Exhibitions – Page 3

July 22, 2026July 21, 2026, by Natasha Chuk

Melora Kuhn’s Power of Erasure and Material Revision

History has always depended on materials. Marble, oil paint, bronze, woodcuts, engravings, museum vitrines, and photographic reproductions preserve the past as well as determine how events, ideas, and narratives are represented. Over time, images become durable, gaining a certain kind of truth value because they acquire material permanence and spread through copies. Mythological heroines, biblical women, allegorical figures, and historical subjects return across centuries through the persistence of artistic media, carrying with them the assumptions, hierarchies, and ideologies embedded in their forms. Melora Kuhn‘s solo exhibition, The Legacy of Disembodiment, on view at Private Public Gallery, starts with the recognition that if representation has helped naturalize and proliferate the narratives these images and forms carry, then materials themselves can be a site of political intervention.

July 21, 2026July 21, 2026, by Mike Dressel

Fugue Gallery Finds a New Home with Forbidden Fruit

Located along the central artery of Little Italy, amid a glut of red sauce joints with checkered tablecloths, sits the new home of Fugue Gallery. Having recently relocated from Canal Street to Mulberry Street, the space, a 1,000-square-foot brick loft, eschews white box sterility for something more atypical.

July 15, 2026July 14, 2026, by Thomas Motley

How Unexpected: Encounters With the Divine, Emelie Stenhammar

Emelie Stenhammar’s works echo the aims of Elizabeth Murray to reshape our relationship with painting. Cozy rectangular formats are denied. Twisted Perspective prevails. Both artists’ depictions of domestic spaces reflect a mutual fondness for cartoons and whimsy. Stenhammar paints compelling allegory about the human condition, with a compassionate gaze akin to that of Kathe Kollwitz.

July 14, 2026July 13, 2026, by Selin Tamtekin

Cecily Brown at the Serpentine: Everything Everywhere All at Once

Entering the first room of the gallery, one is instantly struck by the richness of movement in Cecily Brown’s paintings. Several recent works, drawn from nature walks, centre on the motif of a log laid across a blue stream. This fairy-tale imagery, bordering on kitsch, was borrowed from a jigsaw puzzle Brown was completing at the time. Yet the jagged shrubbery and turbulence surrounding these scenes point towards something darker.

July 13, 2026July 12, 2026, by Hayley Ferber

What Remains, What Connects: Tulu Bayar Explores Home Through Material and Memory

In What Remains, What Connects: Stories in Assembly, on view at Amos Eno Gallery, Tulu Bayar brings together two distinct yet deeply connected bodies of work that approach the question of “what is home?” from different perspectives. Together, they reveal home not as a fixed location but as something more amorphous, continually assembled through lived experience, collective memory, and our relationship to place.

July 8, 2026July 8, 2026, by Sivan Lavie

Andreas Schulze’s exploration of color in the cool pastures of cake

In his show Cake (2026) at Sprüth Magers, New York, Andreas Schulze explores the visual effects of saturated color and geometric form, using cake as the setting for his investigation.

In his paintings, Schulze creates an inner three-dimensional universe, which serves as a bell jar. In his imaginary pastures, Schulze creates surreal interiorscapes, built of geometric shapes and flat backdrops of color-gradient skies, juxtaposed with rounded spheres and spirals painted in three-dimensional perspective, with depth and shadow. The pictorial space he builds gives a stage for him to explore various phenomena, in this case, cake, and he does so with a playful seriousness, experimenting with the basic forms and images that make up cakes: candles, frosting, fruit, sprinkles, and layers.

July 7, 2026July 13, 2026, by Chunbum Park

Hollis Heichemer: Transcension over Anthropocentrism and Breakaway into Landscapes

Hollis Heichemer’s solo exhibition at Hollis Taggart titled “moving in stillness” is a profound investigation of existence and the meaning of the world through the study of landscapes and Mother Nature. Is Humanism an anthropocentric perspective that is ultimately flawed and furnishes humanity with the arrogance to destroy the environment and disregard the principles of empathy? How can we overcome the diseased thought that humans have the right to master or exploit nature for profit? And how has the artist found great peace and liberation through her lifelong study of Mother Nature and her generous nourishment and wisdom? Does Heichemer apply the paint purely as a formal exercise of abstract colors and relationships, or does the paint become the flesh of Mother Nature, by the observation of which we can become and live through the painting as landscapes?

July 6, 2026July 6, 2026, by Amanda Church

Tommy May: Sammy’s at Half Gallery

Life’s a beach, or maybe it should be if it could only resemble Tommy May’s resplendent scenes of light reflecting on Sammy’s bay beach on the east end of Long Island. Are beach scenes banal? Despite a robust art-historical lineage of beach paintings ranging from Milton Avery to Alex Katz, not to mention myriad others, including Picasso, Monet, and Degas, there’s a tendency to relegate the genre to kitschy decoration, best suited for motel rooms or dentists’ offices. Despite a softness to May’s surfaces that could cross into that territory, the paintings deftly skirt it through their atmospheric intensity and sophisticated touch.

July 6, 2026July 6, 2026, by Shuhan Zhang

Growing After the Embers: A Review of Bùi Thanh Tâm’s Solo Exhibition Here on and after

For a long time, when I was young, I felt distant from the idea of “history.” In textbooks, history always appeared through years, wars, reforms, and changes of political power, as if it were made of events already organized and settled. Yet the history that truly remains in the body often appears in more hidden forms. It may be a silence within family narratives, a memory that one generation chooses to avoid, a recurring pattern in festive images, or a color that seems joyful while quietly carrying a wound. Very often, history continues to exist in another form, lingering in images, bodies, and everyday experience.

July 1, 2026June 28, 2026, by Sherly Fan

The Luckiest Show You Will See This Summer

What would you do if you wanted to bring more luck into your life? Drawing from her observations of how people across cultures use rituals and superstitions to summon luck, Gail M Boykewich’s show Into the Wolf’s Mouth feels almost like a field guide to how we pray, wish for good fortune, and stay hopeful enough to keep moving forward. Rather than treating luck as simple optimism, Gail presents it as a language of survival — a way people negotiate uncertainty, longing, heartbreak, and the desire for a better future. The title is inspired by the Italian idiom “in bocca al lupo”, a phrase used to wish someone luck as they enter danger. It beautifully implies a universal experience: the desire for more, for solutions, for security, or simply for a way to feel better, especially within our current turbulent and unstable political status quo.