SOMERSET, U.K. Hauser & Wirth Lunar light creates the most unearthly depths and shadows and appears to enlarge silhouettes, its dramatic illusions heightening the sense of wonder and mystery. For Moore, this profound experience at Stonehenge precipitated a career-long investigation into scale, material, volume, and the juxtaposition of art and nature.
Virginia Overton
LONDON Goldsmiths CCA Overton takes on Caro and other heavyweights of this traditionally masculine domain with aplomb, and on her own terms; her new works feature welded steel and hefty brass tubes alongside aromatic red cedar, mirrored disco tiles, and sheepskin, demonstrating a lightness of touch and material playfulness.
Raúl de Nieves
BOSTON Institute of Contemporary Art Whatever the form of de Nieves’s lines—strings of beads, shreds of paper, strokes of paint, or literal threads—they suggest how the present is connected to the past. To pursue his lines is to trail a map of remembrances.
Nicole Eisenman
NEW YORK Hauser & Wirth Nicole Eisenman’s practice has always been intense, studio-focused, and personal. Their current exhibition, “Untitled (Show),” is overflowing with sculpture and painting, almost two shows in one.
Yuriko Yamaguchi
WASHINGTON, DC Addison Ripley Fine Art Yamaguchi’s sculptures, like elegant Rorschach inkblots, tease with allusion even as they morph to dazzling abstraction.
Fernando Casasempere
LONDON London Mithraeum Bloomberg SPACE There is the literal sense of stripping away layers to reveal what’s underneath, word play well-suited to a venue situated above the remains of a subterranean Roman temple and equally relevant to the Chilean artist’s core interest in the archaeology of memory and time.
Sheilah ReStack
HALIFAX, NOVA SCOTIA The Blue Building Gallery For ReStack, “control” is the chimera that we reach for in the face of uncertainty. As curator Emily Falencki writes, “ReStack explores the way her identities—mother, lover, artist, friend—are filled with the anxiety and wonder of being (and not being) in control of connection and outcome.”
Katie Paterson
EDINBURGH Ingleby Gallery Requiem, as an artwork and as an idea, remains central to the exhibition, which Paterson calls a lament or elegy. It is deeply melancholic, a requiem mass for a dying world, but it is profoundly optimistic, too.
Emii Alrai
WAKEFIELD, U.K. The Hepworth Wakefield Two enormous rocky mounds cleave the gallery in two. Following the length of this divide, or rupture, the eye is drawn to numerous glass vessels held in metal armatures mounted on the surface, which evoke something like an archaeological site.
