David Zwirner – Art Gallery

Join us this evening for the opening of @LisaYuskavage ’s tenth solo exhibition with the gallery since joining twenty years ago. In this newest body of work, Yuskavage continues to explore depictions of fictionalized artist’s studios, establishing a dialogue with a tradition of studio portrayals by artists such as #GustaveCourbet, #HenriMatisse, #GeorgesBraque, #PhilipGuston, and #BruceNauman. As writer and curator @HelenMolesworth noted in @NewYorkerMag , “If you were going to make a list of the great paintings, a lot of them would be studio paintings. And the reality is there are not a lot of pictures like that by women. In my opinion, the scale and the ambition of [Yuskavage’s] work … is aimed squarely at The Museum—capital ‘T,’ capital ‘M’—as an institution.” Tap the link in our bio to learn more. — Lisa Yuskavage, Endless Studio (portal), 2025 (detail); installation views, Lisa Yuskavage, David Zwirner, New York, 2026; Lisa Yuskavage, Endless Studio (portal), 2025 (detail) LisaYuskavage

Gerhard Richter: Landschaften, a momentous show focusing on the artist’s celebrated photorealist landscape paintings, opens this evening, May 7, at our 20th Street gallery in New York. Learn more about the opening reception via the link in bio. This show, which presents Richter’s landscape paintings from the 1960s to the 2000s alongside a selection of his Abstrakte Bilder (Abstract Paintings), is curated in close collaboration with the artist and features loans from significant private and museum collections, as well as works from Richter’s personal collection. —⁣⁣⁣⁣ 1/4: Gerhard Richter, Seestück (Gegenlicht) (Seascape [Contre-jour]), 1969 (detail); Grünes Feld (Green Field), 1969 2/3/5: Installation views, Gerhard Richter: Landschaften, David Zwirner, New York, 2026 #GerhardRichter #DavidZwirner

”In its entirety, Yuskavage’s world is a grand comedy—rife with fantastical visions of both sunshine and shit worthy of François Rabelais. Her characters have Pantagruel’s appetite, humor and—most important—that giant’s heart.... Yuskavage’s [sublime] is in here, at the core of our basic, vital humanity.” —@JarrettEarnest via @ArtinAmerica Wishing a very happy birthday to @LisaYuskavage today! On the occasion of her newest solo exhibition now on view at our 19th Street location in Chelsea, the artist will be in conversation with her friend, writer and critic Jarrett Earnest, next Tuesday, May 19, at 6:30 PM. Learn more via the link in bio. —⁣⁣⁣⁣ Lisa Yuskavage in her studio, 2025. Photo by Jason Schmidt; Lisa Yuskavage, Gigantic Studio, Act II, 2026 (detail); installation view, Lisa Yuskavage, David Zwirner, New York, 2026 #LisaYuskavage

“I was surprised by the photograph, which we all use in such masses on a daily basis. Suddenly I could see it in another way, as an image that provided me with another view lacking all of the conventional criteria that I had previously associated with art. It had no style, no composition, no judgments, it freed me from personal experience … and was pure image.” —Gerhard Richter Since the outset of his career, Richter has used photographs as source material for his paintings. Often, these are based on images that the artist has taken himself, such as his famed photorealist landscapes and seascapes, currently on view at our 20th Street gallery in New York, which began in the 1960s with snapshots he took during a trip to Corsica. Other times, such as with his Overpainted Photographs (now on view in an exhibition at @luma_arles ), in which the artist applies paint directly on the source image, Richter used found, random, and anonymous photos. He made a profound exception, however, for an overpainted photo of himself and his longtime gallerist Marian Goodman—a celebration of a nearly four-decade friendship. —⁣⁣⁣⁣ Images in order: Gerhard Richter, Italienische Landschaft (Italian Landscape), 1966; Gerhard Richter, Untitled (12.2.98), 1998; Gerhard Richter, 18. Juni 2009

🎧 DIALOGUES • On Anni Albers: Live with Lucas Zwirner and Nicholas Fox Weber • Listen now via the link in bio A special episode of Dialogues: The David Zwirner Podcast with Lucas Zwirner in conversation with @NicholasFoxWeber all about Weber’s new book, Anni Albers: A Life. Published by @YaleBooks , the first major biography of Anni Ablers traces the complex life and influential art of the pioneering artist, and with rare first hand accounts from Weber’s lifetime working closely with the Albers. + Anni Albers: Constructing Textiles is now on view at the @BelvedereMuseum in Vienna, Austria through Sunday, August 16. — 1/2/3: Nicholas Fox Weber and Anni Albers at the Royal College of Art graduation ceremony, London, June 29, 1990; Anni Albers: A Life (Yale University Press, 2026); Anni Albers in her kitchen at 8 North Forest Circle, New Haven, Connecticut, 1958. Photo by Lee Boltin 4/5: Anni Albers, Red and Blue Layers, 1954 (detail); Red Meander II, 1970-71 (detail) All artworks © Josef & Anni Albers Foundation/ARS, New York

A solo presentation of work by American artist Robert Ryman is now on view at @TEFAF in New York (Booth 347) through Tuesday, May 19, at @ParkAveArmory . Visit the link in bio to learn more and explore available works. + This October, Robert Ryman: The Real Thing opens at the @BarbicanCentre in London. The first major UK retrospective of the artist’s work in over three decades brings together more than 60 works that reflect his sustained exploration of painting’s material, spatial, and perceptual possibilities. — Artwork details in order of appearance: Robert Ryman, Untitled , c. 1964; Untitled, c. 1963; Van, 1993; Note, 1998 #TEFAFNewYork #ArtFair

“Art is not about the world we have—it’s about the world we want.” —Diana Thater (@dianathaterstudio ), whose birthday is today, via @BombMag Wishing a happy birthday to Diana Thater! Thater is preparing to debut her highly anticipated, permanent outdoor video installation at @LACMA ’s recently inaugurated David Geffen Galleries. The large-scale video work—shot in Claude Monet’s home and gardens in Giverny, France—will be projected on the underside of the Peter Zumthor-designed building, which stretches across Wilshire Boulevard, on view for thousands to see as they pass beneath daily. The piece is a continuation of two works by Thater in LACMA’s collection, Oo Fifi, Five Days in Claude Monet’s Garden, Parts 1 and 2, from 1992. As an artist living and working in Los Angeles, Thater has a deep engagement with the city. Her site-specific installation, The Friendly Skies, was recently on long-term view at @FlyLAXAiport , and another new work is coming to LAX in 2026 and will be on permanent view in the International Terminal. Her work from 2012, Male Eurasian Eagle Owl (Big Bird), is currently featured in an exhibition at @1301pe through Wednesday, May 20. Concurrently, Thater's 1999 installation, Delphine, is now on view in the exhibition Sea, Pop & Sun at @FondationCarmignac in Hyères, France through Sunday, November 1. Explore these works and more to come via the link in bio. — 1: Diana Thater in Claude Monet’s Garden, Giverny, France, 2026. Photos by T. Kelly Mason 2/3/4: Installation view, Diana Thater, 1301PE, Los Angeles, 2026. Photos by Fredrik Nilsen #DianaThater #ArtistBirthday

Take a closer look at our presentation at @FriezeOfficial New York (Booth B12) with senior director @ThorShannon . Explore more works via the link in bio. On view through Sunday, May 17, at @TheShedNY , the booth features a solo presentation of work by Joe Bradley, bringing together new paintings and works on paper. It highlights Bradley’s continued exploration of form, gesture, and figuration, and follows recent solo exhibitions at the gallery’s New York and London locations, as well as a major survey at Kunsthalle Krems, Austria. + The artist will be the subject of a solo exhibition opening Sunday, May 17, at the SPETTACOLO in Oslo. — Artwork details in order of appearance: Mayday, 2026; Dollar General, 2026; Untitled, 2026; Untitled, 2026; Untitled, 2026 #FriezeNewYork #FriezeNY #DavidZwirner #JoeBradley

Dana Schutz’s monumental bronze sculpture, Blind Boat, is now on view at the sculpture park at @Kistefos Museum. Plan your visit via the link in bio. Created specifically for the sculpture park, Blind Boat represents a significant development in Schutz’s practice. Long-recognized as one of the most distinctive painters of her generation, Schutz began making sculptures in 2018. This ambitious new work is her first outdoor sculpture at this scale, standing seven meters tall and weighing more than 12 tons. These works are first modeled in clay before being cast in bronze, with raw, tactile surfaces that bear the trace of the artist’s hand. Blind Boat demonstrates Schutz’s unique ability to construct dynamic constellations of forms and figures. The sculpture depicts a boat carrying three characters, surrounded by elements such as a stylized sun, hollowed-out eyeballs, and a carrion bird holding a pupil in its beak. The figures in the boat are either blind or one-eyed, evoking the Cyclopes of Greek mythology. The central figure holds their companion’s eyeball aloft as a guiding light. At Kistefos, the sculpture is situated in dialogue with the surrounding landscape and the waterfall behind it. The continuous sound of rushing water enhances the work’s sensory qualities, creating an interplay between the solidity of cast bronze and the perception of a dynamic sculpture in motion. — Installation views, Dana Schutz, Blind Boat, Kistefos Museum, Jevnaker, 2026. Photos by Einar Aslaksen.

A group exhibition of works by Dan Flavin, Donald Judd, John McCracken, Robert Ryman, and Fred Sandback is on view at #DavidZwirnerLondon through Friday, May 22. Learn more and plan your visit via the link in bio. Associate partner @JamesGreenDZ and senior director Julia Mechtler (@jmechtler ) give a preview of the presentation, which brings together a selection of sculptures, paintings, and prints that radically reconfigured the possibilities of abstraction. Highly influential to each other as well as their peers in the United States and abroad, these artists established minimal, post-minimal, abstract, and conceptual vocabularies that continue to resonate across the art world today. — Artwork details in order of appearance: Donald Judd, Untitled, 1988; John McCracken, Untitled (Red Plank), 1976; Robert Ryman, Untitled, c. 1963 Images in order of appearance: Donald Judd in 1982. Photo by Jamie Dearing; John McCracken (Carrying red plank) University of California, Santa Barbara, about 1980; McCracken in his studio with Copernicus, 1988; John McCracken pouring resin; Robert Ryman, 1975. Photo by Christian Bauer; Robert Ryman in Studio, 1998 #Minimalism

“A picture like this is painted in different layers, separated by intervals of time. The first layer mostly represents the background, which has a photographic, illusionist look to it, though done without using a photograph. This first, smooth, soft-edged surface is like a finished picture… I partly destroy, partly add to it.… At that stage the whole thing looks very spontaneous, but in between there are long intervals of time. It is a highly planned kind of spontaneity.” —Gerhard Richter on his meticulous process of making his Abstrakte Bilder (Abstract Paintings). The first work presented here, Lichtung (Clearing, 1987), currently on view at our 20th Street gallery in New York, began as one of Richter’s photorealist landscape paintings. The artist then brushed over parts of the finished canvas, obfuscating the landscape and blurring the line between abstraction and representation. The final work pictured, Abstraktes Bild (Abstract Painting, 2008) exemplifies this celebrated body of work; it is preceded by two images of the work in progress. An early photorealistic painting of a misty alpine scene forms the underpainting of this work, which Richter continued to alter, blur, and obscure into complete abstraction over the course of several years. Explore the artist’s engagement across photorealist paintings to abstract ones in the exhibition, Gerhard Richter: Landschaften, via the link in bio. —⁣⁣⁣⁣ 1/4: Gerhard Richter, Lichtung (Clearing), 1987, on view at our 20th Street gallery; Abstraktes Bild (Abstract Painting), 2008 2/3: Richter’s Abstraktes Bild (Abstract Painting) (2008) in progress

Set in Stone, an exhibition placing objects of antiquity in dialogue with paintings and sculptures by modern and contemporary artists, opens this evening, May 12, at our 69th Street gallery in New York. Plan your visit via the link in bio. Curated by @Emma_Kronman and organized in collaboration with @GalerieKugel , this group exhibition brings together work from the gallery’s program in conversation with Galerie Kugel’s holdings of antique objects. Inspired by the qualities that have influenced artists over history to work with stone, it centers on themes of luminosity, translucency, assemblage, and colorlessness, suggesting resonances that span millennia, geography, and cultural contexts. — Installation views, Set in Stone, David Zwirner, New York, 2026 4: Anonymous, Agate cup on foot, Paris, c. 1640 6: Lucas Arruda, Untitled (from the Deserto-Modelo series), 2017 (detail)