James Turrell

On the occasion of two exhibitions—one at Gagosian, London, and the other at Kistefos in Jevnaker, Norway—the Quarterly shares an essay included in the forthcoming book Kathleen Ryan: 2014–24. Here, Harry Thorne writes on Kathleen Ryan’s artistic process, methods of assemblage, and how her studio resembles an excavation site.

At the center of Andreas Gursky’s new exhibition in Paris at Gagosian’s rue de Castiglione gallery is Paris, Montparnasse II (2025), a reengagement with his celebrated photograph from 1993 of the architect Jean Dubuisson’s iconic building in the capital city. In the new work, Gursky reexamines the subject, tracing the changes time has inscribed on the architecture and its occupants. Here, in conversation with the Quarterly’s Wyatt Allgeier and shown alongside behind-the-scenes images from the artwork’s making, the artist addresses his motivations and interests in this long-term project.

On April 18, the exhibition Picasso: Tête-à-tête opened at Gagosian, New York. Including works from 1896 to 1972, the full span of the artist’s career, the show is presented in partnership with Paloma Picasso, the artist’s daughter. Here, Michael Cary, one of the organizers of the exhibition, traces the historical precedents that informed the conversational nature of the curation. He also introduces a translation of a 1932 interview with Picasso by the publisher and critic E. Tériade, often quoted in English in part but not in full.

Architect Carlo Ratti has long worked at the crossroads of technology, design, and urban planning to see how digital tools can help create smarter cities. On the occasion of Intelligens. Natural. Artificial. Collective.—the Venice Architecture Biennale he curated, on view until November 23, 2025—Bartolomeo Sala asks him about the ideas driving his curatorship, what he means by architecture of adaptation in the face of climate change, and how different types of intelligence—natural, artificial, and collective—will be shaping the cities of the future.

Sydney Stutterheim traces the linkages and affinities between the work of Richard Prince and that of Bob Dylan. Using Prince’s Untitled (Dylan) as a starting point, she considers the artist’s enduring interest in questions of originality and authorship, as well as his sustained relationship with the worlds of American music and counterculture.

In 1990, postmodern dance pioneer Molissa Fenley performed Bardo at Keith Haring’s funeral. She created the piece as an homage to the artist and the creative friendship that he and Fenley had developed since they first met in Haring’s hometown of Kutztown, Pennsylvania. In honor of the thirty-fifth anniversary of Haring’s passing and with the support of the New York City AIDS Memorial, Fenley restaged the work with an ensemble cast on May 4, 2025, at the LGBT Community Center. Here, Fenley speaks with Tess Michaelson about the passage of time, the truthfulness of performance, and the expansion of empathic experience.