LONDON Standpoint Gallery Why horsehair? This traditional upholstery filling comes from a creature whose toil was supplanted by the combustion engine (recalled, by way of tribute, in the measurement of horsepower).
Barbara Ségal
WARREN, OHIO Medici Museum of Art When Ségal’s father died, she became aware of the feeling that the family had lost “status.” Her subsequent work led her to a consideration of how today’s materialistic world is consumed by symbols of status.
Bertil Vallien
NEW YORK UrbanGlass Among the glass sculptures in Bertil Vallien’s “Starman” (on view through June 7, 2026), ghostly faces lurk in every corner: lodged in the hulls of boats, slumped on a bed of white feathers, carved onto a parade of dark totemic warriors.
Martin Wong
NEW YORK P·P·O·W The redundancy is in many ways the point, placing the cutouts in competition with one another, for the eye can only focus on one at a time.
Anderson Borba
THORNHILL, SCOTLAND Cample Line Made predominantly from found wood, the sculptures are variously carved, gouged, burned, glued, painted, and lacquered. Many incorporate busy, colorful collages of images cut from magazines and pasted into cuts, crevices, and the inside of carved holes or wrapped around blocks of wood.
Jennie Jieun Lee
RIDGEFIELD, CONNECTICUT The Aldrich Contemporary Art Museum Encountering Lee’s glaze mixing and handling on a monumental scale is a delight, and it also make the muted ceramic sculptures pop.
Jakkai Siributr
NEW YORK Canal Projects Because There’s no Place is ongoing, Siributr’s practice presents a repository of lived experience. As long as the stitching continues, repair is not a completed act but a constantly evolving process.
Sagarika Sundaram
LONDON Alison Jacques Employing spiral and mandala motifs, as well as cuts, folds, and layering, these primarily fiber works, which the artist calls “painterly sculpture,” contain a dynamic energy that induces a feeling of flow and movement, experienced as a kind of heady dizziness.
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.
