
Now available
Gagosian Quarterly Summer 2026
The Summer 2026 issue of Gagosian Quarterly is now available, featuring Ellen Gallagher’s Fast-Fish and Loose-Fish (2026) on the cover.
Since the 1960s, Bruce Nauman's radical interdisciplinary approach has challenged conventions while producing new methodologies for creating art and meaning. His rigorous, ascetic engagement with the existential dichotomies of life/death, love/hate, pleasure/pain has embraced performance, video, holography, installation, sculpture, and drawing. From the attitudes and forms of his Post–Minimalist and Conceptual work to his most recent sound installations, persistent themes and ideas appear: the use of the body as material; the relationship between image and language, art and viewer; and the generative interaction of positive and negative space.
Bruce Nauman was born in 1941 in Fort Wayne, Indiana. He received his B.S. in 1964 from the University of Wisconsin, Madison, and his M.F.A. in 1966 from the University of California, Davis. From 1966 to 1968, he taught at San Francisco Art Institute, California, and in 1970 he taught at University of California, Irvine. Recent solo exhibitions include “Mapping the Studio: Bruce Nauman Video Works,” National Gallery of Victoria International, Melbourne (2005); “Pay Attention: Bruce Nauman Videos from the Collection of Barbara Balkin Cottle and Robert Cottle,” Scottsdale Museum of Contemporary Art, Arizona (2005); Bündner Kunstmuseum Chur, Switzerland (2005); Milwaukee Art Museum, Wisconsin (2006, traveled to Indianapolis Museum of Art, Indiana; Museum of Contemporary Art, Florida; Henry Art Gallery, University of Washington, Seattle; Museum of Contemporary Art San Diego, California; Musee d’Art Contemporain, Montreal, Canada; Australian Center for Contemporary Art, Melbourne; and Queensland Art Gallery, Australia, through 2008); Tate Liverpool, England (2006, traveled to Museo d'Arte Donna Regina, Italy); University of California, Berkeley Art Museum & Pacific Film Archive, California (2007, traveled to Castello di Rivoli Museo d’Arte Contemporanea, Italy; and Menil Collection, Houston); Centre d'Art la Panera, Colombia (2008); Museu de Arte Contemporanea, Portugal (2008); Centre for Contemporary Art Ujazdowski Castle, Poland (2009); Philadelphia Museum of Art, Pennsylvania (2009); Contemporary Art Museum St. Louis, Michigan (2009); Center for Contemporary Art, Japan (2010); Musée d'Art Contemporain Lyon, France (2010); Museum of Modern Art, New York (2010); Hamburger Bahnhof, Museum für Gegenwart, Berlin (2010); Neues Museum Weserburg Bremen, Germany (2010); Institute of Contemporary Arts, London (2012); Göteburgs Konstmuseum (Gothenburg Museum of Art), Sweden (2013); Institut Valencia d’Art Modern, Spain (2015); Fondation Cartier pour l’art contemporain, Paris (2015); and Skulpturenpark Waldfrieden (Waldfrieden Sculpture Park), Germany (2015).
Nauman currently lives and works in Galisteo, New Mexico.

The Summer 2026 issue of Gagosian Quarterly is now available, featuring Ellen Gallagher’s Fast-Fish and Loose-Fish (2026) on the cover.
In this video, Jenny Saville sits down inside her first major exhibition in Venice to discuss how the great Venetian artists of the past and the city’s heritage influence her work. The show brings together more than thirty canvases and works on paper from the 1990s to the present, tracing the development of her practice, which is deeply rooted in the history of painting.

Francis Bacon lived and worked in Paris for a decade starting in the mid-1970s. The city and the art he encountered there provided a profound backdrop for his austere late style, which often brings together smooth, colorful backgrounds, spare architectural signifiers, and sculptural human forms. Here, three striking paintings from that period are considered by Sebastian Smee.

An exhibition at Gagosian, Hong Kong, brings together three of James Turrell’s Glasswork pieces along with site plans, photographs, and models of his Skyspaces and Roden Crater. Here, Alice Godwin explores the history of the Glassworks and their relationship to the artist’s wider practice.

Janne Sirén considers Anselm Kiefer’s new paintings, the subject of an exhibition at Gagosian, New York, entitled Seal My Ears Shut and I Shall Hear You Still.

On April 16, the Institute of Contemporary Art, Boston, opened the first midcareer survey of Derrick Adams’s multidisciplinary practice. Covering over twenty years of work, the exhibition, titled View Master, brings together the artist’s painting, sculpture, collage, performance, and video, as well as a vibrant new commission created for the museum’s façade. Ahead of the opening, Adams met with Tessa Bachi Haas, cocurator of the survey, to discuss his formative experiences with television, the impact of his work in arts education on his practice, and the importance of taking a more complex, more joyful, and more expansive approach to Black American life and culture.

Adam D. Weinberg has been working with Giuseppe Penone on an exhibition of the artist’s new sculptures, The Reflection of Bronze, that opens at Gagosian, New York, on April 22. The works explore the character and possibilities of bronze. Here, Weinberg considers Penone’s enduring engagement with the alloy and addresses the conceptual underpinnings of the exhibition’s three-room structure.

On March 28, a major exhibition of Jenny Saville’s work opened at Ca’ Pesaro–Galleria Internazionale d’Arte Moderna in Venice, bringing together nearly thirty paintings from the 1990s to the present. The exhibition is curated by Elisabetta Barisoni, head of the museums division at Venice’s Ca’ Pesaro, Museo Fortuny, and head of MUVE in Mestre. Saville’s monumental canvases are set in dialogue with the great Venetian artists of the past, creating a unique encounter between contemporary painting and the city’s artistic heritage. Here, the artist speaks with Stefania Ventra, professor with Ca’ Foscari University of Venice, about her early trips to Venice, the radicality of Titian’s painting, and depicting emotional truth.

Jeff Koons tells Alison McDonald about his appreciation for the pioneering artist and thinker Marcel Duchamp.

From their respective fields, three international cultural figures—artist and designer Ronan Bouroullec, fashion visionary Michèle Lamy, and chef and restaurateur Enrique Olvera—reflect on Donald Judd’s work in furniture, the subject of recent exhibitions in South Korea and Japan.

Laura Bruni writes about a major exhibition celebrating the work of the British sculptor Henry Moore at the Royal Botanic Gardens, Kew, London.

The most recent edition of Picture Books, an imprint organized by Emma Cline and Gagosian, pairs Mary Gaitskill’s novella STAUF: A Tragedy with Jill Mulleady’s painting The Shift. In celebration of this forthcoming publication, Gaitskill and Mulleady discuss the myth of Faust, good and evil in the digital age, and the channeling of raw matter into art.