contemporaryart – Art Spiel

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

Marina Adams Joins Peter Blum Gallery

Peter Blum Gallery is pleased to announce the representation of New York-based artist Marina Adams (b. 1960). The announcement follows Adams’s recent solo exhibition with the gallery, titled Works on Paper: A Survey (April 9–May 29, 2026), and its accompanying hardcover publication. Her work is currently on view in the group exhibition Clever, Quick, Magnetic: The Art of Witty Banter, curated by David Salle at Oklahoma Contemporary. Looking ahead, Adams’s work will be featured in Peter Blum Gallery’s booth presentation at The Armory Show (September 24–27, 2026), as well as in the group exhibition Abstract Expressionism: The East End, 1940 to Today at the Parrish Art Museum in Water Mill, New York (September 27, 2026–February 14, 2027).

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 18, 2026August 17, 2026, by Chunbum Park

Bing Lu: The Queries that Remain After the Image

Bing Lu’s solo exhibition, “what remains after the image,” at Gallery 60 NYC is an endeavor of multifaceted inquiries concerning the nature of photography and image production, abstraction, and the artist’s own personal life. Featuring 13 photographic works that utilize digital collaging and color manipulation techniques, the exhibition is an exercise in experimental spirit for Lu to continually push the boundaries and investigate the abstract and experimental language of photography.

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.

June 23, 2026July 15, 2026, by Art Spiel

What Remains: in dialogue with Arghavan Khosravi

Altarpieces—historically sites of devotion, revelation, and spiritual certainty—become something altogether different in Arghavan Khosravi’s What Remains, currently on view at Uffner & Liu through July 2. The exhibition brings together large-scale wall works, a freestanding sculpture, and an intimate suite of new altar-inspired paintings that continue Khosravi’s ongoing exploration of the forces that shape women’s lives under political, cultural, and religious systems of control. Drawing equally from Persian miniature painting and medieval European iconography, the artist constructs layered worlds where architectural structures become psychological spaces, symbols migrate across histories, and moments of resistance emerge within conditions of constraint. Rather than offering resolution, the works linger in states of suspension—between freedom and captivity, memory and displacement, devotion and doubt.

June 23, 2026June 20, 2026, by Noa Charuvi

Basis: Gabriela Vainsencher at Asya Geisberg

At Basis, Gabriela Vainsencher’s second solo exhibition at Asya Geisberg Gallery, the artist continues to explore themes of motherhood, domestic life, the female body, and her relationship with art history as an artist-mother, a figure traditionally marginalized. Vainsencher’s work resonates within a broader context of artists who have embraced domesticity and motherhood as central creative subjects, such as Louise Bourgeois, who explored maternal forms and the body. Vainsencher explains that she chose the title thinking about how early childhood forms the foundation for all experiences going forward, as having children does to the parent, and also since she finds herself physically becoming a basis or pedestal when her kids climb on her, a familiar experience to all parents of small children.

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 2, 2026June 1, 2026, by Etty Yaniv

Run by Artists, Built for Artists: OyG and the Cornell MFA

What does a gallery look like when the artists are in charge? Founded in 2013, Ortega y Gasset Projects (OyG) is an artist-run collective with no fixed curatorial line and a non-hierarchical structure shared equally among its eight co-directors. Since 2023, it has become the annual New York home for Cornell University’s MFA thesis exhibition — a partnership built on a simple premise: artist-run spaces value experimentation, innovation, and risk-taking, giving graduate artists the freedom to present work without commercial constraints or curatorial imperatives.