@art

Lorna Simpson (@lornasimpson ) is an artist whose work spans photography, painting, collage, sculpture, film, and installation to examine memory, identity, representation, and the instability of narratives. Since the 1980s, Simpson has developed a conceptual and visual language that layers historical reference, fragmentation, and atmosphere, often exploring how images shape collective memory and cultural perception. In ‘Third Person’ at Punta della Dogana (@palazzo_grassi ), Simpson presents her most significant European exhibition in over a decade, curated by Emma Lavigne (@emmalavigne_ ), General Director and Curator of the Pinault Collection (@boursedecommerce ), and organized in partnership with the Metropolitan Museum of Art (@metmuseum ) in New York. Installed throughout Tadao Ando’s restored Venetian space, the exhibition brings together paintings, collage, sculpture, film, and new commissions created specifically for the site. ‘Third Person’ is on view through November 22, 2026.

Barry X Ball (@barryxballstudio ) is a sculptor known for merging advanced digital fabrication with centuries-old traditions of stone carving and religious sculpture. Working from a custom-built stone fabrication studio in Brooklyn, Ball employs technologies such as 3D scanning, virtual modeling, and robotic milling alongside extensive hand carving and polishing to create works that explore spirituality, mortality, materiality, and the history of representation. In ‘The Shape of Time’ at San Giorgio Maggiore, Ball presents a major survey spanning nearly twenty years of production within Andrea Palladio’s historic basilica. Curated by Bob Nickas, the exhibition brings together 23 sculptures installed in dialogue with the church’s sacred architecture, including monumental works in marble, onyx, silver, and gold. Throughout the exhibition, Ball places contemporary sculpture into conversation with Renaissance traditions, religious iconography, and the spiritual atmosphere of the basilica itself. ‘The Shape of Time’ is on view at San Giorgio Maggiore (@abbaziasangiorgiomaggiore ) in Venice through November 22, 2026.

David Lamelas is a foundational figure in conceptual art whose work explores time, information, perception, and the systems through which reality is mediated. Working across installation, sculpture, film, and performance since the 1960s, the Argentine artist has developed a practice shaped by movement, using space and communication as tools for examining how meaning is constructed. Curated by Humberto Moro (@hmbrtmoro ), ‘David Lamelas: The Machine’ at Dia Chelsea (@diaartfoundation ) surveys Lamelas’s practice from 1965 to 2026 through installations, sculptures, films, and newly commissioned works. The exhibition highlights the artist’s long-standing interest in opposing forces, systems of information, and the viewer’s perception of time and space. In parallel, Dia’s collaboration with Frieze New York (@friezeofficial ) at The Shed presents moving image works from Lamelas’s ongoing ‘Time as Activity’ series alongside ‘To Pour Milk into a Glass’ (1972), extending the exhibition into the context of the fair and bringing together key works from across his film practice. View the works at Frieze New York through Sunday and experience the full exhibition, ‘David Lamelas: The Machine’ at Dia Chelsea through January 2027.

Derek Fordjour’s (@fordjourstudio ) practice spans painting, sculpture, installation, and performance to explore the intertwined histories of power, labor, representation, and the Black experience. Through layered surfaces and archetypal figures drawn from sports, entertainment, and service industries, Fordjour examines the tension between spectacle and exploitation, individual ambition and systemic inequality. For High Line Art (@highlineartnyc ), Fordjour presents ARCHETYPES, a series of painted bronze sculptures depicting a boxer, server, and burlesque dancer installed between 25th and 26th Streets. Together, the works consider the historic use of the Black body as a vehicle for social mobility within economies of entertainment, labor, and performance. Alongside the sculptures, Fordjour’s mural Backbreaker Double extends these themes into the surrounding cityscape, transforming the High Line into a meditation on visibility, aspiration, and the systems that shape public life. Now on view on the High Line (@highlinenyc ) through April 2027.

Lindsay Adams (@Lindsaybriadams ) is an artist whose paintings explore memory, place, imagination, and the emotional resonance of color through abstraction and gesture. Living with cerebral palsy, Adams approaches painting as both a physical and psychological space, where movement, perception, and personal history become embedded within the surface of the work. In ‘SOIL’, her first solo exhibition at Sean Kelly Gallery, Adams presents eight new paintings that begin from a foundation of lamp black, using darkness as a generative starting point from which color and form emerge. Balancing luminosity with absorption, the works explore both the visibility and invisibility of Blackness while paying homage to the women in her family through deeply personal abstractions rooted in emotion, memory, and presence. ‘SOIL’ is on view at Sean Kelly Gallery (@seankellygallery ) through May 30.

If you’re looking to immerse yourself in New York’s gallery scene this #FriezeWeek, you may be wondering: where do I start? Frieze has put together a curated Neighbourhood Guide to help you navigate everything from special events and late-night openings to walking routes — complete with a few favourite rest stops along the way. Joshua Geyer (@joshuabgeyer ) from @art takes us through some favourite stops in Chelsea, but head to frieze.com to explore the full guide. And be sure to save the date for Chelsea Night, where evening openings across the neighbourhood will celebrate Frieze Week in the heart of the art scene. 📆 Thursday May 14 Head to frieze.com, or the link in bio, to discover: 🏛️ A full listing of participating galleries 📍 Curated routes through Chelsea 🗺️ A map of participating galleries and exhibitions 🚶 Walking itineraries for navigating Frieze Week #Frieze #FriezeNewYork

Austin Geller (@gellermusic ) is an LA-based musician, visual artist, film composer, and event organizer whose work pulls the community into his creative process. His EP ‘Parallel Play,’ cinematic and genre-bending experimental electronic, has surpassed a million streams on Spotify. The practice extends well beyond recorded music: he organizes the free outdoor series Public Sounds, composes for film and TV, and incorporates large-scale digital projection art into his live shows. The EP’s title borrows from a child development concept (children playing independently alongside each other), a framework that maps onto his broader output, where multiple disciplines run in parallel without collapsing into one another.​​​​​​​​​​​​​​​​

CityX Foundation (@cityxfoundation ) is an international platform dedicated to supporting artists from fragile regions, with roots in a multigenerational collection of Ukrainian avant-garde art. Co-founded by Asya Nikolaeva (@justasya ) and her mother (@tatyanatumasyan ), the initiative expanded globally following the outbreak of war in Ukraine, translating its archive into exhibitions, activations, and programs across cities from Mexico City to New York and San Francisco. Presented during the Venice Biennale (@labiennale ) preview week, Fragile Art in Motion, a two-day program at the Arsenale, brings together performance, film, and dialogue. At its center is Sergey Bratkov’s (@bratkov.sergey ) ‘Iron Drive’, a durational performance exploring endurance and resilience, alongside a private screening of The Hammer, a documentary about legendary auctioneer Simon de Pury (@simondepury ) co-produced by Nikolaeva. The program also includes a roundtable on collecting experimental and time-based work and a preview of Aysha E. Arar’s (@ayshaearar ) upcoming monograph with @moussemagazine , closing with a DJ set by Emil Zinko’s TAXAPHONE. Follow CityX Foundation (@cityxfoundation ) to see where they go next.

GENER8ION (@surkin ) releases ‘Storm I & II,’ a seven-and-a-half-minute short film that goes beyond a music video. Directed by Romain Gavras (@romaingavras ) (Athena, The World Is Yours) and set to music by GENER8ION — the audio-visual project of French producer Surkin — the film stars Yung Lean (@yunglean2001 ) as a brutal, magnetic presence at the center of a near-future British boarding school, class of 2034. The film serves as a portrait of boyhood: the violence, the boredom, the solidarity, and what lies underneath all of it. The film’s climax arrives in a single unbroken shot — Lean standing still as his classmates erupt into a full-scale choreographed sequence by Franco-Belgian choreographer Damien Jalet (@damienjalet ), whose body of work includes Luca Guadagnino’s ‘Suspiria’ and Paul Thomas Anderson’s ‘Anima.’

Björk (@bjork ) made a surprise DJ appearance at the Venice Biennale, one of the art world’s most traditional stages. An artist who has long blurred the lines between music, performance, and contemporary art (with a MoMA retrospective and work in the museum’s permanent collection). She performed in a pink fiberglass dress by Bottega Veneta (@newbottega ) and mohair headpiece by Myah Hasbany (@myahhasbany ) with a stripped down stage setup that was playful, unexpected, and very Björk. #bjork #venicebiennale

Founded in 1968, Pace Prints (@paceprints ) is a New York-based printmaking workshop and gallery that collaborates with leading contemporary artists to create fine art limited edition prints and multiples. Working across etching, woodcut, linocut, and handmade paper at studios in Manhattan and Gowanus, Brooklyn, master printers work directly with artists to bring their intentions to life, a tradition rooted in the workshop’s lineage to Aldo Crommelynck, Pablo Picasso’s longtime printer. Over five decades, Pace Prints has worked with artists ranging from Helen Frankenthaler and Chuck Close to Jonas Wood, Yoshitomo Nara, and Wangechi Mutu, building a body of work that reflects a genuine and sustained commitment to printmaking as a serious artistic medium.

Alexa Kumiko Hatanaka (@alexakumikohatanaka ) is a visual artist whose work explores bipolar disorder as a form of attunement to shifting environmental conditions, reframing it as both a lived experience and a potential evolutionary response to changing weather. Through this lens, she engages embodied knowledge systems that are often marginalized, positioning them as critical ways of understanding both the self and the natural world. Presented at the Venice Biennale (@labiennale ), her work is included in the main exhibition “In Minor Keys” at the Central Pavilion of the Giardini. She presents hanging handmade paper prints collaged together alongside sculptural works that explore perception, weight, and navigation. Installed at the entrance to the Giardini, a series of flags incorporating fish imagery and imprinting techniques are among the first works visitors encounter, extending the exhibition into the landscape and connecting ecological systems with human experience. Now on view at the Venice Biennale through November 2026.