conceptual art – Page 3

January 20, 2026January 27, 2026, by Taylor Bielecki

Like Cotyledons Buckled with Loam: Conversations and Inspirations

Walking into the group exhibition, Like Cotyledons Buckled with Loam at Art Cake, curated by David Dixon, you are first greeted with a piece by Thomas Nozkowski. This piece is one of three included in the exhibition, each serving as a foundational anchor point in the show. Within the paintings, Nozkowski abstracts forms or fractions of events, allowing viewers to experience the essence and bring their own associations to the works.

January 19, 2026January 19, 2026, by Laurie Gwen Shapiro

Rifka Milder Paints Downtown Without the Downtown Act

New York City loves a label the way it loves a line outside a new restaurant: there is the promise of significance and the reassurance that someone else has already decided what matters. The label flatters, then quietly ends the conversation. The oil painter Rifka Milder’s work refuses that bargain. Call her a “downtown painter,” and you’re not wrong, but her new solo show at Helm Contemporary, GREAT JONES, is what happens when someone who actually grew up downtown, in a household run on paint and argument, makes abstraction that declines to become neighborhood branding. Art in America once called her “an oil painter’s painter.”

January 15, 2026January 15, 2026, by Etty Yaniv

Anne Russinof – Gestural Symphony at Equity Gallery

Emily Berger met the late painter and artist, Anne Russinof, twenty years ago at The Painting Center in New York. Russinof’s intelligence and presence were immediate. A friendship formed around their work—studio visits, openings, exhibitions, and eventually, showing together. Both were committed to abstract painting and supported each other’s practice. Berger curated this exhibition of Russinof’s elegant, rigorous paintings at Equity Gallery to bring them wider recognition. What Russinof left behind is a powerful body of work. “I believe she would be pleased with the exhibition, the beautiful catalog designed by Patricia Fabricant, and the thoughtful, poetic writing from Paul D’Agostino and friends,” Berger says.

January 12, 2026January 12, 2026, by Etty Yaniv

Meghan Roghanchi at RAM Gallery

Krista Voto and collaborator, Brittany Coburn, Her Shadow Casts No Simple Form

In her mid-twenties, Meghan Roghanchi began collecting art with her husband, engaging directly with artists and developing an interest in the relationship between artistic production and collecting. After raising three children to school age, she returned to a professional focus shaped by her long-standing engagement with art, education, and collecting. Drawing on these experiences, Roghanchi founded RAM Gallery, positioning it at the intersection of creative practice and collecting, with an emphasis on direct exchange between artists and audiences and an accessible, welcoming gallery environment.

December 8, 2025December 21, 2025, by Etty Yaniv

Curatorial visions at Montclair Art Museum

Tom Nussbaum: But Wait, There’s More!, Montclair Art Museum, installation view, photo courtesy of Jason Wyche

During her more than thirty years at the Montclair Art Museum, Dr. Gail Stavitsky, Chief Curator, has shaped the institution’s vision through exhibitions that deepen public understanding of art history while highlighting under-recognized artists. Her work extends beyond the galleries to publications that introduce new scholarly perspectives — including the recent catalogue accompanying Tom Nussbaum: But Wait, There’s More! In this interview, Dr. Stavitsky discusses her curatorial approach and the ideas guiding the Museum’s current exhibitions by Tom Nussbaum and Christine Romanell.

December 1, 2025December 1, 2025, by Will Kaplan

Beamsplitter curated by David Shaw at Field of Play

Installation view of *Beamsplitter* featuring *Unnamed, Stable and True Penetrates Being with Sight in Hand*. (Gavin Wilson) and *Bleap* (Lauren Anaïs Hussey)

The artwork in Beamsplitter, a six-person show at Field of Play, functions as a series of portals. Named for a scientific device that both transmits and reflects light, Beamsplitter opens up spectrums of material, concept, and time. Using a mix of large and small works from artists across generations, curator David Shaw expands the Gowanus gallery’s 9 x 15-foot footprint into a dynamic array of gateways. The recurrence of circular forms and apertures presents a menu of windows to the artist’s interiority or world-view. Field of Play’s signature astroturf floor provides an idiosyncratic arena to home these loci.

November 26, 2025November 22, 2025, by Chunbum Park

Yi Hsuan Lai: The Ontology of the Body at SoMad

Yi Hsuan Lai, *Rubber, Rubber*. Installation view in SoMad, 2025. Imagery courtesy of SoMad and the artist

Yi Hsuan Lai exhibits her works in a solo show at SoMad, a femme- and queer-led art space that serves as a platform for emerging artists to experiment, collaborate, and challenge conventions. SoMad comprises a combined gallery and artist residency program, a production house, and an event space. The name “SoMad” reflects both the physical location — south of Madison Square Park — and the collective’s frustration with the current landscape of resources and support structures available for emerging artists, particularly artists from marginalized communities.

October 20, 2025October 9, 2025, by Melissa Stern

Delusions of Grandeur -Grayson Perry at the Wallace Collection

Totally Unique Thing. AI generated image, glazed ceramic. Installed on bespoke wallpaper, designed by Perry and produced by Liberty of London

The Wallace Collection, a storied historic mansion in London that houses an extraordinary, far-ranging collection of art and objects, invited the artist Grayson Perry to embed and create an exhibition that responds to their collections. Collected during the18^th and 19^th Centuries, the museum is dripping in Rococo, houses breathtaking Old Master paintings, amour, ceramics, medieval relics and sculpture. It would be, for a lesser artist, a daunting assignment.

October 7, 2025September 28, 2025, by Art Spiel

Aleksandra Scepanovic: Site Seen

In Dialogue

Closing Reception, Guests mingle among paintings, neon, and a vintage car, the grungy garage space alive with conversation, community and shared food. Photo courtesy of Jennifer Miller

Aleksandra Scepanovic’s story begins in then-Yugoslavia, where the stark presence of brutalist architecture shaped her early sense of form and space. As a journalist during the 1990s she reported on the Balkan conflicts, bearing witness to the fractured landscapes of cities such as Sarajevo.

October 1, 2025September 29, 2025, by William Corwin

Getting to the End of the Line: Sol LeWitt and Phong Bui at Craig Starr

Installation View. Phong H. Bui and Sol LeWitt. Craig Starr Gallery (1)

For both Phong Bui and Sol LeWitt, the line is a democratizing gesture. The line as a line: a mark; steering focus towards the method of an image’s creation rather than convincing the viewer of the realism of its ultimate subject. And, at least for both of these artists, this means we begin to deal with units. With LeWitt, the unit is the geometric shape — a square, cube, or even a diagram-a nugget of information, often placed within another diagram, offering multiple levels in the narrative of the work’s process and arrangement.