memory – Art Spiel

September 15, 2026September 13, 2026, by Agnese Fanizza

Serena Scapagnini: Painting Memory

Serena Scapagnini, Saliency, La Memoria Cangiante

Memory is a fickle thing. However, when viewed through a neuroscientific lens, memory is also a biological process. Serena Scapagnini’s artistic practice, her recent Saliency, La Memoria Cangiante (2026) in particular, explores the retrieval of memory in its interdisciplinary entirety. Inaugurated on June 4th as a permanent installation at the Wu Tsai Institute at Yale University, Saliency, La Memoria Cangiante opens a wider reflection on the position of memory, whether as process or personal attachment, in Scapagnini’s work and current projects.

September 10, 2026September 9, 2026, by Cynthia Chen

This is Me Looking: In Dialogue with Wen-You Cai on Collaborating with Her Six-Year-Old Self

In 1996, a six-year-old child was given a camera and sent out to capture the world through her eyes. She aimed the lens at her father’s back against the Twin Towers, at her own blurred hand, at a sculpture in a museum, at Buddhist drawings on the wall. She had recently arrived in the United States, and the world in front of her was made of curiosity, novelty, and strangeness.

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.

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.

July 28, 2026July 28, 2026, by Taylor Bielecki

Greater New York and the identity and pulse of the city at MoMA PS1

Walking through MoMA PS1 for the first time in several years, I realized how much it has changed and how much I still remembered from my first visit, before officially becoming a New Yorker. The meandering, bustling energy of the building remained, each turn and new corridor offering discoveries. It was special to witness how eclectic and unique each artist’s vision and process was and how many identities and stories are gathered under one roof. Organized for the first time by MoMA PS1’s full curatorial team, the exhibition emphasizes the forces that shape daily life in the city today. This includes strategies of resistance and adaptation in the face of increased surveillance, shifting identities, economic uncertainties, how we view ourselves and others, and the ever-changing technologies around us. This exhibition notes both optimism and anxiety throughout all of the artists’ attention to the layered, eclectic lived textures of New York City and the people intertwined within it.

July 27, 2026July 27, 2026, by Michele Jaslow

Interview with Daina Higgins: On Graffiti, Risk, and the Art of Impermanence

Pioneer graffiti artist and painter Daina Higgins explores the shifting visual identity of urban spaces across the American Northeast. Our conversation, centered on Daina, also reads as a message to the emerging women graffiti artists she encounters on the streets. A how-to guide including the rules- yes, graffiti has rules- a way to value yourself as an artist, and a sisterhood joining the past and present.

July 16, 2026July 15, 2026, by Kun Sok

Interview for He Spoke to the Birds: Matter, Memory, and Nonhuman Voices

Diego Azzola, Huang Zhe, Installation view of He Spoke To The Birds

Presented at the AAIE Center for Contemporary Art in Rome, He Spoke to the Birds brings together works by Jeremias Rumpl, Diego Azzola, and Huang Zhe in an exhibition curated by Fanfan Yuxuan Fan. Taking its title from Carolyn Christov-Bakargiev’s reflection on Saint Francis of Assisi and Arte Povera, the exhibition asks what it might mean to listen not only to human voices, but also to birds, ruins, pipes, smoke, and matter itself.

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.

June 24, 2026June 24, 2026, by Taylor Bielecki

Dynamic and tender moments in Angelo Vasta’s Luci Spente Exhibition at Tappeto Volante’s new gallery location

Angelo Vasta’s exhibition, Luci Spente, meaning Lights Off, at Tappeto Volante’s newest gallery in Tribeca, greets you with energetic works on paper in which bodies overlap, lean into one another, and drift across the surface. The figures carry a deeply personal connection as Vasta stresses the importance of closeness, exchange, and intimacy within domestic spaces. While not as brightly colored as his previous works, the colors here are deeper and softer, carrying a more somber tone. Vasta welcomes us into the spaces. He welcomes us as if we are a part of the group.

June 18, 2026June 16, 2026, by Taylor Bielecki

Strata of Time: a burying and unearthing of new discoveries at Elorea

Stepping into the exhibition Strata of Time at Elorea, the focus is not only on the works hanging on the walls but also the fragrances around them as well. With works placed throughout a perfume shop, Herok was given the opportunity to respond to the fragrances surrounding his works. He uses his process of layering to overlay different colors, materials, and experiences of both to mimic the processes the perfume makers used to create their products, as they mix and meld various scents. The works are nicely displayed throughout the space; some works, like Out of Field 5, Out of Field 4, and See You Again, are displayed alongside products, while other walls allow works to stand on their own. This is an interesting exhibition collaboration that grew from studying the products and interviewing store personnel, a process that generated a new body of work carrying as many small details within the surfaces as the fragrances carry within the perfumes.