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BLACK ART
NEAR + FAR
Miami MoCAAD is dedicated to presenting contemporary art of the African Diaspora and the mother continent, Africa. The global diaspora reaches outward from Africa to the world. Black ARt Near+Far brings you exhibitions featuring black artists in Miami, nationally and internationally.
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Click on the purple dot to see the exhibition in that city.
Latin American Histories
São Paulo, Brazil
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South America
Latin American Histories
São Paulo, Brazil
,
South America
Latin American Histories is a major international group exhibition organized as the centerpiece of MASP’s 2026 curatorial cycle devoted to Latin American histories. The exhibition examines colonialism, resistance, migration, diaspora, and competing constructions of Latin American identity. Curated by Amanda Carneiro and Julieta González, with curatorial assistance from Teo Teotonio, the exhibition occupies five floors of the museum’s Pietro Maria Bardi Building and approaches Latin America not as a stable or self-evident category, but as an idea continually created, imposed, challenged, and reimagined.
The exhibition begins with the violence and extractive systems of European colonization. It considers how Baroque art and images of Latin America as an abundant “tropical paradise” helped produce and circulate colonial ideas about the region. Historical works appear alongside modern and contemporary practices, allowing artists to challenge inherited representations and construct counter-narratives around race, territory, labor, power, and cultural identity.
A significant part of the exhibition examines forms of collective organization developed by Indigenous and Afro-descendant communities, including quilombos, palenques, and cumbes. These histories place resistance and community-building alongside colonization rather than treating Indigenous and African-descended peoples solely through histories of oppression. The exhibition also considers utopian and anti-authoritarian political traditions, including the Zapatistas, as examples of communities imagining social structures outside dominant political systems.
The extensive artist roster crosses historical periods, national borders, and artistic media. It includes major Black and Afro-diasporic figures such as Abdias do Nascimento, Ayrson Heráclito, Belkis Ayón, Dalton Paula, Daniel Lind-Ramos, Elizabeth Catlett, Firelei Báez, Heitor dos Prazeres, María Magdalena Campos-Pons, Pepón Osorio, Rosana Paulino, Seneque Obin, and Wifredo Lam, alongside Indigenous artists, collectives, modernists, conceptual artists, photographers, filmmakers, painters, sculptors, and historical makers from throughout Latin America and its diasporas. The result places Afro-Latin, Indigenous, Caribbean, and diasporic histories in conversation with broader debates about the construction of Latin American modernity.
Diasporican Abstraction: Identities Beyond Representation
San Juan
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North America
Diasporican Abstraction: Identities Beyond Representation
San Juan
,
North America
"Diasporican Abstraction: Identities Beyond Representation" is a large-scale group exhibition curated by Abdiel D. Segarra Ríos that brings together the work of more than 50 artists and collectives from different generations and geographic contexts. The exhibition examines abstraction through the experiences of the Puerto Rican diaspora, migration, and the cultural exchanges created through movement between Puerto Rico and other territories.
The exhibition expands conventional narratives of Puerto Rican abstraction by including artists whose practices have developed both on the island and in cities across the United States, Canada, Europe, Australia, and the Caribbean. It also places Puerto Rican artists in dialogue with Caribbean, Central American, and South American artists whose practices address related themes of territory, migration, memory, the body, and identity.
The exhibition includes works across multiple mediums, including painting, sculpture, installation, photography, performance, and other forms of artistic practice. The museum describes the exhibition as an opportunity to reconsider Puerto Rican abstraction beyond political and geographic borders and to understand the diaspora as a space of cultural production.
A significant component of the exhibition is the presentation, for the first time in Puerto Rico, of selected works from El Museo del Barrio's collection in New York alongside works from private collections and the Permanent Collection of the Museo de Arte Contemporáneo de Puerto Rico. The exhibition also incorporates research projects by Paulina Pagán, through Fibra Común, and Rossana Martínez, through Geometrías del Cuerpo, which explore the body and abstraction in relation to territory, movement, and memory.
Participating artists include Awilda Sterling Duprey, Candida Álvarez
Marcos Dimas, Lee Quiñones, Renny Molenaar, Edra Soto, Jorge Soto, David Santamaría, Freddy Rodríguez, G. Rosa-Rey and many more.
After the Island: Ornament and Ceramic Practice in the Jamaican Diaspora
San Francisco, California
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North America
After the Island: Ornament and Ceramic Practice in the Jamaican Diaspora
San Francisco, California
,
North America
After the Island: Ornament and Ceramic Practice in the Jamaican Diaspora, is on view at the Museum of the African Diaspora (MoAD), 685 Mission Street, San Francisco, from September 30, 2026 through May 30, 2027. The exhibition brings together the work of PJ Anderson, Jacqueline Bishop, and Sharon Norwood to investigate contemporary ceramic practices shaped by Caribbean history and the movement of people, objects, traditions, and memories across geographic and generational boundaries. Each artist approaches Jamaica from a different position within the diaspora—through lived memory, inherited history, or ancestral connection reconstructed over time.
Material history is central to the exhibition. Porcelain and other ceramic forms carry complicated histories: European porcelain became associated with refinement, status, and imperial power, while ceramic traditions across Africa have long carried social identity, sacred knowledge, community histories, and ancestral presence. Within the Caribbean, these traditions encountered one another under the conditions of colonialism and developed into hybrid visual languages shaped by survival, adaptation, and invention. After the Island examines how contemporary artists continue to work within and against these histories, transforming surfaces and vessels into sites of remembrance and cultural assertion.
The three artists approach these questions through distinct practices. PJ Anderson works with hand-built, smoke-fired ceramics and fiber, drawing upon ceramic traditions from Africa and the Americas and exploring silhouette, negative space, surface, and construction. Jacqueline Bishop, a Jamaican-born writer and visual artist, uses decorated bone china and mixed-media ceramic works to confront the histories of slavery and colonialism concealed beneath objects associated with domestic beauty and refinement. Sharon Norwood, also Jamaican-born, works across ceramics, drawing, found objects, and installation, frequently using the curly line as a reference to Afro-textured hair and the Black body while examining race, labor, cultural memory, and systems of representation.
The exhibition emerges from a curatorial partnership between the Museum of the African Diaspora, Black Artists’ Network in Dialogue (Toronto), and the Gardiner Museum (Toronto). The organizations developed concurrent exhibitions considering how artists of Caribbean descent use ceramics to explore labor, the body, groundedness, migration, and cultural continuity. Rather than defining the Caribbean solely as a fixed geographic region, the project understands it as a network of relationships extending across borders and generations. Through vessels, sculptural installations, decorated surfaces, and other material forms, After the Island positions clay and ornament as archives through which diasporic histories can be preserved, questioned, and remade.
Light of the Guiding Star
Camden, New Jersey
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North America
Light of the Guiding Star
Camden, New Jersey
,
North America
Light of the Guiding Star explores the role of the magical and supernatural in experiences of migration and the search for home. Organized around the themes Magical Landscapes, Rituals, and Transformation of Bodies, the exhibition considers how personal histories, ancestry, religion, politics, and spiritual practices accompany people as they move between cultures and construct new understandings of home. Curated by Stass Shpanin, the exhibition features Layo Bright, Gulnur Mukazhanova, Natalia Mejía Murillo, Katya Muromtseva, Bony Ramirez, and Yao Qingmei, all artists who were born outside the countries in which they now live and work. Their practices consider what is carried across physical and cultural borders—including memory, ancestry, ritual, spirituality, cultural traditions, and personal histories—and how those inheritances transform in new environments.
The exhibition unfolds through three principal themes: Magical Landscapes, Rituals, and Transformation of Bodies. Visitors move through imagined environments, ritual objects and actions, and representations of bodies changed by migration and displacement. The exhibition frames immigration as an uncertain expedition in which encounters with unfamiliar cultures can reshape understandings of identity, belonging, and collective memory. It also enters into dialogue with the 2024 Venice Biennale, Foreigners Everywhere, extending questions around foreignness, movement, and cultural identity into the context of New Jersey and its substantial immigrant population.
Stedman Gallery, Rutgers–Camden Center for the Arts, 314 Linden Street, Camden, NJ 08102. Runs through December 12, 2026.
Made in Texas
Austin
,
North America
Made in Texas
Austin
,
North America
Made in Texas examines Texas as a complex cultural force, considering regionalism, climate urgency, labor economies, migration, infrastructure, memory, and the politics of visibility. The exhibition features painting, works on paper, sculpture, and sound, bringing together artists whose practices explore representation, history, identity, and place. Curated by Phillip Townsend.
Odili Donald Odita: Songs from Life
New York City, NY
,
North America
Odili Donald Odita: Songs from Life
New York City, NY
,
North America
Odita’s largest commission to date brings together abstraction, music, African and African American textile traditions, and references to his Nigerian heritage. Executed in flat acrylic latex paint, the installation creates a cascading, immersive environment of geometric forms and bright colors. Each section is connected to music that influenced Odita, emphasizing themes of freedom, change, community, and the human experience.
Project a Black Planet: The Art and Culture of Panafrica
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Project a Black Planet: The Art and Culture of Panafrica
,
Project a Black Planet: The Art and Culture of Panafrica explores Pan-Africanism as a global movement of anti-colonial resistance, solidarity, and collective imagination. Presented at the Barbican Art Gallery, the exhibition brings together artists from Africa and the African diaspora across Brazil, the Caribbean, North America, and Western Europe. Claudette Johnson is among the featured artists, connecting her practice to a broader history of Black artistic and cultural exchange.
El Pasado Mío / My Own Past: Afrodescendant Contributions to Cuban Art
Coral Gables
,
North America
El Pasado Mío / My Own Past: Afrodescendant Contributions to Cuban Art
Coral Gables
,
North America
El Pasado Mío / My Own Past examines Afro-Cuban art from the 1820s to the present, bringing together works by 43 Afrodescendant Cuban artists across painting, sculpture, photography, video, and mixed media. The exhibition explores the historical, political, and social contexts shaping Cuban art and includes works by Juan Roberto Diago alongside internationally recognized and underrepresented artists.
Hombres Libres / Free Men
Venice, Italy
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Europe
Hombres Libres / Free Men
Venice, Italy
,
Europe
Hombres Libres / Free Men is an installation of sculptural heads made from rusted metal, wood, plastic, and recovered materials. The work explores freedom, memory, dignity, trauma, and resistance, confronting the viewer with the enduring history and resilience of Black communities.
Roberto Diago: Presence
Los Angeles, California
,
North America
Roberto Diago: Presence
Los Angeles, California
,
North America
Presence presents a new body of mixed-media portraits and still-life works created over the past year. Diago draws on reclaimed materials and fragmented forms to explore Afro-Cuban identity, racism, history, and the lived realities of the Black diaspora.
The Armory Show
New York City, NY
,
North America
The Armory Show
New York City, NY
,
North America
The Armory Show 2025 brought together leading international contemporary and modern art galleries at New York’s Javits Center. El Apartamento participated with a focused presentation of works by Roberto Diago, including paintings from his Soroa series and sculptural works from Hombres libres, as well as Altar del Hombre. Diago’s presentation explored themes of identity, history, freedom, memory, and the Black experience through mixed-media painting, sculpture, and installation. The fair took place September 5–7, 2025, with a VIP preview on September 4.
Ta a-b kobab ada kāxu-da, ti khoe-du’e
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Africa
Ta a-b kobab ada kāxu-da, ti khoe-du’e
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Africa
Ta a-b kobab ada kāxu-da, ti khoe-du’e presents new work by Bronwyn Katz, a South African artist whose practice works through sculpture and installation to develop a speculative language grounded in land, memory, and embodied forms of knowledge. The exhibition centers on what the festival describes as “the retrieval of lost language through material process,” beginning with the body and with subtle marks on skin that appear, dissolve, and register contact over time. Monument Gallery, Monument Building, Fort Selwyn Drive, Grahamstown / Makhanda, 6140, Eastern Cape, South Africa. June 25, 2026 — Runs through July 5, 2026.
Those intimate bodily cartographies are translated into sculptural forms: metal scaffolds holding resonant cavities, horns filled with healing herbs and beeswax, and conductive wire circuits. The exhibition’s materials matter here, because Katz uses them not simply for formal effect but to imagine language as something carried through touch, sound, sensation, and transmission rather than through stable archive or text. In that sense, the work proposes an alternate system for recording and communicating communal memory.
15th Shanghai Biennale: Does the flower hear the bee?
Shanghai, China
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Asia
15th Shanghai Biennale: Does the flower hear the bee?
Shanghai, China
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Asia
Curated by Kitty Scott, with co-curators Daisy Desrosiers and Xue Tan, the 15th Shanghai Biennale transforms the Power Station of Art into a garden-like landscape where visitors are encouraged to wander, listen, and discover connections across art, nature, science, and culture. Featuring over 30 newly commissioned works, the Biennale proposes contemporary art as a space for exploring new forms of perception and coexistence amid ecological change and global uncertainty. The exhibition also extends throughout Shanghai through City Projects, performances, workshops, lectures, and public programs.
Who, Me?
Frankfurt, Germany
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Europe
Who, Me?
Frankfurt, Germany
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Europe
In Who, Me?, Piper disrupts the conventional gallery experience with two immersive, site-specific works. The main gallery features I’m the Tree (2024), where a suspended dead tree hovers above a mirrored floor, anchored by steel cables — forcing a reconsideration of space, visibility, and presence. A second installation, I’m the Screen (2024), transforms a wall into mirrored panels and aligns chairs and a podium to confront viewers with their own reflection and the empty projection of light. The result is a physical and psychological environment that challenges assumptions about identity, spectatorship, and selfhood.
Florida Prize in Contemporary Art
Orlando, Florida
,
North America
Florida Prize in Contemporary Art
Orlando, Florida
,
North America
The exhibition annually presents a curated group of ten emerging to mid-career artists working across diverse disciplines. Organized by OMA and juried by institutions including Crystal Bridges Museum, the exhibition fosters both public engagement (via the People’s Choice award) and professional recognition (via the $20,000 juried prize). This edition features works that traverse personal and collective memory, environmental connection, urban transformation, and unseen societal layers. The exhibition serves as a survey of contemporary visual expression across Florida, merging immersive installations, tactile ceramics, delicate drawing, expressive textiles, and digital media. It reflects OMA's mission to connect communities with thought-provoking, contemporary artistic voices
Africa Fashion
,
North America
Africa Fashion
,
North America
Ficre Ghebreyesus: Color is Supreme
New York City, NY
,
North America
Ficre Ghebreyesus: Color is Supreme
New York City, NY
,
North America
Ficre Ghebreyesus: Color is Supreme presented work by Ficre Ghebreyesus, the late Eritrean American artist whose practice moved between abstraction and figuration through rhythmically structured compositions and vivid color. The exhibition included paintings alongside photographs, ephemera, and pastels drawn from recent discoveries in the artist’s archive, offering a more expansive view of how memory, music, geometry, and everyday life shaped his art. Galerie Lelong, 528 West 26th Street, New York, NY 10001. April 2, 2026 — Runs through May 9, 2026.
The gallery notes that the title comes from Ghebreyesus’s personal writing as an homage to John Coltrane’s A Love Supreme. Across the exhibition, his paintings connect color-blocking, geometric pattern, and subtle figuration, while photographs from the 1990s made during his return to Eritrea to teach in a war zone were shown publicly for the first time since 1997.
The presentation also emphasized the artist’s wider life as a painter, activist, restaurateur, and writer. By bringing together notebooks, studies, archival material, and finished works, Color is Supreme framed Ghebreyesus’s practice as one in which music, image, memory, and political history remain deeply interconnected.
Brooklyn Abstraction: Four Artists, Four Walls
Brooklyn, New York
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North America
Brooklyn Abstraction: Four Artists, Four Walls
Brooklyn, New York
,
North America
Brooklyn Abstraction: Four Artists, Four Walls presents an installation that reimagines the Brooklyn Museum’s Beaux-Arts Court through the work of four artists whose practices are rooted in abstraction. Each artist transforms one of the monumental walls of the space, creating a dynamic environment defined by color, scale, and material experimentation.
The installation is inspired by the museum’s extensive holdings of paintings by Leon Polk Smith, whose hard-edge abstractions and shaped canvases provide the conceptual starting point for the exhibition. Smith’s work emphasizes clarity of form and precise delineations of color, establishing a dialogue between historical abstraction and contemporary practices.
In response, three Brooklyn-based artists—Maya Hayuk, José Parlá, and Kennedy Yanko—contribute newly created works that extend the language of abstraction into immersive spatial environments. Hayuk’s tactile modular works emphasize vibrant color and pattern; Parlá’s large environmental paintings merge gestural mark-making with architectural scale; and Yanko’s sculptural works combine metal and paint skins to create dramatic surfaces that blur the line between painting and sculpture.
Organized by Catherine Futter, Director of Curatorial Affairs and Senior Curator of Decorative Arts, and Erika Umali, Assistant Curator of Collections at the Brooklyn Museum, the exhibition highlights abstraction as a living and evolving artistic language. The installation invites visitors to move through the Beaux-Arts Court as a fully activated visual environment where historical and contemporary abstraction intersect.
Tides of Being
New York City, NY
,
North America
Tides of Being
New York City, NY
,
North America
Water in these works is both literal and metaphorical—it is the medium through which the human form is reshaped, mirrored, or submerged. The figures, mostly women known to the artist (friends, family, muses), are shown in states of movement, dance, or meditative stillness. The white (negative) space remains central, evoking openness, infinity, possibility; but now water intrudes into or emerges from that space, causing distortion and reflection. The paintings aim for a poetic blending of the self with the natural world, inviting viewers into liminal spaces between clarity and abstraction.
Akinsanya Kambon: Soul Sessions
New York City, NY
,
North America
Akinsanya Kambon: Soul Sessions
New York City, NY
,
North America
Akinsanya Kambon: Soul Sessions presents work by Akinsanya Kambon, an artist, educator, and organizer whose practice spans sculpture, assemblage, and mixed-media forms. Organized as a two-venue collaboration between the Center for Art, Research and Alliances and SculptureCenter, the exhibition is described as the first survey of Kambon’s work in New York City.
At CARA, public programs are described as extending the ethos of the “soul session” through walkthroughs with historians and organizers, using the exhibition as an entry point into study of the Black Panther Party, Pan-African devotional practices, and the Vietnam War. That framing suggests the exhibition connects Kambon’s materials and forms to broader political, historical, and communal struggles. Center for Art, Research and Alliances (CARA), 225 West 13th Street, New York, NY 10011, and SculptureCenter, 44–19 Purves Street, Long Island City, NY 11101. Runs May 28 - August 16, 2026.
The Waiting Room
,
Europe
The Waiting Room
,
Europe
The exhibition features paintings that evoke interiors, architectural elements, or liminal spaces suffused with dispersed light and vibrant, fleshy hues. It’s a show about what remains when memory is filtered through the senses, and how identity can be understood as fluid and multidimensional. Working from sensory cues—especially scent—Inniss tries to render what memory feels like: how light behind closed eyes appears, how atmosphere lingers, how emotional resonance remains even when clarity fades.
America 250: Common Threads
Bentonville, Arkansas
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North America
America 250: Common Threads
Bentonville, Arkansas
,
North America
America 250: Common Threads is a major exhibition and institutional initiative organized by Crystal Bridges Museum of American Art to commemorate the 250th anniversary of the United States. The exhibition brings together works from across time periods and artistic practices, highlighting how artists have engaged with and shaped narratives of American identity.
Through painting, sculpture, photography, craft, and multimedia installations, the exhibition examines how themes such as community, migration, resilience, and cultural exchange have been represented and reinterpreted. By placing historical works in dialogue with contemporary practices, the exhibition emphasizes continuity and change within American art, revealing how artists respond to both enduring and emerging social questions.
As part of the broader America 250 initiative, Common Threads invites visitors to consider the multiplicity of voices that contribute to the nation’s cultural fabric. The exhibition foregrounds storytelling as a central mechanism through which history is constructed, remembered, and contested. Presented at Crystal Bridges Museum of American Art, the exhibition underscores the institution’s commitment to inclusive narratives and public engagement.
otras montañas, las que andan sueltas bajo el agua
Venice, Italy
,
Europe
otras montañas, las que andan sueltas bajo el agua
Venice, Italy
,
Europe
Titled “otras montañas, las que andan sueltas bajo el agua” (Other Mountains, Adrift Beneath the Waves), this exhibition transforms the historic former church of San Lorenzo in Venice into a vast immersive space where landbound logic is challenged and the ocean becomes a metaphor for alternative ways of being.
The show is part of The Current IV: Caribbean research project and emphasizes the aesthetic strategy of improvisation ~freestyle as a means to transcend binary frameworks of land/sea, human/non-human, extractive/non-extractive.
Ayida (Group Exhibition)
,
North America
Ayida (Group Exhibition)
,
North America
Guest-curated by Serubiri Moses, with coordination by Egbert Vongmalaithong, Assistant Curator at the ICA, Ayida honors Caribbean and Afro-diasporic spiritual lineages—particularly Haitian Vodou—and celebrates their enduring influence on contemporary art. Drawing inspiration from the life and work of Haitian poet Assotto Saint, the exhibition foregrounds artistic responses to syncretic traditions, tracing the ways ritual, memory, and material culture shape personal and collective identity.
Across diverse media, participating artists engage with traditions such as Vodou, Candomblé, and El Gagá, creating works that bridge material, intellectual, and spiritual worlds. In doing so, Ayida becomes both an offering and an archive—a site where the divine, the ancestral, and the artistic converge.
Ocean Rise
Miami, Florida
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North America
Ocean Rise
Miami, Florida
,
North America
This exhibition positions fabric as both material and metaphor, connecting shared coastal histories between Nigeria and Miami through works that evoke the rhythms of the ocean and the complexities of displacement. Samuel Nnorom transforms African wax fabrics and pompom forms into layered sculptural compositions that weave together personal and collective histories. Drawing from his upbringing in a family of artisans in Jos, Nigeria, his practice is informed by sewing, shoemaking, and storytelling traditions. Through nearly thirty works, Ocean Rise engages with questions of globalization, postcolonial identity, and the politics of everyday life, offering a vibrant meditation on resilience and cultural exchange.
Joy Gregory: Catching Flies with Honey
London, Great Britain
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Europe
Joy Gregory: Catching Flies with Honey
London, Great Britain
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Europe
“Catching Flies with Honey” explores the nuanced interplay of identity, beauty, race, and history through Joy Gregory’s wide-ranging artistry—from silver-gelatin self-portraits of the late 1980s to cyanotypes, textile installations, film works and new commissions. The title references a proverb Gregory’s mother taught her: “you catch more flies with honey than vinegar,” signalling her strategy of using visual seduction to engage with difficult subjects. The show moves through key series including Autoportrait (1989-90), Objects of Beauty (1992-95), Girl Thing (2002-04), The Blonde (1997-2010) and Seeds of Empire (2021), among others. It captures her experimental use of Victorian photographic processes, the politics of femininity and diaspora, and her persistent challenge to conventional narratives of beauty and belonging.
Volta Photo: Starring Sanlé Sory and the People of Bobo-Dioulasso in the Small but Musically Mighty Country of Burkina Faso
Chicago, Illinois
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North America
Volta Photo: Starring Sanlé Sory and the People of Bobo-Dioulasso in the Small but Musically Mighty Country of Burkina Faso
Chicago, Illinois
,
North America
Volta Photo: Starring Sanlé Sory and the People of Bobo-Dioulasso in the Small but Musically Mighty Country of Burkina Faso featured photographs by Sanlé Sory, a Burkinabè photographer known for his studio portraits and images of nightlife, youth culture, and performance in Bobo-Dioulasso. Working primarily in black-and-white photography, Sory documented sitters posed with radios, telephones, motorbikes, record players, and painted backdrops, creating images that reflect both personal style and the broader energy of social change in post-independence Burkina Faso. The Art Institute of Chicago, 111 South Michigan Avenue, Chicago, IL 60603. April 26, 2018 — Runs through August 19, 2018.
The exhibition presented Sory’s work as both portraiture and historical record, showing how photography could function as a site of aspiration, performance, and self-definition. His images capture young people negotiating modernity through dress, pose, music, and attitude, while also preserving the atmosphere of a rapidly changing cultural moment.
Installed as an immersive environment, Volta Photo extended beyond framed photographs to evoke the social world surrounding the studio itself. By linking photography with popular music and everyday objects, the exhibition emphasized how Sory’s practice documented not only individuals, but also a wider collective imagination shaped by independence, style, and possibility.
Helter Skelter: Arthur Jafa and Richard Prince
Venice, Italy
,
Europe
Helter Skelter: Arthur Jafa and Richard Prince
Venice, Italy
,
Europe
"Helter Skelter: Arthur Jafa and Richard Prince" brings together the work of two artists whose practices interrogate the production, circulation, and meaning of images in contemporary society. Curated by Nancy Spector, the exhibition is conceived as a dialogue that juxtaposes Jafa’s immersive, time-based works with Prince’s appropriation-driven practice, revealing both shared concerns and critical divergences.
Arthur Jafa’s work, particularly his video installations, is known for its rhythmic structure, emotional intensity, and deep engagement with Black cultural production, history, and lived experience. Through montage, sound, and image sequencing, Jafa constructs powerful visual narratives that explore identity, memory, and the politics of representation.
In contrast, Richard Prince’s practice engages with appropriation and recontextualization, drawing from mass media, advertising, and vernacular imagery. By reframing existing images, Prince questions authorship, originality, and the mechanisms through which meaning is produced and consumed.
Presented at Ca’ Corner della Regina in Venice, Helter Skelter positions these two practices in direct conversation, highlighting how both artists engage with visual culture as a site of power and interpretation. The exhibition examines how images circulate across contexts and how meaning is constructed, contested, and transformed. Through this pairing, the exhibition offers a layered exploration of contemporary image-making and its cultural implications.
Thornton Dial: From Bessemer to the Cosmos
London, Great Britain
,
Europe
Thornton Dial: From Bessemer to the Cosmos
London, Great Britain
,
Europe
Thornton Dial: From Bessemer to the Cosmos presents a focused exhibition of works by Thornton Dial, whose practice spanned assemblage, painting, and sculpture. Working primarily with found and salvaged materials—metal, wire, wood, industrial debris, fabric, and paint—Dial constructed layered compositions that addressed civil rights, economic inequality, war, environmental devastation, and spiritual transcendence.
The exhibition title signals the breadth of Dial’s vision: rooted in Bessemer, Alabama—his hometown and a center of industrial labor—yet reaching toward universal and cosmic concerns. Dial’s dense surfaces and complex assemblages combine abstraction and figuration, often embedding symbolic imagery within richly textured compositions. His work operates simultaneously as social commentary and metaphysical reflection, bridging the personal, political, and spiritual.
Presented by Edel Assanti in London, From Bessemer to the Cosmos underscores Dial’s significance within American art history and the broader canon of contemporary assemblage. The exhibition runs through 14 March 2026.
Benny Andrews Migrants
New York City, NY
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Benny Andrews Migrants
New York City, NY
,
Benny Andrews: Migrants presents work by Benny Andrews from The Migrant Series, the artist’s final body of work, created between 2004 and 2006. Working across painting, drawing, and collage, Andrews used his signature rough collage technique, incorporating textile fragments, thread, and repurposed painted canvas into compositions that foreground the human experience of migration. Michael Rosenfeld Gallery, 100 Eleventh Avenue @ 19th, New York, NY 10011. April 18, 2026 — Runs through August 7, 2026.
The exhibition traces three historical migration routes connected to Andrews’s own Black, White, and Cherokee ancestry: the Great Migration, the Dust Bowl exodus, and the Trail of Tears. The gallery frames the series as a study of hardship, oppression, racism, strength, and hope, emphasizing Andrews’s humanist approach to history and his interest in using the past to speak to the present.
Selected works on the exhibition page include oil on canvas with painted fabric collage, joined-canvas works with cord, and pen, ink, and graphite drawings, underscoring the series’ movement between intimate works on paper and large-scale narrative compositions.
Gabrielle Goliath: Personal Accounts
New York City, NY
,
North America
Gabrielle Goliath: Personal Accounts
New York City, NY
,
North America
Curated across MoMA PS1’s second floor, Personal Accounts articulates a sonic language of endurance, capturing the intimate nonverbal registers—breaths, laughter, sighs—of survivors from varied global contexts including Johannesburg and Kyiv. This intimate installation offers a poetic, visceral experience that disrupts conventional notions of representation and testimonial authenticity. Presented as a video and sound installation series created in collaboration with survivors, the work intentionally withholds narrative speech to honor the ineffable, cultivating a communal and empathetic encounter beyond words.
Simba Moto! Seize the fire! Saisis le feu!
Venice, Italy
,
Europe
Simba Moto! Seize the fire! Saisis le feu!
Venice, Italy
,
Europe
Simba Moto! Seize the fire! Saisis le feu! is the Democratic Republic of Congo’s pavilion for the 2026 Venice Biennale. Curated by Nadia Yala Kisukidi and commissioned by Cindy Makiana, the exhibition includes work by Sammy Baloji, Arlette Bashizi, Patrick Bongoy, Damso, Gosette Lubondo, Nelson Makengo, Aimé Mpané, Léonard Pongo, and Géraldine Tobé. Antico Refettorio – Scuola Grande di San Marco, Castello 6777, 30122 Venice, Italy. May 9, 2026 — Runs May 9 through November 22, 2026.
The pavilion is described as a multivocal presentation by artists from the DRC and its diaspora, with the trilingual title itself signaling a layered and expansive sense of Congolese voice. Based on the participating artists’ established practices, the exhibition spans multiple mediums and approaches while foregrounding contemporary Congolese cultural production in an international setting.
Kerry James Marshall: The Histories
London, Great Britain
,
Europe
Kerry James Marshall: The Histories
London, Great Britain
,
Europe
This retrospective spans four decades of Marshall’s career and introduces a major new body of paintings created specially for the exhibition. Organised thematically into eleven cycles, the show explores the artist’s evolving engagement with art-historical tropes, Black identity, myth, society and narrative ambition. From early works like A Portrait of the Artist as a Shadow of His Former Self (1980) to the 23-foot mural Knowledge and Wonder (1995) and fresh series such as Africa Revisited, Marshall asks: What happens when the Black figure is no longer marginalised but central? With brilliant colour, deep formal control, and layered cultural reference, the exhibition underscores his mission of crafting a “counter-archive” to traditional Western painting.
Mémoires des corps [embodied memories]
London, Great Britain
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Europe
Mémoires des corps [embodied memories]
London, Great Britain
,
Europe
In Mémoires des corps, Messouma Manlanbien draws from her Guadeloupean, Ivorian and French heritage to create a multilayered installation that becomes both altar and archive. Using textiles, drawing, sculpture, video-performance and installation, she weaves fabric, shells, metals and everyday objects into symbolic environs of repair and reverence. One of the key works features room-sized curtains of carnelian, pink opal, moonstone and amber—traditionally healing stones—paired with new tapestries depicting female bodies, bees, and reproductive organs. The exhibition reflects on the traumas experienced by women from former French colonies and how these echo across generations. Messouma Manlanbien imagines the gallery as a body in recovery, offering space for remembering, healing and affirmation.
60 Seconds: Polaroids from the Collection
West Palm Beach, Florida
,
North America
60 Seconds: Polaroids from the Collection
West Palm Beach, Florida
,
North America
60 Seconds: Polaroids from the Collection examines the artistic potential of Polaroid photography, a medium defined by immediacy, materiality, and spontaneity. By focusing on works drawn from the Norton Museum’s collection, the exhibition highlights how artists have embraced instant photography as a tool for experimentation, documentation, and conceptual exploration.
Polaroid images, often produced in under a minute, capture fleeting moments with a sense of urgency and intimacy. Artists have used the format to test ideas, record personal experiences, and push the boundaries of photographic practice. The medium’s distinctive qualities—its soft tonal range, unique color shifts, and physical singularity—have made it an important site for innovation within both photography and contemporary art.
Through a range of works, the exhibition considers how Polaroid photography intersects with themes of time, memory, identity, and process. Whether used as a preparatory tool, an artwork in itself, or a means of capturing ephemeral experiences, the Polaroid remains a powerful medium for artistic expression.
Presented at the Norton Museum of Art in West Palm Beach, 60 Seconds: Polaroids from the Collection invites viewers to reflect on the relationship between technology and creativity, and the enduring appeal of capturing a moment as it unfolds.
Across the Universe
Houston, Texas
,
North America
Across the Universe
Houston, Texas
,
North America
Jackson’s work in “Across the Universe” spans a variety of media and modes of presentation. Some artworks are large abstract‐geometric paintings with halftone lines, crosshatching, washes and opaque color fields; others are sculptural or textile works that incorporate awning-style structures extending into the space, vinyl strips casting colored shadows, and layered papers and ephemera. Video installations appear, often drawing on local histories (e.g., events in Houston, court cases, stories from Black communities) to overlay archival footage, interviews, reenactments, or staged performance. An example is Vibrating Boundaries (Law of the Land) (Self Portrait as Tatyana, Dajerria, and Sandra), which layers video clips from incidents of racial violence (McKinney pool party; Sandra Bland case) with images of local artists in positions that mirror both aggressors and the vulnerable. Another work, Minute by Minute (Juneteenth in Five Points Denver, CO 2023 / Leaves Study by my Mother in COVID Isolation in Bakersfield, CA 2020), interweaves personal and family history (including recordings, photography) with broader themes of grieving and memory during the pandemic. Through such work, Jackson creates immersive environments that ask the viewer to reckon with history—not just as backdrop, but as active force shaping identity, loss, and resistance.
This Is America: Selections from PAMM’s Collection
Miami, Florida
,
North America
This Is America: Selections from PAMM’s Collection
Miami, Florida
,
North America
This Is America: Selections from PAMM’s Collection brings together works from the permanent collection of Pérez Art Museum Miami to reflect on the Semiquincentennial, the 250th anniversary of the United States Declaration of Independence. Featuring artists including José Bedia, Judy Chicago, Alfredo Jaar, Rashid Johnson, Eddie Arroyo, Thomas Bils, Gonzalo Hernández, and Sandra Ramos, the exhibition spans photography, painting, collage, sculpture, video, and neon to present multiple perspectives on American history and identity. Pérez Art Museum Miami, 1103 Biscayne Blvd., Miami, FL 33132. May 28, 2026 — Runs through May 23, 2027.
The exhibition situates national narratives within the cultural dynamics of Miami and traces how artists have responded to moments of crisis and transformation, from the Civil War and World War II to 9/11, the COVID-19 pandemic, and contemporary social and political conditions. It also foregrounds artists and perspectives that have historically been underrepresented in American art, including women, immigrants, Black artists, Indigenous artists, and artists of color.
Hurvin Anderson
London, Great Britain
,
Europe
Hurvin Anderson
London, Great Britain
,
Europe
Hurvin Anderson presents the first major solo exhibition of the artist’s work, offering a comprehensive overview of his practice across several decades. Known for his vibrant, color-saturated paintings, Anderson creates landscapes and interiors that reflect on memory, migration, and cultural identity.
Born in the United Kingdom to Jamaican parents, Anderson’s work frequently navigates the space between the UK and the Caribbean. His paintings draw from personal experiences, family histories, and culturally significant sites—such as barbershops—while exploring the complexities of belonging and displacement. These spaces are often layered, combining multiple locations and temporalities into a single composition, emphasizing the fluid and unreliable nature of memory.
Anderson’s paintings are distinguished by their atmospheric use of color, pattern, and spatial ambiguity. By engaging with and reinterpreting traditions of British landscape painting, he situates his work within art historical frameworks while simultaneously challenging and expanding them. Through this approach, Anderson addresses broader questions of identity, diaspora, and cultural inheritance.
Presented at Tate Britain in London, this exhibition affirms Hurvin Anderson’s position as one of the most significant contemporary painters of his generation. The exhibition runs through August 23, 2026.
Diana Eusebio: Field of Dreams
North Miami, Florida
,
North America
Diana Eusebio: Field of Dreams
North Miami, Florida
,
North America
Diana Eusebio: Field of Dreams presents an immersive installation that reflects the artist’s exploration of ancestry, migration, and belonging. Eusebio uses natural dyeing techniques and textile-based practices to connect contemporary art with centuries-old traditions of plant-based color extraction and fabric preparation. The exhibition marks the artist’s first solo museum presentation and highlights how material processes can serve as vessels for storytelling and cultural memory.
Central to Eusebio’s work is a palette derived from seven natural dyes sourced from plants and organic materials found across the Americas and the Caribbean. These include avocado and cochineal for red and pink tones; annatto, Spanish moss, and marigolds for yellow and orange hues; palo de campeche (logwood) for purple; and indigo for blue. Through harvesting, boiling, and immersing fabric in these dyes, the artist reconnects with ancestral knowledge while producing richly layered textiles that evoke landscape, time, and lineage.
The exhibition transforms the gallery into a living environment reminiscent of an ethnobotanical garden. Suspended Spanish moss, soft muhly grass, and family portraits create a space where visitors move through layered histories and personal narratives. The title Field of Dreams references the 1989 baseball film, invoking themes of faith, belief, and second chances—concepts that Eusebio connects to the Dominican immigrant experience of building a new life in a new place. Together, the works celebrate nature, community, and the intergenerational wisdom carried through cultural traditions.
Danielle McKinney: Shelter
West Palm Beach, Florida
,
North America
Danielle McKinney: Shelter
West Palm Beach, Florida
,
North America
Danielle McKinney: Shelter presents a focused survey of paintings created over the last five years of the artist’s practice. Known for her evocative depictions of women in domestic interiors, McKinney constructs scenes that feel both intimate and distant, inviting viewers into moments of quiet introspection while maintaining a sense of emotional opacity.
The women in McKinney’s paintings are often shown in familiar, softly lit interiors that evoke a sense of timelessness and subtle nostalgia. These spaces—bedrooms, living rooms, and other private environments—serve as sites where solitude becomes a form of refuge. Through careful attention to gesture, posture, and atmosphere, McKinney captures fleeting emotional states, balancing vulnerability with restraint.
A central tension in McKinney’s work lies between recognition and unknowability. While viewers may identify with the emotional tone or setting of the paintings, the subjects themselves remain partially inaccessible, their inner worlds held just beyond reach. This dynamic transforms everyday moments into meditations on solitude, rest, and the complexity of human connection.
Presented as part of the Norton Museum of Art’s Recognition of Art by Women (RAW) series, Shelter situates McKinney’s practice within broader conversations about representation, interiority, and contemporary figurative painting. The exhibition runs through October 4, 2026, in West Palm Beach, Florida.
The Gift of Tongues
New York City, NY
,
North America
The Gift of Tongues
New York City, NY
,
North America
Sanford Biggers | The Gift of Tongues features new work by Sanford Biggers, whose multidisciplinary practice spans painting, sculpture, film, collage, performance, and music. The exhibition brings together works from his Codex, Chimera, and Shimmer series, using antique quilts, marble, sequins, painted surfaces, and installation to reconsider entrenched myths and cultural narratives. Marianne Boesky Gallery, 507 West 24th Street, New York, NY 10011. Runs April 30, 2026 — June 13, 2026.
For this exhibition, Biggers transforms the gallery into a theatrical labyrinth of curtains, false walls, wallpaper fragments, and carefully staged sightlines. Within that environment, hybrid sculptural figures and quilt-based works create a shifting visual language shaped by African sculptural traditions, classical and neoclassical forms, Americana, and coded Black histories.
Antique quilts play a central role in the exhibition, continuing a material thread Biggers has developed for years. In the Codex works, quilts function as layered supports that retain traces of earlier makers while receiving new painted and collaged interventions; in the marble Chimera sculptures, classical fragments are fused with African references to unsettle assumptions about historical power, form, and meaning. Across the exhibition, recurring cloud motifs and theatrical staging keep symbols open, unstable, and available for reinterpretation.
Lonnie Holley at Labanque
Béthune, France
,
Europe
Lonnie Holley at Labanque
Béthune, France
,
Europe
Lonnie Holley at Labanque includes of work by Lonnie Holley as part of Déplier les mondes. Labanque, 44 place Georges Clemenceau, 62400 Béthune, France. May 23, 2026 — Runs through November 15, 2026.
Theaster Gates: Unto Thee
Chicago, Illinois
,
North America
Theaster Gates: Unto Thee
Chicago, Illinois
,
North America
Unto Thee is constructed around several core collections Gates acquired during his tenure at the University of Chicago—glass lantern slides, display vitrines from the Institute for the Study of Ancient Cultures, paint-stained concrete, and wooden pews from Bond Chapel—all previously considered obsolete. In his installations at the Smart, Gates weaves these materials together with recent paintings, ceramics, film works, and furniture from the Johnson Publishing Company archive. The exhibition evokes Gates’s broader commitment: to cultivate things once discarded, activate memory through material, and connect art to South Side Chicago’s communities.
Rhythm & Skin
Berlin, Germany
,
Europe
Rhythm & Skin
Berlin, Germany
,
Europe
Rhythm & Skin is a visually and politically resonant exhibition that explores the layered realities of Afro-Brazilian life through portraiture and symbolic figuration. OBastardo’s paintings depict faces and bodies that exist between the individual and the collective, carrying histories of resistance while gesturing toward futurity. His visual language draws deeply from Afro-Brazilian culture, urban aesthetics, and spiritual traditions such as Candomblé.
Using a hybrid painting approach that merges gestural mark-making with graphic structures influenced by graffiti and street culture, OBastardo constructs richly layered surfaces of bold contours, rhythmic color fields, and recurring symbols. During his Berlin residency, he introduced an expanded spectrum of skin tones, reflecting the complexity of Brazilian society. Figures are deliberately anonymized, freed from fixed identities, and embedded within symbolic systems that function as ciphers of collective memory.
Recurring references to the Orixá Oxalufan—associated with creation, peace, balance, and the color white—appear throughout the works as protective and structuring elements. Together, the paintings render visible social realities often marginalized or overlooked: Black bodies, favela life, Afro-diasporic spirituality, and everyday dignity in the face of inequality. The exhibition operates as both indictment and celebration—an assertion of visibility, survival, and the right to be seen.
Danielle McKinney | Forest for the Trees
New York City, NY
,
North America
Danielle McKinney | Forest for the Trees
New York City, NY
,
North America
Danielle Mckinney | Forest for the Trees features new paintings and watercolors by Danielle Mckinney, an artist known for cinematic portraits of women in dreamlike domestic interiors. Working in oil on linen and watercolor on paper, Mckinney depicts solitary female protagonists reclining, reading, smoking, and resting in intimate interior spaces that hold both comfort and unease. Boesky Gallery, 509 West 24th Street, New York, NY 10011. May 7, 2026 — Runs through June 13, 2026.
The press release describes these new works as marking a subtle shift in Mckinney’s figure-ground relationship. Her figures become looser and less defined, at times dissolving into their surroundings, while the rooms themselves become more articulated through chandeliers, lamps, modernist furniture, floral pillows, and bright blooms. This formal change reflects a period of personal and collective turmoil during which the paintings were made, with domestic space functioning less as polished stage set than as refuge.
Alongside ten new paintings, the exhibition includes a suite of watercolors shown for the first time in New York. In these works, Mckinney uses a pared-down, fluid gesture to render graceful figures against stark white grounds, extending the exhibition’s meditation on uncertainty, introspection, and the possibility of being held within fragile interior worlds.
We Proceed in the Footsteps of the Sunlight
Cape Town, South Africa
,
Africa
We Proceed in the Footsteps of the Sunlight
Cape Town, South Africa
,
Africa
We Proceed in the Footsteps of the Sunlight presents the first museum survey exhibition of Ghanaian-German artist Zohra Opoku. Working across textile-based installation, photography, printmaking, and sculpture, Opoku builds a layered visual language through fabric, personal history, and cultural heritage, exploring the intersections of identity, memory, ancestral lineage, and selfhood.
Curated by Beata America and Dr Phokeng Setai, the exhibition maps the artist’s trajectory over the past decade through major bodies of work anchored by the recurring elements of water, breath, and ground. These motifs structure Opoku’s reflections on ritual, spirit, rootedness, familial belonging, and the movement between cultures, geographies, and time.
The exhibition’s title draws from the Book of the Dead, or Coming Forth by Day, and is framed by Opoku as a declaration of passage through turbulence and toward transformation. Trained in fashion design and photography, the artist extends textile processes into tactile installations and sculptural forms that function as an intimate archive of lived experience and diasporic memory.
Zeitz Museum of Contemporary Art Africa, Silo District, South Arm Road, V&A Waterfront, Cape Town, 8002, South Africa. Runs September 11, 2025 -October 4, 2026.
Allegiance to the People
Houston, Texas
,
North America
Allegiance to the People
Houston, Texas
,
North America
Kandy G Lopez: Allegiance to the People is on view at the Houston Museum of African American Culture, 4807 Caroline Street, Houston, TX 77004, from March 27, 2026 through June 6, 2026. The exhibition presents work by Kandy G. Lopez, an Afro-Caribbean American multidisciplinary portrait artist whose practice is rooted in portraiture, textile layering, and bold color. Curated by Danielle Finnerman, the show is Lopez’s first solo exhibition in Texas and introduces Houston audiences to a body of work that foregrounds the dignity and visibility of people too often left out of dominant visual narratives.
Lopez, who was born in New Jersey and raised in South Florida by Dominican parents, draws on diasporic experience and the negotiation of identity across cultures. Her portraits use layered textiles, dynamic color, and striking figuration to reflect lived experience rather than abstraction alone. The figures in her work are drawn from people she encounters in daily life, and each portrait carries themes of cultural memory, resilience, vulnerability, and self-possession.
At the Houston Museum of African American Culture, Allegiance to the People positions portraiture as an act of recognition and affirmation. The exhibition emphasizes Lopez’s commitment to representing individuals not as symbols, but as fully realized people whose lives hold complexity, beauty, and historical weight. Runs through June 6, 2026.
Renaissance, Race, and Representation in the Harmon and Harriet Kelley Collection of African American Art
Cambridge, MA
,
North America
Renaissance, Race, and Representation in the Harmon and Harriet Kelley Collection of African American Art
Cambridge, MA
,
North America
Renaissance, Race, and Representation in the Harmon and Harriet Kelley Collection of African American Art presents a wide-ranging examination of how Black artists negotiated classical ideals of beauty, proportion, and humanism while responding to the racial realities of their time. Spanning the Harlem Renaissance through the postwar and Civil Rights eras, the exhibition foregrounds artists who engaged the visual languages of the Renaissance and modernism to claim artistic authority and cultural legacy within Western art history.
The exhibition features works by Ron Adams, Charles Alston, Emma Amos, Benny Andrews, Romare Bearden, Elizabeth Catlett, Hilda Wilkerson Brown, Aimé Césaire, Jacob Lawrence, William Pajaud and more. Together, their works demonstrate how African American artists adapted figuration, narrative, and symbolism to assert Black humanity, intellectual rigor, and historical continuity.
Rashid Johnson: A Poem for Deep Thinkers
Fort Worth, Texas
,
North America
Rashid Johnson: A Poem for Deep Thinkers
Fort Worth, Texas
,
North America
Rashid Johnson: A Poem for Deep Thinkers presents works by Rashid Johnson, one of the most acclaimed artists of his generation, whose multidisciplinary practice spans painting, sculpture, film, video, and installation. Bringing together nearly 90 works, the exhibition follows Johnson’s development from early experiments in photography and video to black-soap paintings, spray-painted text works, monumental sculptures, and assemblages. Modern Art Museum of Fort Worth, 3200 Darnell Street, Fort Worth, TX 76107. March 8, 2026 — Runs through September 27, 2026.
The exhibition engages art history, philosophy, and Black popular culture as frameworks for exploring the human psyche. Across the presentation, Johnson reflects on history, identity, masculinity, parenthood, and self-care, underscoring his role as both an interpreter of art history and a major force in contemporary culture.
Highlights include a site-specific installation, an outdoor sculpture, and two works activated through live performance. The exhibition is organized by Naomi Beckwith and Andrea Karnes, with additional support from Faith Hunter.
Nigerian Modernism
London, Great Britain
,
Europe
Nigerian Modernism
London, Great Britain
,
Europe
in Nigeria across the twentieth century. Tate frames the exhibition around cultural and artistic rebellion, following artists working before and after independence and highlighting the ways they engaged local histories, international exchange, formal experimentation, and political transformation. Tate Modern, Bankside, London SE1 9TG, United Kingdom. October 8, 2025 — Runs through May 10, 2026.
The exhibition guide notes that each room focuses on different artists, societies, and art schools, showing how Nigerian modernism emerged through dialogue between Indigenous knowledge, academic training, pan-African thought, and global modernist currents. The exhibition includes artists such as Uzo Egonu, Demas Nwoko, Yusuf Grillo, Clara Etso Ugbodaga-Ngu, Afi Ekong, Erhabor Emokpae, Bruce Onobrakpeya, and Twins Seven-Seven.
Continuum: Over 100 Years of Black Art
New York City, NY
,
North America
Continuum: Over 100 Years of Black Art
New York City, NY
,
North America
Continuum: Over 100 Years of Black Art presents a survey of work by African American artists that spans more than a century of artistic practice. The exhibition draws from paintings, drawings, and sculpture to explore themes of innovation, resilience, identity, representation, and artistic excellence within the broader history of American art. The presentation includes work by seminal figures and intergenerational voices whose contributions have shaped modern and contemporary art.
The exhibition underscores ACA Galleries’ historical legacy of presenting African American art — a tradition that dates back to the gallery’s founding in 1932 — and invites viewers to consider how artistic practices by Black artists have evolved, intersected, and sustained cultural narratives.
The Lost World: The Art of Minnie Evans
Atlanta, Georgia
,
North America
The Lost World: The Art of Minnie Evans
Atlanta, Georgia
,
North America
The Lost World: The Art of Minnie Evans presents a comprehensive selection of works by Minnie Evans, an artist widely celebrated for her visionary approach and deeply personal visual language. Often working on found or unconventional materials such as paper, cardboard, and envelopes, Evans created compositions overflowing with vibrant color, rhythmic pattern, and symbolic imagery. Her drawings and paintings feature recurring motifs—eyes, flowers, butterflies, angels, and hybrid figures—that suggest spiritual awakening, natural abundance, and cosmic interconnectedness.
Evans described her work as divinely inspired, rooted in dreams and inner visions rather than formal artistic training. Although she began producing art later in life while working as a gatekeeper at Airlie Gardens in Wilmington, North Carolina, her work gained national recognition and has since been positioned within broader histories of American modernism, self-taught art, and spiritual abstraction. Organized by the High Museum of Art, The Lost World: The Art of Minnie Evans situates Evans’s practice as both deeply individual and universally resonant, inviting viewers into a richly imagined realm where spirituality, nature, and creativity converge. The exhibition runs through October 12, 2025, at the High Museum of Art, 1280 Peachtree Street NE, Atlanta, Georgia.
Mestre Didi: In Spiritual Form
New York City, NY
,
North America
Mestre Didi: In Spiritual Form
New York City, NY
,
North America
The exhibition features Didi’s transformative sculptures alongside a richly illustrated catalogue that includes newly translated writings by the artist. Curated by Rodrigo Moura (Chief Curator), Ayrson Heráclito (Guest Curator), and Chloë Courtney (Curatorial Fellow), the show celebrates Didi’s legacy and his contributions to preserving Afro-Brazilian traditions. Related programming includes roundtable discussions and lectures on Afro-diasporic art and spirituality.
Mythologies
,
Europe
Mythologies
,
Europe
Ayón’s visual language centers on the Abakuá mythology, particularly the story of Sikán, a woman whose fate within the society became a metaphor for themes of secrecy, exclusion, gender, and power. Through collography, Ayón developed dense, textured surfaces that evoke both ritual and myth, giving voice to a figure traditionally silenced in Abakuá lore. Works such as Sikán (1985), La cena (The Supper), La familia, and La consagración I–III exemplify her shift from color to a restrained palette of black, white, and gray, which heightened the symbolic and emotional intensity of her art.
Recognition of Art by Women: In Retrospect
West Palm Beach, Florida
,
North America
Recognition of Art by Women: In Retrospect
West Palm Beach, Florida
,
North America
Recognition of Art by Women: In Retrospect commemorates a decade of the Norton Museum of Art’s Recognition of Art by Women (RAW) series, an initiative launched in 2011 to address the underrepresentation of women artists in museum exhibitions and collections. Designed as a platform for solo presentations by emerging and mid-career artists, the series has played a pivotal role in shaping the museum’s contemporary programming and commitment to equity.
This anniversary exhibition honors the nine artists who preceded the tenth RAW artist, Danielle McKinney, bringing their works into dialogue within a single exhibition. Featured artists include Jenny Saville, Sylvia Plimack Mangold, Phyllida Barlow, Klara Kristalova, Njideka Akunyili Crosby, Svenja Deininger, Nina Chanel Abney, María Berrío, and Rose B. Simpson.
Bringing together artists with diverse practices and perspectives, the exhibition highlights a wide range of approaches to mark-making, materiality, and subject matter. From painting and sculpture to mixed media and installation, the works on view demonstrate how contemporary women artists engage deeply personal, emotional, and conceptual concerns while contributing to broader artistic discourse.
Presented at the Norton Museum of Art, In Retrospect not only reflects on the achievements of the RAW series but also underscores its ongoing mission to foster a more inclusive and representative art world. The exhibition runs through September 27, 2026.
Freedom Dreams
Philadelphia, Pennsylvania
,
North America
Freedom Dreams
Philadelphia, Pennsylvania
,
North America
Freedom Dreams is on view at the Barnes Foundation, 2025 Benjamin Franklin Parkway, Philadelphia, PA 19130, from April 12, 2026 through August 9, 2026. The exhibition features works by Arthur Jafa, David Hartt, Garrett Bradley, Ja’Tovia Gary, and Tourmaline, whose practices span film, video, and installation. As Philadelphia and the nation approach the 250th anniversary of the United States, the exhibition centers the memories, dreams, and histories of Black Americans through moving-image works that engage history, archives, and cultural memory.
Co-curated by Maori Karmael Holmes, Chief Executive and Artistic Officer of BlackStar Projects, and James Claiborne, Fleischner Family Deputy Director for Community Engagement at the Barnes, Freedom Dreams emphasizes the fluid boundary between past, present, and future. Across the exhibition, the artists consider how Americans of color have shaped identities and created spaces of resistance, joy, and resilience in the face of systemic oppression.
Connecting Thin Black Lines 1985 – 2025
London, Great Britain
,
Europe
Connecting Thin Black Lines 1985 – 2025
London, Great Britain
,
Europe
“Connecting Thin Black Lines 1985 – 2025” revisits and expands the legacy of the trail-blazing 1985 exhibition “The Thin Black Line.” The show presents both historical and contemporary works by the original cohort of Black and Asian women artists, tracing their evolving practices over four decades. Highlights include Boyce’s Rice n Peas (1982) and new neon work by Burman and sculpture by Smith. The exhibition also features archival material—photographs, correspondence and documents from the 1985 show—alongside six new commissions and a full programme of film, music and performance events throughout the summer.
Tom Lloyd at Studio Museum in Harlem
New York City, NY
,
North America
Tom Lloyd at Studio Museum in Harlem
New York City, NY
,
North America
Tom Lloyd (1929-1996) was an artist, activist and community organizer whose innovative installations fused light, technology and form. In this exhibition, Lloyd’s early light sculptures—formed from Christmas tree bulbs, car-tail-light lenses and electronic components—are paired for the first time with archival materials documenting his activism (including his role in the Art Workers’ Coalition) and his founding of the Store Front Museum in Jamaica, Queens. The show presents his works on paper, reliefs and major light-sculpture installations, reconstructed and conserved for this presentation. The installation space evokes the architected vault of a chapel and highlights how Lloyd’s work reflected his Black community and cultural moment.
Nari Ward: Art Basel Qatar
Qatar, Doha
,
Middle East Asia
Nari Ward: Art Basel Qatar
Qatar, Doha
,
Middle East Asia
Lehmann Maupin’s presentation at Art Basel Qatar features a focused selection of new and recent work by Nari Ward, whose practice spans more than three decades and is internationally recognized for large-scale, mixed-media installations made from found and repurposed materials. Ward’s work addresses issues of race, migration, identity, consumer culture, and spirituality, often drawing from materials sourced in his longtime neighborhood of Harlem, New York. The presentation coincides with Ward’s continued international visibility, including recent and concurrent biennial exhibitions and his major retrospective Ground Break at Pirelli HangarBicocca in Milan (2023).
At the center of the presentation is a large-scale installation composed of Balance Fountain (2013–2014) and Groundin’ Visible (2023). Balance Fountain recalls a wheelbarrow overflowing with enigmatic cargo—silver shade cloth, oversized golden mango seeds, and elongated metal window balances spilling from an antique barrel. Removed from their original function, the window balances take on metaphorical resonance, suggesting vision, perception, and the conditions through which meaning is shaped. The sculpture rests atop Groundin’ Visible, a floor installation made of bricks overlaid with a copper sheet. Ward’s use of copper reflects his ongoing interest in the material’s energetic properties and cultural associations with healing and restoration. Together, these works evoke the reparative potential of communal gathering and shared space.
SUNSET GARDEN
Los Angeles, California
,
North America
SUNSET GARDEN
Los Angeles, California
,
North America
SUNSET GARDEN is a moving-image artwork by Alexandre Arrechea that examines architectural forms as expressions of social choice, cultural value, and structural tension. Known for his critical engagement with architecture and urbanism, Arrechea uses digital tools to reimagine space as both symbolic and lived. In this work, 3D-rendered sculptures of bees and masks become metaphors for community, identity, and collective labor, suggesting how built environments shape and reflect social systems.
The project draws inspiration from multiple sources, including the history of the Sunset Strip, Arrechea’s roots in Havana, and the gardens of Monsieur Balmain’s Villa, as well as Olivier Rousteing’s immersive virtual reality designs. These references converge to create a layered visual language that blends architectural history, fashion, nature, and digital abstraction. By situating the artwork on a large-scale digital billboard, SUNSET GARDEN collapses distinctions between art, advertising, and urban spectacle.
Presented by the City of West Hollywood through its MIMA program, SUNSET GARDEN forms part of a broader exhibition series featuring works by multiple artists across Sunset Boulevard. The work is visible at the top of every hour on the digital billboard at 8497 Sunset Boulevard, Los Angeles, California, from February 1 through May 31, 2026.
Here: Pride and Belonging in African Art
Washington D.C.
,
North America
Here: Pride and Belonging in African Art
Washington D.C.
,
North America
Here: Pride and Belonging in African Art presents a dynamic selection of artworks that foreground the ways African artists articulate belonging—whether rooted in geography, cultural heritage, community, or selfhood. Spanning a range of mediums including painting, sculpture, photography, textiles, and mixed media, the exhibition reflects the diversity of artistic strategies used to express pride and connection across time and place.
The exhibition considers how artists respond to social, political, and historical forces while affirming presence and agency. Works explore themes such as home, migration, memory, language, spirituality, and cultural continuity, offering perspectives that resist singular narratives of African identity. Rather than framing belonging as fixed, the exhibition emphasizes it as relational and evolving.
Organized by the Smithsonian National Museum of African Art, Here: Pride and Belonging in African Art situates contemporary artistic production within broader conversations about identity, representation, and cultural affirmation. The exhibition invites viewers to consider how art functions as a site of self-recognition and collective pride. Here is on view through August 23, 2026, at the Smithsonian National Museum of African Art, Washington, DC.
Calida Rawles: Away with the Tides
Jacksonville, Florida
,
North America
Calida Rawles: Away with the Tides
Jacksonville, Florida
,
North America
Calida Rawles: Away with the Tides presents a compelling solo exhibition by Calida Rawles, an artist whose work blends hyperrealism with poetic abstraction to investigate the cultural, historical, and emotional significance of water. In this presentation at the Cummer Museum of Art & Gardens, water serves not only as a physical setting but also as a symbolic element that carries histories of displacement, racial exclusion, communal resilience, and personal healing. Drawing from narratives linked to the African American experience, the artist portrays figures—often based on real individuals—submerged in or interacting with varying bodies of water that evoke both peril and possibility.
Rawles’s paintings bring to the surface layered stories that move between the personal and the collective. Her compositions capture moments of stillness and flux, using light, gesture, and surface to convey emotional depth. The exhibition bridges the artist’s signature modes—where realism meets abstraction—and invites audiences to consider water as both witness and participant in histories of community, memory, and transformation. Organized by the Cummer Museum of Art & Gardens, Away with the Tides highlights Rawles’s ongoing engagement with Black identity, landscape, and the unseen or obscured narratives intrinsic to American life. The exhibition runs through March 1, 2026, at the Cummer Museum of Art & Gardens, 829 Riverside Avenue, Jacksonville, FL.
Tesfaye Bekele: Moments of Change
Addis Ababa, Ethiopia
,
Africa
Tesfaye Bekele: Moments of Change
Addis Ababa, Ethiopia
,
Africa
Tesfaye Bekele: Moments of Change presents a new body of work by Tesfaye Bekele, an Addis Ababa–based artist whose practice meditates on the subtle and immense forces of nature as reflections of lived experience. Working primarily in acrylic paint on canvas and textiles, Bekele uses repeated dots, layered lines, and shifting color fields to evoke landscapes that resemble aerial maps, constellations, or fields in motion. These compositions resist fixed perspective, instead suggesting time as something felt physically rather than measured linearly.
Central to the exhibition is Bekele’s use of seasonal change as metaphor. Shifts in weather parallel the realities of bodily limitation, endurance, and care that shape human experience. Grass, flowers, and leaves are rendered not only visually but sensorially, recalling smell, touch, and movement. The incorporation of fabric is especially significant, directly referencing the body’s vulnerability and the labor required to sustain it, while also emphasizing softness, wear, and resilience.
Presented by Addis Fine Art, Moments of Change situates Bekele’s work within broader conversations around abstraction, ecology, and embodiment. Bekele, who was born in 1982 and educated at Addis Ababa University’s Alle School of Fine Arts and Design, currently teaches at the School of Fine Arts. His work has been exhibited internationally across Ethiopia, Kenya, Japan, and Germany. The exhibition runs through February 20, 2026, at Addis Fine Art, NOAH Centrum Building, Bole Atlas, Addis Ababa.
Sonia Boyce: Improvise with what we have
New York City, NY
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North America
Sonia Boyce: Improvise with what we have
New York City, NY
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North America
In Improvise with what we have, Boyce explores the dynamics of group presence and gesture through two major new film works. The first, Silent Disco (2025), captures dancers responding to music via headphones—rendering visible the invisible rhythms of performance, connection and listening. The second, Carmen (2025), traces the career of Guyanese-British actress Carmen Munroe, weaving personal narrative and Black British cultural legacy. Boyce expands these works into immersive installations: still frames from Silent Disco form kaleidoscopic wallpapers that wrap the gallery, erasing boundaries between image, environment and viewer. Her practice blurs media, ritual and participation—challenging conventions of authorship and representation.
Mary Lovelace O’Neal: Blacker Than a Hundred Midnights Down in a Cypress Swamp
Richmond, Virginia
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North America
Mary Lovelace O’Neal: Blacker Than a Hundred Midnights Down in a Cypress Swamp
Richmond, Virginia
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North America
Mary Lovelace O’Neal: Blacker Than a Hundred Midnights Down in a Cypress Swamp is a solo exhibition of work by Mary Lovelace O’Neal, presented at the Virginia Museum of Fine Arts, 200 N Arthur Ashe Boulevard, Richmond, VA 23220. Runs through August 2, 2026.
The exhibition brings together a significant body of work from a defining period in O’Neal’s practice, including large-scale lampblack paintings and works on paper. Known for her powerful abstract language, O’Neal uses layered black pigment, gesture, and atmosphere to create works that feel both expansive and intimate. Her materials and formal approach allow darkness to function not simply as color, but as space, force, mood, and meaning.
Across the exhibition, O’Neal’s work reflects on interiority, spirituality, and the emotional depth of abstraction. The paintings invite sustained looking, revealing how scale, texture, and tonal intensity can carry psychological and spiritual weight. The exhibition also underscores O’Neal’s important place within the history of Black abstraction and contemporary American art.
Veronica Ryan: Multiple Conversations
London, Great Britain
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Europe
Veronica Ryan: Multiple Conversations
London, Great Britain
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Europe
Veronica Ryan: Multiple Conversations presents one of the most extensive exhibitions to date of work by Veronica Ryan, the Freelands Award and Turner Prize-winning artist. Featuring more than 100 works across sculpture, textiles, and works on paper, the exhibition traces four decades of Ryan’s materially rich and psychologically resonant practice.
The exhibition includes recently rediscovered works from the 1980s, including large-scale sculptures made from plaster and beaten lead as well as vivid drawings. Across these works, Ryan explores psychology, memory, personal narrative, and broader themes of environment, history, trauma, and recovery.
Ryan is especially known for her sustained attention to seeds and pods, forms that can suggest protection, enclosure, growth, and transformation at once. Her practice combines traditional materials such as plaster, bronze, and marble with textile and craft-based processes including crochet and quilting, creating a visual language shaped by both formal experimentation and intergenerational inheritance. Whitechapel Gallery, 77–82 Whitechapel High Street, London E1 7QX, United Kingdom. Runs April 1, 2026 — June 14, 2026.
Keisha Scarville: Where Salt Meets Black Water
Brooklyn, New York
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North America
Keisha Scarville: Where Salt Meets Black Water
Brooklyn, New York
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North America
Keisha Scarville: Where Salt Meets Black Water features work by Keisha Scarville, a Brooklyn-born artist whose practice uses photography to explore family history, migration, mourning, and transformation. Presented as a public installation at the Brooklyn Museum, the project activates the Iris Cantor Plaza and extends Scarville’s ongoing engagement with the Caribbean diaspora in Brooklyn. Brooklyn Museum, 200 Eastern Parkway, Brooklyn, NY 11238-6052. May 8, 2026 — Runs through October 4, 2026.
The museum’s announcement describes the installation as part of the UOVO Prize, which includes a public project on the museum plaza. In the available exhibition summary, Where Salt Meets Black Water is described as a contemplative environment where photography, memory, and mourning converge.
Dawoud Bey: Elegy
New Orleans, Louisiana
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Dawoud Bey: Elegy
New Orleans, Louisiana
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Dawoud Bey: Elegy features works by Dawoud Bey, whose practice in photography and film installation examines the histories of Black life in the United States through landscape rather than portraiture. The exhibition brings together over 40 gelatin silver print photographs and two immersive film installations from three series: Stony the Road (2023), In This Here Place (2019), and Night Coming Tenderly, Black (2017). New Orleans Museum of Art, One Collins C. Diboll Circle, City Park, New Orleans, LA 70124. September 26, 2025 — Runs through January 4, 2026.
Across the exhibition, Bey turns to sites in Virginia, Louisiana, and Ohio to consider enslavement, forced labor, and the routes of self-emancipation. His images of plantation grounds, the Richmond Slave Trail, and landscapes connected to the Underground Railroad use darkness, atmosphere, and stillness to evoke both documented history and imagined experience.
The exhibition also includes the films 350,000 (2023), made with cinematographer Bron Moyi, and Evergreen (2021), created with vocalist and composer Imani Uzuri. Together, the photographs and films position landscape as a repository of memory, asking viewers to consider how histories of Black life remain embedded in the American terrain.
Seydou Keïta: A Tactile Lens
Brooklyn, New York
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North America
Seydou Keïta: A Tactile Lens
Brooklyn, New York
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North America
Seydou Keïta: A Tactile Lens is a solo exhibition of work by Seydou Keïta, presented at the Brooklyn Museum, 200 Eastern Parkway, Brooklyn, New York 11238-6052. Runs through May 17, 2026.
The exhibition is described by the museum as the most expansive North American exhibition of Keïta’s work to date and features more than 280 works, including iconic prints, never-before-seen portraits, textiles, and personal artifacts. Developed with insights from Keïta’s family, the presentation expands understanding of his practice beyond the photograph alone, emphasizing the material richness and lived context surrounding his studio portraits.
Working primarily in black-and-white photography, Keïta became renowned for his striking studio portraits made in Bamako, Mali, particularly from the late 1940s through the early 1960s. Collaborating closely with his sitters, he recorded a period of social and political transformation through their choices of backdrops, clothing, fabrics, jewelry, and accessories, creating images that are at once intimate, elegant, and historically resonant.
The exhibition underscores how Keïta changed the history of portrait photography through a practice rooted in care, collaboration, and visual precision. By placing photographs alongside textiles and personal materials, Seydou Keïta: A Tactile Lens foregrounds touch, self-fashioning, and representation, offering a fuller view of how the artist shaped images of modern Malian identity and left a lasting mark on global photographic history.
Gordon Parks: The South in Color
Atlanta, Georgia
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North America
Gordon Parks: The South in Color
Atlanta, Georgia
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North America
Gordon Parks: The South in Color presents 42 photographs by Gordon Parks from his Segregation Story series, alongside a new portfolio published by The Gordon Parks Foundation. Working in photography, Parks documented the segregated South in 1956 with images that reveal both the violence of Jim Crow and the dignity, resilience, and everyday lives of Black communities. Jackson Fine Art, 3122 East Shadowlawn Ave NE, Atlanta, GA 30305. April 2, 2026 — Runs through June 13, 2026.
Organized in partnership with The Gordon Parks Foundation, the exhibition marks the 70th anniversary of the publication of Parks’s images of the segregated South in Life magazine and the 20th anniversary of the foundation. It brings together photographs not previously shown at the gallery with some of Parks’s best-known images, offering a renewed look at a body of work that remains central to the visual history of race in America.
Curated by Dawoud Bey, the exhibition is presented in connection with the foundation’s yearlong celebration of Parks and his influence on later generations of Black artists and writers. By foregrounding Parks’s use of color photography, The South in Color underscores the visual poetry and human complexity of scenes made in and around Mobile, Alabama, expanding how viewers understand the artist’s engagement with segregation, witness, and representation.
Ideas of Africa: Portraiture and Political Imagination
New York City, NY
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North America
Ideas of Africa: Portraiture and Political Imagination
New York City, NY
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North America
Ideas of Africa: Portraiture and Political Imagination brings together works that investigate how Africa has been represented through portraiture and how artists have engaged, resisted, and redefined these representations over time. The exhibition considers portraiture not simply as depiction, but as a political and imaginative act—one that constructs narratives about identity, belonging, and authority.
Spanning historical and contemporary works, the exhibition highlights how artists across different periods and geographies have addressed colonial legacies, cultural memory, and the complexities of diasporic identity. Through painting, photography, sculpture, and mixed media, the works on view challenge fixed or monolithic conceptions of Africa, instead presenting a multiplicity of perspectives shaped by lived experience, migration, and global exchange.
Presented by the Museum of Modern Art, Ideas of Africa situates portraiture as a site of negotiation between self-representation and external perception. The exhibition invites viewers to consider how images produce meaning and how artistic practices can reframe dominant narratives. The exhibition runs through July 25, 2026, in New York.
Sixties Surreal
New York City, NY
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North America
Sixties Surreal
New York City, NY
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North America
Sixties Surreal investigates the ways artists working in the United States during the 1960s engaged with and reimagined surrealist strategies. Emerging at a moment defined by civil rights activism, countercultural movements, and rapid technological change, many artists turned to dream imagery, symbolic distortion, and unconventional narratives as tools for questioning dominant social structures.
Through painting, sculpture, film, photography, and installation, the exhibition traces how surrealist ideas—originally developed in Europe earlier in the twentieth century—were reinterpreted by artists confronting the anxieties and possibilities of the 1960s. Rather than simply reviving historical surrealism, these artists expanded its language, blending humor, political critique, and psychological exploration.
Presented by the Whitney Museum of American Art, Sixties Surreal situates this moment within a broader art-historical conversation about imagination as a form of resistance. The exhibition runs through January 19, 2026 at the Whitney Museum in New York.
Martin Puryear: Nexus
Cleveland, Ohio
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North America
Martin Puryear: Nexus
Cleveland, Ohio
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North America
Martin Puryear: Nexus presents work by Martin Puryear, an American artist known for sculpture that joins formal precision with conceptual depth. Featuring sculpture alongside drawings, prints, and maquettes, the exhibition traces how Puryear’s practice has been shaped by global traditions of material culture, African American history, and the natural world. Cleveland Museum of Art, 11150 East Boulevard, Cleveland, OH 44106. Runs April 12, 2026 - August 9, 2026.
Co-organized by the Cleveland Museum of Art and the Museum of Fine Arts, Boston, Martin Puryear: Nexus is described as the most comprehensive exhibition of the artist’s career in nearly two decades. The presentation brings together roughly 50 works across a wide range of materials and media, offering a broad view of Puryear’s sustained engagement with abstraction and form.
The exhibition emphasizes how Puryear’s work moves beyond visual elegance alone. Through wood, rawhide, glass, marble, metal, and works on paper, the show highlights the expressive and historical dimensions of his practice while introducing new audiences to one of the most influential sculptors working today.
GLORY! GLORY!
Chicago, Illinois
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North America
GLORY! GLORY!
Chicago, Illinois
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North America
GLORY! GLORY! is an exhibition and public programming initiative organized by Pigment International that centers Black artistic interpretations of the U.S. flag. Through both representational and conceptual approaches, the exhibition invites viewers to reflect on national symbolism, belonging, and civic participation.
Featured artists include Robert Lewis Clark, Nate Austin, Scott Terry, Candace Hunter, Nnaemeka Ekwelum, and Paul Branton, alongside work by students from the Gary Comer Youth Center. The exhibition highlights intergenerational creativity and the enduring role of Black artists in shaping America’s visual and civic landscape.
Opening Night takes place on Friday, February 20 from 7–10 PM, featuring artist meet-and-greet opportunities, interactive discussion, light refreshments, and spirit sampling. Public engagement prompts include: “What does the U.S. flag represent?”, “Share your voting story,” and “Register to vote.” Closing Night is scheduled for March 20. Registration is free via Eventbrite.
Melvin Edwards
Paris, France
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Europe
Melvin Edwards
Paris, France
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Europe
This “carte blanche” exhibition, curated under the direction of Naomi Beckwith and curated by Amandine Nana and François Piron, traces Edwards’s six-decade career—beginning with his seminal Lynch Fragments series (1963-) and moving through his monumental welded sculptures, barbed-wire installations, and print collaborations.
Edwards’s work, deeply rooted in African-American history, industrial materiality, and diasporic resonance, features tribute-sculptures, kinetic steel forms and collaborative print works created in Dakar in the late 1990s. Organised in partnership with the Fridericianum (Kassel) and the Kunsthalle Bern (Switzerland), the exhibition emphasises the global reach of Edwards’s practice and positions him as a foundational figure in contemporary art.
Giving you the best that I got
Los Angeles, California
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North America
Giving you the best that I got
Los Angeles, California
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North America
This landmark exhibition highlights the sacred relationship between mother and child as reflected in contemporary art. Exploring themes of care, cultural inheritance, memory, and identity, the show features works by artists who either intentionally centre Black women and matrilineal histories or express deep appreciation for them through nostalgia, legacy and emotion. Curated by Dominique Clayton, it brings together over 20 artists including Bisa Butler, Carrie Mae Weems and Jamel Shabazz. The exhibition is co-presented with the California African American Museum as part of a five-year collaboration with Art + Practice.
Kapwani Kiwanga: BLEED
Harlem, New York
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North America
Kapwani Kiwanga: BLEED
Harlem, New York
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North America
Kapwani Kiwanga: BLEED features a new site-specific commission by Kapwani Kiwanga, a French and Canadian artist whose research-driven practice spans sculpture, installation, photography, video, and performance. In this exhibition, Kiwanga works through installation and natural dye processes, drawing inspiration from quilting traditions and the symbolism embedded in their designs. Studio Museum in Harlem, 144 W 125th Street, New York, NY 10027. March 11, 2026 — Runs through April 1, 2027.
Installed in the museum’s second-floor project gallery, BLEED centers on the “flying geese” quilt motif, a pattern believed to have guided people north along the Underground Railroad. Kiwanga translates this encrypted visual language into black, blue, and crimson undulations, extending Black traditions of knowledge-sharing into a contemporary sculptural form.
The work’s materials carry layered historical meaning. Black fabric is produced through oxidized pigment and Atlantic salt water, invoking the transatlantic trade and the sea as witness and keeper of memory. Crimson emerges from pokeberries, tying the work to histories of toxicity, medicine, and self-determination, while indigo references forced labor, West African knowledge systems, and Black ancestral relationships to land. The use of fugitive dyes, which shift over time, gives the installation a built-in impermanence that registers duration and change.
Portia Zvavahera: Like Flowers We Fade
Rome, Italy
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Europe
Portia Zvavahera: Like Flowers We Fade
Rome, Italy
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Europe
Portia Zvavahera: Like Flowers We Fade presents paintings by Portia Zvavahera, a Zimbabwean artist known for dreamlike compositions that draw from spiritual experience, memory, and inner life. Working in painting, Zvavahera creates densely layered scenes in which figures, patterns, and color move between intimacy, vulnerability, and transcendence. Fondazione Memmo, Via Fontanella Borghese 56b, 00186 Rome, Italy. April 29, 2026 — Runs through November 1, 2026.
Fondazione Memmo describes the exhibition as Zvavahera’s first institutional presentation in Italy, and the project is curated by Alessio Antoniolli. The exhibition extends the artist’s growing international visibility while situating her work within a major contemporary art venue in Rome.
One note on the coordinates: these come from geotagged image metadata for Via della Fontanella Borghese 56, which is effectively the same street address block as Fondazione Memmo’s 56b listing, so they should be very close to the venue entrance.
Shadowland
New York City, NY
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North America
Shadowland
New York City, NY
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North America
Shadowland presents a multi-layered body of work by Odili Donald Odita that considers the relationship between abstraction, history, and identity. The exhibition brings together three interconnected strands of the artist’s practice—current paintings, earlier photo-based works, and inherited artistic influences—forming a cohesive exploration of how visual language can reflect and challenge structures of power.
Odita’s vibrant, geometric abstractions are characterized by interlocking planes of color that resist fixed hierarchies, encouraging movement across the surface. These compositions create dynamic visual fields where light, shadow, and color interact, suggesting both tension and harmony. The concept of the “shadowland” evokes spaces shaped by both oppression and possibility—sites where darkness can signify both concealment and resistance.
The exhibition also includes works from Odita’s Black Album series, which draws from found images and mass media to examine the construction of racial identity and the persistence of stereotypes. Through digital manipulation and recontextualization, these works reveal underlying narratives embedded in everyday imagery, highlighting how visual culture participates in shaping perceptions of race and identity.
A significant aspect of Shadowland is the inclusion of works by Odita’s father, Dr. Okechukwu Emmanuel Odita, a Nigerian artist, scholar, and member of the Zaria Rebels. His paintings provide historical context for Odita’s practice, linking contemporary abstraction to earlier movements that challenged Eurocentric frameworks and asserted the importance of African artistic traditions. This intergenerational dialogue underscores the role of art as both personal inheritance and political expression.
Presented by David Kordansky Gallery, Shadowland positions abstraction as an expansive and evolving language—one that can carry memory, critique, and possibility across time and place. The exhibition runs through February 28, 2026, in New York.
Wayward Lines. Consent not to be a single being
Amsterdam, Netherlands
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Europe
Wayward Lines. Consent not to be a single being
Amsterdam, Netherlands
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Europe
Ivna Esajas. Wayward Lines. Consent not to be a single being features work by Ivna Esajas, whose practice moves between drawing and painting to create fluid, interdependent figures shaped by myth, personal stories, Black feminist traditions, science fiction, literature, and everyday life. For this exhibition, Esajas expands that language into an installation built through collaboration and exchange, with performance and publication also forming part of the project.
Presented as part of the ABN AMRO Art Award, the exhibition is structured as a call-and-response and includes contributions from invited collaborators. The project extends beyond a single-author format, emphasizing plurality, relation, and collective meaning-making.
A related publication, compiled by Amal Alhaag in collaboration with Esajas and designed by Irma Boom Office, further develops the exhibition’s themes through reflections on unfinishedness, Black positionality, authorship, and gender.Stedelijk Museum Amsterdam, Museumplein 10, 1071 DJ Amsterdam, The Netherlands. Runs March 7, 2026 - June 7, 2026.
Rahim Fortune: Between a Memory and Me
Los Angeles, California
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North America
Rahim Fortune: Between a Memory and Me
Los Angeles, California
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North America
Rahim Fortune: Between a Memory and Me features work by Rahim Fortune, an artist working in photography whose images often engage memory, family, place, and Black life across the American South. Presented in collaboration with the California African American Museum, the exhibition marks Fortune’s first solo exhibition in Los Angeles. Art + Practice, 3401 W. 43rd Place, Los Angeles, CA 90008. April 18, 2026 — Runs through September 5, 2026.
Recess
Shanghai, China
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Asia
Recess
Shanghai, China
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Asia
In RECESS, Michaela Yearwood-Dan assembles vivid paintings, ceramics, and installations that draw on her identity as a queer, Black artist. The exhibition melds botanical motifs, expressive color palettes, and references to healing, memory, and diasporic pleasure — creating immersive environments that challenge traditional narratives of Blackness and offer spaces of rest, resilience, and joy. Through layered imagery and symbolic materials, Yearwood-Dan invites viewers to engage with complex themes of identity, community, intimacy, and transformation.
Sanford Bigger: Drift
Water Mill, New York
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North America
Sanford Bigger: Drift
Water Mill, New York
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North America
Sanford Biggers: Drift presents Sanford Biggers’s first major solo museum exhibition on the East End of Long Island. Featuring new textile works, prints, sculptures, and site-responsive installations, the exhibition follows the cloud as a recurring symbol in Biggers’s practice and uses it to think through fluctuation, adaptability, spirituality, and the power of change. Parrish Art Museum, 279 Montauk Highway, Water Mill, NY 11976. May 17, 2026 — Runs through September 13, 2026.
The exhibition includes the monumental installation Unsui (Cloud Forest) (2025), examples from Biggers’s ongoing Codex series made from repurposed antique quilts, a new three-dimensional wall piece, a woven tapestry, and a site-specific floor-based sand installation. Across these works, Biggers draws on sources ranging from Buddhism and Los Angeles graffiti culture to Gee’s Bend quilts, African sculpture, prayer rugs, breakdance floors, and Japanese Buddhist mandalas.
The Codex works reference the legend of quilt codes associated with the Underground Railroad, which the museum notes remains a potent metaphor for perseverance and liberation even as historians debate its literal history. The exhibition also includes Mirror, a marble sculpture from Biggers’s ongoing Chimera series, which combines elements of African masks and Greco-Roman statuary to bring distinct sculptural histories into conversation.
The Heart of the Matter
Antwerp, Belgium
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Europe
The Heart of the Matter
Antwerp, Belgium
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Europe
The Heart of the Matter is a large-scale retrospective of Carrie Mae Weems, whose multidisciplinary practice spans photography, video, and installation. Across more than 100 works, the exhibition traces Weems’s sustained engagement with themes of race, gender, power, and historical memory. Often positioning herself within her images as subject, narrator, or witness, Weems uses her own presence to interrogate systems of representation and to guide viewers through complex narratives of identity and experience.
The exhibition includes landmark series such as Kitchen Table Series (1990), which stages intimate domestic scenes to examine relationships, gender roles, and Black womanhood, as well as Museums (2006), in which Weems reflects on institutional spaces and the exclusion of Black histories. Together, these works reveal how personal narratives can illuminate broader social and political realities.
A key highlight of the exhibition is Preach (2024), a new body of work created specifically for this presentation. In this series, Weems turns her attention to the role of faith and spirituality, exploring how religious spaces and visual culture function as sites of resistance, resilience, and communal identity. Through images of churches and spiritual architecture, the work underscores the importance of belief systems in both personal and collective life.
Presented at FOMU – Fotomuseum Antwerpen, The Heart of the Matter situates Weems’s work within an international context, emphasizing her influence across decades of contemporary art. The exhibition is curated by Sarah Hermanson Meister and developed in collaboration with Gallerie d’Italia and Aperture Foundation. The exhibition runs through August 23, 2026.
The Song I Once Knew
,
Europe
The Song I Once Knew
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Europe
The Song I Once Knew showcases recent and new works — primarily detailed charcoal, graphite and gouache drawings — that map a journey of transformation, ritual, and self-discovery. Hosten constructs layered narrative scenes in two gallery spaces: the upper gallery opening with My Mother’s Decree: See The Tail of the Kite (2023), which introduces the heroine’s pilgrimage guided by the Great Mother and the Kite; the lower gallery evokes an intimate lakeside grove as seen in works like In The Wake of Our Daughter’s Becoming (2023) and A Call Answered (2024), where community, celebration and threshold-crossing are realised. Through chiaroscuro drawing, mythic symbolism and a hybrid of personal and collective memory, Hosten invites viewers into a meditation on the unconscious, spiritual awakening and visual pilgrimage.
Textile Truths: Faces of Resilience
New York City, NY
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North America
Textile Truths: Faces of Resilience
New York City, NY
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North America
In Textile Truths: Faces of Resilience, Afro-Caribbean American artist Kandy G. Lopez unveils a new body of work that explores the intimate connection between textiles and cultural identity. Spanning from large-scale multi-figure compositions like City Girls and City Boys to individual portraits, Lopez uses woven fiber as a language of dignity, solidarity and visibility. The exhibition frames textiles as both repository and visual archive of resilience, strength and collective memory. With precise technique and layered symbolism, Lopez blurs the boundaries between painting and craft to reclaim and celebrate the presence of communities historically overlooked in contemporary art.
Not All Travellers Walk Roads – Of Humanity as Practice
São Paulo, Brazil
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South America
Not All Travellers Walk Roads – Of Humanity as Practice
São Paulo, Brazil
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South America
This extensive exhibition unites artists from around the world to explore mobility, human interconnectedness and alternative paths of being. Featuring works such as Nari Ward’s Spring Seed (2025), the show includes installations, video, sound and sculptural elements that reinterpret how humans traverse social, spatial and material landscapes. By placing migration, diaspora and process of adjustment at its core, the Bienal invites visitors to consider routes less travelled and the collective practices of humanity within global contexts.
Uman: After all the things ...
Ridgefield, Connecticut
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North America
Uman: After all the things ...
Ridgefield, Connecticut
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North America
After all the things … brings together a selection of Uman’s vibrant large-scale paintings, intimate works on paper, video, and sculptural pieces, installed across multiple galleries at The Aldrich. The exhibition highlights recurring motifs such as biomorphic forms, calligraphic mark-making, and layered geometric structures that reference memory, migration, and cultural inheritance. Several works were created specifically for the exhibition, emphasizing Uman’s interest in spatial composition and chromatic intensity. Through immersive color fields and rhythmic patterning, the exhibition invites viewers into a vivid, intuitive world that expands the possibilities of contemporary abstraction.
Rush
Denver, Colorado
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North America
Rush
Denver, Colorado
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North America
For Rush, Gary Simmons transforms the gallery into a vast chalkboard-like environment, drawing and partially erasing imagery and texts to question how history and cultural memory are constructed — and what gets erased. The exhibition evokes the mythology of westward expansion, nodding to frontier motifs like covered wagons and cabins, while using sepia tones, shooting-star imagery, and partly erased visuals to interrogate the promises and erasures embedded in American identity. Works include large-scale wall drawings, paintings, and a building-facade mural, blending popular-culture references and historical critique.
Beauty Plus
San Francisco, California
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North America
Beauty Plus
San Francisco, California
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North America
Beauty Plus features photographs by Jasmine Ross, an Oakland-based multimedia artist whose practice centers identity politics, intergenerational memory, and fictive kinship. Working primarily with large-format cameras, Ross documents the closure of a 31-year-old Black-owned beauty supply store in New Haven, Connecticut, using photography to honor the store’s owner and the community that gathered there. Museum of the African Diaspora, 685 Mission Street, San Francisco, CA 94105. March 18, 2026 — Runs through May 31, 2026.
Over three months, Ross photographed the store’s final days with a 4 x 5 film camera, building a portrait of small business ownership, communal care, and Black survival. The exhibition also considers the contradictions within Black beauty economies: these spaces can offer affirmation, access, and cultural continuity while also revealing how Black identity is shaped, marketed, and monetized through products often owned by outsiders.
The project positions the beauty supply store as both a social space and a site of cultural tension, where intimacy, dependency, and self-fashioning intersect. Through analog photography’s deliberate pace, Ross gives sustained attention to a place and community in transition.
And We Hired a Carpenter to Patch the Cloth
Paris, France
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Europe
And We Hired a Carpenter to Patch the Cloth
Paris, France
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Europe
In And We Hired a Carpenter to Patch the Cloth, Eva Obodo addresses the legacies of coal mining, mineral extraction and labor in post-colonial Nigeria through a rigorous material practice. Using charcoal fragments bundled and tied with copper and aluminium wires, the works reference his father’s experience as a miner and broader systems of exploitation. The exhibition title metaphorically reflects the act of “patching” damaged systems—both social and material—while acknowledging the persistence of improvisation in the face of fracture. Obodo’s process involves washing, sorting, wrapping and stitching charcoal—a transformation of fuel-material into a meditative sculptural language. Through reliefs such as Pickman and Rush Hour, he interrogates the ecological and social toll of extraction while elevating discarded matter into poetic visual forms.
Nanette Carter: A Question of Balance
,
North America
Nanette Carter: A Question of Balance
,
North America
Nanette Carter (b. 1954), a Montclair native, is renowned for her large-scale collages constructed from painted Mylar. Her work delves into the concept of balance as a visual element and a metaphor for navigating societal and personal challenges. The exhibition includes early prints and paintings as well as recent monumental works from series such as Cantilevered, Destabilizing, and Shifting Perspectives.
A highlight of the exhibition is Afro Sentinels III, a site-specific installation featuring abstract "warrior" figures that address global issues impacting Black and Brown communities. Additionally, visitors can view Carter's video piece The Weight, which offers insight into her creative process.
MementoPhotography, interrupted
Amsterdam, Netherlands
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Europe
MementoPhotography, interrupted
Amsterdam, Netherlands
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Europe
Memento brought together more than one hundred contemporary photographic works from the Huis Marseille collection in celebration of the museum’s 25th anniversary. Featuring artists including Farah Al Qasimi, Deana Lawson, Dana Lixenberg, Tyler Mitchell, Zanele Muholi, Dawit L. Petros, and Viviane Sassen, the exhibition explored how the museum’s collection has reflected changes in photography, visual culture, and society over the past quarter century. Huis Marseille, Museum for Photography, Keizersgracht 401, 1016 EK Amsterdam, The Netherlands. June 28, 2025 — Runs through October 12, 2025.
Rather than presenting a straightforward chronology, the exhibition staged the collection in a monumental and unconventional way. Works were displayed in arrangements inspired by storage racks and depot systems, collapsing the distinction between archive and gallery. Lina Bo Bardi glass easels borrowed from the Depot of Museum Boijmans Van Beuningen further emphasized the photographs as objects in space.
The exhibition also framed each photograph as a kind of memento: a record of a particular moment in time and a marker within the museum’s own institutional history. A live-animation film by exhibition designer Philip Lüschen and a series of zines created for seven galleries extended the exhibition’s interest in memory, display, and the evolving life of the collection.
Noah Davis
Philadelphia, Pennsylvania
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North America
Noah Davis
Philadelphia, Pennsylvania
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North America
Noah Davis presents a comprehensive retrospective of the work of Noah Davis, whose paintings combine intimate storytelling with expansive social commentary. Davis’s practice is characterized by dreamlike imagery, poetic narratives, and a deep engagement with everyday life, particularly within Black communities. Through figurative painting that often blends realism with surreal or ambiguous elements, Davis created emotionally resonant scenes that explore memory, family, history, and the complexity of contemporary experience.
The exhibition brings together works spanning the artist’s career, highlighting Davis’s ability to merge personal reflection with broader cultural narratives. His paintings frequently depict quiet moments—figures resting, gathering, or moving through spaces—while suggesting deeper psychological and historical dimensions. These scenes invite viewers to consider how ordinary life intersects with collective memory and social history.
This presentation at the Philadelphia Museum of Art marks the final venue of the artist’s first international institutional retrospective. The exhibition previously traveled to Das Minsk Kunsthaus in Potsdam in fall 2024, the Barbican Centre in spring 2025, and the Hammer Museum in summer 2025. Together, these presentations situate Davis’s work within a global conversation about contemporary painting and reaffirm his enduring influence on a new generation of artists.
Simone Leigh
London, Great Britain
,
Europe
Simone Leigh
London, Great Britain
,
Europe
Simone Leigh presents the largest exhibition to date of the work of Simone Leigh, a New York–based sculptor internationally recognized for her monumental sculptures and installations. For her first major exhibition in the United Kingdom, Leigh will take over the Royal Academy’s Main Galleries at Burlington House, presenting an ambitious body of work that includes bronze and ceramic sculpture alongside film and large-scale installations.
Leigh’s practice draws deeply from African artistic traditions and the cultures of the African diaspora, centering the histories, labor, and lived experiences of Black women. Her sculptures often combine references to vernacular architecture, ritual objects, and historical forms of portraiture, transforming them into powerful contemporary monuments. Through these works, Leigh addresses themes of visibility, care, resilience, and collective memory.
For the Royal Academy exhibition, Leigh will debut new monumental works created specifically for the galleries, expanding her ongoing exploration of form, material, and cultural symbolism. By bringing together sculpture, installation, and film, the exhibition offers a comprehensive view of the artist’s evolving practice and underscores her influence within contemporary art. The exhibition runs through December 12, 2027, at the Royal Academy of Arts in London.
What’s In Your Container
Miami, Florida
,
North America
What’s In Your Container
Miami, Florida
,
North America
What’s In Your Container features work by Rimaj Barrientos, Jevon Alexander Brown, Patricia Cooke, Michael Elliott, Natou Fall, Jessica Freites, Rosa Naday Garmendia, Miguel Keerveld, Shayla Marshall, Sydney Rose Maubert, Lance Minto-Strouse, Shawna Moulton, Kurt Nahar, Amarachi Odimba, Evelyn Politzer, Leandro Vazouez, Asser St Val, Clara Toro, and L.A. Samuelson. Curated by Rosie Gordon-Wallace and Breeana Thorne, the exhibition uses the shipping container as a framework for thinking about migration, support, memory, and the ways Caribbean communities carry family, culture, and resilience across distance and time.
The curatorial text describes containers and barrels as both physical and metaphorical structures that hold essentials, treasures, trauma, care, and joy. Across the exhibition, works are framed as sites of refuge and as vessels for grief, harmony, regeneration, and collective memory, asking viewers how histories are held, preserved, and transformed. DVCAI Studio, 164 NE 56 Street, Miami, FL 33137. — Runs November 20, 2025 through April 17, 2026.
In Minor Keys — Denniston Hill presentation
Venice, Italy
,
Europe
In Minor Keys — Denniston Hill presentation
Venice, Italy
,
Europe
Denniston Hill’s presentation in In Minor Keys includes work by Xaviera Simmons, Sanford Biggers, and Kalup Linzy as part of the 61st International Art Exhibition of La Biennale di Venezia. Based on the announcement you shared, Simmons is represented through photography, Biggers through works connected to his cloud motifs, and Linzy through work drawn from his long-running performance practice and family-character narratives. Giardini della Biennale, Sestiere Castello, 30122 Venice, Italy. May 9, 2026 — Runs through November 22, 2026.
Officially, In Minor Keys is the title of the 61st International Art Exhibition of La Biennale di Venezia, and it runs across the Giardini, the Arsenale, and other Venice locations. The Giardini is one of the exhibition’s principal sites and the historic home of the Biennale’s national pavilions and international presentations.
Made in Paint 13
New Berlin, NY
,
North America
Made in Paint 13
New Berlin, NY
,
North America
Made in Paint 13 features artwork by Vickie Pierre and Scherezade García as well as the other 2025 Sam & Adele Golden Foundation residents: Rachel Ostrow, Suzanne Unrein, Jacoub Reyes, Tony Shore, Wang Chen, Jeanne F. Jalandoni, Emily Somoskey, Nicole Duennebier, Genevieve Cohn, Kristy Hughes, Kyrin Hobson, Natalia Sánchez, Barbara Friedman, Kunlin He, Jackie Kazarian, and Rodrigo Galecio. Framed as the foundation’s thirteenth annual Made in Paint exhibition, the show brings together works developed through the residency program and reflects the range of approaches shared under a painting-centered residency model. The Sam and Adele Golden Gallery at Golden Artist Colors, 188 Bell Road, New Berlin, NY 13411. Runs April 18, 2026 through August 28, 2026.
No Bystanders
Montréal, Québec
,
North America
No Bystanders
Montréal, Québec
,
North America
No Bystanders featured work by Frantz Patrick Henry, a multidisciplinary artist of Haitian origin whose practice engages architecture, memory, and collective experience. The exhibition unfolded as an immersive environment built from layered references to Haitian vernacular architecture, secular stained glass, fleeting silhouettes, corrugated metal, sports fields, and plant shoots pushing through concrete. Fonderie Darling, 745 Place du Sable-Gris, Montréal, QC H3C 1R8, Canada. June 19, 2025 — Runs through August 17, 2025.
The exhibition text describes the space as a shifting fresco in which scratched, assembled, and layered fragments reactivate buried memory. Rather than resolving contrasts, Henry holds them in tension—between here and elsewhere, past and present, fragility and resistance—so that each movement through the gallery activates ambiguity and allows hidden signs and collective histories to surface.
At the center of the exhibition is an invitation to move, wander, and listen. Fonderie Darling frames the work as a space to be traversed rather than simply observed, where the organic and political dimensions of Henry’s practice emerge through the viewer’s own movement and attention.
Suns and Shadows
Miami, Florida
,
North America
Suns and Shadows
Miami, Florida
,
North America
Suns & Shadows is a thought-provoking exhibition that centers the interplay of illumination and obscurity across Black life, cultural memory, and creative lineage. Curated by Roscoè B. Thické III, the exhibition showcases works by Mark Delmont, Reginald O’Neal, Lance Minto Strouse, T. Eliott Mansa, and Mark Fleuridor — artists whose practices navigate themes of legacy, grief, renewal, and spiritual grounding.
Each artist contributes a distinct language of material and myth, from portraiture rooted in community to assemblages shaped by ritual, inheritance, and the weight of memory. Together, their works form a dialogue about what is carried forward, what is transformed, and what emerges in the space between suns and shadows.
Find Exhibitions Near or Far Away
Click a circle below to find exhibitions in that location. Or, scroll down to find exhibitions near and far.
Europe
North America
London, Great Britain
Simone Leigh — Stretch (GREEN) (2020)
Courtesy of the artist
Simone Leigh
Simone Leigh
September 18, 2027
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December 12, 2027
Simone Leigh brings together monumental new works alongside sculptures, ceramics, and film installations that explore the histories and experiences of Black women. On view at the Royal Academy of Arts in London from September 18 to December 12, 2027, the exhibition highlights Leigh’s powerful engagement with African and diasporic cultural forms.
London, Great Britain
Europe
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San Francisco, California
PJ Anderson — Password (2022)
Courtesy of the artist
After the Island: Ornament and Ceramic Practice in the Jamaican Diaspora
Sharon Norwood
Jacqueline Bishop
PJ Anderson
September 30, 2026
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May 30, 2027
After the Island: Ornament and Ceramic Practice in the Jamaican Diaspora brings together artists PJ Anderson, Jacqueline Bishop, and Sharon Norwood. The exhibition considers how relationships to Jamaica are preserved, inherited, reconstructed, and transformed through diasporic experience. Museum of the African Diaspora. Runs September 30, 2026, through May 30, 2027.
San Francisco, California
North America
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San Juan
Awilda Sterling-Duprey — El colmo de lo obvio (1996)
Courtesy of the artist
Diasporican Abstraction: Identities Beyond Representation
Awilda Sterling-Duprey
September 26, 2026
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March 28, 2027
"Diasporican Abstraction: Identities Beyond Representation" is a group exhibition featuring more than 50 artists and collectives, including Awilda Sterling Duprey, Olga Albizu, Candida Álvarez, Tony Bechara, Gisela Colón, Zilia Sánchez, Edra Soto, and many others. Curated by Abdiel D. Segarra Ríos, the exhibition explores Puerto Rican abstraction through experiences of diaspora, migration, cultural exchange, memory, territory, and identity. The exhibition brings together artists from Puerto Rico and its diaspora alongside Caribbean, Central American, and South American artists whose practices engage with related questions of movement and belonging. Works span painting, sculpture, installation, photography, performance, and other artistic languages. The exhibition is presented at the Museo de Arte Contemporáneo de Puerto Rico, Av. Juan Ponce de León, esquina Av. Roberto H. Todd, Parada 18, San Juan, PR 00910, and runs from September 26, 2026 to March 28, 2027.
San Juan
North America
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São Paulo, Brazil
Pepón Osorio — My Beating Heart (2000/2023)
Courtesy of the artist
Latin American Histories
Pepón Osorio
Belkis Ayón
Daniel Lind-Ramos
Firelei Báez
María Magdalena Campos-Pons
September 4, 2026
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January 31, 2027
Latin American Histories brings together an expansive international group of artists and historical materials to examine colonialism, resistance, migration, diaspora, Indigenous and Afro-descendant social organization, and competing ideas of Latin American identity. The exhibition includes artists such as Abdias do Nascimento, Belkis Ayón, Daniel Lind-Ramos, Elizabeth Catlett, Firelei Báez, María Magdalena Campos-Pons, Pepón Osorio, Rosana Paulino, Wifredo Lam, and many others. MASP — Museu de Arte de São Paulo Assis Chateaubriand, Pietro Maria Bardi Building, Avenida Paulista, 1510, Bela Vista, São Paulo, SP, Brazil. Runs September 4, 2026 to January 31, 2027.
São Paulo, Brazil
South America
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Austin
Ja'Tovia Gary — Quiet as It’s Kept (2023)
Courtesy of the artist
Made in Texas
Ja'Tovia Gary
Deborah Roberts
Sedrick Ervin Huckaby
Robert Pruitt
September 4, 2026
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December 5, 2026
Made in Texas brings together 16 Texas-born artists whose practices explore the state's complex cultural, social, political, and environmental conditions. Together, the works offer multiple perspectives on what it means to be shaped by—and to shape—the cultural landscape of Texas, highlighting the experiences and histories that exist beyond a single definition of the state.
Austin
North America
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Camden, New Jersey
Bony Ramirez — Under The Wet Ground (2023)
Courtesy of the artist
Light of the Guiding Star
Bony Ramirez
September 1, 2026
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December 12, 2026
Light of the Guiding Star is a group exhibition featuring Layo Bright, Gulnur Mukazhanova, Natalia Mejía Murillo, Katya Muromtseva, Bony Ramirez, and Yao Qingmei. It brings together six immigrant artists whose practices examine migration, displacement, memory, spirituality, and the search for belonging. Stedman Gallery, Rutgers–Camden Center for the Arts, 314 Linden Street, Camden, NJ. Runs from September 1, 2026 to December 12, 2026.
Camden, New Jersey
North America
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Miami, Florida
Evita Tezeno — The Rhythm of Street Life (2023)
This Is America: Selections from PAMM’s Collection
Rashid Johnson
Evita Tezeno
May 28, 2026
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May 23, 2027
This Is America: Selections from PAMM’s Collection considers the United States’ 250th anniversary through artworks from PAMM’s permanent collection. The exhibition is on view at Pérez Art Museum Miami, 1103 Biscayne Blvd., Miami, FL 33132, and runs May 28, 2026, to May 23, 2027.
Miami, Florida
North America
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Béthune, France
Lonnie Holley — God Dreaming of Africa (1981)
Lonnie Holley at Labanque
Lonnie Holley
May 23, 2026
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November 15, 2026
Lonnie Holley at Labanque presents Holley’s work within the institutional exhibition Déplier les mondes. The exhibition is on view at Labanque, 44 place Georges Clemenceau, 62400 Béthune, France, from May 23 to November 15, 2026.
Béthune, France
Europe
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Venice, Italy
Arthur Jafa — Mickey Mouse was a Scorpio (2017)
Helter Skelter: Arthur Jafa and Richard Prince
Arthur Jafa
May 9, 2026
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November 23, 2026
Helter Skelter: Arthur Jafa and Richard Prince presents a dynamic conversation between Arthur Jafa and Richard Prince, exploring how images function within contemporary culture and highlights intersections and tensions between the artists’ approaches to visual language and representation. Fondazione Prada, Ca’ Corner della Regina, Venice, Italy. Runs May 9-November 23, 2026.
Venice, Italy
Europe
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Venice, Italy
Juan Roberto Diago — Installation view of Roberto Diago artworks (2026)
Courtesy of the artist
Hombres Libres / Free Men
Juan Roberto Diago
May 9, 2026
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November 22, 2026
Roberto Diago represents Cuba at the 61st International Art Exhibition of La Biennale di Venezia with Hombres Libres / Free Men.
Venice, Italy
Europe
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Venice, Italy
Léonard Pongo — Untitled (2024)
Simba Moto! Seize the fire! Saisis le feu!
Léonard Pongo
Sammy Baloji
Gosette Lubondo
Arlette Bashizi
Géraldine Tobé
May 9, 2026
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November 22, 2026
Simba Moto! Seize the fire! Saisis le feu! presents work by nine artists from the Democratic Republic of Congo and its diaspora. Antico Refettorio – Scuola Grande di San Marco, Castello 6777, 30122 Venice, Italy. Runs May 9 to November 22, 2026.
Venice, Italy
Europe
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Venice, Italy
Xaviera Simmons — Pleasure (Number One) (2026)
In Minor Keys — Denniston Hill presentation
Xaviera Simmons
Sanford Biggers
Kalup Linzy
Edouard Duval-Carrié
May 9, 2026
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November 22, 2026
Denniston Hill’s presentation in In Minor Keys brings together work by Xaviera Simmons, Sanford Biggers, and Kalup Linzy within the 61st Venice Biennale. The exhibition is on view at the Giardini della Biennale, Sestiere Castello, 30122 Venice, Italy, from May 9 to November 22, 2026.
Venice, Italy
Europe
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Rome, Italy
Portia Zvavahera — Hondo yakatarisana naambuya (2025)
Portia Zvavahera: Like Flowers We Fade
Portia Zvavahera
April 29, 2026
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November 1, 2026
Portia Zvavahera: Like Flowers We Fade presents Zvavahera’s work in her first institutional exhibition in Italy. The exhibition is on view at Fondazione Memmo, Via Fontanella Borghese 56b, 00186 Rome, Italy, from April 29 to November 1, 2026.
Rome, Italy
Europe
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Harlem, New York
Kapwani Kiwanga — Bleed (2026)
Kapwani Kiwanga: BLEED
Kapwani Kiwanga
March 11, 2026
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April 1, 2027
Kapwani Kiwanga: BLEED is on view at the Studio Museum in Harlem, 144 W 125th Street, New York, NY 10027, from March 11, 2026 through April 1, 2027. The exhibition features a site-specific installation that references quilting traditions, the Underground Railroad, and Black histories of resistance through black, blue, and crimson dyed fabric.
Harlem, New York
North America
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Durham, North Carolina
Barkley L. Hendricks — Bahsir (Robert Gowens) (1975)
Everything All At Once
Firelei Báez
Lynette Yiadom-Boakye
Amy Sherald
Xaviera Simmons
Barkley L. Hendricks
August 21, 2025
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November 1, 2026
Everything Now All at Once explores the sensory and cultural experience of living in an era defined by simultaneity and digital saturation. On view at the Nasher Museum of Art at Duke University from August 21, 2025 to November 1, 2026, the exhibition considers how artists interpret urgency, overload, and interconnectedness in the contemporary moment.
Durham, North Carolina
North America
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New York City, NY
Odili Donald Odita — Songs from Life (Installation View) (undated)
Courtesy of the artist
Odili Donald Odita: Songs from Life
Odili Donald Odita
April 8, 2025
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February 21, 2027
Odili Donald Odita: Songs from Life is a large-scale, site-specific commission by Nigerian-American artist Odili Donald Odita, transforming the main lobby of The Museum of Modern Art (MoMA) with vibrant geometric patterns and color. Music serves as a primary source of inspiration for the work.
New York City, NY
North America
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Washington D.C.
Adam Pendleton — WE ARE NOT (2024)
Courtesy of the artist
Adam Pendleton: Love, Queen
Adam Pendleton
April 4, 2025
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January 3, 2027
"Adam Pendleton: Love, Queen" is a landmark exhibition showcasing new and recent paintings alongside a single-channel video work. This marks Pendleton's first solo exhibition in Washington, D.C., emphasizing his unique contributions to contemporary American painting within the context of the museum's architecture and the National Mall's history. Hirshhorn Museum, Independence Ave SW & 7th St SW, Washington, D.C. Runs through January 3, 2027.
Washington D.C.
North America
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Washington D.C.
Isaac Julien — Lessons of the Hour
Courtesy of the artist
Lessons of the Hour
Isaac Julien
December 8, 2023
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December 6, 2026
Lessons of the Hour is a five-screen immersive video installation by Isaac Julien, reflecting on the life and ideas of 19th-century abolitionist and orator Frederick Douglass. It is the first joint acquisition by the Smithsonian American Art Museum and National Portrait Gallery, co-curated by Saisha Grayson and Charlotte Ickes. This work underscores Douglass’s enduring influence and relevance in ongoing conversations around race, democracy, and visual culture.
Washington D.C.
North America
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