TURIN Galleria Civica d’Arte Moderna e Contemporanea Di Maggio’s technical language embraces mutability. Her work suggests organic remnant, decorative product, and artwork; and her co-ordination of eye, hand, and sharp-pointed instrument can fool the observer into imagining a machine was involved rather than a human.
“How To Dream Worlds”
SINGAPORE Singapore Art Museum By recognizing the spatiality of human life, SAM’s biennial posed thoughtful questions about the onset of a new era of crisis associated with the post-modernization of the contemporary world.
Enrico David
TURIN Museo d’Arte Contemporanea Castello di Rivoli The essence of drawing, its linearity and spatiality, are never fully lost, and David’s willingness to get under the hood of an artform is one of his work’s strongest appeals.
Hilary Harnischfeger
NEW YORK Uffner & Liu Depending on whether the edges are in view, one’s impulse to read these forms in terms of the geologic record or cartographic tradition varies.
Rebecca Manson
SAN FRANCISCO Jessica Silverman From a distance, the tiny ceramic elements create an almost mesmerizing shimmer of color, not unlike the light-catching microscopic scales of genuine insect wings.
Antti Oikarinen
HELSINKI Taidehalli In “Introspective” (on view through March 8, 2026), Antti Oikarinen contemplates the nature of artistry, the inspiration and personal methodology that drive him to develop his ideas, and the emergence of meaning.
Simon Starling
KENDAL AND WINDERMERE, U.K. Abbot Hall and Windermere Jetty Museum Shedboatshed embodies many of Starling’s themes, including material transformation, cyclical journeys, and an unpicking of capitalist production.
Martin Puryear
BOSTON Museum of Fine Arts While Puryear’s forms may hint at the figurative, the language of abstraction has always been his vehicle for structural realizations that transcend any particular artistic style, or easy interpretation.
Manuel A. Rodríguez-Delgado
BUFFALO, NEW YORK The Buffalo Institute for Contemporary Art Two bodies of interrelated work simultaneously awkward and elegant, eccentric and meticulous artifacts scrupulously assembled from contemporary debris, read like scrappy and glitchy roadside attractions plucked from a Cormac McCarthy desert and plopped into an underfunded but pristine interstellar museum on a Samuel R. Delany planet.
