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nt</div>n</div>nttt</div>ntttt</div>n”,”data”:[{“divId”:”gpt-dsk-tab-list-inlist1-uid0″,”displayType”:”medrec”,”targeting”:[{“key”:”pos”,”value”:”mid”},{“key”:”pos”,”value”:”mid-article”},{“key”:”pos”,”value”:”in-list”},{“key”:”viewable”,”value”:”yes”}],”lazyLoad”:”no”,”lazyLoadMultiplier”:2,”zone”:”list/in-list1″,”sizes”:[[300,250],[300,251]]}]}},{“ID”:1234786370,”position”:1,”positionDisplay”:2,”date”:”2026-05-20 14:29:40″,”modified”:”2026-05-20 14:29:41″,”title”:”u201cCao Fei: Testimonies to the Near Futureu201d at Kunstmuseum Basel”,”subtitle”:null,”slug”:”cao-fei-testimonies-to-the-near-future-at-kunstmuseum-basel”,”caption”:”Cao Fei, Asia One 01</em>, 2018.”,”description”:”ntttt
ntFor her current show at the Fondazione Prada in Milan, Cao Fei filled the museumu2019s main exhibition space with a diverse set of works, from documentaries about drone technology in China to a faux rice paddy. The Beijing-based artist described the show as a u201ccontemporary agricultural archaeological site,u201d a phrase that emblematizes how Caou2019s art scrambles past, present, and future, often to suggest that China is constantly remaking its history to imagine itself in the years to come. Similar themes will bind the bodies of work featured in this show. Billed as her largest European survey to date, the exhibition will include classics such as Whose Utopia</em>, her famed 2006 video in which Chinese factory workers break into dance, briefly refusing the demand that they contribute to the project of propelling China forward.</p>nnnn
ntMay 30u2013October 11</em></p>n</div>”,”alt”:”A blow-up octopus in a factory.”,”image_credit”:”Courtesy Spru00fcth Magers”,”url”:”https://www.artnews.com/list/art-news/news/summer-art-preview-1234786351/”,”image_id”:1234786225,”image”:”https://www.artnews.com/wp-content/uploads/2026/05/Asia-One-01_from-Asia-One-series_2018.jpg?w=1024″,”sizes”:{“pmc-gallery-s”:{“src”:”https://www.artnews.com/wp-content/uploads/2026/05/Asia-One-01_from-Asia-One-series_2018.jpg?w=320″,”width”:320,”height”:232},”pmc-gallery-m”:{“src”:”https://www.artnews.com/wp-content/uploads/2026/05/Asia-One-01_from-Asia-One-series_2018.jpg?w=640″,”width”:640,”height”:463},”pmc-gallery-l”:{“src”:”https://www.artnews.com/wp-content/uploads/2026/05/Asia-One-01_from-Asia-One-series_2018.jpg?w=800″,”width”:800,”height”:579},”pmc-gallery-xl”:{“src”:”https://www.artnews.com/wp-content/uploads/2026/05/Asia-One-01_from-Asia-One-series_2018.jpg?w=1024″,”width”:1024,”height”:742},”pmc-gallery-xxl”:{“src”:”https://www.artnews.com/wp-content/uploads/2026/05/Asia-One-01_from-Asia-One-series_2018.jpg?w=1200″,”width”:1200,”height”:869}},”fullWidth”:794,”fullHeight”:575,”mime_type”:”image”,”ad”:””,”appleSongID”:null,”enableAppleGA”:false,”additionalDescription”:null,”subtitleColor”:null,”additionalSubtitle”:null,”additionalSubtitleColor”:null,”ads”:{“html”:”t
ntThis intriguing group show takes its name from structures introduced by socialist governmentsu2014including ones in Chinau2014to give children access to extracurricular activities. Childrenu2019s palaces, the showu2019s description notes, create u201cthe fantasy that a better society can be engineered by training bodies, attention, and aspirationsu201d; curator X Zhu-Nowell has convened a range of artists who rebut that notion. Among them is Jeamin Cha, a rising artist whose past works include a video about Korean women who never received a proper diagnosis for their mysterious ailments.</p>nnnn
ntJune 1u2013September 20</em></p>n</div>”,”alt”:”A man holding a knife in front of a bright green background.”,”image_credit”:”u00a9Jeamin Cha/Courtesy the artist”,”url”:”https://www.artnews.com/list/art-news/news/summer-art-preview-1234786351/”,”image_id”:1234786873,”image”:”https://www.artnews.com/wp-content/uploads/2026/05/11_Jeamin-Cha_4.jpg?w=1024″,”sizes”:{“pmc-gallery-s”:{“src”:”https://www.artnews.com/wp-content/uploads/2026/05/11_Jeamin-Cha_4.jpg?w=320″,”width”:320,”height”:180},”pmc-gallery-m”:{“src”:”https://www.artnews.com/wp-content/uploads/2026/05/11_Jeamin-Cha_4.jpg?w=640″,”width”:640,”height”:360},”pmc-gallery-l”:{“src”:”https://www.artnews.com/wp-content/uploads/2026/05/11_Jeamin-Cha_4.jpg?w=800″,”width”:800,”height”:450},”pmc-gallery-xl”:{“src”:”https://www.artnews.com/wp-content/uploads/2026/05/11_Jeamin-Cha_4.jpg?w=1024″,”width”:1024,”height”:576},”pmc-gallery-xxl”:{“src”:”https://www.artnews.com/wp-content/uploads/2026/05/11_Jeamin-Cha_4.jpg?w=1200″,”width”:1200,”height”:675}},”fullWidth”:1022,”fullHeight”:575,”mime_type”:”image”,”ad”:””,”appleSongID”:null,”enableAppleGA”:false,”additionalDescription”:null,”subtitleColor”:null,”additionalSubtitle”:null,”additionalSubtitleColor”:null,”ads”:{“html”:”t
ntFew young artists are making work with as significant a creep-out factor as Diego Marcon, who has gained a reputation for unsettling videos that enlist digital technology to warp peaceful visions of domesticity. Krapfen</em> (2025), this showu2019s centerpiece, could very well have been a musical for kids, except that the child at the filmu2019s center is dancing to tunes that are threatening, not delightful. (The songs are about the necessity of eating a krapfen</em>, or German doughnut, which is something this kid is not wont to do.) Krapfen </em>appears in this show alongside other works by the Italian artist, whose star has steadily risen since an appearance in the 2022 Venice Biennale.</p>nnnn
ntJune 6u2013October 4</em></p>n</div>”,”alt”:”A bed with a person lying in it, along with an invisible figure wearing clothes.”,”image_credit”:”u00a9Diego Marcon/Courtesy the Artist, Sadie Coles HQ, London, and Galerie Buchholz, Berlin, Cologne, and New York”,”url”:”https://www.artnews.com/list/art-news/news/summer-art-preview-1234786351/”,”image_id”:1234786330,”image”:”https://www.artnews.com/wp-content/uploads/2026/05/EXH.175284.a04-Web-and-Standard-PowerPoint.jpg?w=1024″,”sizes”:{“pmc-gallery-s”:{“src”:”https://www.artnews.com/wp-content/uploads/2026/05/EXH.175284.a04-Web-and-Standard-PowerPoint.jpg?w=320″,”width”:320,”height”:240},”pmc-gallery-m”:{“src”:”https://www.artnews.com/wp-content/uploads/2026/05/EXH.175284.a04-Web-and-Standard-PowerPoint.jpg?w=640″,”width”:640,”height”:480},”pmc-gallery-l”:{“src”:”https://www.artnews.com/wp-content/uploads/2026/05/EXH.175284.a04-Web-and-Standard-PowerPoint.jpg?w=800″,”width”:800,”height”:600},”pmc-gallery-xl”:{“src”:”https://www.artnews.com/wp-content/uploads/2026/05/EXH.175284.a04-Web-and-Standard-PowerPoint.jpg?w=1024″,”width”:1024,”height”:768},”pmc-gallery-xxl”:{“src”:”https://www.artnews.com/wp-content/uploads/2026/05/EXH.175284.a04-Web-and-Standard-PowerPoint.jpg?w=1200″,”width”:1200,”height”:900}},”fullWidth”:767,”fullHeight”:575,”mime_type”:”image”,”ad”:””,”appleSongID”:null,”enableAppleGA”:false,”additionalDescription”:null,”subtitleColor”:null,”additionalSubtitle”:null,”additionalSubtitleColor”:null,”ads”:{“html”:”t
ntOne of the stars of the Metu2019s Rockefeller Wing is a 14-foot-tall slit gong by the Vanuatuan sculptor Tin Mweleun. The slit gong transforms an elongated body with big googly eyes into a playable instrument, and as this exhibition demonstrates, itu2019s hardly the only object in the Metu2019s holdings to do something along those lines. Across 130 items spanning ancient Egypt to the present, the exhibition suggests that artists have always made connections between music and the body, as is apparent from works such as Nam June Paiku2019s TV Cello</em> (1971), in which a string instrument is outfitted with television screens stacked to vaguely resemble a personu2019s torso.</p>nnnn
ntJune 7u2013September 27</em></p>n</div>”,”alt”:”A woman’s under-kimono printed with images of piano keys and opened sheets of music.”,”image_credit”:”Metropolitan Museum of Art”,”url”:”https://www.artnews.com/list/art-news/news/summer-art-preview-1234786351/”,”image_id”:1234786178,”image”:”https://www.artnews.com/wp-content/uploads/2026/05/Womans-nagajuban-under-kimono-ca.-1930s.jpg?w=1024″,”sizes”:{“pmc-gallery-s”:{“src”:”https://www.artnews.com/wp-content/uploads/2026/05/Womans-nagajuban-under-kimono-ca.-1930s.jpg?w=200″,”width”:200,”height”:240},”pmc-gallery-m”:{“src”:”https://www.artnews.com/wp-content/uploads/2026/05/Womans-nagajuban-under-kimono-ca.-1930s.jpg?w=399″,”width”:399,”height”:480},”pmc-gallery-l”:{“src”:”https://www.artnews.com/wp-content/uploads/2026/05/Womans-nagajuban-under-kimono-ca.-1930s.jpg?w=499″,”width”:499,”height”:600},”pmc-gallery-xl”:{“src”:”https://www.artnews.com/wp-content/uploads/2026/05/Womans-nagajuban-under-kimono-ca.-1930s.jpg?w=639″,”width”:639,”height”:768},”pmc-gallery-xxl”:{“src”:”https://www.artnews.com/wp-content/uploads/2026/05/Womans-nagajuban-under-kimono-ca.-1930s.jpg?w=852″,”width”:852,”height”:1024}},”fullWidth”:478,”fullHeight”:575,”mime_type”:”image”,”ad”:””,”appleSongID”:null,”enableAppleGA”:false,”additionalDescription”:null,”subtitleColor”:null,”additionalSubtitle”:null,”additionalSubtitleColor”:null,”ads”:{“html”:”t
ntLong before Indigenous artists in Latin America made their way into biennials worldwide, Chico da Silva found fame in Brazil, where his glorious paintings of birds and sharp-toothed fish gained widespread recognition during the 1960s (as well as the label primitive</em> from non-Indigenous critics). Born to an Indigenous Peruvian mother and a Brazilian father, he was raised in the Amazon rainforest and would go on to form the Pirambu Workshop, whose participants, from the Fortaleza favela, helped Da Silva produce his paintings. Billed as the artistu2019s first survey in Europe, this show presents the workshopu2019s collaborative model as an inspiration to Indigenous artists working today.</p>nnnn
ntJune 6u2013September 6</em></p>n</div>”,”alt”:”A painting of a snail-like creature with birds around it.”,”image_credit”:”Ding Musa/Courtesy Galatea”,”url”:”https://www.artnews.com/list/art-news/news/summer-art-preview-1234786351/”,”image_id”:1234786328,”image”:”https://www.artnews.com/wp-content/uploads/2026/05/CDS-0106_alta_@Ding-Musa_DSC9101.jpg?w=1024″,”sizes”:{“pmc-gallery-s”:{“src”:”https://www.artnews.com/wp-content/uploads/2026/05/CDS-0106_alta_@Ding-Musa_DSC9101.jpg?w=320″,”width”:320,”height”:222},”pmc-gallery-m”:{“src”:”https://www.artnews.com/wp-content/uploads/2026/05/CDS-0106_alta_@Ding-Musa_DSC9101.jpg?w=640″,”width”:640,”height”:444},”pmc-gallery-l”:{“src”:”https://www.artnews.com/wp-content/uploads/2026/05/CDS-0106_alta_@Ding-Musa_DSC9101.jpg?w=800″,”width”:800,”height”:555},”pmc-gallery-xl”:{“src”:”https://www.artnews.com/wp-content/uploads/2026/05/CDS-0106_alta_@Ding-Musa_DSC9101.jpg?w=1024″,”width”:1024,”height”:710},”pmc-gallery-xxl”:{“src”:”https://www.artnews.com/wp-content/uploads/2026/05/CDS-0106_alta_@Ding-Musa_DSC9101.jpg?w=1200″,”width”:1200,”height”:832}},”fullWidth”:829,”fullHeight”:575,”mime_type”:”image”,”ad”:””,”appleSongID”:null,”enableAppleGA”:false,”additionalDescription”:null,”subtitleColor”:null,”additionalSubtitle”:null,”additionalSubtitleColor”:null,”ads”:{“html”:”t
ntThe nimble artist Maren Hassinger has spent a career considering humanityu2019s indifference to nature, a problem she has tried to remedy through graceful sculptures and reparative performances. One such performance, from 1982, involved picking up rubbish from New York parks, painting it pink, and then returning the refuse back to the sites where she found it. Pink Trash</em>, as that work is known, may be the defining work by Hassinger, who once noted that u201cthereu2019s an absence of nature yet a proliferation of human-made products which reflect nature or imitate nature.u201d The piece will be restaged during the run of this retrospective, her biggest to date, which includes sculptures, performances, videos, and more from the 1970s to today.</p>nnnn
ntJune 6u2013November 29</em></p>n</div>”,”alt”:”A sculpture composed of a zigzagging chain that culminates in rope at one end.”,”image_credit”:”Courtesy Susan Inglett Gallery, New York/Studio Museum in Harlem”,”url”:”https://www.artnews.com/list/art-news/news/summer-art-preview-1234786351/”,”image_id”:1234786186,”image”:”https://www.artnews.com/wp-content/uploads/2026/05/1972_2011_HASSINGER_River.jpg?w=1024″,”sizes”:{“pmc-gallery-s”:{“src”:”https://www.artnews.com/wp-content/uploads/2026/05/1972_2011_HASSINGER_River.jpg?w=320″,”width”:320,”height”:240},”pmc-gallery-m”:{“src”:”https://www.artnews.com/wp-content/uploads/2026/05/1972_2011_HASSINGER_River.jpg?w=640″,”width”:640,”height”:480},”pmc-gallery-l”:{“src”:”https://www.artnews.com/wp-content/uploads/2026/05/1972_2011_HASSINGER_River.jpg?w=800″,”width”:800,”height”:600},”pmc-gallery-xl”:{“src”:”https://www.artnews.com/wp-content/uploads/2026/05/1972_2011_HASSINGER_River.jpg?w=1024″,”width”:1024,”height”:768},”pmc-gallery-xxl”:{“src”:”https://www.artnews.com/wp-content/uploads/2026/05/1972_2011_HASSINGER_River.jpg?w=1200″,”width”:1200,”height”:899}},”fullWidth”:768,”fullHeight”:575,”mime_type”:”image”,”ad”:””,”appleSongID”:null,”enableAppleGA”:false,”additionalDescription”:null,”subtitleColor”:null,”additionalSubtitle”:null,”additionalSubtitleColor”:null,”ads”:{“html”:”t
ntWhile Keith Haring is fondly remembered for painting his graphic figures across canvases, T-shirts, gallery walls, and even subway cars, this exhibition proposes that he was equally significant as a sculptor. Rebutting the notion that his two-dimensional work was his best, this show features such objects as a mask lined with dancing people, an elephant-like sculpture whose trunk is covered in stripes, and a 1963 Buick whose surface Haring covered with such fabulous creatures as a giant snake that makes its way across nearly the entire length of the car. The show is part of a summer of celebrations at Crystal Bridges, whose galleries will expand by 65 percent through the inauguration of a new space designed by Safdie Architects.</p>nnnn
ntJune 6u2013January 25, 2027</em></p>n</div>”,”alt”:”A white sculpture of an elephant covered in the outlines of leaping figures. One of its tusks is painted red, and the base is also red.”,”image_credit”:”u00a9Keith Haring Foundation/Andy Warhol Museum, Pittsburgh”,”url”:”https://www.artnews.com/list/art-news/news/summer-art-preview-1234786351/”,”image_id”:1234786141,”image”:”https://www.artnews.com/wp-content/uploads/2026/05/Untitled-Elephant.jpg?w=1024″,”sizes”:{“pmc-gallery-s”:{“src”:”https://www.artnews.com/wp-content/uploads/2026/05/Untitled-Elephant.jpg?w=306″,”width”:306,”height”:240},”pmc-gallery-m”:{“src”:”https://www.artnews.com/wp-content/uploads/2026/05/Untitled-Elephant.jpg?w=611″,”width”:611,”height”:480},”pmc-gallery-l”:{“src”:”https://www.artnews.com/wp-content/uploads/2026/05/Untitled-Elephant.jpg?w=764″,”width”:764,”height”:600},”pmc-gallery-xl”:{“src”:”https://www.artnews.com/wp-content/uploads/2026/05/Untitled-Elephant.jpg?w=978″,”width”:978,”height”:768},”pmc-gallery-xxl”:{“src”:”https://www.artnews.com/wp-content/uploads/2026/05/Untitled-Elephant.jpg?w=1200″,”width”:1200,”height”:942}},”fullWidth”:732,”fullHeight”:575,”mime_type”:”image”,”ad”:””,”appleSongID”:null,”enableAppleGA”:false,”additionalDescription”:null,”subtitleColor”:null,”additionalSubtitle”:null,”additionalSubtitleColor”:null,”ads”:{“html”:”t
ntEven though it may be a crowded year for biennials and other recurring art exhibitions, two newcomers are hoping to make a splash in the northeastern United States. The first of them, the Medina Triennial, is betting that it can lure the international art elite to western New York State, which is not necessarily a destination for collectors and dealers from abroad. Under the theme u201cAll That Sustains Us,u201d organizers Kari Conte and Karin Laansoo have assembled 39 participants ranging from Nigerian-born photographer Abraham O. Oghobase to Lina Lapelytu0117, who contributed to the Golden Lionu2013winning Lithuanian Pavilion at the 2019 Venice Biennale. Many of the artists featured in this show are invested in sustainability and rebuilding the natural environment.</p>nnnn
ntJune 6u2013September 7</em></p>n</div>”,”alt”:”A sculpture resembling the armature of a ship held up by many black hands, some of which are sprawled out on the floor beneath amid white fabric.”,”image_credit”:”Etienne Frossard/Courtesy the artist”,”url”:”https://www.artnews.com/list/art-news/news/summer-art-preview-1234786351/”,”image_id”:1234786140,”image”:”https://www.artnews.com/wp-content/uploads/2026/05/Victoria-Idongesit-Udondian-Ubom-Keed-2020u20132022-metal-life-cast-hands-used-clothes-various-country-flags-variable-dimensions-photograph-by-Etienne-Frossard-provided-by-the-artist.jpg?w=1024″,”sizes”:{“pmc-gallery-s”:{“src”:”https://www.artnews.com/wp-content/uploads/2026/05/Victoria-Idongesit-Udondian-Ubom-Keed-2020u20132022-metal-life-cast-hands-used-clothes-various-country-flags-variable-dimensions-photograph-by-Etienne-Frossard-provided-by-the-artist.jpg?w=320″,”width”:320,”height”:225},”pmc-gallery-m”:{“src”:”https://www.artnews.com/wp-content/uploads/2026/05/Victoria-Idongesit-Udondian-Ubom-Keed-2020u20132022-metal-life-cast-hands-used-clothes-various-country-flags-variable-dimensions-photograph-by-Etienne-Frossard-provided-by-the-artist.jpg?w=640″,”width”:640,”height”:450},”pmc-gallery-l”:{“src”:”https://www.artnews.com/wp-content/uploads/2026/05/Victoria-Idongesit-Udondian-Ubom-Keed-2020u20132022-metal-life-cast-hands-used-clothes-various-country-flags-variable-dimensions-photograph-by-Etienne-Frossard-provided-by-the-artist.jpg?w=800″,”width”:800,”height”:563},”pmc-gallery-xl”:{“src”:”https://www.artnews.com/wp-content/uploads/2026/05/Victoria-Idongesit-Udondian-Ubom-Keed-2020u20132022-metal-life-cast-hands-used-clothes-various-country-flags-variable-dimensions-photograph-by-Etienne-Frossard-provided-by-the-artist.jpg?w=1024″,”width”:1024,”height”:720},”pmc-gallery-xxl”:{“src”:”https://www.artnews.com/wp-content/uploads/2026/05/Victoria-Idongesit-Udondian-Ubom-Keed-2020u20132022-metal-life-cast-hands-used-clothes-various-country-flags-variable-dimensions-photograph-by-Etienne-Frossard-provided-by-the-artist.jpg?w=1200″,”width”:1200,”height”:844}},”fullWidth”:818,”fullHeight”:575,”mime_type”:”image”,”ad”:””,”appleSongID”:null,”enableAppleGA”:false,”additionalDescription”:null,”subtitleColor”:null,”additionalSubtitle”:null,”additionalSubtitleColor”:null,”ads”:{“html”:”t
ntImagine a Connecticut-focused response to the Hammer Museumu2019s u201cMade in L.A.u201d biennial and MoMA PS1u2019s u201cGreater New Yorku201d quinquennial, and youu2019d have the Aldrich Decennial, the second high-profile recurring art exhibition to launch its inaugural edition this summer. Set to take place once every decade, this show features artists who work and live in Connecticut. First up is an edition called u201cI Am What Is Around Me,u201d which features well-known names such as Em Rooney, Aki Sasamoto, Philip Taaffe, and Tammy Nguyen, the latter of whom is also showing paintings about the intertwined legacies of the Cold War and the American War in Vietnam at the Venice Biennale.</p>nnnn
ntJune 7u2013January 10, 2027</em></p>n</div>”,”alt”:”A painting of a person’s head being split apart by a rocket lifting off.”,”image_credit”:”Courtesy the artist”,”url”:”https://www.artnews.com/list/art-news/news/summer-art-preview-1234786351/”,”image_id”:1234786876,”image”:”https://www.artnews.com/wp-content/uploads/2026/05/Arghavan-Khosravi_Rupture.jpg?w=1024″,”sizes”:{“pmc-gallery-s”:{“src”:”https://www.artnews.com/wp-content/uploads/2026/05/Arghavan-Khosravi_Rupture.jpg?w=320″,”width”:320,”height”:240},”pmc-gallery-m”:{“src”:”https://www.artnews.com/wp-content/uploads/2026/05/Arghavan-Khosravi_Rupture.jpg?w=640″,”width”:640,”height”:480},”pmc-gallery-l”:{“src”:”https://www.artnews.com/wp-content/uploads/2026/05/Arghavan-Khosravi_Rupture.jpg?w=800″,”width”:800,”height”:600},”pmc-gallery-xl”:{“src”:”https://www.artnews.com/wp-content/uploads/2026/05/Arghavan-Khosravi_Rupture.jpg?w=1024″,”width”:1024,”height”:768},”pmc-gallery-xxl”:{“src”:”https://www.artnews.com/wp-content/uploads/2026/05/Arghavan-Khosravi_Rupture.jpg?w=1200″,”width”:1200,”height”:900}},”fullWidth”:767,”fullHeight”:575,”mime_type”:”image”,”ad”:””,”appleSongID”:null,”enableAppleGA”:false,”additionalDescription”:null,”subtitleColor”:null,”additionalSubtitle”:null,”additionalSubtitleColor”:null,”ads”:{“html”:”t
ntYou can always count on the ceaselessly creative French artist Laure Prouvost to deliver a good spectacle, and she looks to deliver once more with this show, the result of research into quantum physics aided by philosopher Tobias Rees and scientist Hartmut Neven. Given carte blanche at one of Parisu2019s most storied exhibition spaces, Prouvost will show such works as The Beginning</em>, a large-scale kinetic sculpture resembling a flower, its petals extending around the Grand Palaisu2019s glassed-in main room. Across a video and other sculptures exhibited around it, Prouvost will contend with notions of ephemerality and infinitudeu2014heavy topics taken up with the artistu2019s signature mix of curiosity and humor.</p>nnnn
ntJune 10u2013July 26</em></p>n</div>”,”alt”:”A negative image of a person’s face.”,”image_credit”:”u00a9Laure Prouvost/u00a92026 ADAGP, Paris”,”url”:”https://www.artnews.com/list/art-news/news/summer-art-preview-1234786351/”,”image_id”:1234786396,”image”:”https://www.artnews.com/wp-content/uploads/2026/05/9.-Laure-Prouvost-vue-du-film-We-Felt-A-Star-Dying-2025-Laure-Prouvost-ADAGP-Paris-2026.png?w=1020″,”sizes”:{“pmc-gallery-s”:{“src”:”https://www.artnews.com/wp-content/uploads/2026/05/9.-Laure-Prouvost-vue-du-film-We-Felt-A-Star-Dying-2025-Laure-Prouvost-ADAGP-Paris-2026.png?w=234″,”width”:234,”height”:240},”pmc-gallery-m”:{“src”:”https://www.artnews.com/wp-content/uploads/2026/05/9.-Laure-Prouvost-vue-du-film-We-Felt-A-Star-Dying-2025-Laure-Prouvost-ADAGP-Paris-2026.png?w=469″,”width”:469,”height”:480},”pmc-gallery-l”:{“src”:”https://www.artnews.com/wp-content/uploads/2026/05/9.-Laure-Prouvost-vue-du-film-We-Felt-A-Star-Dying-2025-Laure-Prouvost-ADAGP-Paris-2026.png?w=586″,”width”:586,”height”:600},”pmc-gallery-xl”:{“src”:”https://www.artnews.com/wp-content/uploads/2026/05/9.-Laure-Prouvost-vue-du-film-We-Felt-A-Star-Dying-2025-Laure-Prouvost-ADAGP-Paris-2026.png?w=750″,”width”:750,”height”:768},”pmc-gallery-xxl”:{“src”:”https://www.artnews.com/wp-content/uploads/2026/05/9.-Laure-Prouvost-vue-du-film-We-Felt-A-Star-Dying-2025-Laure-Prouvost-ADAGP-Paris-2026.png?w=1000″,”width”:1000,”height”:1024}},”fullWidth”:562,”fullHeight”:575,”mime_type”:”image”,”ad”:””,”appleSongID”:null,”enableAppleGA”:false,”additionalDescription”:null,”subtitleColor”:null,”additionalSubtitle”:null,”additionalSubtitleColor”:null,”ads”:{“html”:”t
ntMost people would say that Picassou2019s greatest contribution to the arts came in the form of paintings and sculptures. Few would suggest that he made a significant impact through fashion, though indeed he did, for as a GQ</em> editor once put it: u201cJust as Picasso made his name through the prism of cubism, he also manufactured a unique identity through the prism of his wardrobe.u201d (And the other wardrobes of others, toou2014the dresses worn by his female sitters in his paintings are quite memorable.) Maybe thatu2019s why Tokyou2019s National Art Center thought to bring on Paul Smith, a fashion designer, to aid in the production of this show. Works on loan from Parisu2019s Musu00e9e Picasso will be exhibited in a setting that the center suggests is evocative of Smithu2019s clothesu2014a gimmick, perhaps, but one thatu2019s certainly in keeping with Picassou2019s and Smithu2019s shared love of stripes.</p>nnnn
ntJune 10u2013September 21</em></p>n</div>”,”alt”:””,”image_credit”:”Photo by George Stroud/Daily Express/Hulton Archive/Getty Images”,”url”:”https://www.artnews.com/list/art-news/news/summer-art-preview-1234786351/”,”image_id”:1234757799,”image”:”https://www.artnews.com/wp-content/uploads/2025/10/2674133.jpg?w=1024″,”sizes”:{“pmc-gallery-s”:{“src”:”https://www.artnews.com/wp-content/uploads/2025/10/2674133.jpg?w=245″,”width”:245,”height”:240},”pmc-gallery-m”:{“src”:”https://www.artnews.com/wp-content/uploads/2025/10/2674133.jpg?w=489″,”width”:489,”height”:480},”pmc-gallery-l”:{“src”:”https://www.artnews.com/wp-content/uploads/2025/10/2674133.jpg?w=612″,”width”:612,”height”:600},”pmc-gallery-xl”:{“src”:”https://www.artnews.com/wp-content/uploads/2025/10/2674133.jpg?w=783″,”width”:783,”height”:768},”pmc-gallery-xxl”:{“src”:”https://www.artnews.com/wp-content/uploads/2025/10/2674133.jpg?w=1044″,”width”:1044,”height”:1024}},”fullWidth”:586,”fullHeight”:575,”mime_type”:”image”,”ad”:””,”appleSongID”:null,”enableAppleGA”:false,”additionalDescription”:null,”subtitleColor”:null,”additionalSubtitle”:null,”additionalSubtitleColor”:null,”ads”:{“html”:”t
ntThe artist Rufino Tamayo, the namesake of this museum, at one point led the ethnographic drawing department of Mexico Cityu2019s National Museum of Archaeology, History, and Ethnography, furthering an interest in his nationu2019s past that guided his entire practice. And he was hardly the only Mexican artist fascinated with the exhumation of history, as this exhibition proves. Focused predominantly on the 1980s, the 100-work show is in part dedicated to reframing the way Mexican art is typically discussed, moving the narrative away from Duchampian aesthetics and toward archaeological revisitation. Featured here are a range of the erau2019s top artists, from Francis Alu00ffs to Maria Thereza Alves.</p>nnnn
ntJune 10u2013October 18</em></p>n</div>”,”alt”:”A person curled up in a hole in a canyon.”,”image_credit”:”Courtesy the artist”,”url”:”https://www.artnews.com/list/art-news/news/summer-art-preview-1234786351/”,”image_id”:1234786710,”image”:”https://www.artnews.com/wp-content/uploads/2026/05/Eugenia-Vargas-Pereira_Sin-titulo_Punta-Chueca_Sonora.jpg?w=1024″,”sizes”:{“pmc-gallery-s”:{“src”:”https://www.artnews.com/wp-content/uploads/2026/05/Eugenia-Vargas-Pereira_Sin-titulo_Punta-Chueca_Sonora.jpg?w=292″,”width”:292,”height”:240},”pmc-gallery-m”:{“src”:”https://www.artnews.com/wp-content/uploads/2026/05/Eugenia-Vargas-Pereira_Sin-titulo_Punta-Chueca_Sonora.jpg?w=584″,”width”:584,”height”:480},”pmc-gallery-l”:{“src”:”https://www.artnews.com/wp-content/uploads/2026/05/Eugenia-Vargas-Pereira_Sin-titulo_Punta-Chueca_Sonora.jpg?w=729″,”width”:729,”height”:600},”pmc-gallery-xl”:{“src”:”https://www.artnews.com/wp-content/uploads/2026/05/Eugenia-Vargas-Pereira_Sin-titulo_Punta-Chueca_Sonora.jpg?w=934″,”width”:934,”height”:768},”pmc-gallery-xxl”:{“src”:”https://www.artnews.com/wp-content/uploads/2026/05/Eugenia-Vargas-Pereira_Sin-titulo_Punta-Chueca_Sonora.jpg?w=1200″,”width”:1200,”height”:987}},”fullWidth”:699,”fullHeight”:575,”mime_type”:”image”,”ad”:””,”appleSongID”:null,”enableAppleGA”:false,”additionalDescription”:null,”subtitleColor”:null,”additionalSubtitle”:null,”additionalSubtitleColor”:null,”ads”:{“html”:”t
ntAs he nears his 100th birthday, Julio Le Parc is getting a survey at Tate Modern, which plans to return this Argentinean sculptor to his experimental roots. Though his colorful sculptures now appear eminently Instagrammable, Le Parc came out of the European avant-garde of the 1960su2014he became famous through his work with the Groupe de Recherche du2019Art Visuel and initially made work using Plexiglas, a type of plastic then associated less with art than with industry. He has continued using the stuff to make grand sculptures that throw their vibrant hues around the rooms they occupy, in the process questioning how the eye perceives color and movement. Some 60 works will be featured here.</p>nnnn
ntJune 11u2013May 3, 2027</em></p>n</div>”,”alt”:”An abstraction composed of rows of black circles, some of which are partially cropped to create the appearance that they are warping.”,”image_credit”:”u00a92025 ADAGP, Paris, and DACS, London/Atelier Le Parc”,”url”:”https://www.artnews.com/list/art-news/news/summer-art-preview-1234786351/”,”image_id”:1234786193,”image”:”https://www.artnews.com/wp-content/uploads/2026/05/3.-Julio-Le-Parc-Instability-1959u20131991-Lent-by-the-Atelier-Le-Parc-2026-ADAGP-Paris-and-DACS-London-2025.jpg?w=1024″,”sizes”:{“pmc-gallery-s”:{“src”:”https://www.artnews.com/wp-content/uploads/2026/05/3.-Julio-Le-Parc-Instability-1959u20131991-Lent-by-the-Atelier-Le-Parc-2026-ADAGP-Paris-and-DACS-London-2025.jpg?w=242″,”width”:242,”height”:240},”pmc-gallery-m”:{“src”:”https://www.artnews.com/wp-content/uploads/2026/05/3.-Julio-Le-Parc-Instability-1959u20131991-Lent-by-the-Atelier-Le-Parc-2026-ADAGP-Paris-and-DACS-London-2025.jpg?w=483″,”width”:483,”height”:480},”pmc-gallery-l”:{“src”:”https://www.artnews.com/wp-content/uploads/2026/05/3.-Julio-Le-Parc-Instability-1959u20131991-Lent-by-the-Atelier-Le-Parc-2026-ADAGP-Paris-and-DACS-London-2025.jpg?w=604″,”width”:604,”height”:600},”pmc-gallery-xl”:{“src”:”https://www.artnews.com/wp-content/uploads/2026/05/3.-Julio-Le-Parc-Instability-1959u20131991-Lent-by-the-Atelier-Le-Parc-2026-ADAGP-Paris-and-DACS-London-2025.jpg?w=773″,”width”:773,”height”:768},”pmc-gallery-xxl”:{“src”:”https://www.artnews.com/wp-content/uploads/2026/05/3.-Julio-Le-Parc-Instability-1959u20131991-Lent-by-the-Atelier-Le-Parc-2026-ADAGP-Paris-and-DACS-London-2025.jpg?w=1031″,”width”:1031,”height”:1024}},”fullWidth”:579,”fullHeight”:575,”mime_type”:”image”,”ad”:””,”appleSongID”:null,”enableAppleGA”:false,”additionalDescription”:null,”subtitleColor”:null,”additionalSubtitle”:null,”additionalSubtitleColor”:null,”ads”:{“html”:”t
ntThis heady group show is centered on the notion of debt. One might associate that concept with economics, but this showu2019s description notes that it also u201cencompasses social, spatial, historical and emotional dimensions.u201d One participant in the exhibition is Sung Tieu, a Vietnameseu2013German artist whose recent pieces include one in which she sold art to gain the curator Mi You a position on the board of Berlinu2019s KW Institute for Contemporary Art. Tieu said at the time that this was an effort to diversify the board and contend with u201clegacies of exclusion and economic gatekeeping [that] persist within cultural institutions and beyond,u201d something that others in this show will also address.</p>nnnn
ntJune 11u2013September 20</em></p>n</div>”,”alt”:”A silky underwear draped over a translucent black object.”,”image_credit”:”Lu Guo-Way/Courtesy the artist and Taipei Fine Arts Museum”,”url”:”https://www.artnews.com/list/art-news/news/summer-art-preview-1234786351/”,”image_id”:1234786199,”image”:”https://www.artnews.com/wp-content/uploads/2026/05/Sung-Tieu-Rest-In-Power-2022.jpg?w=1024″,”sizes”:{“pmc-gallery-s”:{“src”:”https://www.artnews.com/wp-content/uploads/2026/05/Sung-Tieu-Rest-In-Power-2022.jpg?w=320″,”width”:320,”height”:213},”pmc-gallery-m”:{“src”:”https://www.artnews.com/wp-content/uploads/2026/05/Sung-Tieu-Rest-In-Power-2022.jpg?w=640″,”width”:640,”height”:427},”pmc-gallery-l”:{“src”:”https://www.artnews.com/wp-content/uploads/2026/05/Sung-Tieu-Rest-In-Power-2022.jpg?w=800″,”width”:800,”height”:533},”pmc-gallery-xl”:{“src”:”https://www.artnews.com/wp-content/uploads/2026/05/Sung-Tieu-Rest-In-Power-2022.jpg?w=1024″,”width”:1024,”height”:683},”pmc-gallery-xxl”:{“src”:”https://www.artnews.com/wp-content/uploads/2026/05/Sung-Tieu-Rest-In-Power-2022.jpg?w=1200″,”width”:1200,”height”:800}},”fullWidth”:862,”fullHeight”:575,”mime_type”:”image”,”ad”:””,”appleSongID”:null,”enableAppleGA”:false,”additionalDescription”:null,”subtitleColor”:null,”additionalSubtitle”:null,”additionalSubtitleColor”:null,”ads”:{“html”:”t
ntThis museum has a reputation for rescuing female artists of the postwar era from obscurity and reviving interest in them. The latest artist to receive the treatment is the nonagenarian Italian artist and activist Mariuccia Secol, who at one point in her fascinating career, in the 1960s, led a painting workshop at a psychiatric hospital. Following the feminist calls for liberation during the late u201960s, Secol stopped painting altogether and instead began making textiles. Often these textiles depict bodies, whether figuratively or abstractly, their dangling threads and woundlike forms reflecting u201cthe experience of women,u201d as she once said of a series about pregnancy and stretch marks.</p>nnnn
ntJune 11u2013November 1</em></p>n</div>”,”alt”:”A textile with various garments sewn together.”,”image_credit”:”Magdalena Typiak/u00a9Mariuccia Secol/Courtesy the artistu2019s family”,”url”:”https://www.artnews.com/list/art-news/news/summer-art-preview-1234786351/”,”image_id”:1234786323,”image”:”https://www.artnews.com/wp-content/uploads/2026/05/17.jpeg?w=1024″,”sizes”:{“pmc-gallery-s”:{“src”:”https://www.artnews.com/wp-content/uploads/2026/05/17.jpeg?w=320″,”width”:320,”height”:229},”pmc-gallery-m”:{“src”:”https://www.artnews.com/wp-content/uploads/2026/05/17.jpeg?w=640″,”width”:640,”height”:457},”pmc-gallery-l”:{“src”:”https://www.artnews.com/wp-content/uploads/2026/05/17.jpeg?w=800″,”width”:800,”height”:571},”pmc-gallery-xl”:{“src”:”https://www.artnews.com/wp-content/uploads/2026/05/17.jpeg?w=1024″,”width”:1024,”height”:731},”pmc-gallery-xxl”:{“src”:”https://www.artnews.com/wp-content/uploads/2026/05/17.jpeg?w=1200″,”width”:1200,”height”:857}},”fullWidth”:805,”fullHeight”:575,”mime_type”:”image”,”ad”:””,”appleSongID”:null,”enableAppleGA”:false,”additionalDescription”:null,”subtitleColor”:null,”additionalSubtitle”:null,”additionalSubtitleColor”:null,”ads”:{“html”:”t
ntContinuing an emphasis on Indigenous art that has defined the National Gallery of Canadau2019s programming for the past decade and a half, u201cQillaniqu201d includes dozens of artists from Inuit Nunaat, Su00e1pmi, and Denendeh. (The title is borrowed from the Inuktitut word for the shimmer of sunlight or moonlight on water.) Though broadly billed as u201ca celebration of those that share love as an answer to difficulty,u201d the exhibition is less notable for any binding theme than for convening so many of these artists in North America, whose biggest museums rarely mount shows like this one. Included among the artists are Hans Ragnar Mathisen, the artist who composed the Su00e1mi anthem and a recent star of the Carnegie International; Inuuteq Storch, who in 2024 became the first Greelandic artist to represent Denmark at the Venice Biennale; and Tanya Lukin Linklater, an artist and choreographer of Alutiiq descent whose works consider how acts of violence shape what can and canu2019t be said.</p>nnnn
ntJune 12u2013September 20</em></p>n</div>”,”alt”:”Two people lying on a raised surface in front of a field of ice.”,”image_credit”:”u00a9Inuuteq Storch/Courtesy the artist and Wilson Saplana Gallery”,”url”:”https://www.artnews.com/list/art-news/news/summer-art-preview-1234786351/”,”image_id”:1234786198,”image”:”https://www.artnews.com/wp-content/uploads/2026/05/Storch-QUIN2026-L20.8.jpg?w=1024″,”sizes”:{“pmc-gallery-s”:{“src”:”https://www.artnews.com/wp-content/uploads/2026/05/Storch-QUIN2026-L20.8.jpg?w=160″,”width”:160,”height”:240},”pmc-gallery-m”:{“src”:”https://www.artnews.com/wp-content/uploads/2026/05/Storch-QUIN2026-L20.8.jpg?w=320″,”width”:320,”height”:480},”pmc-gallery-l”:{“src”:”https://www.artnews.com/wp-content/uploads/2026/05/Storch-QUIN2026-L20.8.jpg?w=400″,”width”:400,”height”:600},”pmc-gallery-xl”:{“src”:”https://www.artnews.com/wp-content/uploads/2026/05/Storch-QUIN2026-L20.8.jpg?w=512″,”width”:512,”height”:768},”pmc-gallery-xxl”:{“src”:”https://www.artnews.com/wp-content/uploads/2026/05/Storch-QUIN2026-L20.8.jpg?w=683″,”width”:683,”height”:1024}},”fullWidth”:383,”fullHeight”:575,”mime_type”:”image”,”ad”:””,”appleSongID”:null,”enableAppleGA”:false,”additionalDescription”:null,”subtitleColor”:null,”additionalSubtitle”:null,”additionalSubtitleColor”:null,”ads”:{“html”:”t
ntu201cMY WORK is MANNERED, is HOMOSEXUAL, is EFFETE, is BASE, is SNOBISH,u201d begins the text included in one Arch Connelly work, acting as u201ca kind of manifesto,u201d as critic David Frankel wrote in Artforum</em>. All those adjectives are apt descriptors for Connellyu2019s art, which frequently featured photographic materialu2014including images taken from gay pornu2014that he studded with rhinestones and other materials. These works, which Connelly exhibited at the storied Fun Gallery in New Yorku2019s East Village, celebrated excess and defied the prevailing standards of good taste, which may be one reason he failed to achieve widespread fame in his lifetime. Now comes an attempt to canonize him in the form of a full-fledged survey, the biggest since his death of AIDS-related complications in 1993.</p>nnnn
ntJune 12u2013October 11</em></p>n</div>”,”alt”:”A painting of a lampshade attached to twists of color and set against a background studded with rhinestones.”,”image_credit”:”Courtesy the Estate of Arch Connelly and Corbett vs. Dempsey, Chicago”,”url”:”https://www.artnews.com/list/art-news/news/summer-art-preview-1234786351/”,”image_id”:1234787100,”image”:”https://www.artnews.com/wp-content/uploads/2026/05/Lamp-in-Other-Light.jpg?w=1024″,”sizes”:{“pmc-gallery-s”:{“src”:”https://www.artnews.com/wp-content/uploads/2026/05/Lamp-in-Other-Light.jpg?w=320″,”width”:320,”height”:240},”pmc-gallery-m”:{“src”:”https://www.artnews.com/wp-content/uploads/2026/05/Lamp-in-Other-Light.jpg?w=640″,”width”:640,”height”:480},”pmc-gallery-l”:{“src”:”https://www.artnews.com/wp-content/uploads/2026/05/Lamp-in-Other-Light.jpg?w=800″,”width”:800,”height”:600},”pmc-gallery-xl”:{“src”:”https://www.artnews.com/wp-content/uploads/2026/05/Lamp-in-Other-Light.jpg?w=1024″,”width”:1024,”height”:768},”pmc-gallery-xxl”:{“src”:”https://www.artnews.com/wp-content/uploads/2026/05/Lamp-in-Other-Light.jpg?w=1200″,”width”:1200,”height”:901}},”fullWidth”:766,”fullHeight”:575,”mime_type”:”image”,”ad”:””,”appleSongID”:null,”enableAppleGA”:false,”additionalDescription”:null,”subtitleColor”:null,”additionalSubtitle”:null,”additionalSubtitleColor”:null,”ads”:{“html”:”t
ntFrank Gehry, the starchitect who died last year, reshaped the museum world with his designs for spaces ranging from the Vitra Design Museum to the Guggenheim Bilbao, whose sloping titanium exterior defined an entire era. (At the time of his passing, he had yet one more museum building to come: the Guggenheim Abu Dhabi, which is not yet open.) What does it mean to museumify Gehry, an architect whose designs often bristled against the strictures of institutional practices? Find out with this retrospective, which is centered around 19 of his projects.</p>nnnn
ntJune 12u2013December 30</em></p>n</div>”,”alt”:”An architectural model for a structure with an undulating exterior.”,”image_credit”:”Courtesy Frank O. Gehry & Gehry Partners, LLP”,”url”:”https://www.artnews.com/list/art-news/news/summer-art-preview-1234786351/”,”image_id”:1234786712,”image”:”https://www.artnews.com/wp-content/uploads/2026/05/05_bilbao_1149_03.jpg?w=1024″,”sizes”:{“pmc-gallery-s”:{“src”:”https://www.artnews.com/wp-content/uploads/2026/05/05_bilbao_1149_03.jpg?w=320″,”width”:320,”height”:213},”pmc-gallery-m”:{“src”:”https://www.artnews.com/wp-content/uploads/2026/05/05_bilbao_1149_03.jpg?w=640″,”width”:640,”height”:426},”pmc-gallery-l”:{“src”:”https://www.artnews.com/wp-content/uploads/2026/05/05_bilbao_1149_03.jpg?w=800″,”width”:800,”height”:533},”pmc-gallery-xl”:{“src”:”https://www.artnews.com/wp-content/uploads/2026/05/05_bilbao_1149_03.jpg?w=1024″,”width”:1024,”height”:682},”pmc-gallery-xxl”:{“src”:”https://www.artnews.com/wp-content/uploads/2026/05/05_bilbao_1149_03.jpg?w=1200″,”width”:1200,”height”:799}},”fullWidth”:863,”fullHeight”:575,”mime_type”:”image”,”ad”:””,”appleSongID”:null,”enableAppleGA”:false,”additionalDescription”:null,”subtitleColor”:null,”additionalSubtitle”:null,”additionalSubtitleColor”:null,”ads”:{“html”:”t
ntCyprian Gaillard works best at a monumental scale, which is probably why the Kunsthaus Bregenz made the wise decision to give this artist three of its floors to fill. One will feature the debut of DETERRENT</em>, a new video that starts with a 7Eleven in Los Angeles before tackling the world of museums and the urban environments of cities across Europe. Another floor will feature sculpturesu2014flutes that have rolled-up euros planted in their holesu2014that relate to the showu2019s eccentric title. Running across both the video and the sculptures, as well as in some photographs included in the show, is an interest in what happens when an object or a space is made to function in ways beyond its original use.</p>nnnn
ntJune 13u2013October 4</em></p>n</div>”,”alt”:”A doll with a flute seen from behind.”,”image_credit”:”Max Paul/u00a9Cyprien Gaillard/Courtesy the artist”,”url”:”https://www.artnews.com/list/art-news/news/summer-art-preview-1234786351/”,”image_id”:1234786238,”image”:”https://www.artnews.com/wp-content/uploads/2026/05/Gaillard_DETERRENT__2026_DSC05490.jpeg?w=1024″,”sizes”:{“pmc-gallery-s”:{“src”:”https://www.artnews.com/wp-content/uploads/2026/05/Gaillard_DETERRENT__2026_DSC05490.jpeg?w=320″,”width”:320,”height”:213},”pmc-gallery-m”:{“src”:”https://www.artnews.com/wp-content/uploads/2026/05/Gaillard_DETERRENT__2026_DSC05490.jpeg?w=640″,”width”:640,”height”:427},”pmc-gallery-l”:{“src”:”https://www.artnews.com/wp-content/uploads/2026/05/Gaillard_DETERRENT__2026_DSC05490.jpeg?w=800″,”width”:800,”height”:533},”pmc-gallery-xl”:{“src”:”https://www.artnews.com/wp-content/uploads/2026/05/Gaillard_DETERRENT__2026_DSC05490.jpeg?w=1024″,”width”:1024,”height”:683},”pmc-gallery-xxl”:{“src”:”https://www.artnews.com/wp-content/uploads/2026/05/Gaillard_DETERRENT__2026_DSC05490.jpeg?w=1200″,”width”:1200,”height”:800}},”fullWidth”:862,”fullHeight”:575,”mime_type”:”image”,”ad”:””,”appleSongID”:null,”enableAppleGA”:false,”additionalDescription”:null,”subtitleColor”:null,”additionalSubtitle”:null,”additionalSubtitleColor”:null,”ads”:{“html”:”t
ntMelted into the Sun</em>, the 2024 film from which this survey takes its name, considers the eighth-century prophet Al-Muqanna, who was known for wearing a veil and leading an uprising against the Abbasid Caliphate. Rather than directly representing Al-Muqanna in the film, Saodat Ismailova focuses on the landscape of Central Asia that he is thought to have gracedu2014particularly her native Uzbekistan, whose deserts she films in long, dreamy takes. This work, like many others by Ismailova, a star artist of the biennial circuit, is about the history contained within the region, whose cultural memory was upended during the Soviet era. Alongside several of her hypnotic films, this museum is showing ikat textiles produced in Uzbekistan during the 19th century.</p>nnnn
ntJune 13u2013November 29</em></p>n</div>”,”alt”:”A face carved into a rock formation.”,”image_credit”:”Courtesy the artist”,”url”:”https://www.artnews.com/list/art-news/news/summer-art-preview-1234786351/”,”image_id”:1234786183,”image”:”https://www.artnews.com/wp-content/uploads/2026/05/04_petrified.jpg?w=1024″,”sizes”:{“pmc-gallery-s”:{“src”:”https://www.artnews.com/wp-content/uploads/2026/05/04_petrified.jpg?w=320″,”width”:320,”height”:180},”pmc-gallery-m”:{“src”:”https://www.artnews.com/wp-content/uploads/2026/05/04_petrified.jpg?w=640″,”width”:640,”height”:360},”pmc-gallery-l”:{“src”:”https://www.artnews.com/wp-content/uploads/2026/05/04_petrified.jpg?w=800″,”width”:800,”height”:450},”pmc-gallery-xl”:{“src”:”https://www.artnews.com/wp-content/uploads/2026/05/04_petrified.jpg?w=1024″,”width”:1024,”height”:576},”pmc-gallery-xxl”:{“src”:”https://www.artnews.com/wp-content/uploads/2026/05/04_petrified.jpg?w=1200″,”width”:1200,”height”:675}},”fullWidth”:1022,”fullHeight”:575,”mime_type”:”image”,”ad”:””,”appleSongID”:null,”enableAppleGA”:false,”additionalDescription”:null,”subtitleColor”:null,”additionalSubtitle”:null,”additionalSubtitleColor”:null,”ads”:{“html”:”t
ntWillem de Kooningu2019s name typically conjures thick, chaotic strokes of paint slathered together to form images of nude women. And indeed, one such work from that series by the famed Abstract Expressionistu2014his beloved Woman I</em> (1950), long held by the Museum of Modern Art in New Yorku2014is making its way to Chicago for this survey. But the show is less focused on De Kooningu2019s paintings than it is on his drawings, which form the bulk of the 200 works assembled here. These works on paper suggest that De Kooning mastered figuration before he turned to abstraction: One early work depicts a bowl and two jugs, rendered with a crisp precision attributable to his academic training in the Netherlands.</p>nnnn
ntJune 14u2013September 20</em></p>n</div>”,”alt”:”A drawing of the abstracted bodies of two buxom women.”,”image_credit”:”Robert Lifson, Art Institute of Chicago/u00a92026 Willem de Kooning Foundation/Artists Rights Society (ARS), New York/Art Institute of Chicago”,”url”:”https://www.artnews.com/list/art-news/news/summer-art-preview-1234786351/”,”image_id”:1234786150,”image”:”https://www.artnews.com/wp-content/uploads/2026/05/Two-Womens-Torsos-1952.jpg?w=1024″,”sizes”:{“pmc-gallery-s”:{“src”:”https://www.artnews.com/wp-content/uploads/2026/05/Two-Womens-Torsos-1952.jpg?w=304″,”width”:304,”height”:240},”pmc-gallery-m”:{“src”:”https://www.artnews.com/wp-content/uploads/2026/05/Two-Womens-Torsos-1952.jpg?w=608″,”width”:608,”height”:480},”pmc-gallery-l”:{“src”:”https://www.artnews.com/wp-content/uploads/2026/05/Two-Womens-Torsos-1952.jpg?w=759″,”width”:759,”height”:600},”pmc-gallery-xl”:{“src”:”https://www.artnews.com/wp-content/uploads/2026/05/Two-Womens-Torsos-1952.jpg?w=972″,”width”:972,”height”:768},”pmc-gallery-xxl”:{“src”:”https://www.artnews.com/wp-content/uploads/2026/05/Two-Womens-Torsos-1952.jpg?w=1200″,”width”:1200,”height”:948}},”fullWidth”:728,”fullHeight”:575,”mime_type”:”image”,”ad”:””,”appleSongID”:null,”enableAppleGA”:false,”additionalDescription”:null,”subtitleColor”:null,”additionalSubtitle”:null,”additionalSubtitleColor”:null,”ads”:{“html”:”t
ntThere have been plenty of shows mounted this year to mark the 250th anniversary of the founding of the United States, but most thus far have been disappointing, either failing to critically address the nationu2019s history or flaccidly attempting to do so using an anodyne theme. This show looks like the rare one to thread a very difficult needle. Teased with a Johannes Adam Simon Oertel painting from the mid-19th century that shows early Americans pulling down a George III monument, the exhibition suggests that democracy has always been a contentious notionu2014and that debate and dissent are integral to this countryu2019s culture. The show inaugurates a fresh wing devoted to democracy, a topic that has taken on an unfortunate degree of importance as high-ranking politicians continue devising new ways to strip voters of their rights.</p>nnnn
ntJune 18u2013November 1</em></p>n</div>”,”alt”:”A painting of a man speaking to a crowd.”,”image_credit”:”The New York Historical”,”url”:”https://www.artnews.com/list/art-news/news/summer-art-preview-1234786351/”,”image_id”:1234786247,”image”:”https://www.artnews.com/wp-content/uploads/2026/05/8-The-Speakers.jpg?w=1024″,”sizes”:{“pmc-gallery-s”:{“src”:”https://www.artnews.com/wp-content/uploads/2026/05/8-The-Speakers.jpg?w=218″,”width”:218,”height”:240},”pmc-gallery-m”:{“src”:”https://www.artnews.com/wp-content/uploads/2026/05/8-The-Speakers.jpg?w=437″,”width”:437,”height”:480},”pmc-gallery-l”:{“src”:”https://www.artnews.com/wp-content/uploads/2026/05/8-The-Speakers.jpg?w=546″,”width”:546,”height”:600},”pmc-gallery-xl”:{“src”:”https://www.artnews.com/wp-content/uploads/2026/05/8-The-Speakers.jpg?w=699″,”width”:699,”height”:768},”pmc-gallery-xxl”:{“src”:”https://www.artnews.com/wp-content/uploads/2026/05/8-The-Speakers.jpg?w=932″,”width”:932,”height”:1024}},”fullWidth”:523,”fullHeight”:575,”mime_type”:”image”,”ad”:””,”appleSongID”:null,”enableAppleGA”:false,”additionalDescription”:null,”subtitleColor”:null,”additionalSubtitle”:null,”additionalSubtitleColor”:null,”ads”:{“html”:”t
ntPerhaps more than any other U.S. president in recent history, Barack Obama demonstrated a passion for the art of his time: He chose Kehinde Wiley to paint his official portrait, he commissioned Shepard Fairey to create the iconic u201cHOPEu201d poster, and he hung an Alma Thomas painting in the White House well before she had mainstream recognition. Now heu2019s preparing to open his Presidential Center, and thought not exactly an art museum, it abounds with more commissions than most spaces recognizing former presidents. The star of those commissions is arguably an 83-foot-tall glass painting by Julie Mehretu that looms high above the 19.3-acre complex, but the ones around it, by artists ranging from Aliza Nisenbaum to Rashid Johnson, are no less notable.</p>nnnn
ntOpens June 19</em></p>n</div>”,”alt”:”An abstraction covering a window.”,”image_credit”:”Courtesy the Obama Foundation”,”url”:”https://www.artnews.com/list/art-news/news/summer-art-preview-1234786351/”,”image_id”:1234786265,”image”:”https://www.artnews.com/wp-content/uploads/2026/05/of090724cd_2498_53980109451_o.jpg?w=1024″,”sizes”:{“pmc-gallery-s”:{“src”:”https://www.artnews.com/wp-content/uploads/2026/05/of090724cd_2498_53980109451_o.jpg?w=320″,”width”:320,”height”:213},”pmc-gallery-m”:{“src”:”https://www.artnews.com/wp-content/uploads/2026/05/of090724cd_2498_53980109451_o.jpg?w=640″,”width”:640,”height”:427},”pmc-gallery-l”:{“src”:”https://www.artnews.com/wp-content/uploads/2026/05/of090724cd_2498_53980109451_o.jpg?w=800″,”width”:800,”height”:533},”pmc-gallery-xl”:{“src”:”https://www.artnews.com/wp-content/uploads/2026/05/of090724cd_2498_53980109451_o.jpg?w=1024″,”width”:1024,”height”:683},”pmc-gallery-xxl”:{“src”:”https://www.artnews.com/wp-content/uploads/2026/05/of090724cd_2498_53980109451_o.jpg?w=1200″,”width”:1200,”height”:800}},”fullWidth”:862,”fullHeight”:575,”mime_type”:”image”,”ad”:””,”appleSongID”:null,”enableAppleGA”:false,”additionalDescription”:null,”subtitleColor”:null,”additionalSubtitle”:null,”additionalSubtitleColor”:null,”ads”:{“html”:”t
ntu201cIu2019m not a journalist, an objective reporter,u201d said the photographer Ed van der Elsken, whose black-and-white pictures taken on the streets of Paris and Amsterdam are raw and highly stylized, with areas left blurry. Indeed, these are not the kind of crisp shots one might find in a newspaper to accompany reporting on the events of the day. Having come into possession of the Dutch photographeru2019s archive in 2019, the Rijksmuseum will now stage a survey of his work, which bore witness to changing social mores across Europe in the postwar era and beyond.</p>nnnn
ntJune 19u2013September 13</em></p>n</div>”,”alt”:”A woman on a bicycle sticking her tongue out.”,”image_credit”:”Rijksmuseum”,”url”:”https://www.artnews.com/list/art-news/news/summer-art-preview-1234786351/”,”image_id”:1234786229,”image”:”https://www.artnews.com/wp-content/uploads/2026/05/M-RP-F-2019-298-52-7-00.jpg?w=1024″,”sizes”:{“pmc-gallery-s”:{“src”:”https://www.artnews.com/wp-content/uploads/2026/05/M-RP-F-2019-298-52-7-00.jpg?w=189″,”width”:189,”height”:240},”pmc-gallery-m”:{“src”:”https://www.artnews.com/wp-content/uploads/2026/05/M-RP-F-2019-298-52-7-00.jpg?w=379″,”width”:379,”height”:480},”pmc-gallery-l”:{“src”:”https://www.artnews.com/wp-content/uploads/2026/05/M-RP-F-2019-298-52-7-00.jpg?w=473″,”width”:473,”height”:600},”pmc-gallery-xl”:{“src”:”https://www.artnews.com/wp-content/uploads/2026/05/M-RP-F-2019-298-52-7-00.jpg?w=606″,”width”:606,”height”:768},”pmc-gallery-xxl”:{“src”:”https://www.artnews.com/wp-content/uploads/2026/05/M-RP-F-2019-298-52-7-00.jpg?w=808″,”width”:808,”height”:1024}},”fullWidth”:454,”fullHeight”:575,”mime_type”:”image”,”ad”:””,”appleSongID”:null,”enableAppleGA”:false,”additionalDescription”:null,”subtitleColor”:null,”additionalSubtitle”:null,”additionalSubtitleColor”:null,”ads”:{“html”:”t
ntIn 1976, the artist Gabriele Stu00f6tzer signed a petition in support of Wolf Biermann, an East German dissident. In response, Stu00f6tzer was kicked out of school in East Germany and thrown in prison. While incarcerated, she realized that u201cmy body was the only medium I had left,u201d as she told ARTnews</em> last year. After a year behind bars, Stu00f6tzer devoted an entire career to exploring the body as a site of political resistance, occasionally courting controversy for doing so: She once photographed a model in drag in her studio, only to learn that this person was actually a Stasi informant who was monitoring her. With one retrospective in Switzerland in 2025, Stu00f6tzer is now receiving another in Berlin, a city where East Germans remain underrepresented in most museums.</p>nnnn
ntJune 19u2013December 6</em></p>n</div>”,”alt”:”Rows of images of a woman with black paint on her face.”,”image_credit”:”Heike Stephan/u00a92026 VG Bild-Kunst, Bonn/Courtesy the artist”,”url”:”https://www.artnews.com/list/art-news/news/summer-art-preview-1234786351/”,”image_id”:1234786210,”image”:”https://www.artnews.com/wp-content/uploads/2026/05/gb26_gabriele_stoetzer_die_ausloeschung_eines_blickes_2.jpg?w=1024″,”sizes”:{“pmc-gallery-s”:{“src”:”https://www.artnews.com/wp-content/uploads/2026/05/gb26_gabriele_stoetzer_die_ausloeschung_eines_blickes_2.jpg?w=320″,”width”:320,”height”:203},”pmc-gallery-m”:{“src”:”https://www.artnews.com/wp-content/uploads/2026/05/gb26_gabriele_stoetzer_die_ausloeschung_eines_blickes_2.jpg?w=640″,”width”:640,”height”:406},”pmc-gallery-l”:{“src”:”https://www.artnews.com/wp-content/uploads/2026/05/gb26_gabriele_stoetzer_die_ausloeschung_eines_blickes_2.jpg?w=800″,”width”:800,”height”:508},”pmc-gallery-xl”:{“src”:”https://www.artnews.com/wp-content/uploads/2026/05/gb26_gabriele_stoetzer_die_ausloeschung_eines_blickes_2.jpg?w=1024″,”width”:1024,”height”:650},”pmc-gallery-xxl”:{“src”:”https://www.artnews.com/wp-content/uploads/2026/05/gb26_gabriele_stoetzer_die_ausloeschung_eines_blickes_2.jpg?w=1200″,”width”:1200,”height”:762}},”fullWidth”:906,”fullHeight”:575,”mime_type”:”image”,”ad”:””,”appleSongID”:null,”enableAppleGA”:false,”additionalDescription”:null,”subtitleColor”:null,”additionalSubtitle”:null,”additionalSubtitleColor”:null,”ads”:{“html”:”t
ntVishnu, the Hindu deity that protects the universe, and all the many forms he takes are the main subjects of this mega-show, which brings together 200 works, many of them on loan from countries ranging from Cambodia to Switzerland. On hand will be the classic images one might expectu2014for example, a 16th-century illuminated manuscript of the Mahabharata</em>, the ancient epic in which Vishnu descends to earth as Krishna. But there will also be contemporary artworks, courtesy of Indian artists such as Pushpamala N, who has periodically posed as Hindu deities for her own photographs, suggesting the way in which tradition remains mutable in the present.</p>nnnn
ntJune 20u2013October 5</em></p>n</div>”,”alt”:”A painting of a reclining person near a grassy field.”,”image_credit”:”National Gallery of Australia, Canberra”,”url”:”https://www.artnews.com/list/art-news/news/summer-art-preview-1234786351/”,”image_id”:1234786255,”image”:”https://www.artnews.com/wp-content/uploads/2026/05/SID114981.jpg?w=1024″,”sizes”:{“pmc-gallery-s”:{“src”:”https://www.artnews.com/wp-content/uploads/2026/05/SID114981.jpg?w=320″,”width”:320,”height”:227},”pmc-gallery-m”:{“src”:”https://www.artnews.com/wp-content/uploads/2026/05/SID114981.jpg?w=640″,”width”:640,”height”:454},”pmc-gallery-l”:{“src”:”https://www.artnews.com/wp-content/uploads/2026/05/SID114981.jpg?w=800″,”width”:800,”height”:567},”pmc-gallery-xl”:{“src”:”https://www.artnews.com/wp-content/uploads/2026/05/SID114981.jpg?w=1024″,”width”:1024,”height”:726},”pmc-gallery-xxl”:{“src”:”https://www.artnews.com/wp-content/uploads/2026/05/SID114981.jpg?w=1200″,”width”:1200,”height”:851}},”fullWidth”:811,”fullHeight”:575,”mime_type”:”image”,”ad”:””,”appleSongID”:null,”enableAppleGA”:false,”additionalDescription”:null,”subtitleColor”:null,”additionalSubtitle”:null,”additionalSubtitleColor”:null,”ads”:{“html”:”t
ntIn 2024, Deutsche Welle</em> reported on an epidemic of church closures in Germany, where the number of Protestant and Catholic church members had declined markedly in the prior three decades. Many of these decommissioned religious sites are now being remade anew as libraries, bookstores, and even residential housing. This edition of Manifesta, a roving biennial that takes place in a different European location with each edition, acknowledges the trend by siting works by 100 artists in a dozen churches spread across Essen, Bochum, Gelsenkirchen, and Duisburg, all of which are located in the Ruhr region, sometimes referred to as Germanyu2019s u201cRust Belt.u201d Answering pressing questions about religion will be artists ranging from Mona Hatoum to Judith Hopf.</p>nnnn
ntJune 21u2013October 4</em></p>n</div>”,”alt”:”An installation composed of a large display with signs such as ‘Fill the Gap’ and ‘Kiosk of Solidarity.'”,”image_credit”:”u00a9Monika Keiler”,”url”:”https://www.artnews.com/list/art-news/news/summer-art-preview-1234786351/”,”image_id”:1234786219,”image”:”https://www.artnews.com/wp-content/uploads/2026/05/14_Constructlab_work-03_title_KioskOfSolidarity_Phcr._Monika-Keiler_.jpg?w=1024″,”sizes”:{“pmc-gallery-s”:{“src”:”https://www.artnews.com/wp-content/uploads/2026/05/14_Constructlab_work-03_title_KioskOfSolidarity_Phcr._Monika-Keiler_.jpg?w=320″,”width”:320,”height”:213},”pmc-gallery-m”:{“src”:”https://www.artnews.com/wp-content/uploads/2026/05/14_Constructlab_work-03_title_KioskOfSolidarity_Phcr._Monika-Keiler_.jpg?w=640″,”width”:640,”height”:426},”pmc-gallery-l”:{“src”:”https://www.artnews.com/wp-content/uploads/2026/05/14_Constructlab_work-03_title_KioskOfSolidarity_Phcr._Monika-Keiler_.jpg?w=800″,”width”:800,”height”:533},”pmc-gallery-xl”:{“src”:”https://www.artnews.com/wp-content/uploads/2026/05/14_Constructlab_work-03_title_KioskOfSolidarity_Phcr._Monika-Keiler_.jpg?w=1024″,”width”:1024,”height”:682},”pmc-gallery-xxl”:{“src”:”https://www.artnews.com/wp-content/uploads/2026/05/14_Constructlab_work-03_title_KioskOfSolidarity_Phcr._Monika-Keiler_.jpg?w=1200″,”width”:1200,”height”:799}},”fullWidth”:863,”fullHeight”:575,”mime_type”:”image”,”ad”:””,”appleSongID”:null,”enableAppleGA”:false,”additionalDescription”:null,”subtitleColor”:null,”additionalSubtitle”:null,”additionalSubtitleColor”:null,”ads”:{“html”:”t
ntThis is the most significant retrospective for Carmen Laffu00f3n in her home country of Spain since 1992, and the first since her death in 2021. Laffu00f3n was known for sticking to figuration while others took up abstraction and conceptualism. In painting still lifes with fruit and landscapes of the Spanish coast, she revisited subject matter that has recurred throughout art history, albeit in ways that diverged slightly from how things actually looked; Laffu00f3n was more interested in getting at the essence of life than in depicting its realistic details. Some 80 of her works have been assembled for this show.</p>nnnn
ntJune 23u2013September 27</em></p>n</div>”,”alt”:”A painting of a baby lying in a cot near a curtain.”,”image_credit”:”Claudio del Campo/u00a9Carmen Laffu00f3n/VEGAP, Madrid, 2026″,”url”:”https://www.artnews.com/list/art-news/news/summer-art-preview-1234786351/”,”image_id”:1234786600,”image”:”https://www.artnews.com/wp-content/uploads/2026/05/Laffon_Ines_en_la_cuna_1.jpg?w=1024″,”sizes”:{“pmc-gallery-s”:{“src”:”https://www.artnews.com/wp-content/uploads/2026/05/Laffon_Ines_en_la_cuna_1.jpg?w=277″,”width”:277,”height”:240},”pmc-gallery-m”:{“src”:”https://www.artnews.com/wp-content/uploads/2026/05/Laffon_Ines_en_la_cuna_1.jpg?w=553″,”width”:553,”height”:480},”pmc-gallery-l”:{“src”:”https://www.artnews.com/wp-content/uploads/2026/05/Laffon_Ines_en_la_cuna_1.jpg?w=691″,”width”:691,”height”:600},”pmc-gallery-xl”:{“src”:”https://www.artnews.com/wp-content/uploads/2026/05/Laffon_Ines_en_la_cuna_1.jpg?w=885″,”width”:885,”height”:768},”pmc-gallery-xxl”:{“src”:”https://www.artnews.com/wp-content/uploads/2026/05/Laffon_Ines_en_la_cuna_1.jpg?w=1120″,”width”:1120,”height”:972}},”fullWidth”:662,”fullHeight”:575,”mime_type”:”image”,”ad”:””,”appleSongID”:null,”enableAppleGA”:false,”additionalDescription”:null,”subtitleColor”:null,”additionalSubtitle”:null,”additionalSubtitleColor”:null,”ads”:{“html”:”t