art – Art Spiel

September 16, 2026September 15, 2026, by Art Spiel

Alexander Gray Associates Announces Representation of Márcia Falcão

Alexander Gray Associates announces representation of Márcia Falcão (b. 1985). In Spring 2028, the Gallery will present a solo exhibition of Falcão’s works.

Falcão explores the Black female body as a site where painterly experimentation and lived experience converge. Raised in Rio de Janeiro’s Irajá neighborhood, Falcão renders her figures in gestural brushwork and dense layers of impasto, working within a palette dominated by earth tones—umbers, reds, tans, and yellows. Though Falcão frequently depicts her own body, her figures resist self-portraiture, functioning instead as archetypes that challenge the expectations and stereotypes imposed upon Black Brazilian women.

September 4, 2026September 4, 2026, by Art Spiel

P•P•O•W Appoints Trey Hollis as Managing Partner

Wendy Olsoff and Penny Pilkington, co-founders of P•P•O•W, are pleased to announce the appointment of Trey Hollis as Managing Partner, based in New York.

As Managing Partner, Hollis will continue to oversee P•P•O•W’s programmatic activities, gallery operations, exhibition management, facilities, and the gallery’s participation in international art fairs. Collaborating closely with the gallery ownership, directors, and operations team, Hollis will help ensure the continued strength and efficiency of all aspects of the gallery while supporting P•P•O•W’s represented artists and exhibition program.

August 19, 2026August 17, 2026, by Ming Chen

Transcendence at FOU Gallery

Group exhibition: Transcendence installation view, 2026. Photography by Jiaqi, courtesy of Fou Gallery

Transcendence, a group exhibition of sculptures and paintings, is curated by Helena Jin and on view at FOU Gallery from July 11 – September 5, 2026. The artists Tianshu Zhang (张天舒), Gloria Fan Duan (樊段晓春), and Tao Xian (陶显) explore the show’s theme of transcendence in vastly different formal ways. Despite Helena Jin’s scholarly background in researching Buddhist art history, the type of transcendence posed by the show is distinctly secular; while some of the artists reference East Asian tradition and symbolism, the “beyond” or spiritual is achieved through individual artistic approaches to color and form.

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 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.

June 30, 2026June 30, 2026, by Etty Yaniv

The Whole Water of a River at TSA Brooklyn with Byron Toledo

The Whole Water of a River, installation view

A dead opossum lying in a fetal position along a contaminated riverbank in Quito became, for Byron Toledo, both an encounter and a sculpture. That moment, tender and violent at once, is at the heart of The Whole Water of a River at Tiger Strikes Asteroid Brooklyn, an exhibition that follows the Machángara River from its mountain source through the city. Ceramic animals, distilled plant aromas, and sound recordings gathered along the watershed map the river as a living system that connects hills, ravines, plants, people, and the city itself. The project carries unusual stakes: in 2024, an Ecuadorian court ruled that the rights of the Machángara had been violated, a ruling for which Toledo’s own video work served as evidence. We spoke with the artist about walking the river, collaborating across disciplines, and what it means to make art inside an ecosystem fighting to survive.

June 26, 2026June 24, 2026, by Etty Yaniv

From A to Z and the Bodies In Between at Nunu

Borges once described a fictional Chinese encyclopedia that classified animals into categories so incompatible — beings that belong to the Emperor, embalmed ones, those that look like flies from a distance — that the whole idea of classification begins to feel like a kind of absurd fiction. Nancy Bowen’s first solo exhibition at Nunu Fine Art invokes exactly that suspicion: that the dictionary, the archive, the great pre-internet repositories of everything, are not neutral records but constructions, and that constructions can be dismantled, embellished, and made to mean something new.

June 11, 2026June 10, 2026, by Michal Gavish

Voices In Minor Keys: 2026 Venice Biennale

In Minor Keys, the central exhibition of the 61st Venice Biennale, arrived with a quiet proposition. The late curator Koyo Kouho envisioned a show that reflects practices requiring time and sustained commitment — some of them lifetime, even generational — and in doing so created a deliberate antithesis to the Biennale spectacle. Drawing almost exclusively on artists from Africa, the Middle East, and the Caribbean, the exhibition is anchored in political concerns — identity, immigration, the environment — yet so many of the works felt personal, while reaching toward art history and even toward Venice itself. What follows is an account of its visual depth and strength.

June 9, 2026June 16, 2026, by Taylor Bielecki

Funny Weather at Kunstraum: Upheavals and new assumptions

In the exhibition Funny Weather, curated by Imogen Aukland, four artists present distinct takes on reconstructions and uncertainty. A timely, unsettled feeling meanders through the space — sculptures that depict typically threatening objects unexpectedly softened, or photos that capture moments that physically change as you walk around them. Both the unexpected and a sense of upheaval are prominent themes throughout, whilst also giving us a “weather forecast” that changes by area, mood, and experience. This grants viewers the opportunity to question what art does: what an art object stirs within us, and how much our assumptions about something can shift when viewed from different perspectives.