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The Ōsaka-born artist Takesada Matsutani takes our North Gallery for his first exhibition in London, UK in over a decade, coinciding with his 60th year of living and working in Paris, France. The artist’s diverse practice is concerned with the reshaping of matter, namely his signature materials of vinyl glue and graphite. This exhibition, organized with Olivier Renaud-Clement, ranges from the sensational sculpture ‘The Magic Box’ (1988) to brand-new works that epitomize his experimentation with glue.
With Chromoscope and Mute – Fabienne Verdier, the Cité is launching a new exhibition series curated by Matthieu Poirier, bringing contemporary art into dialogue with our collections. Bridging the legacy of American Color Field painting and contemporary creation, these two exhibitions engage with medieval and classical architectures, where heritage meets abstraction.
From November 7, 2025, to March 22, 2026, Caumont-Centre d’Art presents an exceptional exhibition bringing together works from the collection of Oscar Ghez, a Tunisian-born industrialist and passionate art collector. Through a chronological and thematic journey, visitors are invited to trace the evolution of French painting at the turn of the 20th century.
Almine Rech New York, Tribeca is pleased to announce 'Last Watch before Dawn,' Ali Cherri’s first solo exhibition with the gallery, on view from January 16 to February 28, 2026. I am obsessed with Ali Cherri’s watercolors. More recently, the artist has described his practice as having “two main branches”: sculptural objects and moving-image works.
GALLERIA CONTINUA is pleased to present Navigation privée, Jorge Macchi’s first solo exhibition in its Paris Marais space.
The exhibition presents a new constellation of works that unfolds as a subtle and unsettling investigation into perception, absence, and the fragile mechanisms through which meaning is constructed. Conceived as a sequence of interruptions, suspensions, and rhythms, the exhibition invites the viewer into a space where what is missing becomes as active as what is present.
Following on from the retrospective show of his work at Musée Paul Valéry in Sète (2025) and the acclaimed exhibitions at the Bourdelle and Orangerie museums (2023), where he alternately delved into the domestic grace of flowers and the wildness of forests, painter Philippe Cognée now returns to a core theme of his work: architecture as a metaphor for the human condition.
David Zwirner is pleased to announce The Last Dyes, an exhibition of new dye-transfer prints by William Eggleston opening at the gallery’s 533 West 19th Street location in New York. Eggleston pioneered the use of dye-transfer printing for art photography in the 1970s, and—as the title suggests—these photographs are the final prints ever made of Eggleston’s images using this analog process. The presentation itself constitutes the last major group of photographs ever to be produced using this printing method, making it a unique opportunity to see a number of works by Eggleston in the format in which he originally presented them.
Tomorrow: Yes is an exhibition of works by Austrian artist Erwin Wurm, and his first solo presentation to occupy the entirety of the extensive Thaddaeus Ropac Paris Pantin space. The exhibition unfolds around two monumental sculptural installations: a compressed schoolhouse, and a 6-metre-tall bent sailing boat. The works on view, the majority of which are exhibited here for the first time, en compass materials from marble to bronze to aluminium and span some of the artist’s most celebrated series, including his iconic participative One Minute Sculptures. Brought together, they form a sculptural vocabulary for the abstract and the intangible, testifying to Wurm’s radical disruption of the limitations of sculpture.
Waddington Custot is pleased to present ‘Aria', an exhibition of French artist Fabienne Verdier’s (b.1962) acclaimed Vortex paintings. In this series, Verdier explores the relationship between painting and sound, translating Mozart’s arias — including Le nozze di Figaro, Così fan tutte, and Don Giovanni — into visual form. Verdier initiated the series during her tenure as the first artist-in-residence at The Juilliard School in New York. Initially working on a small scale with pen on paper, she closely observed rehearsals, breathing techniques and vocal performances. She came to conceive arias as helices of sound spiralling through space, each composition generating its own distinct vortex.
Galerie Karsten Greve is pleased to present Ecritures, Megalithses et Cupules III, a solo exhibition by Loïc Le Groumellec. This exhibition marks the third chapter of a journey that began in St. Moritz then Cologne. The new display brings together recent works that encapsulate several decades of research around a single theme, bringing painting to an extreme state of reduction. For the first time, Le Groumellec introduces a new symbol into his vocabulary: the cupule.