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The universe of Swiss painter Nicolas Party comes alive in his first solo exhibition at Hauser & Wirth in London. Featuring new treescapes and portraits in pastel, this exhibition celebrates and challenges longstanding and cherished conventions of representational painting through Party’s signature style. The portraits in the exhibition, inspired by two sculptural works by Camille Claudel and Auguste Rodin, serve as a conceptual springboard to also frame the group of treescapes on view. Party utilizes the symbolism and mythological references present in these sculptures to confront the inevitability of aging and death, two themes that have long been central to his artistic exploration. Known for his unique use of soft pastel, the artist has become a master of the medium, employing the pigment’s versatility, immediacy and saturated color.
From October 17, 2025 to March 2, 2026, the Fondation presents a major retrospective of works by Gerhard Richter—one of the most influential contemporary artists—born in Dresden in 1932. He fled East Germany for Düsseldorf in 1961 before settling in Cologne, where he currently lives and works. Continuing its tradition of landmark monographic exhibitions devoted to leading figures of 20th and 21st-century art — including Jean-Michel Basquiat, Joan Mitchell, Mark Rothko, and David Hockney — the Fondation dedicates all its galleries to Gerhard Richter, widely regarded as one of the most important and internationally celebrated artists of his generation.
The Buchmann Galerie is pleased to announce the exhibition Horizons by Bettina Pousttchi. The presentation brings together new photographic works on canvas from the eponymous series Horizons, as well as new polychrome sculptures made of ceramic and steel. The point of departure for all three groups of works is, in different ways, the urban experience of Berlin.
Coinciding with the exhibition at the gallery is the inauguration of the six-meter-high sculpture Vertical Highways V02 by Bettina Pousttchi in front of the Istanbul Modern as part of the museum collection.
The works of Tàpies, Miró, Saura or Chillida do not constitute a style, but an attitude: gesture as memory, texture as an archive of pain and form as an anticipation of what has not yet been possible. In this context, abstraction is not evasion, but political inscription; it is not amnesia, but latent power.
This exhibition traces a geography of resistance that does not just look back, but raises questions about the capacity of art to build more just futures, from a past that still festeres. It is an invitation to inhabit the gap between wound and hope.
David Zwirner is pleased to present an exhibition of new drawings and prints by iconic illustrator and cartoonist R. Crumb (b. 1943), on view at the gallery’s 616 N Western Avenue location in Los Angeles. In his works of the last several years Crumb reflects on life in his eighties and his sixty-year career as well as themes of personal and mass paranoia during these times of social and political unrest. Crumb’s most mordant attacks are, as always, reserved for himself and show him contending with his own manic anxieties in a humorous and insightful manner.
July 2025 – Opera Gallery is pleased to present Jean Dubuffet, L’Hourloupe et son sillage (1962–1982), a major solo exhibition dedicated to Jean Dubuffet (1901–1985) during this year’s Paris Art Week. Running from 16 October to 12 November 2025, the exhibition marks the 40th anniversary of Dubuffet’s passing and highlights the importance of L’Hourloupe and the series that grew out of it.
Featuring a curation of works created over a 20-year period, this exhibition largely celebrates his iconic and prolific L’Hourloupe series. Lasting for twelve years from 1962 to 1974, the series constitutes a pivotal milestone in Dubuffet’s œuvre that would go on to greatly influence his subsequent bodies of work. In addition to L’Hourloupe I and II, the exhibition brings together works from Coucou Bazar, Roman burlesque, Sites tricolores, Crayonnages, Récits, Conjectures, Parachiffres, Mondanités, Lieux abrégés, Théâtres de mémoire, Psycho-sites, and Sites aléatoires.
Hauser & Wirth is honored to present its first New York City exhibition devoted to the work of Sir Don McCullin CBE, lauded internationally as one of the most significant photojournalists of our time. Coinciding with his 90th birthday, McCullin’s most comprehensive US presentation to date brings together over fifty works, as well as seldom seen archival materials and historical ephemera. ‘A Desecrated Serenity’ offers a deep look at both the beauty and brutality of McCullin’s expansive archive. From the gritty unfiltered images taken on the battlefield and in postwar Britain to painterly European vistas and meticulously crafted still lifes, the exhibition reveals the twin forces that course through and characterize McCullin’s oeuvre: an innate and profound compassion for humanity and exceptional mastery of composition and process.
From the Moon to the Shepherd Star, from the Big Dipper constellation to Saturn's rings, the celestial vault and the stars that inhabit it are the object of immense fascination.
The “Reading the Sky” exhibition focuses on the understanding of the night sky in the Mediterranean, as seen from Earth. From the first surveys of the ancient Mesopotamian sky to the vogue for contemporary astrology, via medieval Arab-Muslim astronomy and the Galilean revolution, the societies of the Mediterranean basin have referred to the stars to situate themselves in the cosmos and organize their lives on Earth. Knowledge and beliefs circulated between the two shores, creating a common culture of the sky that still nourishes our contemporary approach to the stars.
Tilton Gallery is pleased to present an exhibition of the sculpture and drawings of Ruth Vollmer, an influential force in abstract art of the sixties and seventies when she showed with Betty Parsons. Jack Tilton represented her estate since he opened in 1983, and we are honored to present the most comprehensive gallery show of her work since the eighties.
Inspired by The Invisible Man (1958) and Fred Moten’s reflections on fugitivity, this exhibition explores invisibility as a space of resistance and creation. Social, political, and ecological invisibilities: imposed disappearances that push voices, bodies, and territories to the margins. Rather than erasure, they reveal fragile yet inventive collective forms of life that persist in the shadows. A journey into discreet gestures and silenced stories that imagine other ways of inhabiting the world.