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.
Daniel Lind-Ramos
NEW YORK MoMA PS1 Cresting a wave, a small boat glides into view, its cargo of colorful talegas piled high on the deck, each sack stamped with a date.
Martino Gamper
NEW YORK Anton Kern Gallery In presenting a checkered medley of objects collated under the umbrella category “hooks,” Gamper seeks to show the full breadth of family resemblance—a neo-Wittgensteinian lesson in how one overlapping common feature, form, tethers these diverse objects together.
Elzie Williams III
NEW YORK M23 Gallery Camouflaged as art objects ready for sale, Williams’s sculptures and installations assert a provocative polemic.
Josh Kline
NEW YORK Whitney Museum of American Art Kline knows what he wants to say, and a focus on labor and class is central to his practice. Exploring urgent social and political issues, he questions how emergent technologies are changing human life; and though he addresses a broad range of public problems, he does not preach.
André Cadere
BRUSSELS Fondation CAB Pictures taken in Brussels reveal a bar of wood on the floor of a subway station, among magazines at a newsstand, next to a man drying his hands in a washroom, and in the hands of an anonymous woman, who, along with two co-workers, appears to be amused by the object.
