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Installation view, Jim Shaw: The Ties That Bind, Museum of Contemporary Art Antwerp, BelgiumFebruary 9–May 19, 2024. Artwork © Jim Shaw. Photo: Kristien Daem

On View

Jim Shaw
The Ties That Bind

Through May 19, 2024
Museum of Contemporary Art Antwerp, Belgium
www.muhka.be

The Ties That Bind explores Jim Shaw’s work from the last five decades, which has at once anticipated and mirrored shifts in the American cultural and political landscape during this period. In recent decades, the artist’s work has increasingly highlighted the growing tension between conservative and progressive ideologies. The exhibition presents drawings, paintings, photographs, and immersive installations that bring to light the core motifs of Shaw’s practice.

Installation view, Jim Shaw: The Ties That Bind, Museum of Contemporary Art Antwerp, Belgium
February 9–May 19, 2024. Artwork © Jim Shaw. Photo: Kristien Daem

Nathaniel Mary Quinn, Father Stretch My Hands, 2021 © Nathaniel Mary Quinn. Photo: Rob McKeever

On View

The Time Is Always Now
Artists Reframe the Black Figure

Through May 19, 2024
National Portrait Gallery, London
www.npg.org.uk

The Time Is Always Now showcases the work of contemporary artists from the African diaspora and highlights their use of figures to illuminate the richness and complexity of Black life. The exhibition examines both the presence and the absence of Black figures in Western art history and the social, psychological, and cultural contexts in which they were produced. Work by Titus Kaphar and Nathaniel Mary Quinn is included.

Nathaniel Mary Quinn, Father Stretch My Hands, 2021 © Nathaniel Mary Quinn. Photo: Rob McKeever

Installation view, Stanley Whitney: How High the Moon, Buffalo AKG Art Museum, New York, February 9–May 26, 2024. Artwork © Stanley Whitney. Photo: Brenda Bieger, Buffalo AKG Art Museum

On View

Stanley Whitney
How High the Moon

Through May 26, 2024
Buffalo AKG Art Museum, New York
buffaloakg.org

Conveying the breadth of Stanley Whitney’s practice from the early 1970s through today, this exhibition of artist’s paintings at the Buffalo AKG Art Museum, New York (formerly the Albright-Knox Art Gallery), also includes a robust installation of drawings, prints, and sketchbooks. The retrospective contextualizes Whitney’s practice in relation to his artistic community as well as his influences—from the history of art and architecture to quilting, textiles, and jazz.

Installation view, Stanley Whitney: How High the Moon, Buffalo AKG Art Museum, New York, February 9–May 26, 2024. Artwork © Stanley Whitney. Photo: Brenda Bieger, Buffalo AKG Art Museum

Sally Mann, Jessie #25, 2004 © Sally Mann

On View

Sally Mann in
Love Languages

Open from September 2, 2023
Museum of Fine Arts, Houston
www.mfah.org

Love Languages considers how the making of art is a type of love language all of its own. The installation attempts to address the question “How do we prioritize tenderness against debilitating social conditions?” The works on view engage with the necessity of intimacy in interpersonal and collective relationships. Work by Sally Mann is included.

Sally Mann, Jessie #25, 2004 © Sally Mann

Installation view, The Whitney’s Collection: Selections from 1900 to 1965, Whitney Museum of American Art, New York, June 28, 2019–May 2022. Artwork, left to right: © 2020 The Jay DeFeo Foundation/Artists Rights Society (ARS), New York; © Norman Lewis; © 2020 The Franz Kline Estate/Artists Rights Society (ARS), New York. Photo: Ron Amstutz

On View

The Whitney’s Collection
Selections from 1900 to 1965

Opened June 28, 2019
Whitney Museum of American Art, New York
whitney.org

This exhibition of more than 120 works, drawn entirely from the Whitney’s collection, is inspired by the founding history of the museum. The Whitney was established in 1930 by Gertrude Vanderbilt Whitney to champion the work of living American artists. A sculptor and a patron, Whitney recognized both the importance of contemporary American art and the need to support the artists who made it. The collection she assembled foregrounds how artists uniquely reveal the complexity and beauty of American life. Work by Jay DeFeo, Willem de Kooning, Roy Lichtenstein, Man Ray, Ed Ruscha, Andy Warhol, and Tom Wesselmann is included.

Installation view, The Whitney’s Collection: Selections from 1900 to 1965, Whitney Museum of American Art, New York, June 28, 2019–May 2022. Artwork, left to right: © 2020 The Jay DeFeo Foundation/Artists Rights Society (ARS), New York; © Norman Lewis; © 2020 The Franz Kline Estate/Artists Rights Society (ARS), New York. Photo: Ron Amstutz

Installation view, Indian Skies: The Howard Hodgkin Collection of Indian Court Painting, Metropolitan Museum of Art, New York, February 6–June 9, 2024. Photo: Hyla Skopitz

On View

Indian Skies
The Howard Hodgkin Collection of Indian Court Painting

Through June 9, 2024
Metropolitan Museum of Art, New York
www.metmuseum.org

Over the course of sixty years, Howard Hodgkin formed a collection of Indian paintings and drawings that is recognized as one of the finest of its kind. The artist collected works from the Mughal, Deccani, Rajput, and Pahari courts dating from the sixteenth to the nineteenth centuries. This exhibition presents over 120 of these works, many of which the Metropolitan Museum of Art recently acquired, alongside loans from the Howard Hodgkin Indian Collection Trust.

Installation view, Indian Skies: The Howard Hodgkin Collection of Indian Court Painting, Metropolitan Museum of Art, New York, February 6–June 9, 2024. Photo: Hyla Skopitz

Francesca Woodman, Untitled, Providence, Rhode Island, 1975–78 © Woodman Family Foundation/Artists Rights Society (ARS), New York

On View

Francesca Woodman and Julia Margaret Cameron
Portraits to Dream In

Through June 16, 2024
National Portrait Gallery, London
www.npg.org.uk

Photographers Francesca Woodman (1958–1981) and Julia Margaret Cameron (1815–1879) lived a century apart—Cameron working in the United Kingdom and Sri Lanka from the 1860s onwards, and Woodman in the United States and Italy from the 1970s. Both women explored portraiture, going beyond its ability to record appearance, and using their own creativity and imagination to suggest notions of beauty, symbolism, transformation, and storytelling. Showcasing more than 150 rare vintage prints, this exhibition presents an overview of both artists’ careers, and suggests new ways both to look at their work and to examine how photographic portraiture was created in the nineteenth and twentieth centuries.

Francesca Woodman, Untitled, Providence, Rhode Island, 1975–78 © Woodman Family Foundation/Artists Rights Society (ARS), New York

Chris Burden, Kunst Kick (3 photographs and text), 1974 (detail), The Warehouse, Dallas © 2024 Chris Burden/Licensed by the Chris Burden Estate and Artists Rights Society (ARS), New York. Photo: courtesy Chris Burden Estate

On View

For What It’s Worth
Value Systems in Art since 1960

Through June 29, 2024
The Warehouse, Dallas
thewarehousedallas.org

Looking at global, conceptual art tendencies since 1960, For What It’s Worth focuses on artists who generate, question, and infect value systems through their work. These systems might address exchange, social structures, or philosophical intangibles, and many of the selected works share an exploration of the codification of values through language and patterns of behavior. Work by Chris Burden and Sterling Ruby is included.

Chris Burden, Kunst Kick (3 photographs and text), 1974 (detail), The Warehouse, Dallas © 2024 Chris Burden/Licensed by the Chris Burden Estate and Artists Rights Society (ARS), New York. Photo: courtesy Chris Burden Estate

Derrick Adams, Woman in Grayscale (Alicia), 2017 © Derrick Adams Studio

On View

Giants
Art from the Dean Collection of Swizz Beatz and Alicia Keys

Through July 7, 2024
Brooklyn Museum, New York
www.brooklynmuseum.org

Giants, the first major exhibition of the Dean Collection, owned by musical icons Swizz Beatz (Kasseem Dean) and Alicia Keys, showcases a focused selection from the couple’s world-class holdings and spotlights works by Black diasporic artists. Expansive in their collecting habits, the Deans, both born and raised in New York, champion a philosophy of “artists supporting artists.” “Giants” refers to the renown of legendary artists, the impact of canon-expanding contemporary figures, and some of the monumental works in the collection. Work by Derrick Adams, Jean-Michel Basquiat, Titus Kaphar, and Deana Lawson is included.

Derrick Adams, Woman in Grayscale (Alicia), 2017 © Derrick Adams Studio

Roy Lichtenstein, Drowning Girl, 1963, Museum of Modern Art, New York © Estate of Roy Lichtenstein. Photo: Museum of Modern Art, New York

On View

Roy Lichtenstein
Zum 100. Geburtstag

Through July 14, 2024
Albertina, Vienna
www.albertina.at

Celebrating the hundredth anniversary of the artist’s birth, this comprehensive retrospective, whose English title is Roy Lichtenstein: A Centennial Exhibition, brings together over ninety paintings, sculptures, and prints by Lichtenstein, including early Pop artworks from the 1960s, black-and-white paintings, stylized landscapes in enamel, and a large-scale Brushstroke sculpture. The exhibition was conceived to mark the donation of more than a hundred works by the Lichtenstein Foundation to the Albertina.

Roy Lichtenstein, Drowning Girl, 1963, Museum of Modern Art, New York © Estate of Roy Lichtenstein. Photo: Museum of Modern Art, New York

Jordan Wolfson, Body Sculpture, 2023 (detail), installation view, National Gallery of Australia, Canberra © Jordan Wolfson. Photo: National Gallery of Australia, Canberra

On View

Jordan Wolfson
Body Sculpture

Through July 28, 2024
National Gallery of Australia, Canberra
nga.gov.au

This exhibition is the first solo presentation of Jordan Wolfson’s work in Australia and features the world premiere of Body Sculpture (2023), a recent major acquisition by the National Gallery of Australia, Canberra. Body Sculpture is a new animatronic work that combines sculpture and performance to generate emotional and physical responses in the viewer. It is shown alongside key works selected by the artist from the National Gallery’s collection, offering audiences further insights into Wolfson’s innovative vision.

Jordan Wolfson, Body Sculpture, 2023 (detail), installation view, National Gallery of Australia, Canberra © Jordan Wolfson. Photo: National Gallery of Australia, Canberra

Installation view, Touching the Void, Museum of Modern Art, New York, open from November 14, 2020. Artwork, left to right: © Archives Simon Hantaï/ADAGP, Paris, 2021; © Carlos Rojas; © 2021 Robert Ryman; © 2021 Fundación Gego; © Liliana Porter. Photo: Jonathan Muzikar

On View

Simon Hantaï in
Touching the Void

Open from November 14, 2020
Museum of Modern Art, New York
www.moma.org

As part of New Art from Wall to Wall, the Museum of Modern Art is presenting never-before and rarely shown works in themed, reimagined collection galleries. The gallery Touching the Void explores an important artistic tendency of the 1960s: a shift away from the idea that art should express the artist’s interior life. Works in this vein searched for a poetics of bare form and focused on structural elements such as line, plane, and volume. Whether strict or playful, the work of these artists tested the meditative possibilities of objectivity, challenging viewers to heighten their sensory perception. Work by Simon Hantaï is included.

Installation view, Touching the Void, Museum of Modern Art, New York, open from November 14, 2020. Artwork, left to right: © Archives Simon Hantaï/ADAGP, Paris, 2021; © Carlos Rojas; © 2021 Robert Ryman; © 2021 Fundación Gego; © Liliana Porter. Photo: Jonathan Muzikar

Installation view, Damien Hirst: The Weight of Things, Museum of Urban and Contemporary Art, Munich, open from October 26, 2023. Artwork © Damien Hirst and Science Ltd. All rights reserved, DACS 2023. Photo: Prudence Cuming Associates Ltd

On View

Damien Hirst
The Weight of Things

Open from October 26, 2023
Museum of Urban and Contemporary Art, Munich
www.muca.eu

The Weight of Things—the first major survey of Damien Hirst’s work in Germany—presented by the Museum of Urban and Contemporary Art (MUCA), Munich  spans forty years of the artist’s career. The exhibition features over forty installations, sculptures, and paintings, some of which have never been seen before, as well as work from his most iconic series, including Natural History, Spin PaintingsMedicine CabinetsTreasures from the Wreck of the Unbelievable, and more.

Installation view, Damien Hirst: The Weight of Things, Museum of Urban and Contemporary Art, Munich, open from October 26, 2023. Artwork © Damien Hirst and Science Ltd. All rights reserved, DACS 2023. Photo: Prudence Cuming Associates Ltd

Glenn Brown, On the Way to the Leisure Centre, 2017 © Glenn Brown

On View

Glenn Brown in
The Leisure Centre

Through August 3, 2024
Brown Collection, London
glenn-brown.co.uk

In The Leisure Centre Glenn Brown asks the question: “What is the point at which relaxation and non-functional activity allows the mind to freely wander, when we can indulge in activities or thoughts simply for the pure pleasure of doing so?” This exhibition shows work by Brown alongside artists from the Brown Collection—including Cornelis van Haarlem, Gaetano Gandolfi, and Jean-Baptiste Greuze, among others—inviting the viewer to become a flaneur, traveling through time and place around the rooms.

Glenn Brown, On the Way to the Leisure Centre, 2017 © Glenn Brown

Edmund de Waal, the burning now, 2023, installation view, CLAY Keramikmuseum Danmark, Middelfart, Denmark © Edmund de Waal

On View

Playing with Fire
Edmund de Waal and Axel Salto

Through August 11, 2024
CLAY Keramikmuseum Danmark, Middelfart, Denmark
claymuseum.dk

Playing with Fire is an exhibition of work by the acclaimed Danish ceramist Axel Salto (1889–1961), curated by Edmund de Waal. Considered one of the greatest masters of twentieth-century ceramic art, Salto is renowned for his highly individual and expressive stoneware inspired by organic forms. A significant number of Salto’s ceramic works from the collection of CLAY Keramikmuseum Danmark and the Tangen Collection at Kunstsilo in Kristiansand, Norway, are shown alongside lesser-known and previously unseen works on paper, illustrations, writings, and textiles. A major new installation by de Waal reflects on Salto’s enduring influence.

Edmund de Waal, the burning now, 2023, installation view, CLAY Keramikmuseum Danmark, Middelfart, Denmark © Edmund de Waal

Installation view, Nam June Paik: The Miami Years, Bass Museum of Art, Miami Beach, Florida, October 4, 2023–August 16, 2024 © Nam June Paik Estate. Photo: Zaire Aranguren, courtesy Bass Museum of Art

On View

Nam June Paik
The Miami Years

Through August 16, 2024
Bass Museum of Art, Miami Beach, Florida
thebass.org

Nam June Paik: The Miami Years explores the artist’s little-known connection to Miami Beach and the surrounding south Florida community. Organized around the Bass Museum’s recent acquisition of his TV Cello (2003), it examines the innovative ways Paik used communication and media technologies in his work. The exhibition also includes Notations, a series of installations and performances by three contemporary artists whose practices engage with and further Paik’s experimentations with technology.

Installation view, Nam June Paik: The Miami Years, Bass Museum of Art, Miami Beach, Florida, October 4, 2023–August 16, 2024 © Nam June Paik Estate. Photo: Zaire Aranguren, courtesy Bass Museum of Art

Chris Burden, A Tale of Two Cities, 1981, Orange County Museum of Art, Costa Mesa, California © 2024 Chris Burden/Licensed by the Chris Burden Estate and Artists Rights Society (ARS), New York

On View

Color Is the First Revelation of the World

Through August 18, 2024
Orange County Museum of Art, Costa Mesa, California
ocma.art

Drawing inspiration from the color theories of Brazilian artist Hélio Oiticica (1937–1980), this exhibition explores the intersections of color and form, emphasizing the transformative nature of art. Through a collection of monochromatic works in hues of blue, the works on view span the various histories of the twentieth century to pose timely questions about the world around us. Work by Chris Burden, Cy Twombly, and Mary Weatherford is included.

Chris Burden, A Tale of Two Cities, 1981, Orange County Museum of Art, Costa Mesa, California © 2024 Chris Burden/Licensed by the Chris Burden Estate and Artists Rights Society (ARS), New York

Sarah Sze, Images That Images Beget, 2023 (detail) © Sarah Sze

On View

Sarah Sze

Through August 18, 2024
Nasher Sculpture Center, Dallas
www.nashersculpturecenter.org

Sarah Sze invites viewers into a progression of site-specific works across three gallery spaces. Integrating painting, sculpture, images, sound, and video with the surrounding architecture, Sze’s new installations create intimate systems that reference our rapidly changing world. The exhibition blurs the boundaries between making and showing, process and product, the digital and material, and questions how objects acquire their meaning.

Sarah Sze, Images That Images Beget, 2023 (detail) © Sarah Sze

Taryn Simon, Chapter XI, from the series A Living Man Declared Dead and Other Chapters I–XVIII, 2008–11 © Taryn Simon

On View

Taryn Simon in
Don’t Forget to Call Your Mother

Through September 15, 2024
Metropolitan Museum of Art, New York
www.metmuseum.org

At a time when photographs are primarily shared and saved digitally, many artists are returning to the physicality of snapshots in albums or pictures in archives as sources of inspiration. Taking its title from a photograph by Maurizio Cattelan, the exhibition Don’t Forget to Call Your Mother brings together works in the collection of the Metropolitan Museum of Art, New York, from the 1970s to today. The selected works reflect upon the complicated feelings of nostalgia and sentimentality evoked by these physical artifacts, while underlining the power of the found object. Work by Taryn Simon is included.

Taryn Simon, Chapter XI, from the series A Living Man Declared Dead and Other Chapters I–XVIII, 2008–11 © Taryn Simon

Amoako Boafo, Hudson in a Baby Blue Suit, 2019 © Amoako Boafo

On View

Amoako Boafo in
Singular Views: 25 Artists

Through October 6, 2024
Rubell Museum, Washington, DC
rubellmuseum.org

Singular Views: 25 Artists is drawn entirely from the Rubell Museum’s collection and encompasses over 120 artworks in a range of mediums. The exhibition features solo presentations of twenty-five artists from across the United States and around the world. Work by Amoako Boafo is included.

Amoako Boafo, Hudson in a Baby Blue Suit, 2019 © Amoako Boafo

Installation view, Taryn Simon: Start Again the Lament, Cisternerne, Frederiksbergmuseerne, Frederiksberg, Denmark, March 17–November 30, 2024. Artwork © Taryn Simon

On View

Taryn Simon
Start Again the Lament

Through November 30, 2024
Cisternerne, Frederiksbergmuseerne, Frederiksberg, Denmark
frederiksbergmuseerne.dk

Start Again the Lament is an extensive sound installation by Taryn Simon broadcast into the subterranean urban dripstone cave of the Cisternerne. Performed by professional mourners, the work explores how people mourn individually and collectively, considering the anatomy of grief and whom we choose to guide us through it. These sonic rituals of loss and discontent—including northern Albanian, Wayuu, Greek Epirotic, and Yazidi laments—transform the exhibition space into an instrument echoing recitations with a reverberation of seventeen seconds.              

Installation view, Taryn Simon: Start Again the Lament, Cisternerne, Frederiksbergmuseerne, Frederiksberg, Denmark, March 17–November 30, 2024. Artwork © Taryn Simon

Derrick Adams, Floater 101, 2020 © Derrick Adams Studio

On View

Derrick Adams in
Kindred Worlds: The Priscila and Alvin Hudgins Collection

Through March 2, 2025
Hudson River Museum, Yonkers, New York
www.hrm.org

Drawn from the private collection of Priscila and Alvin Hudgins III, Kindred Worlds reveals the couple’s deep and enduring devotion to the arts. For the Hudginses, collecting was a way of building home and community. Their artworks, many of which include images of family members, demonstrate a dynamic network of relationships between collector and artist, artist and subject, and subject and kin. Work by Derrick Adams is included.

Derrick Adams, Floater 101, 2020 © Derrick Adams Studio

Hao Liang, Eight Views of Xiaoxiang—Snowscape, 2014–15 © Hao Liang. Photo: courtesy UCCA Center for Contemporary Art, Beijing

On View

Duration
Chinese Art in Transformation

Opened September 25, 2020
Minsheng Art Museum, Beijing
www.msam.cn

Duration: Chinese Art in Transformation attempts to show how every moment that stretches is an absorption of the past, and the endless possibilities of the future are based on the past and the present. The exhibition presents painting, sculpture, installation, video, animation, and more from the 1970s to the present. Work by Hao Liang, Jia Aili, and Zeng Fanzhi is included.

Hao Liang, Eight Views of Xiaoxiang—Snowscape, 2014–15 © Hao Liang. Photo: courtesy UCCA Center for Contemporary Art, Beijing

Katharina Grosse, Ingres Wood Seven, 2017 © Katharina Grosse and VG Bild-Kunst, Bonn, Germany 2019 Photo: Jens Ziehe

On View

Katharina Grosse in
Collezione MAXXI. Lo spazio dell’immagine

Opened November 21, 2018
Museo nazionale delle arti del XXI secolo, Rome
www.maxxi.art

The spirit and the identity of the museum are being renewed with a display of more than thirty works by twenty-six artists. Dedicated to the museum’s new acquisitions, this group show aims to create a counterpoint between the abstract and the figurative. Work by Katharina Grosse is included.

Katharina Grosse, Ingres Wood Seven, 2017 © Katharina Grosse and VG Bild-Kunst, Bonn, Germany 2019 Photo: Jens Ziehe