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.
Rae-Yen Song
GLASGOW Tramway Daoist thinking posits that everything in our world is connected by a unifying life force, and Song emphasizes this belief by describing many of the exhibition’s elements as aspects of tua mak’s dispersed being.
Yoko Terauchi
LEEDS, U.K. Henry Moore Institute Born in Tokyo in 1954, Terauchi studied sculpture at St. Martin’s from 1979 to 1981 and then received a Henry Moore Fellowship to attend Camberwell School of Art (1983–84). In April 1984, she completed a week-long performance-cum-sculpture project at Leeds City Art Gallery, documented in this show, during which she constructed sculptures in front of an audience.
Carol Bove
NEW YORK Solomon R. Guggenheim Museum Beyond the works themselves (100 selections, including 27 large-scale sculptures), chosen to show a virtuoso mastery of material and form, Bove addresses her concern that museums are often “full of microaggressions,” treating the guest as merely “a body that carries around a mind.”
Harriet Bowman
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).
