
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.
In the presence of these tableaux we are denied both the privacy of contemplating a representation and the intimacy of participating in a real encounter. As a consequence we find Beecroft’s women, at once more present to us and less accessible than we would wish – as unavailable to our understanding as they are available to our gaze. Our anxiety, then, does not arise from the fact that naked women are near to us, but from the unbridgeable, yet ill-defined distance between ourselves and them. It is not the anxiety of desire, but the anxiety of displacement.
—Dave Hickey, Vanessa Beecroft’s Painted Ladies, VB08-36 (published by Hatje Cantz, 2000)
Gagosian Gallery is pleased to announce VB46 a new performance by Vanessa Beecroft. VB46 will be Beecroft’s first performance in Los Angeles. VB46 is the second performance with Gagosian Gallery; the first, VB43 inaugurated the London Gagosian Gallery space in May 2000.
The primary material in Vanessa Beecroft’s work is the live figure, which remains ephemeral, separate and unmediated by any device we normally accept as artform, such as painting or sculpture. Beecroft’s concepts often germinate from classical painting. The composition, light and color dictate the form of the live event. The selected group of figures denotes a hyper-real type; their installation in the space creates an image that moves very slowly and gradually over time. The performances are documented using film and photographs, which serve to translate fragments from the real time event.
Vanessa Beecroft, born in Italy and residing in New York City, has earned an international reputation as one of contemporary art’s most innovative young artists. Her work has been exhibited at international venues including the Kunsthalle Wien, (2001), Whitney Biennale, New York (2000), Museum of Contemporary Art, Sydney (1999), Museum of Contemporary Art, San Diego (1999), Spiral Wacoal Art Center, Tokyo (1999), Guggenheim Museum, New York (1998) and the Venice Biennale (1997). Upcoming performances include VB48, which will be held at the Royal Botanic Gardens during the 2001 Edinburgh Festival, and next year, a project in collaboration with NASA in Sweden. Beecroft currently has an exhibition of drawings made prior to her first performance works (between 1992 and 1994). The exhibition is touring European museums and will open at the Museum of Contemporary Art, Oslo on March 23, 2001.

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.