Few artists have constructed worlds as singular, cohesive, and quietly radical as those of Mark Manders. For more than three decades, he has been adding to what he calls his “self-portrait as a building”—not a metaphor, but a monumental, ever-expanding structure composed of sculpture, language, and thought.
Ilana Halperin
EDINBURGH Fruitmarket Gallery Halperin’s practice offers a meditation on human and geological life spans, melding our fleeting years on this planet with the vastness of deep time. In bringing the two together, she suggests that they are one and the same, that our relationship with the world we briefly inhabit is defined by connection rather than separateness.
Tentacular Thinking: A Conversation with Nicola Turner
Nicola Turner’s practice is profoundly ecological. She works with waste material—mainly raw, untreated wool—and reuses it wherever possible. The wool is often sourced from where she lives or where she has been invited to work and/or exhibit, and she employs it, in combination with horsehair, wood, metal, and other recycled materials, to make large-scale, site-responsive forms
Bella Feldman
OAKLAND, CALIFORNIA The Orchard / Galleries on 25 Feldman (1930–2024) focused on the big issues—feminism, war, ecology—addressing her subject matter with acerbic wit and subtle humor in tough-minded and provocative works totally lacking in cynicism.
Sacha Ingber
NEW YORK Uffner & Liu For eight years, Sacha Ingber juggled art-making with part-time work as a prop stylist on a Food Network cooking show. This might explain the recurring plates and utensils in her current exhibition “Two” (on view through May 9, 2026).
Detrás del germen del mal: Una Conversación con Gabriel Baggio
Gabriel Baggio, licenciado en Artes Visuales por la Universidad Nacional de las Artes—donde también es profesor—y director de la Licenciatura en Prácticas Artísticas Contemporáneas de la Universidad Nacional de San Martín, hace una lectura del mundo que habitamos desde el lenguaje performático como herramienta para poner al cuerpo en el centro de la actividad creativa,
From the Underworld to the Sky: A Conversation with Joan Danziger
Though Joan Danziger’s imagery gestures toward Surrealism, her sculpture resists classification. Her visual language is distinctly her own, drawn from observation, dreams, and the intuitive relationship between matter and fantasy. Over the course of more than 60 years, she has constructed not just forms, but an entire cosmology, one in which imagination serves as the
“MONUMENTS”
LOS ANGELES The Geffen Contemporary at MOCA and The Brick Kara Walker, discussing her work with Hamza Walker last year, asked, “Where does it begin to take on a new life that embodies this question of its use value as a monument, as a holder of White Supremacist desire, as a relic of the Lost Cause? It’s holding all of these ideas that don’t work in the republic that we live in.”
Vulnerability Hangover: A Conversation with Thomas Houseago
There are moments in art when the creative act feels inseparable from survival, a source of sustenance as much as vision. An acute tension between fracture and form, between vulnerability and vigor, runs through the work of Thomas Houseago.
Cal Lane
CAMBRIDGE, ONTARIO, CANADA Cambridge Art Galleries So, if Lane’s work has sundered the claims of the utile, does it represent a frontal attack on the lineage of the Duchampian readymade? Think about it: these pieces have, as their origins, objects that might have been used on a daily basis with nary a second thought.
