Thaddaeus Ropac

Watch a statement by Georg Baselitz (1938—2026), recorded for the opening of ‘Eroi d’Oro’, an exhibition presenting his final series of paintings at Fondazione Giorgio Cini in Venice. ‘Two years ago, I had set out to paint pictures – as I usually do – that would serve as a summary and that were also meant to be something definitive within the many experiments I have conducted in the last 60 years. For this, certain formal, aesthetic and art-historical means were necessary.’ — Georg Baselitz Visit the exhibition at @fondazionecini from tomorrow, Wednesday 6 May, until 27 September 2026. #GeorgBaselitz #FondazioneGiorgioCini #BiennaleArte2026 #ThaddaeusRopac Video: Markus Huber

Donald Judd’s Ranch Office in Marfa, Texas, is now open to the public as part of the @juddfoundation ’s guided visit program. Permanently installed with Judd’s reliefs and floor works, the Ranch Office allows visitors to discover his continued engagement with space and three-dimensionality in his art.  The turn-of-the century building, repurposed by Judd for use as his Ranch Office, has the letters AdeC on its façade as the brand for Ayala de Chinati, his ranch in the Chinati Mountains, and the number 76, denoting the year he first acquired land. The Ranch Office provides direct experience with his ideas about the relationship between art, architecture and the natural world.  Learn more via the link in our bio. #DonaldJudd #JuddFoundation #ThaddaeusRopac Images: 1, 2, 4 & 5. Ranch Office, Judd Foundation, Marfa, Texas. 3. Untitled, 1992. 6. An exterior view of the Judd Foundation Ranch Office in Marfa. Courtesy Judd Foundation. Donald Judd Art © Judd Foundation / Artists Rights Society (ARS), New York. Photos: Elizabeth Felicella and Alex Marks.

On view in New York at the Korean Cultural Center: Lee Kang So, A Field of Becoming ‘A Field of Becoming’ brings together works by Lee Kang So from the 1970s to the present, tracing the continuity and transformation of his practice. From his early experimental works—where action, material, and environment intersect—to later paintings and sculptures, Lee’s work unfolds through time, resisting closure and embracing change. Over the past five decades, the artist has developed a distinctive and influential practice within Korean contemporary art. Working across painting, sculpture, installation, photography and performance, he has consistently challenged fixed definitions of artistic form, approaching art as an open and evolving process rather than a finished object. Visit the exhibition at @kccny until 20 June 2026. #LeeKangSo @leekangso_archive #ThaddaeusRopac Images: 1. Serenity-220824, 2022 (detail). 2, 3 & 6. Lee Kang So, A Field of Becoming, Korean Cultural Center, installation view, 2026. 4. Untitled - 85021, 1985 (detail). 5. Untitled-94215, 1994. 7. Untitled - 85021, 2010. All images courtesy of the artist and Korean Cultural Center New York.

Marcel Duchamp’s ‘Porte-bouteilles (Bottle Rack)’, 1914 (original, lost), (1964) ‘Porte-bouteilles’, Duchamp’s first readymade, is currently presented alongside works by Sturtevant in the exhibition ‘Dialogues are mostly fried snowballs’ at Thaddaeus Ropac Milan until 23 July 2026. Explore works by the artist in New York this week at the @themuseumofmodernart , where the first retrospective of Duchamp’s work in the United States since 1973 is currently on view, and at our presentation for @friezeofficial New York (Booth A3), where we are showing his ‘Couple de tabliers’ (1959) until 17 May 2026. #MarcelDuchamp #ThaddaeusRopac

We are deeply saddened to share the news of the passing of VALIE EXPORT (1940—2026), a pioneer in conceptual photography, film and performance art, and one of the most significant feminist artists of the post-war period. The artist’s groundbreaking films and performances in the 1960s and 1970s introduced a new form of radical, embodied feminism to Europe, examining the politics of the body in relation to its environment, culture and society. The multidisciplinary nature of EXPORT’s ‘Expanded Cinema’ practice, and her use of her own body as an artistic medium, position her as one of the earliest performance artists alongside Joseph Beuys and Allan Kaprow. @valieexportfoundation #VALIEEXPORT Image: Portrait of VALIE EXPORT, 2025. Photo: Nicole Toferer.

Now open: Frieze New York 2026 On view at our booth, ‘Bog Song (Salvage)’ (1984) forms part of Robert Rauschenberg’s ‘Salvages’ of 1983–85. The idea for the series came during the creation of costumes for the Trisha Brown Dance Company’s ‘Set and Reset’ (1983). In Rauschenberg’s own words, ‘While I was in the process of silk-screening the fabric for the costumes – my photos of architectural details from streets in New York City – we had to put something under the sheer fabric to catch the excess ink. The chance compositions that were created from the process suggested to me that we should put canvas there.’ The left half of the composition is dominated by an enlarged fragment depicting Nix, a shapeshifting water spirit from Scandinavian folklore, whose figure adorns Johan Peter Molin’s bronze fountain in Stockholm, designed in 1973. At the centre, a broad, translucent field of black acrylic paint partially obfuscates the silkscreened imagery, enacting a characteristic Rauschenbergian game of concealment and revelation. Visit us at Booth A03 until Sunday 17 May 2026. @friezeofficial #FriezeNewYork @rauschenbergfoundation #RobertRauschenberg #ThaddaeusRopac Images: Robert Rauschenberg, Bog Song (Salvage), 1984. Silkscreen ink and acrylic on canvas. 130.2 x 133.5 cm (51.25 x 52.56 in).

This week in New York: Eva Helene Pade at @TEFAF NEW YORK (Stand 345)  In her most recent series of paintings, Eva Helene Pade explores the violent and seductive forces of the crowd, turning with increasing focus to night scenes that exist beyond any specific time, place or subject. Installed in the round on floor-to-ceiling metal posts, the monumental canvases position the viewer as a participant within the commotion, caught between bodies, smoke, flames and shadows – each moment suspended in lyrical, virtuosic passages of figuration.  TEFAF Talks | Meet the Experts Join us on the stand on Saturday 16 May, 2.30—3pm, as Pade will discuss ‘Jagt’ (‘Hunt’), a recent painting that reflects her engagement with historical hunting imagery, and draws on its choreography. 15—19 May 2026 @evahpade #EvaHelenePade #ThaddaeusRopac Images: 1, 2 & 4. Eva Helene Pade, Jagt (Hunt), 2026. Oil on canvas. 265.8 × 310.2 cm (104.65 × 122.13 in). 5. Portrait of Eva Helene Pade. Photo: Petra Kleis.

On view at Ca’ Tron in Santa Croce, Venice: Tony Cragg, Ocean of Drops The exhibition presents a new selection of recent sculptures by the British sculptor in glass, stone and wood, including the large-scale glass sculpture created in collaboration with @berengostudio in Murano, which gives the exhibition its title and theme. For Cragg ‘Ocean of Drops’ references the manner in which all materials are in essence accumulations of nuclear particles, cells and strata, exploring the fundamental internal structures that determine the world we encounter day-to-day. Visit the exhibition until 22 November 2026. #TonyCragg #BiennaleArte2026 #ThaddaeusRopac Images: Tony Cragg, Ocean of Drops, installation views, Ca’ Tron, Santa Croce, 2026. Photos: Michael Richter. © Tony Cragg.

Last chance to see at Thaddaeus Ropac Salzburg Villa Kast: Alex Katz, Black Roses Framed as cinematic close-ups, Alex Katz’s roses, all created within the last year, convey a striking feeling of immediacy, further enhanced by their scale. The compositions could theoretically be continued indefinitely, transposing the ‘all-over’ treatment of the canvas found among Abstract Expressionists to create paintings that convey a boundless, immeasurable reality. The flowers take on a distinct presence: their two-dimensional shapes, layered against the flat background, are detached from their environment. While Katz has often presented flowers embedded in rich meadows or vast fields, in this series, he does not reveal the surrounding environment in which these seemingly carefully chosen blooms are set. The stark contrast between form and ground is softened only by drips and splatters of paint, which disrupt the controlled surface around the silhouetted blooms. Explore the exhibition online via the link in our bio. Closing Saturday 16 May 2026. #AlexKatz #ThaddaeusRopac Video by Markus Huber

Now open at Museo Fortuny, Venice: Erwin Wurm, Dreamers ‘Dreamers’ presents new sculptures shown for the first time, as well as works that retrace some of Erwin Wurm’s most celebrated series. The exhibition unfolds across three floors of the Palazzo Fortuny, which, for the first half of the 20th century, was the home and atelier of Spanish fashion designer Mariano Fortuny. The ground floor will be dedicated to a solo presentation of Wurm’s sculptures, while, on the first and second floors, his work will be brought into dialogue with Fortuny’s, the light-toned, ductile aspect of Wurm’s works conveying a sculptural plasticity as they emerge from the shadows of the museum’s rich collection. ‘I find that very exciting’, says Wurm, ‘placing contemporary sculpture in such a layered, historical environment’. Visit the exhibition at @palazzofortuny_venezia until 22 November 2026. @erwinwurm #ErwinWurm @visitmuve #VisitMUVE #ThaddaeusRopac Images: Erwin Wurm, Dreamers, installation views, Museo Fortuny, 2026. Photos: Markus Gradwohl.

Yesterday, as an inaugural ritual, the Opening Étude marked the start of SEAWORLD VENICE. Recovered from the depths of the lagoon and brought to the Pavilion, a bell towers over its entrance: a signifier of the sacred, a marker of the passing of time, a call to gather, a warning. The Opening Étude is realised in partnership with Thaddaeus Ropac gallery. Florentina Holzinger - SEAWORLD VENICE @floholzinger Curated by Nora-Swantje Almes @noralmes Austrian Pavilion | Biennale Arte 2026 📸 @nicole_marianna_wytyczak #BiennaleArte2026 #InMinorKeys #florentinaholzinger #seaworldvenice

Now open: ‘Our George Crompton, WORLDS and WINDOWS by Gilbert & George’ at The Gilbert & George Centre. A moving tribute to the artists’ close friend, George Crompton, who sadly passed away in September 2025, the exhibition features the triptych ‘CROMPTON STREET' from ‘THE NEW NORMAL PICTURES’ (2020), presented publicly for the first time. Alongside this tribute, Postcard Art from ‘THE URETHRA POSTCARD ART’ (2009) and the ‘WORLDS AND WINDOWS’ (1989) – rarely exhibited and on view for the first time since 1990 – are on view in the Beam and Lower Galleries. Also on view in the film room is Day Tripping, a film trilogy by director Iain B. MacDonald which follows the artists’ journeys from their East End studio to the Essex coastline of Southend-on-Sea. Visit the Centre with FREE admission, Thursday–Sunday, 11AM – 17:45PM. 📍 The Gilbert & George Centre 5a Heneage Street, London, E1 5LJ (just off Brick Lane) Images: Installation views of ‘Our George Crompton, WORLDS and WINDOWS by Gilbert & George’. #GilbertAndGeorge #TheGilbertAndGeorgeCentre #ArtForAll