NEW YORK NARS Foundation Set against the collapsing tides of the Anthropocene, Aotearoa New Zealand artist Gill Gatfield’s current installation (on view through September 20, 2025) brings the urgency of habeas corpus to New York City, a place long mythologized as a refuge, but also pulsing at the crossroads of data, capital, and control.
Do Ho Suh
LONDON Tate Modern Spanning three decades and multiple cities that he has called home—including Seoul, New York, and London—the exhibition coalesces around a Korean phrase that references an old idea of packing up a house and moving it through time and place. Rather than thinking of time as linear, however, Suh thinks of cycles of time and returns, carrying elements of one home to another.
Couzyn van Heuvelen
WATERLOO, ONTARIO, CANADA Kitchener-Waterloo Art Gallery Though van Heuvelen sticks close to the visual reality of things, and fidelity is paramount, scale is something else altogether.
Umico Niwa
HOUSTON Asia Society Texas Umico Niwa’s current exhibition, “Memory Palace” (on view through October 12, 2025), doubles as an exhilarating scavenger hunt through the Asia Society Center’s two floors, revealing something charming and playful about the capacity of architectural adornment to intimate and structure selfhood.
Olafur Eliasson
LOS ANGELES The Geffen Contemporary at MOCA In “OPEN,” Eliasson encouraged careful looking as a means to “sense our way into” larger systems. That he mostly missed these goals didn’t dampen the possibility for enjoyment of his often spectacular installations, or his commendable ambition.
Olga de Amaral
PARIS Fondation Cartier pour l’art contemporain Olga de Amaral’s long overdue survey exhibition (on view at ICA Miami through October 12, 2025) reflects a recent wave of renewed interest in fiber art, as U.S. and European museums re-evaluate the ties between abstraction and woven textiles.
Kazuo Kadonaga
LOS ANGELES Blum Gallery Kazuo Kadonaga’s work seduces almost instantly. There’s a palpable glow coming off the waxy surface of wood, the matte sheen of washi paper, the tonal gradations of scorched bamboo, and the glossy finish of melted glass.
Maikoiyo Alley-Barnes
SEATTLE Koplin Del Rio The satire and sharp wit of the “Pelts” are welcome, though they forsake the resonant power of the “Terra Nada” sculptures, with their aura of generative potential.
Monika Zarzeczna
KINGSTON, NY 68 Prince Street Gallery Zarzeczna explores the “trans-state” of objects—items that have lost their original function but persist as memories, embodying an in-between realm where meaning shifts and systems evolve.
