A rare opportunity for collectors and admirers of postwar American abstraction, Stanley Boxer: A Centennial Exhibition brings together a collection of seminal works spanning four decades of the artist's career on the occasion of his 100th birth anniversary.
Art News
Willem de Kooning is a name recognized worldwide for his impact on the development and growth of Abstract Expressionism in America. However, back in his early days, he was one of a small group of struggling New York painters attempting to create work expressing new ideas in a world recovering from the calamity that was WWII.
Joan Miró, the Catalan painter, had a successful retrospective at MoMA in 1941 and an exhibit with his dealer, Pierre Matisse (Matisse’s son), in 1945. Miró first visited the United States in 1947—one of seven visits to the States—and was included in the New American Paintings at MoMA in 1991.
There is a mystical aura that surrounds Celia Paul’s paintings, as if they lived in another atmosphere. The air around and within them emanates a different frequency: vibrations almost not human. Her figures are not corporal; they’re more like music, phrases in the air. Even the colors are not flesh, as if in a dream. Each painting, whether figure or object, seascape or self-portrait, is distinctly hers.
As the nation approaches the 250th anniversary of the Declaration of Independence, the Autry Museum of the American West is shifting the lens westward. In Life, Liberty, and Los Angeles, opening May 30, the museum reframes the founding ideals, not as settled history, but as questions still being argued over in Los Angeles.
The Corning Museum of Glass will open its new exhibition Tough Stuff: Women in the American Glass Studio on May 16, 2026, as a major initiative of the Museum’s year-long celebration of its 75th anniversary. Tough Stuff is the first survey exhibition of work by women artists working in glass during the breakthrough decades of
The Stars We Do Not See is the poetic, but also challenging, title of the biggest, most comprehensive exhibition of Australian Indigenous art to be exhibited outside the continent to date, some shown for the first time abroad. The title is partly inspired by the late Yolŋu artist Gulumbu Yunupiŋu from Yrrkala in Arnhem Land, known for her mesmerizing mappings of the night sky, several of which are in the exhibition.
At a Venice Biennale often defined by spectacle, scale, and geopolitical performance, some of the most consequential exhibitions of 2026 unfold quietly—through the language of vessels, memory, and care.
In the United States, the historical formulation of the “self-taught artist” is loaded with assumptions about class, race, and mental health that have obfuscated the figure of the maker. Because these artists practiced outside of conventional art school, gallery, museum, and peer-exchange systems, their works have oftentimes been interpreted through the lens of their discoverers and collectors.
For more than six decades, Yoko Ono has challenged the conventions of art by inviting the audience into the work itself—either by being part of the art or stepping on it. A new exhibition at The Broad museum in Los Angeles traces the evolution of her practice from the early Fluxus experiments of the 1950s through her sweeping participatory installations of the 2000s.
