DOCUMENT

DOCUMENT is delighted to participate in ARCOlisboa 2026 with a presentation of works by Dabin Ahn (b. 1988, Seoul, Korea), Luísa Jacinto (b. 1984, Lisbon, Portugal), and Pedro Vaz (b. 1977, Maputo, Mozambique). Our booth will be shared with ACKERMAN CLARKE (Chicago).⁠ ⁠ ARCOlisboa⁠ May 28–31, 2026⁠ Cordoaria Nacional, Lisbon, Portugal⁠ General Programme | Booth E05⁠ ⁠ @feriaarco @ackerman.clarke @dabinahn #dabinahn @jacintoluisa #luisajacinto @pedro__vaz #pedrovaz #arcolisboa #documentspace @the_adaa

Gordon Hall is one of the artists featured in Queer Art, a commanding compendium of LGBTQIA+ art that highlights its ongoing resilience from the 19th century to the present day, recently published by Thames & Hudson. Painting a rich picture of LGBTQIA+ visual culture, authors Mollie E. Barnes and Gemma Rolls-Bentley expertly explore how resilience has shaped artistic expression, unpacking the key concerns of queer art as they relate to the work of artists such as Keith Haring, Bhupen Khakhar, Hélio Oiticica, Catherine Opie, Lotte Laserstein and Xiyadie. ⁠By carefully curating a selection of both historical figures and contemporary practitioners, Barnes and Rolls-Bentley traverse the past and present to reflect on covert histories whilst imagining radical futures in which art not only reflects but shapes social norms.⁠ ⁠ @gordon_hall_ @mollieebarnes @gemmarollsbentley @thamesandhudson ⁠ #gordonhall #documentspace

Currently on view through June 13, The Kitchen presents 𝘜𝘱𝘰𝘯 𝘢 𝘔𝘢𝘤𝘩𝘪𝘯𝘦, a newly commissioned project by Tromarama, the Indonesian art collective founded in 2006 by Febie Babyrose, Herbert Hans, and Ruddy Hatumena. Departing from earlier works that mined social media data, Tromarama has developed a new work using context conditioning to an AI model, fed with their personal literary and music archives. This more intimate dataset becomes a lens through which the artists examine how personal and social histories are reinterpreted and remixed by generative technologies.⁠ ⁠ Two literary and cultural references anchor the project: 𝘛𝘩𝘦 𝘓𝘪𝘧𝘦 𝘢𝘯𝘥 𝘛𝘪𝘮𝘦𝘴 𝘰𝘧 𝘚𝘤𝘳𝘰𝘰𝘨𝘦 𝘔𝘤𝘋𝘶𝘤𝘬 (1992–94) by Don Rosa, a serialized comic tracing capital accumulation through nostalgia, and 𝘏𝘰𝘸 𝘵𝘰 𝘙𝘦𝘢𝘥 𝘋𝘰𝘯𝘢𝘭𝘥 𝘋𝘶𝘤𝘬: 𝘐𝘮𝘱𝘦𝘳𝘪𝘢𝘭𝘪𝘴𝘵 𝘐𝘥𝘦𝘰𝘭𝘰𝘨𝘺 𝘪𝘯 𝘵𝘩𝘦 𝘋𝘪𝘴𝘯𝘦𝘺 𝘊𝘰𝘮𝘪𝘤 (1971), a pioneering Marxist critique by Ariel Dorfman and Armand Mattelart. By bringing these works into dialogue, Tromarama examines how global pop culture constructs myths of wealth, labor, and aspiration within postcolonial and rapidly digitizing economies. These texts appear in the installation as karaoke-style video paired with a sound composition that reinterprets Disney’s 1940 anthem, “When You Wish Upon a Star.” Played on recorders and integrated into the sculptural installation, the sonic abstraction of the iconic melody activate the space during the exhibition and in a series of live events, offering audiences shared moments of participation and reflection.⁠ ⁠ Live performances will activate the installation throughout the exhibition run, featuring different singers, musicians, and dancers (gospel, opera, jazz, and tap) who improvise in response to AI-generated prompts on May 15 and June 12 at 8pm.⁠ ⁠ Tromarama: 𝘜𝘱𝘰𝘯 𝘢 𝘔𝘢𝘤𝘩𝘪𝘯𝘦, installation views at The Kitchen at Westbeth, New York, NY, 2026. Photos: Ruddy Hatumena.⁠ ⁠ @tromarama #tromarama @thekitchen_nyc @farrerobyn #documentspace

𝘍𝘰𝘤𝘶𝘴. 𝘋𝘦𝘴𝘪𝘳𝘦., Paul Mpagi Sepuya's first major solo exhibition in Switzerland, is currently on view at Fotomuseum Winterthur through June 14, 2026. Bringing together both early and recent work, the exhibition unfolds across three spaces that carry both literal and metaphorical significance: Studio, Archive, and Dark Room. The exhibition is organized in collaboration with Sprengel Museum Hannover—where it will travel to from July 1 through October 4, 2026—and is co-curated by Christopher A. Nixon for Fotomuseum Winterthur.⁠ ⁠ Paul Mpagi Sepuya, 𝘍𝘰𝘤𝘶𝘴. 𝘋𝘦𝘴𝘪𝘳𝘦., installation views at Fotomuseum Winterthur, Switzerland, 2026. Photo: Conradin Frei.⁠ ⁠ @pagmi #paulmpagisepuya #paulsepuya @foto_museum #documentspace

CHICAGO | Dabin Ahn: 𝘕𝘰𝘤𝘵𝘶𝘳𝘯𝘦 | On view through June 6, 2026⁠ ⁠ Join us at DOCUMENT Chicago to visit 𝘕𝘰𝘤𝘵𝘶𝘳𝘯𝘦, Dabin Ahn’s first solo exhibition with the gallery. Ahn creates paintings that occupy the space between image and object. Working from a vocabulary of ceramic vessels, stones, candles, and personal effects—subjects he understands as stand-ins for the self—he builds meticulously rendered scenes that draw on 20th-century painting history and Joseon dynasty porcelain traditions. He constructs his own frames and panels, shaping and painting over the canvas edge to extend each composition into physical space.⁠ ⁠ @dabinahn #dabinahn #documentspace

Currently on view as part of the Whitney Biennial 2026, Erin Jane Nelson’s ceramic sculptures are also functional pinhole cameras, which she used to create the nearby photographs. Working in the desert of northern New Mexico, she rests the cameras on the ground so that they remain still through the long exposure time they require. Rather than picturing the region’s famously dramatic vistas, Nelson creates intimate views of the underlying ecological systems.⁠ ⁠ Installation view of Whitney Biennial 2026 (Whitney Museum of American Art, New York, March 8-August 23, 2026). Works by Erin Jane Nelson. Photograph by Ron Amstutz.⁠ ⁠ Erin Jane Nelson, 𝘊𝘳𝘺𝘱𝘵𝘰𝘤𝘳𝘶𝘴𝘵, 2025. Pigment prints, resin, and epoxy clay on glazed stoneware; 8 3/4 x 11 1/2 x 1 1/4 in.⁠ ⁠ Erin Jane Nelson, 𝘉𝘶𝘣𝘣𝘭𝘦 𝘊𝘢𝘮, 2025. Pigment prints, rhinestones, glass beads, stainless steel, and pipe cleaners on glazed porcelain; 7 x 5 1/2 x 4 3/4 in.⁠ ⁠ Erin Jane Nelson, 𝘛𝘰𝘯𝘨𝘶𝘦, 2025. Pigment print, resin, and epoxy clay on glazed stoneware; 16 1/2 x 17 1/2 x 1 1/4 in.⁠ ⁠ @erinjanenelson #erinjanenelson @whitneymuseum #whitneybiennial #documentspace

Works by John Opera will be on view at the Renaissance Society in Chicago as part of the group exhibition 𝘗𝘢𝘭𝘰𝘮𝘢𝘳, opening tomorrow, Saturday, May 2nd from 4–7PM, with a curator talk at 4PM.⁠ ⁠ 𝘗𝘢𝘭𝘰𝘮𝘢𝘳 is a group exhibition about watching the sky, something that is deceptively simple at first. It unfolds in two parts, featuring twenty-eight artists. As it reflects on different forms of observation in everyday life and in a scientific register, the exhibition gradually spills over into a sense of life that is more layered and complex. Part 1 introduces certain celestial rhythms and cycles, and it draws out experiences of time. Part 2 brings into view evolving relationships with technology and militarization of the skies. It turns out there is a lot at stake in the space above us. Visit the Ren's website for details on the exhibition's public program, which includes an exhibition walk-through, workshop, and performances.⁠ ⁠ 𝘗𝘢𝘭𝘰𝘮𝘢𝘳 Part 1: May 2 – June 7, 2026⁠ 𝘗𝘢𝘭𝘰𝘮𝘢𝘳 Part 2: June 10–July 12, 2026⁠ ⁠ John Opera, 𝘚𝘰𝘭𝘢𝘳 𝘌𝘺𝘦, 2025. Gum bichromate process on stretched canvas; 20 1/4 x 16 1/4 x 1 in.⁠ ⁠ @johnopera #johnopera @rensoc @kwlund #documentspace⁠

Opening at the Studio Museum in Harlem on Friday, May 1, 𝘍𝘢𝘥𝘦 is the sixth installment of the Museum's “F” show series of exhibitions of emerging artists. Presented in the fourth-floor gallery, 𝘍𝘢𝘥𝘦 features the work of seventeen early-career artists of African and Afro-Latinx descent from across the United States, including Kiah Celeste. Comprising newly commissioned and loaned artworks from a variety of media, 𝘍𝘢𝘥𝘦 reflects the concerns of a new generation of artists.⁠ ⁠ Working across disciplines, the artists in this exhibition embrace feeling, spirituality, and non-linear conceptions of time. Through sculptural and visual interventions that foreground ancestry, spaces of refuge, land as archive, grief, and the surreal, 𝘍𝘢𝘥𝘦 locates the in-between as a space of resistance. 𝘍𝘢𝘥𝘦 is part of the Museum’s inaugural year of programming in its new building, which opened in November 2025. It is the latest edition of the “F” shows, a series of group exhibitions that began in 2001 with Freestyle, a landmark in defining contemporary Black art. The “F” shows that followed—Frequency (2005–06), Flow (2008), Fore (2012–13), and Fictions (2017–18)—all featured work by emerging artists of African descent and advanced innovative and groundbreaking dialogues within contemporary art.⁠ ⁠ Kiah Celeste. Photo: Chad Crews. || Kiah Celeste, 𝘚𝘪𝘯𝘬 𝘉𝘦𝘭𝘭𝘺, 2025. Spandex, sink drain, poplar frame, 85 × 63 × 21 in. Courtesy the artist and Swivel Gallery. Photo: Chad Crews⁠ ⁠ @kiah.celeste @studiomuseum #kiahceleste #documentspace

From April 23 through June 13, The Kitchen presents 𝘜𝘱𝘰𝘯 𝘢 𝘔𝘢𝘤𝘩𝘪𝘯𝘦, a newly commissioned project by Tromarama, the Indonesian art collective founded in 2006 by Febie Babyrose, Herbert Hans, and Ruddy Hatumena. Departing from earlier works that mined social media data, Tromarama has developed a new work using context conditioning to an AI model, fed with their personal literary and music archives. This more intimate dataset becomes a lens through which the artists examine how personal and social histories are reinterpreted and remixed by generative technologies.⁠ ⁠ Live performances will activate the installation throughout the exhibition run, featuring different singers, musicians, and dancers (gospel, opera, jazz, and tap) who improvise in response to AI-generated prompts on April 23, May 15, and June 12. These events, along with public panels and workshops, extend the installation’s inquiry into collective interpretation, authorship, work, and machine-led composition within a global, techno-saturated culture landscape, underscoring the importance of human expression inside technological frameworks. The project considers how information, images, and sound circulate across physical and digital networks, shaping experience and perception. By tracing these flows, Tromarama reflects on the entanglements of technology, consumer culture, and daily life, and on how intelligent systems mediate acts of seeing, listening, and participation. Ultimately, the work positions the exhibition as a dynamic site of critical exchange that invites audiences to consider how technological mediation structures both private and collective experience.⁠ ⁠⁠ Tromarama, 𝘚𝘵𝘶𝘥𝘪𝘰 𝘚𝘦𝘴𝘴𝘪𝘰𝘯 #2, February 14, 2026, Rossi Musik, Jakarta.⁠ ⁠ @tromarama #tromarama @thekitchen_nyc @farrerobyn #documentspace

We are thrilled to announce that Julien Creuzet is participating in the 2026 Toronto Biennial of Art, opening September 26, 2026. This year's Biennial brings together over 30 artists and collectives from Canada and around the world and is curated by Allison Glenn. Titled 𝘛𝘩𝘪𝘯𝘨𝘴 𝘍𝘢𝘭𝘭 𝘈𝘱𝘢𝘳𝘵, the Biennial is shaped by Glenn’s research-driven and site-responsive approach. TBA 2026 centers on artists whose practices engage rupture as a generative force, reconsidering histories, geographies, and systems that shape contemporary life while proposing new ways of understanding the present. For the first time, the Biennial will extend beyond the Greater Toronto Area through a series of artist projects and institutional collaborations across North America.⁠ ⁠ #juliencreuzet @torontobiennial #TOBiennial26 @msallisonglenn #documentspace

LISBON | Sara Greenberger Rafferty: 𝘗𝘪𝘦𝘤𝘦𝘴 | On view⁠ ⁠ Produced in a small kiln in Sara Greenberger Rafferty’s Brooklyn studio, the glass pieces in our current exhibition at DOCUMENT Libson are color studies, compositions made from scraps, and other studio experiments made during a time of challenge and change. Continuing her work in the opaque, translucent, and reflective medium of glass, these collected pieces can be seen individually as humble sketches—often pieced together from slivers, powders, and shards—or taken together as a statement. 𝘗𝘪𝘦𝘤𝘦𝘴.⁠ ⁠ The exhibition is now on view through May 23, 2026.⁠ ⁠ Sara Greenberger Rafferty, 𝘜𝘯𝘵𝘪𝘵𝘭𝘦𝘥 𝘊𝘰𝘯𝘴𝘵𝘳𝘶𝘤𝘵𝘪𝘰𝘯 𝘐𝘐, 2026. Kilnformed glass; 13 1/4 x 11 1/2 x 1/4 in.⁠ ⁠ @saraspar #saragreenbergerrafferty #documentspace

To commemorate the MIT List Center’s 40th anniversary, today, April 11, New York–based artist Gordon Hall presents 1–2 pm, a lecture-performance that explores waiting as both subject and method. ⁠ ⁠ Through understated, choreographed gestures, Hall transforms Scott Burton’s 𝘎𝘳𝘢𝘯𝘪𝘵𝘦 𝘉𝘦𝘯𝘤𝘩 (1985)—a cornerstone of the List Center’s public art collection—into an active participant. In doing so, Hall draws connections between Burton’s philosophy of seating, the architecture of the Wiesner Building, and the embodied politics of pause, delay, and attention.⁠ ⁠ 1-2 pm was first performed at the Pulitzer in 2024 at Wrightwood 659 in 2025.⁠ ⁠ 1: Gordon Hall, 1-2pm, performance at Pulitzer Arts Foundation, St. Louis, 2024. Photo: Alex Vanderheyden.⁠ 2: Gordon Hall, 𝘛𝘩𝘦 𝘕𝘶𝘮𝘣𝘦𝘳 𝘰𝘧 𝘐𝘯𝘤𝘩𝘦𝘴 𝘉𝘦𝘵𝘸𝘦𝘦𝘯 𝘛𝘩𝘦𝘮, 2017. Pigmented cast concrete, color poster multiple, performance, 39 min. Performers: Mary Bok, Gordon Hall, Mike Peterson, Lou Desautels, Danny Harris. Photo: Cassandra Rodriguez.⁠ ⁠ @mitlistarts @gordon_hall_ @pulitzerarts @wrightwood659 #gordonhall #documentspace