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.
Bella Feldman
OAKLAND, CALIFORNIA The Orchard / Galleries on 25 Feldman (1930–2024) focused on the big issues—feminism, war, ecology—addressing her subject matter with acerbic wit and subtle humor in tough-minded and provocative works totally lacking in cynicism.
Sacha Ingber
NEW YORK Uffner & Liu For eight years, Sacha Ingber juggled art-making with part-time work as a prop stylist on a Food Network cooking show. This might explain the recurring plates and utensils in her current exhibition “Two” (on view through May 9, 2026).
“MONUMENTS”
LOS ANGELES The Geffen Contemporary at MOCA and The Brick Kara Walker, discussing her work with Hamza Walker last year, asked, “Where does it begin to take on a new life that embodies this question of its use value as a monument, as a holder of White Supremacist desire, as a relic of the Lost Cause? It’s holding all of these ideas that don’t work in the republic that we live in.”
Cal Lane
CAMBRIDGE, ONTARIO, CANADA Cambridge Art Galleries So, if Lane’s work has sundered the claims of the utile, does it represent a frontal attack on the lineage of the Duchampian readymade? Think about it: these pieces have, as their origins, objects that might have been used on a daily basis with nary a second thought.
Phillip Lai
BRISTOL, U.K. Spike Island Lai’s quotidian forms—bowls, basins, trays—signify sustenance and care but are emptied of any metaphorical intent.
