
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.
Sometimes when I start a sculpture, I begin with only a realized part, the rest is travel to be unfolded much in the order of a dream. The conflict for realization is what makes art not its certainty, nor its technique or material.
—David Smith
Gagosian Gallery is pleased to present an exhibition of monumental sculptures by David Smith made between 1962–1964.
A pioneer of modernist twentieth-century American sculpture, Smith created these works during periods of intense production in Voltri, Italy, and at his workshop in Bolton Landing, New York. Beginning in 1952, he increasingly conceived his sculptures as distinct bodies of works that shared a thematic basis or a common material. Often he worked on several such series simultaneously, insisting that each grouping be understood as continuous parts of his concept rather than as variations on a theme. The monumentality of the Voltri, Cubi, Primo Piano, and Gondola series reflects Smith's ambition to create sculptures on a scale with the expansive rolling fields surrounding his home and studio at Bolton Landing.
In Voltri XVII (1962) and VB XVII (1963) Smith continued his practice of incorporating found objects and materials into sculptures that marry industrial processes with forms inspired by natural phenomena, such as clouds and mountains. In 1962, he was invited to participate in the "Festival of Two Worlds" in Spoleto, Italy. Working at a decommissioned steel factory in nearby Voltri, he created an astonishing twenty-seven sculptures in just thirty days. The surplus metal was then shipped to Bolton Landing where it became the raw material for the sculptures that comprise the subsequent Voltri-Bolton series: VB, Voltron and Voltri-Bolton.

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.
On the occasion of his exhibition The Reflection of Bronze at Gagosian, New York, Giuseppe Penone and curator Adam D. Weinberg sit down to discuss the genesis of, and their collaboration on, the show.

Ahead of Alex Israel’s exhibition of four new Fin sculptures at Gagosian, London, the artist spoke with Susan Casey, author of The Wave: In Pursuit of the Rogues, Freaks, and Giants of the Ocean (2010), about the ocean, surfing, and Los Angeles.

On July 9, Simon Hantaï: the last studio opens at Gagosian, Gstaad. Curated by Anne Baldassari, the show comprises sixteen of the artist’s dernier atelier (last studio) paintings of 1982–85. The exhibition is accompanied by an illustrated catalogue, copublished by Gagosian and Skira, which features an essay by Baldassari and an extensive portfolio of previously unpublished photographs by Édouard Boubat. Here, we share the introductory chapter from the publication.

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.

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.

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

The Singular Experience at Gagosian’s Le Bourget gallery is the largest exhibition of Walter De Maria’s work in France in several decades. Organized by Donna De Salvo, senior adjunct curator at Dia Art Foundation, the exhibition marks the first time De Maria’s final sculpture, Truck Trilogy (2011–17), is being shown outside of the United States. Here, De Salvo speaks with artist Lucy Raven about her evolving kinship with De Maria and more.

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

The exhibition Pomellato, Le Joaillier Révolutionnaire opened at Palais de Tokyo, Paris, on June 24. The Italian jewelry house’s trailblazing advertising campaigns—created by some of the most consequential names in photography—act as the narrative arc of the exhibition, curated by Alba Cappellieri. Here, Sarah Godfrey tracks Pomellato’s history, speaks with Cappellieri about what drew her to this project, and examines some of the key photographs from the show.