TURIN Museo d’Arte Contemporanea Castello di Rivoli The essence of drawing, its linearity and spatiality, are never fully lost, and David’s willingness to get under the hood of an artform is one of his work’s strongest appeals.
Hilary Harnischfeger
NEW YORK Uffner & Liu Depending on whether the edges are in view, one’s impulse to read these forms in terms of the geologic record or cartographic tradition varies.
Rebecca Manson
SAN FRANCISCO Jessica Silverman From a distance, the tiny ceramic elements create an almost mesmerizing shimmer of color, not unlike the light-catching microscopic scales of genuine insect wings.
Antti Oikarinen
HELSINKI Taidehalli In “Introspective” (on view through March 8, 2026), Antti Oikarinen contemplates the nature of artistry, the inspiration and personal methodology that drive him to develop his ideas, and the emergence of meaning.
Simon Starling
KENDAL AND WINDERMERE, U.K. Abbot Hall and Windermere Jetty Museum Shedboatshed embodies many of Starling’s themes, including material transformation, cyclical journeys, and an unpicking of capitalist production.
Martin Puryear
BOSTON Museum of Fine Arts While Puryear’s forms may hint at the figurative, the language of abstraction has always been his vehicle for structural realizations that transcend any particular artistic style, or easy interpretation.
Manuel A. Rodríguez-Delgado
BUFFALO, NEW YORK The Buffalo Institute for Contemporary Art Two bodies of interrelated work simultaneously awkward and elegant, eccentric and meticulous artifacts scrupulously assembled from contemporary debris, read like scrappy and glitchy roadside attractions plucked from a Cormac McCarthy desert and plopped into an underfunded but pristine interstellar museum on a Samuel R. Delany planet.
Sandy Skoglund
SAN ANTONIO McNay Art Museum Sandy Skoglund, a multimedia artist whose work encompasses photography, sculpture, and installation, is perhaps best known for Radioactive Cats (1980), a photograph in which dozens of neon green cats infiltrate a drearily gray kitchen, its inhabitants somehow oblivious to the infestation.
Mella Shaw
DUNDEE, U.K. The McManus Shaw’s large-scale sculptural forms, which take the whale’s tiny inner-ear bones as their point of reference, are made from a clay body that incorporates whale bone ash, processed much like the cow bones that have been used in bone china for centuries.
Ro Robertson
SUNDERLAND, U.K. Northern Gallery for Contemporary Art In such interstitial spaces—temporarily land and temporarily water—Robertson has found a natural corollary for their sense of self, an identity in similar motion, once condemned as being against nature.
