Alberto Di Fabio
Installation view
Alberto Di Fabio
Installation view
Alberto Di Fabio
Installation view
Alberto Di Fabio
Installation view
Alberto Di Fabio
Installation view
Alberto Di Fabio
Installation view
Alberto Di Fabio
Installation view
Alberto Di Fabio
Untitled, 2006
Acrylic on Chinese paper, 29 ⅞ × 20 5/16 inches (76 × 51.5 cm)
Alberto Di Fabio
Untitled, 2007
Acrylic on Chinese paper, 29 ½ × 20 ⅛ inches (75 × 51 cm)
Alberto Di Fabio
Sinapsi bianche, 2009
Acrylic on canvas, 55 ¼ × 55 ¼ inches (140.3 × 140.3 cm)
Gagosian Gallery is pleased to present an exhibition of recent paintings and works on paper by Alberto Di Fabio. This is his first solo exhibition in Athens.
Di Fabio’s work merges the worlds of art and science with themes of biology, ecology and nature. The earlier works in this group explore structures of the human body and brain. The images are microscopic in their focus, implying biological diagrams, cellular structures, flora, eco systems, and pharmacological research. Di Fabio observes how the human mind's capacity for information seems amplified due to the increasing means of communications that saturate our daily lives, and he invites us to reconsider the body in its most essential functions - posing questions about science and aesthetics, life and art.
Throughout his abstract images, Di Fabio has developed and expanded his interest in the natural world. He overlaps layers of images culled from scientific and medical references and filters them through his own reflections, enlarging the particulars and adding imagined details. In his latest work, he investigates the perennial human fascination with the relationship between art and the cosmos, addressing the laws that regulate chaos in the universe, such as the theory of relativity and quantum theory. In Neurone blue (2009), he diagrams the chemical signals that are transmitted via synapses to represent the human sensory system while alluding to the cosmology of the heavens. Di Fabio cites the ancient Greek philosophers Anaximander, an early proponent of science and the study of stars, planets and galaxies, and Democritus, who invented an atomic theory of the universe, as inspirations.
His untitled works on paper continue his dedication to organic form, subject, and process. Applying acrylic to Chinese paper, luminous arcs shoot across the page while kaleidoscopic patterns create dizzying allover effects.
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.
