EUREKA, CALIFORNIA Morris Graves Museum of Art Burn Pile might function like a compass, redirecting our perception of truth to a sector located elsewhere, where logic does not apply.
Jasleen Kaur
GLASGOW Tramway As the exhibition title “Alter Altar” suggests, this is a place of fluidity, of ideas and events, of religious ritual alongside the unpredictability of everyday life.
William Edmondson and Brendan Fernandes
PHILADELPHIA Barnes Foundation Brendan Fernandes’s Returning to Before, commissioned by the Barnes Foundation in response to the exhibition “William Edmondson: A Monumental Vision,” proposes that gesture can reach back through time and connect us with the past.
Pipilotti Rist
HOUSTON Museum of Fine Arts Unlike much video art, which (for me, anyway) remains prohibitively esoteric, Rist’s work keeps accruing mainstream accessibility; in 2016, Beyoncé famously channeled the whimsical, eight-minute Ever is Over All (1997) in her music video Hold Up.
Abigail Lane
SAXMUNDHAM, U.K. The Art Station Hanging inside a cupboard, a wool sweater proclaims “Escape Artist.” A statement of intent or of being?
Enrico David
BERLIN KW Institute for Contemporary Art Putting forth a haptic otherness that nods to classical sculpture’s concern with the human form while simultaneously underpinning it with a sly, understated humor, David joins the company of those the late literary critic Hugh Kenner deemed “the stoic comedians.”
Simone Leigh
BOSTON Institute of Contemporary Art Simone Leigh’s first-ever museum retrospective demonstrates her abiding use of clay (and nascent use of bronze) as a material and conceptual means to amplify Black female experiences and the spaces created by Black feminists.
Lucas Simões
CHICAGO Patron Gallery Though his works are deeply informed by São Paulo’s Modernist and Brutalist histories, his works are unburdened by too much rationality. Perfectly molded, dyed concrete forms take on the colors of a sunset—bright, crisp blue; nostalgic, dusty pink; pale, rusty orange.
