MANN GALLERY 

508 West 26th Street, New York, NY 10001

www.robertmann.com

Jeffrey Gibson @ The Met Facade, NYC - The Genesis Facade Commission: Jeffrey Gibson, The Animal That Therefore I Am

The Genesis Facade Commission: Jeffrey Gibson, The Animal That Therefore I Am

The Metropolitan Museum of Art, New York

September 12, 2025 – June 9, 2026

Portrait of Jeffrey Gibson: Eileen Travell

Jeffrey Gibson (American, born 1972)

Installation view of The Genesis Facade Commission:

Jeffrey Gibson, The Animal Therefore I Am, 2025

Courtesy the artist

Image credit: The Metropolitan Museum of Art, 

Photo by Eugenia Burnett Tinsley

The acclaimed interdisciplinary artist JEFFREY GIBSON has transformed the iconic niches of the Museum’s Fifth Avenue facade with a series of four large-scale sculptures that explore the metamorphic relationships between all living beings and the environment. A member of the Mississippi Band of Choctaw Indians and of Cherokee descent, Jeffrey Gibson draws from his distinctive style fusing worldviews and imagery with abstraction, text, and color to create these new figurative works cast in bronze. On view through June 9, 2026, The Genesis Facade Commission: Jeffrey Gibson, The Animal That Therefore I Am marks Gibson’s first major exploration of this material at a monumental scale.

"Jeffrey Gibson is one of the most remarkable artists of his generation and a pioneering figure within the field of native and Indigenous art," said Max Hollein, The Met’s Marina Kellen French Director and Chief Executive Officer. "These new works are based on his signature use of unconventional materials and reimagined forms, employing them to explore often-overlooked histories and the natural world. We’re thrilled to have his monumental sculptures installed on The Met’s iconic Fifth Avenue facade."

David Breslin, Leonard A. Lauder Curator in Charge, Modern and Contemporary Art, said, "Jeffrey Gibson is an artist brilliantly attuned to the varieties of life that our world holds—the human, the animal, the land itself. His art vibrates and bristles with that life, the histories that never leave us, and the futures that his vision makes possible."

Jeffrey Gibson (American, born 1972)

Installation view of they carry messages between 

light and dark spaces biakak / dawodv / hawk,

for The Genesis Facade Commission: 

Jeffrey Gibson, The Animal Therefore I Am, 2025

Silicon bronze with patina finish

Courtesy the artist

Image credit: The Metropolitan Museum of Art, 

Photo by Eugenia Burnett Tinsley

Jeffrey Gibson (American, born 1972)

Installation view of they plan and prepare for 

the future fvni / sa lo li / squirrel,

for The Genesis Facade Commission: 

Jeffrey Gibson, The Animal Therefore I Am, 2025

Silicon bronze with patina finish

Courtesy the artist

Image credit: The Metropolitan Museum of Art, 

Photo by Eugenia Burnett Tinsley

Titled The Animal That Therefore I Am, the installation transforms the Museum’s neoclassical facade into a dynamic stage for Gibson’s ambitious vision of figural presence and ecological kinship. Each 10-foot bronze sculpture takes the form of a regional animal: a hawk, a squirrel, a coyote, and a deer. Using cast elements such as wood, beads, and cloth to build texture, Jeffrey Gibson embraces a new process that expands his sculptural vocabulary. From these reproduced wood supports emerge referential animal forms, with each sculpture formally fusing the animate and the inanimate. Intricately bold, patinated abstract patterning evokes beadwork and textiles drawn from a range of Indigenous visual languages—motifs that are seamlessly integrated into the sculptures’ surfaces.

The works are inspired by the French philosopher Jacques Derrida’s book The Animal That Therefore I Am, which examines the violence inherent in the human domination of animals—a theme Gibson connects to broader cycles of conflict. By selecting species native to the New York area, he reflects on how these creatures have been forced to adapt to human environments, inviting us to consider what they endure and what they might teach us. The Animal That Therefore I Am flanks the Museum entrance, the zoomorphic forms remaining in dialogue with the surrounding landscape, from the natural environment of the Hudson River Valley, where Jeffrey Gibson lives and works, to the urban ecology of Central Park encircling The Met.

Jeffrey Gibson (American, born 1972)

Installation view of they are witty and transform themselves 

in order to guide us nashoba holba / wayaha / coyote, 

for The Genesis Facade Commission: 

Jeffrey Gibson, The Animal Therefore I Am, 2025

Silicon bronze with patina finish

Courtesy the artist

Image credit: The Metropolitan Museum of Art, 

Photo by Eugenia Burnett Tinsley

Jeffrey Gibson (American, born 1972)

Installation view of they teach us to be sensitive 

and to trust our instincts issi / awi / deer, 

for The Genesis Facade Commission: 

Jeffrey Gibson, The Animal Therefore I Am, 2025

Silicon bronze with patina finish

Courtesy the artist

Image credit: The Metropolitan Museum of Art, 

Photo by Eugenia Burnett Tinsley

This project is the latest in The Met’s series of contemporary commissions in which the Museum invites artists to create new works of art, establishing a dialogue between the artist's practice, The Met collection, the physical Museum, and The Met's audiences.

Artist Jeffrey Gibson

Jeffry Gibson is an interdisciplinary artist who grew up in the United States, Germany, and Korea. His expansive body of work ranges from hard-edged abstract paintings to a rich practice of performance and filmmaking to significant work as artist convener and curator. Since the 2000s, Gibson’s work—which often incorporates Indigenous aesthetic and material traditions—has consistently revealed new modalities for abstraction, the use of text, and color, with the artist applying his formal mastery to concepts such as human connection and collective identity. Notably, Gibson’s work has introduced a broad range of recurring sources, material elements, and imagery while offering a critique of the reductive ways in which Indigenous culture has been historically flattened and misappropriated.

Recent solo exhibitions include Jeffrey Gibson: the space in which to place me (The Broad, 2025); Jeffrey Gibson: POWER FULL BECAUSE WE’RE DIFFERENT (MASS MoCA, 2024); This Burning World: Jeffrey Gibson (ICA San Francisco, 2022); Jeffrey Gibson: The Body Electric (SITE Santa Fe, 2022); Jeffrey Gibson: They Come From Fire (Portland Art Museum, 2022); Jeffrey Gibson: INFINITE INDIGENOUS QUEER LOVE (deCordova Sculpture Park and Museum, 2022); and Jeffrey Gibson: Like a Hammer (Denver Art Museum, 2018). Jeffrey Gibson was selected to represent the United States at La Biennale di Venezia, the 60th International Art Exhibition, in 2024. Jeffrey Gibson also conceived of and co-edited the landmark volume An Indigenous Present (2023), which showcases diverse approaches to Indigenous concepts, forms, and media. His work is included in the permanent collections of the Denver Art Museum; Museum of Fine Arts, Boston; The Museum of Modern Art, New York; National Gallery of Canada; National Gallery of Art, Washington, D.C.; Portland Art Museum; Smithsonian National Museum of the American Indian; and the Whitney Museum of American Art, among others. Jeffrey Gibson has received many distinguished awards, including the John D. and Catherine T. MacArthur Foundation Fellowship Award (2019), and is currently an artist in residence at Bard College, in Annandale, New York. He lives and works in Hudson, New York.

The Genesis Facade Commission: Jeffrey Gibson, The Animal That Therefore I Am is conceived by the artist in consultation with Jane Panetta, the Aaron I. Fleischman Curator in the Department of Modern and Contemporary Art at The Met. The exhibition is presented by Genesis.

METROPOLITAN MUSEUM OF ART

The Met Fifth Avenue Facade

www.metmuseum.org

Warhol/Cutrone @ Galerie Gmurzynska, Zurich - Exhibition curated by James Hedges

Warhol/Cutrone

Galerie Gmurzynska, Zurich 

Through September 30, 2025

Warhol/Cutrone, an exhibition at Galerie Gmurzynska in Zurich, curated by James Hedges, juxtaposes Andy Warhol and Ronnie Cutrone, including paintings, drawings, and unique polaroids.

“Ronnie Cutrone was a painter and illustrator known for his Post-Pop imagery featuring cartoon characters like Woody the Woodpecker, Bart Simpson, and Bugs Bunny. Cutrone’s life and career make us remember New York at its creative apex. Reminiscing of another era, Cutrone said, “New York was elegant and sleazy. Now it’s a shopping mall for dot-commers. We need our crime rate back. I want my muggers and hookers back.” - James Hedges 

Andy Warhol and his right-hand man Ronnie Cutrone were the perceived masters of Manhattan in the 1970s and 1980s.

Working in synergistic fashion with Andy Warhol, Ronnie Cutrone helped execute some of the artist’s most iconic silkscreens. The duo’s collaborations countenance: Hand Tinted Flowers (ca. 1972), Invisible Sculpture (1972-83), Drag Queens/Ladies and Gentlemen (1974-75), Oxidation (Piss Paintings) (mid-late 1970s), Sex Parts/Torso (mid-1970s), Hammer & Sickle (1976-1977), Skulls (1976-77), Gems (1978), Shadow Paintings (1979), and Butcher Knives, Guns, Dollar Signs (1982).

With Andy Warhol one special focus of this exhibition is on his unique polaroids. Many of Warhol’s polaroid photographs have never been exhibited before and feature stars such as Grace Jones, Joseph Beuys, Keith Haring, Lou Reed and Candy Darling. Cutrone’s three-dimensional photographs of the Factory, shown publicly as well for the first time ever, give a historic and unprecedented peek into Warhol’s circle.

While with Ronnie Cutrone the focus of this exhibition is on his cartoon-infused painting, sculpture and drawings which shocked the New York scene in the 1980s. These works garnered him major solo shows in the inaugural Post-Pop wave, whilst igniting debates over the sanctity of the American symbols such as the flag and Mickey Mouse. After 1983, when Ronnie Cutrone left Warhol’s Factory, he perused his independent art career which reached great heights, including highly lauded museum exhibitions at the Whitney, the Museum of Modern Art, and the L.A. County Museum of Art, amongst many others.

“One thing I picked up from Andy: say loud and clear because if the WHOLE world gets it, the art world will get it too.” - Ronnie Cutrone 

Artist Ronnie Cutrone

Ronnie Cutrone (10 July, 1948 - 21 July, 2013) worked as Andy Warhol’s preeminent assistant from 1972 to 1982, though his collaborations with Warhol well preceded this. Ronnie Cutrone met Andy Warhol when he was only sixteen years old. Ronnie Cutrone, in 1966, joined the ranks of The Velvet Underground, formed by Lou Reed, John Cale, and Warhol, as a performer/dancer. Three years later, Ronnie Cutrone began writing as a columnist for Warhol’s Interview magazine, lauded for dovetailing reviews on avant-garde art exhibitions and features on celebrities, nightlife fixtures, and even politicians like Nancy Regan.

In 1972, Cutrone’s took up the mantle as Warhol’s apprentice, a post he maintained for the next decade. This was the zenith of Warhol’s international fame, and the Pop Art bastion took Ronnie Cutrone under his wing, entrusting Cutrone to, unlike Warhol’s other assistants, “work on the one thing he cared about the most, which was his art”. Although Ronnie Cutrone was, by this point, already burgeoning as a nascent artist of his own right—having assisted with programming John Giorno’s “Dial-A-Poem” at MoMA in the 1970 “Information” exhibition curated by Kynaston McShine.

Ronnie Cutrone’s responsibilities varied, ranging from conceptualizing Warhol’s subjects, mixing palettes, photographing live models and executing the silkscreen. Indeed, as the two artists ‘artistic relationship matured, the lines of influence became bi-directional. As philosopher, critic, and Warhol expert Arthur Danto observed in his biography, Andy Warhol (2009), “Cutrone played an important role in the later phase of Andy’s artistic career”.

During Cutrone’s time at Warhol’s Factory, he rubbed shoulders with Lou Reed, Jim Morrison, Jimi Hendrix, Mick Jagger, Grace Jones, Lucio Amelio, Jean-Michel Basquiat, Fred Hughes, VictorHugo, Paul Morrisey, Gerard Malanga, Anjelica Huston, Debbie Harry, Salvador Dali and Alice Cooper, amongst others. After long days and nights of helping Warhol at the Factory, Ronnie Cutrone would frequent artist hubs like Max’s Kansas City, drinking “all night with bob Rauschenberg, Larry Rivers, Malcolm Morlye and Robert Smithson” or unwinding at the Mudd Club.

GALERIE GMURZYNSKA

Paradeplatz 2, Zurich

www.gmurzynska.com

Warhol/Cutrone @ Galerie Gmurzynska, Zurich, June 14 – September 30, 2025

Roger Ballen Exhibition in Austria at Museum Gugging, Maria Gugging - "roger ballen.! drawing meets photography" Exhibition

Roger Ballen.! drawing meets photography

Museum Gugging, Maria Gugging, Austria

September 25, 2025 – February 15, 2026

Roger Ballen

Funeral rites, 2004

© Roger Ballen

Roger Ballen

Untitled, 2020

© Roger Ballen

Roger Ballen

Wall shadows, 2003

© Roger Ballen

The exhibition roger ballen.! drawing meets photography by South African-based photo artist ROGER BALLEN (*1950) transcends the boundaries between photography and other art forms, at museum gugging.

Nina Ansperger and Roger Ballen in museum gugging

© NÖ Museum Betriebs GmbH, Daniel Hinterramskogler

"With Roger Ballen, we are bringing one of the most important and influential photographic artists of the 21st century to museum gugging," explains Nina Ansperger, the exhibition's curator. Over the past decades, his artistic work has evolved from narrative photography to a work increasingly dominated by drawing. Drawing is therefore the focus of this exhibition. "Roger Ballen is closely connected to Jean Dubuffet's idea of ​​Art Brut and defines himself as an 'outsider.' Drawing, as a central element of his photographic art, is simultaneously the most important medium of the art from Gugging. Thus, not only the subject matter but also the location of the exhibition could not be more appropriate," Nina Ansperger asserts. 

Roger Ballen, who refers to himself as an “outsider,” said: “I have brought drawing and photography into painting to produce a mixed medium image. It has been my goal to break down the boundaries between photography and other arts, taking photography out of its self-isolation as a form.” 

Roger Ballen in museum gugging

© NÖ Museum Betriebs GmbH, Daniel Hinterramskogler

New York-born Roger Ballen has lived in South Africa for several decades. His photographic works, created over 40 years, possess incredible narrative power because they oscillate between painting, drawing, installation, and photography. His “Ballenesque” aesthetic is unsettling, vehemently demands self-reflection and leads to a journey into one’s own unconscious.

Curator: Nina Ansperger

MUSEUM GUGGING

Am Campus 2, 3400 Maria Gugging

www.museumgugging.at

Robert Therrien @ The Broad, Los Angeles - "Robert Therrien: This is a Story" - The largest museum exhibition of the artist’s work to date

Robert Therrien: This is a Story

The Broad, Los Angeles

November 22, 2025 – April 5, 2026

Robert Therrien

No title (folding table and chairs, dark brown), 2007

Painted steel and aluminum, fabric, and plastic 

Courtesy of Glenstone Museum 

Photo by Joshua White/JWPictures.com

The Broad presents Robert Therrien: This is a Story, the largest museum exhibition of the late artist’s widely-adored work to date. Therrien’s meditations on scale and material are a deeply influential and well-known approach within the field of contemporary sculpture, significant to The Broad’s own identity as a museum, and long admired by visitors of all ages. The installation will showcase Therrien’s personal vocabulary of images and symbols—from enormous tables, chairs, and dishes, to intimate drawings of snowmen, birds, and chapels—as they become a language of continuous creation and transformation for the artist over time. Featuring more than 120 works spanning five decades, the exhibition offers unprecedented access to the artist’s exploration of scale, memory, and perception, just miles from the downtown Los Angeles home and studio space he operated out of for close to thirty years beginning in 1990. Many of the works on view, including those created just before Robert Therrien’s untimely death in 2019, have never been featured in museum exhibitions and will offer new avenues of understanding his practice.

“Robert Therrien has longstanding ties to The Broad and was one of the very first L.A.-based artists to enter the Broad collection decades ago, in its first, formative years. His massive sculpture Under the Table has captivated visitors to our museum’s galleries since the day The Broad opened in 2015, as a surreally enlarged wooden table offering layers of the artist’s intellectual and art historical inquiry within an aura of domestic familiarity,” said Joanne Heyler, Founding Director and President of The Broad. She added, “For our visitors who know and love Under the Table, this ambitious show will reveal a deeper and wide-lens look into the completely unique world Therrien created–a Los-Angeles-based body of work that reshaped contemporary sculpture.”

Robert Therrien

No title (bent cone relief), 1983 

Lacquer and wax on wood 

Courtesy of The Broad Art Foundation

Photo by Joshua White/JWPictures.com

Robert Therrien

No title (black witch hat), 2018 

Carved Delrin plastic

Courtesy of Robert Therrien Estate.

Photo by Joshua White/JWPictures.com

Robert Therrien (1947–2019) was born in Chicago and relocated to Los Angeles in the 1970s to complete an MFA at the University of Southern California. Despite the prominence of conceptual and minimalist practices at the time, he developed his own adjacent artistic vernacular that saw the infinite potential of ordinary objects across basic forms and their three-dimensional counterparts, varying in size, color, and detail. A single Robert Therrien gesture can expand, contract, change materially, or seamlessly transform into other images entirely. A chapel will become an oil can; the oil can will become a pitcher; the pitcher, a cone, then morphing into a witch hat. At the heart of Therrien’s practice is a sense of artistic animation, by turns fun, playful, and serious.

“Los Angeles has been and remains a historically important place to make sculpture and Robert Therrien is vital to that story” said Ed Schad, Curator and Publications Manager at The Broad. “From his handmade and intimate responses to Minimalism in the 1970s, to his early involvement in what would become a golden age of L.A. fabrication, Therrien made important contributions to many of sculpture’s central conversations for over forty years. However, the most important thing to know about Therrien is that he can evoke a sense of wonder. What starts in Therrien’s personal and closely guarded memories and passions, becomes a mysterious place in which a viewer can think about and dwell in one’s own.”

Visitors will be able to walk under and around large tables and chairs, approach enormous hanging beards, and navigate around large, stacked dishes designed to appear to be in motion and alter one’s sense of balance. In addition, a special collaboration with the artist’s estate will expose visitors to partial reconstructions of Therrien’s studio environment, including his project tables, drawings, and tools, to full-sized rooms full of surprises and encounters that are a hallmark of the artist’s practice. Therrien’s living and working space in Downtown L.A. remains pivotal to his understanding of space and size.

In addition to being the largest solo museum presentation of his work to date, Robert Therrien: This is a Story places his legacy within the broader arc of contemporary sculpture in Los Angeles and beyond. An exhibition catalog published by DelMonico Books will develop these connections further, edited by curator Ed Schad and featuring texts by Kathryn Scanlon, Richard Armstrong, and Darby English, as well as reflections from Vija Celmins, Vicky Arnold, Jacob Samuel, Christina Forrer and more.

THE BROAD

221 S. Grand Avenue, Los Angeles, CA 90012

www.thebroad.org

Coco Fusco @ El Museo del Barrio, NYC - "Tomorrow, I Will Become an Island" Exhibition

Coco Fusco

Tomorrow, I Will Become an Island

El Museo del Barrio, New York 

September 18, 2025 — January 11, 2026

Coco Fusco

Photo by Aurelio Fusco

Coco Fusco

Your Eyes Will Be an Empty Word (still), 2021

HD Video, 13:30 mins

Courtesy of the artist and Mendes Wood DM

Coco Fusco

A Room of One's Own: Women and Power

in the New America, 2006-2008

Performance documentation

Courtesy the artist and Mendes Wood DM

El Museo del Barrio presents Coco Fusco: Tomorrow, I Will Become an Island, the first U.S. survey of the influential Cuban-American interdisciplinary artist and writer COCO FUSCO (b. 1960, lives in New York). The exhibition is spanning more than three decades of Fusco’s groundbreaking career.

Widely recognized for her incisive explorations of the dynamics of politics and power, Fusco’s interdisciplinary practice spans video, performance, installation, photography, and writing. Tomorrow, I Will Become an Island traces her extensive practice through a selection of more than twenty of her works, created since the 1990s and extending to a new photographic series on view for the first time at El Museo del Barrio.

“Coco Fusco stands among the most provocative voices in contemporary art. Her work challenges conventions, sparks vital conversations, and continues to resonate powerfully at a time of profound social and political reckoning.” —Patrick Charpenel, Executive Director, El Museo del Barrio

Organized thematically, the exhibition explores central concerns that Coco Fusco has addressed across her practice, including immigration, military power and surveillance, post-revolutionary Cuban history, and the lasting legacies of colonialism. The presentation offers an expansive view of her multidisciplinary approach through key bodies of work, including:

• Immigration Narratives: Works addressing the perception of immigrants in the US and Europe, including Everyone Here is a New Yorker (2025), a new photographic suite that extends from Fusco's 2024 public art video animation commission by More Art, Inc.

• Intercultural Misunderstandings: A room dedicated to Fusco’s projects, created in counterpoint to the 500th anniversary of the so-called “discovery” of the Americas, including a reproduction of her iconic Two Undiscovered Amerindians Visit the West (1992/2025), originally performed in collaboration with Guillermo Gómez-Peña.

• Interrogation Tactics: Video, photographs, and performance documentation that consider military tactics, surveillance technologies, and the exploitation of female sexuality in the War on Terror.

• Poetry and Power: A focused selection of video, featuring several works that reflect on the history of artists’ challenges to the Cuban government—a central subject in Fusco’s oeuvre. Together, this selection illuminates the breadth and depth of Fusco’s artistic vision—one that remains acutely relevant in today’s national political and cultural climate.

Coco Fusco 

La noche eterna (The Eternal Night), 2023

HD Video, 1:13:45 mins

Courtesy the artist and Mendes Wood DM

Coco Fusco 

La plaza vacía (The Empty Plaza), 2012

HD Video, 11:53 mins

Collection of El Museo del Barrio, New York 

Acquisition enabled by VEZA New Media Fund 2022 

and headline supporters South SOUTH and Niio 

Coco Fusco and Paula Heredia

The Couple in the Cage: A Guatinaui Odyssey, 2003

Video, 31 mins

Collection of El Museo del Barrio, New York

Acquired through "PROARTISTA: Sustaining the Work 

of Living Contemporary Artists," 

a fund from the Jacques and Natasha Gelman Trust 2008.1

“El Museo del Barrio has been a steadfast supporter of Coco Fusco’s groundbreaking practice from early on, recognizing the power and potency of her work. This includes her participation in the groundbreaking 2008 exhibition Arte No es Vida, as well as her presence in recent collection-based shows such as Culture and the People and Something Beautiful. This survey extends that dialogue, offering audiences a deeper understanding of an artist whose voice remains as vital as ever.” —Susanna V. Temkin, Interim Chief Curator, El Museo del Barrio

Tomorrow, I will Become an Island is organized by El Museo del Barrio in collaboration with MACBA Museu d’Art Contemporani de Barcelona.

Borrowing its title from the artist's recent monograph publication, Tomorrow, I will Become an Island is organized at El Museo del Barrio by Susanna V. Temkin, interim chief curator, and Rodrigo Moura, former chief curator, with support from Lee Sessions and Maria Molano Parrado. Exhibition design by Solomonoff Architecture Studio/SAS and graphic design by estúdio gráfico.

ARTIST COCO FUSCO

Coco Fusco is an interdisciplinary artist and writer based in New York. She is a recipient of a 2023 Free Speech Defender Award from the National Coalition Against Censorship, a 2021 American Academy of Arts and Letters Art Award, a 2021 Latinx Artist Fellowship, a 2021 Anonymous Was a Woman award, a 2018 Rabkin Prize for Art Criticism, a 2016 Greenfield Prize, a 2014 Cintas Fellowship, a 2013 Guggenheim Fellowship, a 2013 Absolut Art Writing Award, a 2013 Fulbright Fellowship, a 2012 US Artists Fellowship and a 2003 Herb Alpert Award in the Arts.

Fusco’s performances and videos have been presented at the 56th Venice Biennale, the Sharjah Biennale, Frieze Special Projects, Basel Unlimited, three Whitney Biennials (2022, 2008, and 1993), and several other international exhibitions. Her works are in the permanent collections of the Museum of Modern Art, The Walker Art Center, The Art Institute of Chicago, The Whitney Museum, the Centre Pompidou, and the Museum of Contemporary Art of Barcelona. 

Coco Fusco is the author of numerous books, and she contributes regularly to The New York Review of Books and numerous art publications. Her monograph publication Tomorrow, I will Become an Island was published by Thames & Hudson in 2023.

Coco Fusco received her B.A. in Semiotics from Brown University (1982), her M.A. in Modern Thought and Literature from Stanford University (1985), and her Ph.D. in Art and Visual Culture from Middlesex University (2007). She is a Professor at the Cooper Union School of Art.

EL MUSEO DEL BARRIO, NEW YORK

1230 5th Avenue at 104th Street, New York, NY 10029

www.elmuseo.org

Nicasio Fernandez @ Berggruen Gallery, San Francisco - "Light Whispers" Exhibition

Nicasio Fernandez: Light Whispers

Berggruen Gallery, San Francisco

August 21 – October 16, 2025

Berggruen Gallery presents Light Whispers, an exhibition of new work by New York artist NICASIO FERNANDEZ. This marks the gallery’s first solo presentation with Nicasio Fernandez. 

In Light Whispers, Nicasio Fernandez’s paintings convey a quiet intensity within moody, introspective settings, where his figures are steeped in a spectrum of emotions ranging from uncertainty and tension to concern and doubt. Drawing on film noir motifs—low-key light, deep shadows, and psychological intensity—Nicasio Fernandez places otherworldly figures in eerie, dramatic atmospheres that leave the viewer both unsettled and curious. Though traces of the domestic linger, the paintings deliberately omit any indicators of place, cultivating an enigmatic sense of space.  

Rather than referencing specific film stills, Fernandez’s works are instead constructed around a captivating moment, lingering feeling, or a memory Nicasio Fernandez has held onto and reshaped into his own vision. All but one painting conceal their cinematic references. "Dark Corner", titled after the 1954 film, depicts a forward-leaning figure in motion, the face and long brown overcoat partially backlit by an ambiguous source just outside the frame. The figure moves swiftly through a mysterious nightscape—perhaps in pursuit of something—seems to pause in hesitation, as if aware of a lurking presence.

While Nicasio Fernandez is known for his vibrant chromatic choices, subtle dark humor, and precise handling of materials—demonstrating an ability to be loud and provocative—this body of work marks a decisive shift toward restraint and alteration. His bold palette has been pared down and placed within a uniform tonal temperature. Scratchy brushwork reveals parts of the underpainting, while sharp, crisp edges begin to dissolve. The use of light nods not only to cinema but also to the art historical references such as Rembrandt’s portraiture and the soft glow of Vuillard’s domestic interiors. Fernandez’s purposeful obscuring of elements of the paintings in deeper shadows acts as a framing device to guide the viewer’s eye across the canvas.

Nicasio Fernandez refers to these small paintings as whispers; much like the transfer of sound, these works require close proximity to spark an exchange—inviting the viewer to step into the scene in order to fully dissect and absorb its information. Like considered sequences from cinema, the paintings invite open dialogue and allow space for interpretation. Through this quietness, Fernandez’s paintings offer a light whisper to the viewer, gently luring them into a mysterious, contemplative state.

NICASIO FERNANDEZ (b. 1993, Yonkers, NY) received a BFA from the School of Visual Arts in 2015. Most recently, his work has been exhibited at Harper’s, Los Angeles, New York, and East Hampton (2024, 2023, 2022, 2021, 2020, and 2018); Half Gallery, New York (2023, 2022); Alexander Berggruen, New York (2023, 2022); Ross + Kramer, New York and East Hampton (2022, 2021, and 2020); Over the Influence, Hong Kong and Los Angeles (2020, 2019). Fernandez’s work is included in the collections of the Hall Art Foundation, North Adams, MA; and The Bunker, Palm Beach, FL. His work has appeared in Artnet, At Large, and New American Paintings, among other publications. Nicasio Fernandez lives and works in upstate New York.

BERGGRUEN GALLERY

10 Hawthorne Street, San Francisco, CA 94105

www.berggruen.com

Global Icons, Local Spotlight: Contemporary Art from the Collections of Jordan D. Schnitzer @ Portland Art Museum

Global Icons, Local Spotlight: Contemporary Art from the Collections of Jordan D. Schnitzer

Portland Art Museum

September 6, 2025 – January 11, 2026

Jeff Koons, American, (b. 1955)

Gazing Ball (da Vinci Mona Lisa), edition 38/40, 2016

Archival pigment print with inlaid mirrored glass

40 11/16 x 27 3/4 in. Overall

Published by Two Palms, New York, NY

Collection of Jordan D. Schnitzer

© Jeff Koons

Photography Courtesy of the artist and Two Palms, NY

Dinh Q. Lê, Vietnamese-American, (1968 - 2024)

I am Large, I Contain Multitudes, edition AP 1/1, 2009

Bicycle, steel, mirrors, wood, plastic, rubber, and metal lock

72 x 90 x 40 in. Overall, 90 x 106 1/2 x 57 in. Crate

Published by the artist

Collection of the Jordan Schnitzer Family Foundation

© Courtesy of Elizabeth Leach Gallery and the Dinh Q. Lê Estate

Photography Aaron Wessling

Amy Sherald, American, (b. 1973)

As Soft as She Is..., edition 2/35, 2024

70-color screenprint on Lana Aquarelle 600 gsm

50 5/8 x 42 3/8 x 1 3/4 in. Frame, 

45 1/4 x 37 in. Sheet, 40 1/4 x 32 in. Image

Published by Hauser & Wirth, New York, NY

Collection of the Jordan Schnitzer Family Foundation

© Amy Sherald. Courtesy the artist and Hauser & Wirth

Photography Aaron Wessling

Portland Art Museum (PAM) presents Global Icons, Local Spotlight: Contemporary Art from the Collections of Jordan D. Schnitzer, an exhibition that shares works from Oregon’s foremost fine art collector by some of today’s leading artists with local Portland audiences.

Highlighting recent acquisitions from the collections of Jordan Schnitzer and his Family Foundation, the exhibition includes more than 75 works—some of which have never previously been exhibited—by celebrated artists of the 20th century, such as Louise Bourgeois, Jasper Johns, Ellsworth Kelly, and Robert Rauschenberg, in addition to contemporary luminaries such as Nick Cave, Jenny Holzer, Mickalene Thomas, and Hank Willis Thomas.

Jordan Schnitzer, who has been named an ARTnews Top 200 art collector globally, is a lifelong Portland resident and local business owner. His collaboration with PAM to exhibit these collections is an extension of the Jordan Schnitzer Family Foundation’s mission to share art with audiences across the globe.

“Instead of having to travel to New York City to go to the Museum of Modern Art or the Whitney, all you have to do is visit the Portland Art Museum to see exceptional artwork by some of today’s biggest artists," said Jordan Schnitzer. “Each year, when I collect new works, I think about how to share them with museums across the country through the Jordan Schnitzer Family Foundation exhibition program. My hope is that they will inspire audiences who might not otherwise have the opportunity to see works by these amazing artists.”

Jeffrey Gibson

Native American, Mississippi Band of Choctaw Indians 

and Cherokee, (b. 1972)

SPIRIT AND MATTER, 2023

Acrylic paint on elk hide inset in custom wood frame

90 x 72 1/2 x 5 in. Frame

Collection of the Jordan Schnitzer Family Foundation

© Jeffrey Gibson

Photography Aaron Wessling

Tschabalala Self, American, (b. 1990)

Untitled (Bodega Run), 2023

Unique cast and pigmented paper in artist designed frame

40 1/4 x 49 1/4 in. Sheet, 45 3/4 x 54 3/4 x 6 7/16 in. Frame

Published by Two Palms, New York, NY

Collection of the Jordan Schnitzer Family Foundation

Courtesy of the artist and Two Palms, NY

Photography Aaron Wessling

Katherine Bernhardt, American, (b. 1975)

Untitled, 2024

Monotype in watercolor and crayon

100 3/4 x 52 3/4 x 2 5/8 in. Frame, 96 x 48 in. Sheet

Published by Two Palms, New York, NY

Collection of the Jordan Schnitzer Family Foundation

Courtesy of the artist and Two Palms, NY

Photography Aaron Wessling

The exhibition features works across various media including paintings, textiles and tapestries, sculpture, photography, glass, ceramics, mixed media, and more, many of which will be shown publicly for the first time. Additional artists in the exhibition include Roy Lichtenstein, Jeff Koons, Helen Frankenthaler, Andy Warhol, Keith Haring, Dinh Q. Lê, Julie Mehretu, and Tschabalala Self. The wide array of artists represented in this presentation includes numerous women, Native American and Black artists, and other artists of color, building on PAM’s own work to spotlight underrepresented artists who represent the myriad communities that comprise Oregon.

“Portland Art Museum is a vital cultural resource for the region, which is why we are thrilled to partner with the Jordan Schnitzer Family Foundation collection to provide our community more opportunities to access and find inspiration in the art that brings the world to Portland,” said Brian Ferriso, Director. “Jordan and his family have long been ardent supporters of the Museum and our city, and we are grateful for his collaboration with PAM to further our mission to engage and enrich Portland’s diverse communities through art.”

Nick Cave, American, (b. 1959)

Rescue, 2014

Mixed media including ceramic birds, metal flowers, 

ceramic Basset Hound, and vintage settee

70 x 50 x 40 in. Overall

Collection of the Jordan Schnitzer Family Foundation

© Nick Cave. Photo by James Prinz Photography 

Courtesy of the artist and Jack Shainman Gallery, New York

Alison Saar, American, (b. 1956)

Plucked, 2022

Charcoal and acrylic on vintage cotton picking bag, 

found hooks and chain, 93 x 28 in. Overall

Collection of the Jordan Schnitzer Family Foundation

© Alison Saar. Courtesy of L.A. Louver, Venice, CA.

Photography Aaron Wessling 

Christopher Myers, American, (b. 1974)

Let the Mermaids Flirt with Me, 2022

Stained glass lightboxes and tent

42 3/4 x 42 3/4 x 5 in. Frame

Collection of the Jordan Schnitzer Family Foundation

© Christopher Myers 2022 

Courtesy of the artist and James Cohan, New York 

Photo by Dan Bradica

Other notable works in the exhibition include Christopher Myers' immersive and mesmerizing installation Let the Mermaids Flirt with Me, on view for only the second time since debuting at Art Basel Miami in 2022. Featured in the Museum’s grand Arlene and Harold Schnitzer Sculpture Court, the installation is a suite of stained glass paintings in lightboxes installed within a freestanding octagonal architectural structure, creating a chapel for contemplation of the illuminated compositions.

Several of the artists featured in the exhibition have previously exhibited works at PAM or are represented within PAM’s encyclopedic collection, including Hank Willis Thomas, with whom PAM organized a traveling solo exhibition in 2019, and Jeffrey Gibson, whose work PAM commissioned and exhibited at the Museum in 2023 before serving as co-commissioner for his exhibition for the U.S. Pavilion at the 60th International Art Exhibition of La Biennale di Venezia (the Venice Biennale).

PAM has also previously featured works from the collections of Jordan Schnitzer in its exhibitions including En Suite: Contemporary Prints from the Collections of Jordan D. Schnitzer and The Jordan Schnitzer Family Foundation (2001), Location/Dislocation: Recent Prints from the Collections of Jordan D. Schnitzer and The Jordan Schnitzer Family Foundation (2003), Minimalism/Postminimalism: Selections from the Collections of Jordan D. Schnitzer and His Family Foundation (2007), Ellsworth Kelly Prints (and Paintings) (2012), Anish Kapoor: Prints from the Collections of Jordan D. Schnitzer (2015), Andy Warhol Prints (2016), Josiah McElheny’s Cosmic Love (2018), and Jeffrey Gibson: To Name An Other (2022).

This exhibition is organized by the Portland Art Museum in partnership with The Jordan Schnitzer Family Foundation. 

ABOUT THE JORDAN SCHNITZER FAMILY FOUNDATION

Jordan Schnitzer 

Courtesy of Jordan Schnitzer Family Foundation

The Jordan Schnitzer Family Foundation’s contemporary art collection is one of the most notable in North America. The Foundation has shared its art with millions across the U.S. and internationally through groundbreaking exhibitions, publications, and programs. Founded by ARTnews Top 200 Collector Jordan D. Schnitzer—whose passion for art began in his mother’s contemporary art gallery in Portland, Ore.—the Foundation has organized over 180 exhibitions from its collection and additionally loaned thousands of artworks to over 120 museums at no cost to the institutions. Jordan Schnitzer began collecting contemporary prints and multiples in 1988 and today is North America’s largest print collector. His Foundation’s collection consists of more than 22,000 works of art, including a wide variety of prints, sculptures, paintings, glass, and mixed media works.

PORTLAND ART MUSEUM - PAM

1219 SW Park Avenue Portland, OR 97205

portlandartmuseum.org

Matt Kleberg @ Berggruen Gallery, San Francisco - "Bless Babel" Exhibition

Matt Kleberg: Bless Babel

Berggruen Gallery, San Francisco

August 21 – October 16, 2025

Berggruen Gallery presents Bless Babel, an exhibition of new work by San Antonio-based artist Matt Kleberg. This exhibition will mark the gallery’s second solo exhibition with Matt Kleberg.

In Bless Babel, each painting builds around a singular central niche, suggesting the absence of a subject. Confronted with this vacancy, the viewer finds themselves at the center of Kleberg’s geometric abstractions. Influenced by architectural and ritualistic spaces, the works in Bless Babel investigate the tropes through which conception is framed by institutional or personal belief. Kleberg’s paintings are not interested in objective truth, but rather in how belief transforms our relationship to space and objects. These paintings are not portals, unless you believe they are. They are not windows, unless you believe they are. 

This exhibition derives its title from Donald Barthelme’s 1987 essay Not Knowing, in which the writer and critic considers uncertainty, improvisation, and discovery as fundamental to the creative act. Barthelme speaks of commentary, elaboration, exegesis, and contradiction as necessary modes of engagement between a piece of art and the earlier works of previous makers that inform it. Babel and the scattering of languages offer an example of how different approaches to the same concept are inherent to human expression. Kleberg’s new paintings embrace the constraints of particular shapes borrowed from Tramp Art frames and Italian Renaissance devotional objects, to explore how different resolutions can come out of multiple iterations of the same motifs.

Matt Kleberg’s paintings contradict themselves, oscillating between ecstasy and oblivion, exuberance and tranquility. Hues of pink, terracotta, and bright blue radiate amongst moody browns, maroon, and sap green. Scumbled surfaces complicate illusionistic shadows; interior space collapses into itself as one moves closer. Shimmering like television static or speckled concrete, colors that appear solid break apart upon inspection. Chromatic undertones shift in their nature–perhaps waiting to coalesce. Some paintings tower, their stripes and bands undulating, monumental and inviting, formal yet playful. Indebted as much to American folk art traditions as to Duccio and the Sienese School, Kleberg’s paintings pay homage—yet with their vacancies and their tensions, the drama is of their own conjuring. A frame within a frame within a frame. The pleasure is in the not-knowing. 

MATT KLEBERG was born in 1985 in Kingsville, Texas. He received his BA from the University of Virginia in 2008 and his MFA from the Pratt Institute in 2015. Coverage of his work can be found in various publications, including The New York Times, The Brooklyn Rail, Artsy, Vice, Maake Magazine, ArtDaily, Juxtapoz Magazine, Square Cylinder, and Hyperallergic. His work is featured in multiple private and public collections, including the Williams College Museum of Art, the AD&A Museum of the University of California Santa Barbara, the Old Jail Art Center, the Addison Gallery of American Art, the Museum of Fine Arts Houston, and the National Gallery of Art. Matt Kleberg currently lives and works in San Antonio, TX.  

BERGGRUEN GALLERY

10 Hawthorne Street, San Francisco, CA 94105

www.berggruen.com

Maria Helena Vieira da Silva @ Guggenheim Museum Bilbao - "Anatomy of Space" Exhibition

Maria Helena Vieira da Silva

Anatomy of Space

Guggenheim Museum Bilbao

October 16, 2025 - February 22, 2026

An in-depth survey of the visual language of Portuguese-born French artist Maria Helena Vieira da Silva (1908–1992), this exhibition traces key moments in her career from the 1930s to the late 1980s through eight thematic sections. Particular focus is placed on her exploration of architectural space, where she dissolved the boundaries between real and imaginary urban landscapes, moving beyond formal references to Portuguese visual culture and avant-garde movements such as Cubism and Futurism.

Born in Lisbon, Maria Helena Vieira da Silva trained both there and in Paris. Influenced by her studies in sculpture and anatomy, as well as by the great masters of the past—particularly Paul Cézanne—and the avant-garde movements of the twentieth century, she developed a distinctive pictorial idiom in which the physicality of space merges with the dimensions of time and memory.

Her compositions, characterized by labyrinthine structures, chromatic rhythms, and fragmented perspectives, capture the essence of a world in constant transformation.

Curator: Flavia Frigeri

GUGGENHEIM MUSEUM BILBAO | BILBAO, SPAIN

www.guggenheim-bilbao.eus