installation art – Art Spiel

September 30, 2026September 30, 2026, by Taylor Bielecki

SPRING/BREAK highlights: Hide and Seek

This year’s theme for SPRING/BREAK Art Show was Hide and Seek. The fair was within this new and exciting office space that felt like a labyrinth at first, but then it evolved into a wonderful journey- meeting new artists and old friends. Full of amazing works and installations, the booths caught my attention through either a detail, a connection, or a wonderful conversation. The themes varied, from Peter Gynd’s focus on the joys of the everyday to Juan-Manuel Pinzon and Matthew Logsdon’s connections through material, action, and discovery. David Howe and Jesus Benavente’s team brings urgency and humor, showing how decisions from up high affect our everyday lives. My experience of the fair concluded with the works of Noa Charuvi and Shmuel Charuvi, exploring connections to a sense of place and ways of viewing the world, often influenced by the works of family, while Braden Bandel’s paintings and drawings bring us into another world entirely- allowing us a place to rest and contemplate.

September 9, 2026September 8, 2026, by Sara Aparicio

Latency: Reinventing Photography – MFA Parsons Show

Since its invention in the early 1800s, photography has evolved from merely capturing moments. Over time, photography became intertwined with other traditional art mediums and slowly became a more accepted medium in the fine arts space. Now, with Parsons’ 2026 Photography MFA thesis show, Latency continues to expand what photography can be, literally.

September 8, 2026September 7, 2026, by Melissa Stern

Betty Parsons: An Expanded World at The Hessel Museum of Art

Installation view of Betty Parson’s An Expanded World

The Hessel Center for Curatorial Studies at Bard College has mounted a lavish retrospective on the work of artist and art dealer Betty Parsons. The first such exhibit in 25 years, it covers her career from beginning to end.

September 7, 2026September 7, 2026, by Nicole Michaud

Rebecca Rutstein: Universal Nature at the Philip and Muriel Berman Museum of Art

In Universal Nature, at Ursinus College’s Berman Museum, you can easily feel the breadth of Rebecca Rutstein’s long artistic practice. Rutstein has spent over two decades creating paintings, sculptures, videos, and textiles, buoyed by a passion to connect with and understand complex global systems that are core to our existence on this planet. Universal Nature presents a mid-career survey spanning her oeuvre, with an intellectual focus on continuous change, transformation, and interdependence.

August 24, 2026August 25, 2026, by Etty Yaniv

Serpentine Sibyls at Snug Harbor

Daniel Rothbart's Serpentine Sibyls, curated by Melissa West

A chance meeting in October 2024 set Serpentine Sibyls in motion. Wandering into the Newhouse Center for Contemporary Art, Daniel Rothbart met its director and senior curator Melissa West, and a shared bond with the late critic and curator John Perreault — who ran the center in the 1980s — opened a collaboration that grew from the main pond to the two reflecting pools beside the Glass House. Rothbart’s floating forms in aluminum and glass, buoyed by salvaged Japanese fishing floats, drift and turn with wind, light, and water, so no two hours look alike. Named by West for the ancient prophetesses and for the serpentinite stone in Staten Island’s own hills, the work holds history and forecast at once, using the climate crisis as its undertow. Sited at a former sailors’ home along a tidal waterway, it runs through September 28 at Snug Harbor. The artist and curator discuss the project’s origins, its shifting forms, and the myth and history beneath the title.

August 17, 2026August 20, 2026, by Etty Yaniv

Cutaway at Brandeis University

For Cutaway, curator Olivia Baldwin worked the way she does in her own studio — building from the ground up, beginning with the artists rather than a theme. She had followed Eleanor Anderson, J Stoner Blackwell, Lucy Kim, Kirstin Lamb, and Hai-Wen Lin for years, looking for where their materials might overlap and where they might productively rub against one another. Meeting with them, a shared concern surfaced: how each artist asserts and then loosens the limits of an object, a body, a pattern. Their means are strikingly varied — discarded plastic bags, cross stitch, dyed silk and chain, cast flounder and teeth, a kite pitched toward the upper windows — bound by saturated color and touch. The body recurs throughout, rarely pictured, more often left as a trace in the material. Baldwin discusses the show’s bottom-up beginnings, what its materials share, and the withholding behind its title.

August 13, 2026August 13, 2026, by Cristina Albu

Anne Katrine Senstad – Being (Un)schooled

Crossing the threshold of the “Veieja Escuelera” exhibition at Synesthesia Gallery, Brooklyn, visitors find themselves enveloped in an eerie haze of green light that is both sensuous and disquieting. This is not the only defamiliarizing element since the floor is carpeted with artificial grass and the light works encompass phrases in multiple languages. On Anne Katrine Senstad’s turf, nothing is what it seems at first sight. A Norwegian artist living between New York and Oslo, she uses light both environmentally and sculpturally to expose the interdependence between perceptual experience, cognition, and ideological beliefs. Her practice engages both with the phenomenological inquiries of minimalist artists such as Dan Flavin and Robert Irwin and with the tongue-in-cheek propositions of Conceptual artists such as Joseph Kosuth and Bruce Nauman who have paired neon light with text to invite reflection on the function of art as sign.

August 12, 2026August 10, 2026, by Felix Suazo

Treizman + Zurilla: Monumentalizing the Trace

Monumentalizing the Trace, installation view, The Frank C. Ortis Art Gallery

Situation

The duo Treizman + Zurilla has created a paradoxical situation at The Frank C. Ortis Art Gallery in Pembroke Pines, Florida. There are no paintings hanging on the walls or sculptures on pedestals; only the remnants of an undefined and colossal event. It is perhaps the belated fulfillment of a premonition that adopts the exhibition space as a medium for art, transforming the White Cube into a site-specific installation.

August 10, 2026August 9, 2026, by Michal Gavish

Le Alchemiste by Anselm Kiefer at the Palazzo Reale

I saw “Le Alchemiste” by Anselm Kiefer at the Palazzo Reale in Milan, and although I have seen many exhibitions by this German artist, I have never seen anything like this. He creates large vertical portraits of about forty women who worked as alchemists and healers in various European communities in the period between antiquity and the nineteenth century.

August 6, 2026August 5, 2026, by Noa Charuvi

Do I Know You From Somewhere? at Transmitter: Alison Kudlow, Susan Meyer, Hanna Washburn, and Se Young Yim

Entering the bright gallery space, shared with Tiger Strikes Asteroid on the other side of the wall, you are welcomed by brightness and playfulness. Like walking into a kindergarten classroom, a playroom, or a yoga studio, the sculptural inhabitants are cordial yet also preoccupied with themselves. It is no coincidence that the curator and three of the artists are mothers who spend time with children.