NEW YORK Hauser & Wirth 22nd Street Lee Bul’s genius lies, in part, in her ability to construct shapes that conjure a future in which architecture, human bodies, and machine parts have seamlessly merged.
Anish Kapoor
LONDON Hayward Gallery These works, instead of inspiring sublimity, operate in much the same way as Victorian theater: “Gosh, that’s a real horse! Look, that’s an actual train being driven across the stage.” We are in a world of effects, which shades very quickly into melodrama.
Wallace Chan
SHANGHAI Long Museum West Bund Chan’s titanium is remarkable precisely because it seems to deny its industrial history. Instead of aerospace engineering, it evokes flowing water, flowering plants, nervous systems, and celestial bodies.
Marguerite Humeau
NEW YORK White Cube Though its skeletal patterning evokes familiar lifeforms such as deep-water coral and mammalian spines, any fleeting recognition quickly fades away as Stillenary reasserts itself as alien and reticent.
Mildred Howard
OAKLAND, CALIFORNIA Oakland Museum of California Colors, particularly red and cobalt blue, have always played a significant, sometimes shifting role in Howard’s work. In the dramatic main gallery, which brings together two of her signature installations and examples from a new series of commissioned sculptures, red takes on a more ominous tone.
Carl D’Alvia
SHELBURNE, VERMONT Shelburne Museum D’Alvia’s works sag, wobble, and curve, with simple forms that give way to soft, organic edges. Finished in automotive paint, their Minimalist surfaces are industrially precise, yet their silhouettes evoke bodies caught mid-gesture rather than inert geometric volumes.
Anne Hardy
EDINBURGH Talbot Rice Gallery, University of Edinburgh Hardy offers clues and some guidance, but the viewer’s imagination ultimately becomes the site where this immersive and evocative act of spatial world-building takes hold.
Jonathan Baldock
BRISTOL, U.K. Arnolfini Gallery Baldock has created something quite special with “Held.” It feels like a defining exhibition for an artist whose work in recent years has become bolder and more assured while keeping its slightly bawdy mix of humor and oddness, sex and subversion.
Lynn Chadwick
NORFOLK, U.K. Houghton Hall In direct contrast to Henry Moore’s monumental style, Chadwick applied a thick layer of Stolit—an industrial gypsum mixed with iron filings—onto a welded linear armature to augment the surface of his sculptures. The resulting body of work is characterized by immediately recognizable spiky forms and roughened textures.
Yuko Mohri
SANTANDER, SPAIN Centro Botín Rooted in the precepts of the Fluxus movement, with a nod to the absurd, Mohri’s practice harnesses seemingly invisible forces to stimulate random objects normally activated by the human hand.
