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.
Anton Alvarez
HELSINKI Helsinki Contemporary Anton Alvarez’s “The Colour of Gravity” opens whole other worlds of shaping clay. Driven by experimentation and technical innovation, the Swedish Chilean artist distances himself from traditional processes.
Jasmine Togo-Brisby
GLASGOW Gallery of Modern Art A sweet, earthy aroma of molasses hits you at the entrance to “Liquid Land,” Jasmine Togo-Brisby’s debut European solo exhibition. The smell emanates from a large, corrugated steel drum resting on wooden railway sleepers just outside GoMA’s ground-floor gallery, where it serves as the perfect introduction to a richly atmospheric exploration of memory and belonging.
Magdalena Petroni
QUEENS, NEW YORK SculptureCenter Over the course of six weeks, the Santiago-based artist scavenged materials from Queens junkyards, sidewalk trash piles, and thrift shops to build a dismembered replica of a corporate office.
Whitney Biennial 2026
NEW YORK Whitney Museum of American Art Deciding against clear-cut themes, curators Marcela Guerrero and Drew Sawyer have loosely organized the show around concepts of kinship and infrastructure. Kinship, as expressed in their selections, not only accents the interdependence and shared affinity of relationships, but also deconstructs notions of singularity, especially around the body and gender.
Florence Peake
ARBROATH, SCOTLAND Hospitalfield In “Your Meaning Not Your Materiality (YMNYM)” (on view through October 4, 2026), Florence Peake presents a new series of fugitive, fragile, and strongly emotive sculptures.
