CAA News Today

How do we understand the relationship of past to present? For Lebanese artist Lamia Joreige, maps provide a site to explore the impact and aftereffects of the early twentieth-century political upheavals in the Levant (Marfa’ Gallery, Beirut). For Rohini Devasher, historical and contemporary images of the sun on four video channels engage with the past of solar science as well as with cosmic time (Bruce Museum, Greenwich, CT). And in intergenerational group exhibitions like Fear No Power: Women Imagining Otherwise (National Gallery, Singapore) and Entretejidas: Arquitectas mexicanas: Presente, pasado y futuro (Interwoven: Mexican Women Architects: Past, Present, and Future; Colegio de San Ildefonso, Mexico City), viewers themselves can ruminate on the aesthetic, thematic, and material dialogues of contemporary woman artists with their foremothers.

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AFRICA

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The File Cannot Be Restored
Through October 6
THK Gallery, Cape Town, South Africa

This exhibition borrows the language of digital failure to pose a question: What if the past cannot be undone, not because it is fixed, but because it continues to live within the present? The File Cannot Be Restored brings together photographs by Namibian German artist Nicola Brandt, mixed-media assemblages with beadwork by Cape Town–based Sahlah Davids, and collages and film stills by Johannesburg-based Tshepiso Moropa to examine how memory persists across landscapes, archives, inherited traditions, and everyday acts of making.

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ASIA

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Fear No Power: Women Imagining Otherwise
Through October 25
National Gallery Singapore

This exhibition explores how women artists across Southeast Asia have confronted, critiqued, and subverted structures of authority and state control. Paintings, sculptures, installations, prints, and works in other media by pioneering figures Imelda Cajipe Endaya, Nirmala Dutt, Dolorosa Sinaga, Phaptawan Suwannakudt, and Amanda Heng as well as by contemporary voices reveal how these artists navigate censorship, assert creative autonomy, and challenge dominant sociopolitical narratives.

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Janet Cardiff: The Forty Part Motet
Ongoing
M+, Hong Kong

This groundbreaking 2001 sound installation by Canadian artist Janet Cardiff reimagines English composer Thomas Tallis’s sixteenth-century, forty-part choral composition Spem in alium (Hope in Any Other). Forty speakers arranged in an oval each play a single vocal track, inviting visitors to experience Tallis’s motet both as a collective soundscape and through the isolated human voice of each individual singer. Exploring themes of spatial intimacy and physical presence in music, The Forty Part Motet elevates audio engineering into an immersive sculptural installation.

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Mariko Mori: All That Shines
October 31, 2026–March 28, 2027
Mori Art Museum, Tokyo

Over her more than thirty-year practice, Japanese artist Mariko Mori has expanded her focus from critique of social phenomena like anime culture and post-humanism to larger metaphysical concerns informed by Buddhist concepts of life, death, and the cosmos. All That Shines presents some forty works in all of Mori’s signature media—performance-based and computer-imaging photography and video, drawing, sculpture, and large-scale interactive installation—and positions the artist’s oeuvre within new contexts, including technological futurism, popular visual culture, and philosophies of consciousness.

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Tada Minami: Still, Shimmering Light
Through December 6
Museum of Contemporary Art, Tokyo

Tada Minami (1924–2014) produced hundreds of abstract sculptural installations for parks, railway stations, hotels, and other urban spaces in postwar Japan. The smooth, hard surfaces of Tada’s works, like the acrylic ring Space Eye No. 4 (1975) and the monumental stainless-steel pinnacle Chiaroscuro (1979), conceal traces of manual labor, instead drawing attention to the transmission, reflection, refraction, and fluctuation of light. The approximately seventy works here span the artist’s nearly seven-decade career.

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CANADA

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Landon Mackenzie: Weather Patterns
Through November 22
Evergreen Arts, Coquitlam, British Columbia

Extending her decades-long investigation of abstraction and place, Canadian contemporary painter Landon Mackenzie presents a new body of innovative large-scale paintings shaped by the forces of weather. Mackenzie first set the canvases outdoors on Prince Edward Island to absorb saltwater, rain, wind, and sunshine; she then responded to their transformed surfaces in her Vancouver studio. Evoking sandstone, riverbeds, celestial bodies, and nervous systems, the works explore the intimate relationship between landscape, material process, and perception.

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Marion Wagschal
Through January 17, 2027
National Gallery of Canada, Ontario

This major retrospective celebrates more than six decades of work by Marion Wagschal, whose emotionally charged large-scale figurative paintings examine memory, migration, family, sexuality, aging, and the female body. Born in Trinidad and Tobago to Holocaust survivors, and a resident of Montreal since she was nine years old, Wagschal blurs the boundaries between autobiography and fiction as she explores vulnerability, resilience, and self-determination.

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CENTRAL AMERICA & THE CARIBBEAN

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The Gaulin Woman: Uncovering Our Bahamian Selves
Through May 2027
National Art Gallery of The Bahamas, Nassau

Its title referring to the heron-woman of Bahamian folklore, this exhibition looks at art historian and keeper of storytelling traditions Patricia Glinton-Meicholas (1950–2025), author of the seminal book Bahamian Art 1492–1992. Tracing her close association with pioneering Bahamian modern art movement Generation ’80, The Gaulin Woman features works by artists whom Glinton-Meicholas taught, engaged with, and promoted over many years.

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EUROPE & UK

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Bharti Kher at the V&A
Through January 27, 2027
V&A Museum, London

Statues of women by British Indian artist Bharti Kher in the V&A’s European Sculpture Hall draw on the same classicizing naturalism and iconography as the sculptures around them, but a resin sari-veil, animal headdresses, and other non-Western attributes encourage viewers to ask questions about the figures’ cultural identity and about their agency as women, as does the house or temple enclosing the head of Kher’s new bronze colossus, Gaia (Earth), outside the museum.

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Chitra Ganesh: Journey to the Great Below
Through January 17, 2027
Baltic Centre for Contemporary Art, Gateshead, UK

Chitra Ganesh reorients epic myths and historical narratives around queer and femme protagonists. Ganesh’s world-building explores such themes as psychic transformation, sexuality, power, and loss; her shape-shifting characters occupy liminal spaces, inviting us to consider utopian possibilities amid precarity and turbulence. The centerpiece of these new and recent sculptures, paintings, works on paper, and mixed-media works is a large-scale animation inspired by The Descent of Inanna into the Underworld, an ancient Mesopotamian narrative widely considered the world’s oldest recorded myth.

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Grada Kilomba: O Fundo do Mundo (The Bottom of the Earth)
Through September 27
Albuquerque Foundation, Lisbon

Recognized for her subversive storytelling, Berlin-based Portuguese artist Grada Kilomba gives body, voice, and movement to silenced voices. The Bottom of the Earth envisions a futuristic ocean floor as a record of both geological and human activity, the latter often barbaric and violent, approaching the concepts of memory, trauma, violence, and repetition in an urgent yet poetic way.

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Mariuccia Secol: Unraveling
Through November 1
Muzeum Susch, Switzerland

While teaching painting at a psychiatric hospital from 1965 to 1988, Italian artist Mariuccia Secol began deconstructing domestic textiles and women’s clothing, including her wedding dress. The resulting gaps and tears symbolize wounds and stretch marks on the female body but also openings for light and knowledge emerging from inner exploration. Unraveling surveys this nonagenarian artist’s practice from the 1950s onward, including recent works addressing intersectional feminist concerns, such as marginalization and ecological crisis.

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Sungi Mlengeya: Earth and Sky
Through October 24
Les filles du calvaire, Paris

Tanzanian artist Sungi Mlengeya is known for her minimalist paintings of dark female figures emerging from vast white spaces. Conceived following the death of her mother, Mlengeya’s first solo exhibition in France marks an intimate turning point. Rather than questioning the finality of death, Earth and Sky focuses on what remains: inherited gestures, thought processes, and creative impulses that quietly shape subsequent generations.

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MEXICO

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Entretejidas: Arquitectas mexicanas: Presente, pasado y futuro (Interwoven: Mexican Women Architects: Present, Past, and Future)
Through December
Colegio de San Ildefonso, Mexico City

Part of the Mextrópoli 2026 festival, this exhibition brings together generations of Mexican women architects, more than one hundred fifty in total, who have transformed the discipline through professional practice, academia, research, and public administration. Entretejidas highlights the networks, influences, and continuities that have shaped the increasingly diverse architectural landscape of Mexico.

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Marysole Wörner Baz: Redenciones marginales (Marginal Redemptions)
Through October 25
Museo de Arte Moderno, Mexico City

Marking the ninetieth anniversary of her birth, this exhibition celebrates the work of Mexican artist Marysole Wörner Baz (1936–2014). Working over the course of six decades in performance art, kinetic art, palette-knife painting, wood carving, and a wide range of other media, Wörner Baz sought to rescue and transform people, objects, and materials that which had been disregarded and to imbue them with new aesthetic and social importance.

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Minia Biabiany: Nuestras escuchas (Our Listening)
Through February 14, 2027
Museo Universitario de Arte Contemporáneo, Mexico City

Guadaloupan interdisciplinary artist Minia Biabiany brings local knowledge into dialogue with the poetic imagination, exploring connections among species that share the same habitats. Here, Biabiany focuses on the ocean: as a locus of exchange and movement among humans and non-humans, and as a living archive of historical, ecological, and affective memories, not least the legacy of colonialism in the Caribbean.

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Regina José Galindo: Los peores tiempos posibles (The Worst Possible Times)
Ongoing
Museo Universitario del Chopo, Mexico City

The work of Guatemalan performance artist Regina José Galindo has developed in response to the war and genocide that took place in Guatemala from the 1960s to the 1990s as well as its enduring legacy today. This exhibition surveys Galindo’s work from 1999 to the present, grouping her projects and actions into thirty-three interwoven tiempos (times) expressed through the artist’s body: times of war, genocide, migration, racism, misogyny, and more. Repetitions across works emphasize how memories and ramifications of past events continue to shape the present.

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Teresa Serrano: Hedonismo y cosmetología (Teresa Serrano: Hedonism and Cosmetology)
Through March 1, 2027
Galería Ana Tejeda, Mexico City

Mexican artist Teresa Serrano addresses gender-based violence, female subjectivity, and social issues like migration and ecology through painting, drawing, sculpture, video, performance, and installation, defying the categories and movements into which contemporary Mexican art history is usually divided. The new series presented here explores pleasure, rituals of the body, and the social construction of beauty.

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Valentina Guerrero Marín: Aquí, otros cielos (Here, Other Skies)
Through October 11
Museo de Arte Carrillo Gil, Mexico City

A sculptural and sensory intervention on the museum’s terrace by Mexico City–based Chilean artist Valentina Guerrero Marín invites viewers to observe the clouds from artistic, political, and environmental perspectives. Stemming from years of research on the ways human activity has altered aerial landscapes, Aquí, otros cielos (Here, Other Skies) reclaims the deeply human act of looking up at the sky to reflect on environmental transformations affecting the atmosphere and our relationship to it.

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MIDDLE EAST & NORTH AFRICA

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Lamia Joreige: As I Weep
Through September 23
Marfa’ Contemporary Art Gallery, Beirut

The exhibition forms part of Lebanese artist Lamia Joreige’s project Uncertain Times, which focuses on the events in Lebanon, Syria, and Palestine between the collapse of Ottoman rule in 1913–18 and the establishment of the French and British Mandates in the early 1920s. Through interventions into maps and other archival materials, and through paintings, drawings, and works in other media, As I Weep reflects on both individual and collective histories of the period, examining how narratives of the past are constructed, circulated, and reinterpreted as well as how they remain embedded in present-day realities.

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OCEANIA

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Cherine Fahd, The Captains, 2026
Through October 7
Museum of Contemporary Art (MCA) Australia, Sydney

Australian photographer Cherine Fahd presents a commissioned series of portraits of the twelve 2026 team captains of the Australasian National Women’s Rugby League. Fahd’s monumental black-and-white photographs—some static and contemplative, others captured at a moment of action—invite us to reflect on ideas of visibility, leadership, and legacy. The Captains shines a light on these athletes and leaders at a time when women’s involvement and recognition in sport continues to be a work in progress.

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Kate Mitchell: In the Eye of the Giant
Through December
Art Gallery of New South Wales, Sydney

This enormous ascending digital scroll in the museum’s atrium visualizes seven emotional states that shape the practice of Australian artist Kate Mitchell. A succession of hundreds of colored ink drawings forms an “emotional devotional” resonating, for example, with the manuscript self-portrait of the medieval German nun Guda. Running on a continuous loop, In the Eye of the Giant acknowledges the transience of feeling and invites visitors to tune into the quiet intelligence of their own emotions.

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Ruth Ige: The Evocation of Worlds
Through November 15
Te Uru Contemporary Gallery, Auckland, New Zealand

These new paintings by Nigeria-born, New Zealand-based Ruth Ige extend the artist’s ongoing exploration of identity, belonging, and representations of Blackness. In Ige’s blue-and-black semifigural canvases, acrylic paint mingles with West African indigo, Nigerian earth clays, shea butter, and other organic materials to evoke associations with nourishment, healing, adornment, ceremony, spiritual practice, ancestral tradition, and much more. Ige creates worlds where history, poetry, mythology, speculative fiction, ancestral practices, and future imaginings converge.

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Shona Rapira Davies: Ko te Kihikihi Taku Ingoa (The Cicada Is My Name)
Through June 27, 2027
Christchurch Art Gallery/Te Puna o Waiwhetū, New Zealand

This commissioned installation by Shona Rapira Davies of the Ngāti Wai ki Aotea tribe memorializes the Māori children killed and displaced by the Colony of New Zealand in the Taranaki Wars (1860–1866). Created in graphite and native wood entwined within steel wire, this gigantic hanging whale’s tail calls to mind a Māori folktale of sacrifice by the tohorā (whale) for its brother the Kauri tree. It also serves to acknowledge a blight in the local history of Christchurch: the imprisonment in 1880 of 160 peaceful Parihaka protesters.

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SOUTH AMERICA

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Astrid González: La boca donde el agua engendra el agua (The Mouth Where Water Gives Birth to Water)
Ongoing
Museo de Arte Moderno de Medellín, Colombia

African Colombian artist Astrid González, whose practice spans video, photography, and sculpture, presents the ocean as at once a cemetery and a stage for liberation. In González’s radical imagining, sea-dwelling spiritual beings—mermaids, serpents, Haitian Vodou entities—and sensory experiences of the ocean mediate access to the vibrations of drowned ancestors. The artist’s strategies of codification rely on Afro-descendant epistemes beyond the colonial gaze.

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Belkis Ayón: Mito y desobediencia (Myth and Disobedience)
Through October 12
Museo de Arte Latinoamericano de Buenos Aires (MALBA), Argentina

Belkis Ayón (1967–1999) was a leading Cuban printmaker whose explorations and reworkings of Afro-Cuban mythology transformed the field of contemporary graphic art. These seven works from the MALBA-Costantini Collection demonstrate how Ayón’s use of collagraphy, a technique in which diverse materials are collaged onto a hard substrate that is then inked and used for printing, enabled the artist to develop a visual language of remarkable tonal and textural richness.

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Carolina Caycedo: Confluencias (Confluences)
Through October 4
Museu de Arte de São Paolo (MASP), Brazil

The practice of Los Angeles–based Colombian British artist Carolina Caycedo, which spans photography, installation, video, performance, and drawing, is informed by her migratory experiences. Often working collaboratively, Caycedo seeks to reconstruct a communal memory of shared resources, including urban public spaces, rivers, and mountains. Confluencias offers a comprehensive overview of Caycedo’s quarter-century-long career to date and looks closely at her recent works with connections to Brazil. The exhibition’s title refers to both the convergence of waterways and the meeting of people, ideas, and cultures.

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Codesido
Through November 1
Museo de Arte de Lima, Peru

Widely recognized as Peru’s first professional woman painter, Julia Codesido (1883–1979) produced a vast and diverse body of work over the course of more than five decades. From her large-scale landscapes busy with figures to her near-abstractions, Codesido developed a distinctive style characterized by playfulness and an expressionist palette. This exhibition explores the artist’s deeply knowledgeable dialogues with successive avant-garde movements as well as with Peruvian folk art traditions.

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Gala Porras-Kim: El movimiento de un registro fluvial (The Motion of an Alluvial Record)
Ongoing
Museo de Arte Moderno de Medellín, Colombia

Gala Porras-Kim, a Colombian Korean American artist based in Los Angeles, explores the ways in which museums, archives, and other institutions construct narratives around cultural objects. The recent projects in this multisensorial exhibition—including a plastic-framed hothouse that keeps mud from Yucatán Peninsula in its native moist state within a long wooden trough—examine and critique the mechanisms through which cultural meaning is produced, legitimized, and sustained.

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UNITED STATES

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ana segovia: the office of inter-american affairs presents
Through October 17
Kurimanzutto Gallery, New York

New paintings by Mexican artist Ana Segovia, together with extensive archival film footage and sound, address the gaucho archetype of South America’s Southern Cone. Segovia’s strongly cropped details associated with gauchos, executed in a vividly unnaturalistic palette, contribute to an intentionally fragmentary and disorienting multisensory experience for the gallery visitor, bringing attention to the artifice and performativity that underpin gender identities and national imaginaries.

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Burnished: Pueblo Pottery at NMWA
Through September 27
National Museum of Women in the Arts, Washington, DC

For more than two millennia, Pueblo potters in the North American Southwest have created clay vessels for storage and ceremonial purposes. Women have been central to this tradition, imparting their knowledge and practices to daughters, granddaughters, nieces, and other women across generations. In 1998, the NMWA organized the first museum survey dedicated to women Pueblo potters. Burnished now presents the NMWA’s own pottery collection, including new acquisitions, in its first focused exhibition.

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Coumba Samba: Stars and Stripes
Through January 18, 2027
Whitney Museum of American Art, New York

A Senegalese American artist based in New York, Coumba Samba is known for taking forms from the global built environment—forms that prevailing narratives of modernist abstraction and minimalism might declare neutral—and revealing the social, political, and economic structures embedded therein. For her first solo museum presentation, Samba offers an immersive site-specific installation that critically examines the development of nuclear power and the African resource extraction that has sustained it.

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Edra Soto: the place of dwelling
Through March 6, 2027
Kemper Museum, Kansas City, Missouri

Edra Soto celebrates working-class communities in her native Puerto Rico by altering and recontextualizing plastic lawn furniture, electric fans, and other functional warm-weather objects. Soto’s installation for the Kemper’s annual Atrium Project assimilates the gleaming space to a chapel by investing it with mementos of her Catholic upbringing. The artist thus questions the methods of colonial indoctrination and casts vernacular design as a sacred source of guidance and direction.

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Exploring Feminism
Through January 31, 2027
Dayton Arts Institute, OH

This rotating set of feminist artworks from the newly acquired Sara M. and Michelle Vance Waddell Collection, including the 2012 Deborah Kass neon sculpture Enough Already and the 2018 mixed-media Mohammad Yunus (16) by Pakistani artist Ambreen Butt, will help to better acquaint guests with the feminist movement: its origins; its cycles of protest, self-expression, and community-building; and its expanding definition of the constituents and purposes it serves.

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Graciela Iturbide: Between Two Worlds
Through November 29
San Francisco Museum of Modern Art

Graciela Iturbide’s lyrical black-and-white photographs pay honor to a vast spectrum of life, both in her home country of Mexico and on her wide-ranging travels: markets and festivals, symbols, and experiences of birth and death, botanical gardens, self-portraits, and much more. This retrospective spans more than five decades of Iturbide’s work, exploring the artist’s poetic commitment to finding the extraordinary in the everyday.

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Hopi Kachina Dolls: Blessings for a Balanced World
October 2, 2026–April 18, 2027
Brooklyn Museum, New York

At key points in their lives, girls and women of the Hopi tribe of northeastern Arizona receive painted cottonwood kachina dolls (tithu) representing Katsinam, the spirits who bring much-needed rain and keep society and nature in balance. In this first exhibition to examine the kachina tradition from the perspective of their recipients, fifty-three dolls from the Brooklyn Museum’s collection appear alongside baskets, jewelry, and ceramics by Hopi women artists.

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Karyn Olivier: Bend, Break, Mend
Through October 11
Museum of Contemporary Art Detroit (MOCAD)

Trinidad-born, Brooklyn-raised artist Karyn Olivier works across sculpture, installation, and public intervention to examine how landscapes and built environments carry the weight of historical memory. She approaches her salvaged, industrial, and transformed materials as active records of time. Bend, Break, Mend brings together recent and newly commissioned works grounded in Detroit’s material conditions and histories, including stepwells, sundials, and playground structures that measure duration through the movement of shadows, erosion and weathering, and more.

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Nengi Omuku: The Gathering
Through May 14, 2028
de Young Museum, San Francisco

In her first US solo museum exhibition, painter Nengi Omuku shares dreamlike scenes that imagine a better world for Nigerians. Here, nature becomes an important symbol of healing and possibility: figures inhabit lush forests, gardens, and waterfronts, settings often inaccessible to those living in her home country. Omuku paints on hand-woven sanyan, a historic Yoruba textile once worn for important ceremonies, connecting her visions of care and belonging to cultural continuity and the transmission of knowledge.

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The Rainbow My Mother Shows Me: Echo Morgan
Through October 11
Crow Museum of Asian Art, Dallas

Echoing the tempered sentiments of the 1997 song Mortal World by Hong Kong singer Faye Wong, multidisciplinary artist Xie Rong (Echo Morgan) presents a multisensory exhibition expanding on You Don’t Always See a Rainbow After Rain, a site-specific performance created in April 2025 at the Crow. Resting on the premise that not every sorrow can be surmounted, this exhibition continues the artist’s exploration of themes of memory, identity, and heritage.

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Rohini Devasher: Solar Poetics
Through November 29
Bruce Museum, Greenwich, Connecticut

This exhibition celebrates the museum’s acquisition of the immersive One Hundred Thousand Suns (2023) by New Delhi–born Rohini Devasher, a longtime amateur astronomer. This four-channel video work combines historical images from India’s Kodaikanal Solar Observatory with contemporary footage, meditating on how humanity acquires knowledge of cosmic space. Devasher’s Shadow Portraits and Sol Drawings, executed with smoke on copper and calling to mind solar flares and sunspots, offer intimate counterpoints to the monumental installation.

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ONLINE/VIRTUAL

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Perfil (Profile)
Ongoing
Museo de Suelos del Caribe, US Virgin Islands

Twelve expressive digital portraits by artist and civil engineer Sofía Boscio represent each of the soils classified within the American Soil Taxonomy, ten of which are found in Boscio’s native Puerto Rico. Just as the soils differ in color, texture, mineral content, and other properties that together determine their suitability to different ecosystems, the figures in Perfil are highly individualized, their physiognomies calling to mind topographical maps.

Questions of materiality, care, and cultural communication surface repeatedly in this summer’s Committee on Women in the Arts Picks. In Spain, Aurèlia Muñoz draws on ancestral fiber traditions to reflect on environmental precarity and the interconnectedness of ecosystems. In Guatemala, Rosa Elena Curruchich and Angélica Serech underscore how material practices sustain memory and care across time. In London, Laakkuluk Williamson reflects on Inuit identity and sovereignty, foregrounding relationships between bodies and land, past and present, memory and material.

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UNITED STATES

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Calida Rawles: Away with the Tides
Through September 5
Spelman College Museum of Fine Art, Atlanta

Merging hyperrealism with poetic abstraction, Spelman alumna Calida Rawles situates monumental Black figures in strongly undulating aqueous settings that represent racial exclusion as well as, through the reclamation of these spaces, individual healing. Away with the Tides features recent acrylic and pastel paintings alongside a large-scale video installation reflecting the natural environment and cultural milieu of the historically Black neighborhood of Overtown, Miami.

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Gisela Colón: Radiant Earth
Through July 5
Bruce Museum, Greenwich, CT

Los Angeles-based artist Gisela Colón creates abstract luminescent sculptures inspired by the energies and patterns found in nature and the skies, including the mountainous terrain and sunshine of Puerto Rico, her childhood home. In collaboration with scientists, Colón has developed a unique method of layering and laminating reused plastics and other engineered materials to produce works—here, biomorphic and obelisk-like forms—whose ever-changing colors are activated by light.

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Julie Buffalohead: Stories of Becoming
Through July 26
Nerman Museum of Contemporary Art, Overland Park, KS

A citizen of the Ponca Tribe of Oklahoma, Julie Buffalohead presents a new series of paintings that incorporate animals from Indigenous stories into narrative contexts from European folklore, highlighting the contrasts between a nurturing ethos and a colonizing one. Demonstrating a shift in Buffalohead’s practice since becoming a mother, the eight new works, which also include a hand-sewn wool dress, speak to how older generations pass along the knowledge of land, animals, and other living beings to the young, especially from mothers to daughters.

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Modernity and Opulence: Women of the Wiener Wërkstatte
July 17–November 15
The Jewish Museum, New York

This exhibition sheds new light on how Jewish women artists, designers, patrons, and tastemakers shaped modernist aesthetics in the early twentieth-century Vienna-based modernist movement known as the Wiener Werkstätte. It places special emphasis on ceramicist Vally Wieselthier and textile artist Felice Rix-Ueno, whose extensive bodies of work have made a lasting impact on these disciplines, and it meaningfully reintroduces artists working in a wide range of media whose relationship to the history of art and design has long been overlooked.

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Marietta Bernstorff: PatchWork—Women from Oaxaca, Mexico
Through September 4
Visual Arts Gallery, PCC West Campus, Tucson, AZ

Seventy blankets and twenty-five books here represent the larger ongoing international textile art project Patchwork Healing Blanket/La Manta de Curación. Initiated by Marietta Bernstorff, founder of the Oaxaca-based collective Mujeres Artistas y el Maiz (MAMAZ) and involving more than one thousand women across disparate cultures, Patchwork Healing Blanket transforms stitching into a collective response to gender-based violence and ecological harm.

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Sharmistha Ray: Emergent Realities
Through July 5
Wood Street Galleries, Pittsburgh, PA

This newly commissioned three-channel animation by Sharmistha Ray brings together painting, original and found footage, and cosmic imagery in a layered visual odyssey. The channels juxtapose images of the universe—satellites drifting, comets arcing across space—with painted abstractions, drawing the viewer into a vortex where deep time and human perception loop, splinter, and converge.

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Sophie Rivera: Double Exposures
Through August 2
El Museo del Barrio, New York

This is the first museum survey dedicated to groundbreaking photographer, writer, and organizer Sophie Rivera. Born and raised in New York, Rivera was active from the 1970s through the 2000s, producing photography that spans documentary images, urban landscapes, abstractions, conceptual self-portraits, and the artist’s iconic Latino Portraits series. The exhibition’s title draws on the photographic technique of layering multiple images within a single frame—here, a metaphor for Rivera’s self-described “complex amalgam of vision,” shaped by her identity as an artist, Latina, and feminist.

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Subvert, Repair, Reclaim: Contemporary Artists Take Back the Nude
Through August 2
MFA (Museum of Fine Arts), Boston

Of the twelve artists who engage with the nude in this exhibition, ten are women or nonbinary: Mary Enoch Elizabeth Baxter, Nona Faustine, Xandra Ibarra, Maya Jeffereis, Gisela Charfauros McDaniel, Joiri Minaya, Cato Ouyang, Rachelle Anayansi Mozman Solano, Katherine Sherwood, and Betty Tompkins. Their performative gestures, archival interventions, and acts of redaction and repair symbolically reach into the frames—and framing—of the nude as it has traditionally appeared within museums. Addressing timely issues of bodily autonomy, agency, and accountability, they expose and challenge the power structures and inherited narratives governing visibility, authorship, and desire.

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MEXICO

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Con todo mi tristeza (With All My Sadness): Fátima Rodrigo
Through September 27
Museo Rufino Tamayo, Mexico City

Based on extensive research in public and private television archives, Peruvian artist Fátima Rodrigo reconstructs Latin American musical and game-show sets using everyday materials. Part of a program of site-specific installations in the central courtyard of the Museo Tamayo, With All My Sadness invites viewers to consider the interactions among modernist aesthetics, cultural exchange, and politics within popular entertainment.

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Gerda Gruber: Entre verde y agua (Between Green and Water)
Through September 30
Museo de Arte Moderno, Mexico City

This first retrospective honoring the career of the Bratislava-born, Yucatan-based sculptor Gerda Gruber from the 1970s to the present highlights the breadth of her formal and material experimentation. Gruber’s works in clay, stone, textiles, wood, and more call to mind fossils, spiderwebs, eggs, bodies, and other organic forms, asking viewers to consider issues of sustainability and the role of art in confronting ecological crisis.

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Ingrid Hernández: 20 años de arte _Under Construction_ (Twenty Years of Art “Under Construction”)
Through August 9
Centro de la Imagen, Mexico City

These thirteen projects created since 2003 explore the ever-changing nature of Tijuana, home of photographer, printmaker, sculptor, and installation artist Ingrid Hernández. Incorporating garage doors, fences, walls, and other everyday elements, and accompanied by previously unseen archival materials, the works in _Under Construction_ offer an intimate look at housing and life within a border city where people and objects are always in motion.

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María Ezcurra: Líneas de fuga (Lines of Flight)
Through July 31
Museo de Arte Carillo Gil, Mexico City

This retrospective brings together more than two decades of work by Argentine-born Mexican Canadian artist María Ezcurra. In installations, sculptures, drawings, and performances, such as her hanging cluster of colorful ruffled dresses, Ezcurra looks at the ways displacement, sexual violence, and patriarchal gender roles affect women’s bodies and identities. At the same time, as the exhibition’s title Lines of Flight implies, Ezcurra proffers means of defying geopolitical and social boundaries—through art, memory, and care.

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Remedios Varo: Habitantes de lo insólito (Inhabitants of the Unusual)
Through July 5
Museo de Arte Moderno, Mexico City

In the visual universe of Spanish surrealist painter and author Remedios Varo, who fled Europe during World War II and spent the rest of her life in Mexico, archetypal figures perform actions with the precision of scientific inquiry, the solemnity of mystical ritual, or both. In Inhabitants of the Unusual, the Museo de Arte Moderno displays its collection of Varo’s paintings alongside materials that enrich our understanding of these works: numerous preparatory sketches; notebooks filled with Varo’s hallucinatory memories and psychohumorous experiments; and books from the artist’s personal library.

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CENTRAL AMERICA & THE CARIBBEAN

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Otras montañas, las que andan sueltas bajo el agua (Other Mountains, Adrift beneath the Waves)
Through August 16
Museo de Arte Contemporáneo, Panama City

Transdisciplinary Caribbean artists Nadia Huggins and Tessa Mars reflect upon the ocean in this exhibition emerging from The Current IV, a three-year curatorial fellowship and research program organized by the Thyssen-Bornemisza Art Contemporary Foundation, Madrid. A multichannel video installation by Huggins and large-scale paintings and sculptures by Mars embrace a freestyle, improvisational ethos in challenging land-based power structures and reimagining natural systems.

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Trixie Briceño: Sistemas de lo maravilloso (Magnificent Systems)
Through August 23
Museo de Arte Contemporáneo, Panama City

This exhibition revisits the practice of pioneering twentieth-century Panamanian artist Beatrix Briceño, whose meticulously ordered paintings transform experiences of migration, displacement, and instability into dreamlike visual worlds populated by everyday objects, abstract forms, and fragmented bodies. Archival materials and more than fifty paintings by Briceño appear alongside a new immersive light and sound installation by Panamanian digital artist Ix Shells that algorithmically reimagines Briceño’s universe.

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Xa Jun Ruk’oxomal Qanima/Un solo latido/A Shared Heartbeat
Through September 6
La Nueva Fábrica, Antigua, Guatemala

This exhibition brings into dialogue two Indigenous Maya Kaqchikel artists of different generations in the town of San Juan Comalapa, Guatemala: painter Rosa Elena Curruchich (1958–2005) and fiber artist Angélica Serech (b. 1982). Curruchich emphasized women’s roles in Maya social organization through small-scale scenes documenting family life, celebrations, and relationships; Serech addresses migration, territory, and bodily memory in sculptural textiles created by applying traditional weaving techniques to contemporary materials.

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CANADA

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dlúne æîk’ãzñ: mouse spirit power
Through September 5
Esplanade Arts & Heritage Centre, Medicine Hat, Alberta

This solo exhibition by Heather Shillinglaw, a Denesuline and Métis artist, honors over thirty years of collaboration with her mother, Elder Shirley Norris Shillinglaw of Cold Lake First Nation, a forest medicine expert. Working in textile-based relief installations and art quilts made from reused and upcycled materials, the younger Shillinglaw invites viewers into the perspective of dlúne æîk’ãzñ, her mouse spirit guide: close to the ground, attentive to subtle shifts. She braids together Denesuline knowledge systems, plant-based practice, and texts by Métis poet Marilyn Dumont to reframe land not as a resource but as a living relation.

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Dyani White Hawk: Love Language
Through October 4
Remai Modern, Saskatoon

By foregrounding Lakota forms and motifs, Sičáŋǧu Lakota artist Dyani White Hawk challenges prevailing histories and practices surrounding abstract art. This major survey gathers fifteen years of multimedia paintings, sculptures, videos, and other works that draw on intergenerational knowledge, address urgent issues of colonialist oppression, and center connection: among people, between past and present, and between earth and sky.

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Ningiukulu Teevee: Stories from the Arctic
Ongoing
Winnipeg Art Gallery—Qaumajuq

Inuk graphic artist Ningiukulu Teevee, based in Kinngait on Dorset Island in Nunavut, is widely recognized as one of Canada’s leading printmakers, with her work appearing in every Cape Dorset Annual Print Collection since her 2004 debut. This presentation features stonecut prints, drawings, and mixed media works that translate Inuit creation stories, animal fables, and traditional narratives, such as those of powerful female sea spirit Sedna/Nuliajuk, into dynamic, often whimsical compositions.

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Thenjiwe Niki Nkosi: Suspension (Sierra Brooks, Daisha Cannon, Luci Collins, Olivia Courtney, Naveen Daries…)
Through August 16
Museum of Contemporary Art, Toronto

This 2020 audiovisual work by Johannesburg-based artist Thenjiwe Niki Nkosi (b.1980) moves through intimate close-ups of recognizable women gymnasts of color at the height of their discipline. Accompanied by haunting music, the sequence of portraits shows the athletes immersed in intense concentration, highlighting the depth of their training and sacrifice while drawing attention to the stress of overwhelming expectations they have likewise trained to resist and overcome.

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SOUTH AMERICA

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El caos sensible (Sensitive Chaos)
Through July 26
Museo de Arte Moderno, Bogotá, Colombia

The works of Colombian multidisciplinary artist Ana María Rueda reflect on environmental fragility, rupture, loss, and forgetting but also uphold the possibility of healing and renewal. This first major survey of Rueda’s multidisciplinary practice across more than forty years takes its title from the 1962 book Sensitive Chaos: The Creation of Flowing Forms in Air and Water, connecting Rueda’s paintings, sculptures, and other works to the book’s argument that the rhythmic patterns of water and air underpin the systems that support life.

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La Chola Poblete: Pop andino (Andean Pop)
Through August 2
Museu de Arte de São Paulo, Brazil

Argentine artist La Chola Poblete explores the complexities of Chola identity, a term used to describe mixed-race women of Indigenous descent in Latin America, and confronts the violence suffered by queer and racially marginalized groups within the legacy of colonialism. In these previously unseen large-scale watercolors, staged photographs, and sculptures, the artist blends Pop iconography with pre-Columbian imagery to question the categories that frame her body and work, affirming hybrid identities and the possibility of continuous transformation and fluidity.

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Continente oscuro: Feminidad, disidencia y surrealismo en Argentina (Dark Continent: Femininity, Dissidence, and Surrealism in Argentina)
Through August 2
Museo de Arte Contemporáneo Buenos Aires, Argentina

This group exhibition brings together more than eighty-five works by Argentine dissident women artists who have appropriated and transformed the strategies of Surrealism to interrogate authority, desire, and collectivity. Departing from the hegemonic discourse that privileges the male artists of Argentine Surrealism, Continente oscuro explores the unconscious, the materiality of the body, domesticity, violence, and myth.

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Un mundo raro: el legado de Beatriz González en el Museo Nacional de Colombia (A Rare World: The Legacy of Beatriz González in the National Museum of Colombia)
Through July 12
Museo Nacional de Colombia, Bogotá, Colombia

This exhibition revisits the transformative role of Beatriz González, one of Colombia’s most influential artists, as the Chief Curator of Art and History Collections at the Museo Nacional de Colombia from 1989 to 2004. Foregrounding her belief in museums as dynamic spaces for public reflection, historical inquiry, and artistic creativity, the show highlights González’s efforts to rethink museum collections, nineteenth-century Colombian art, and national historical iconography.

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EUROPE & UK

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Acaye Kerunen: Apoi
Through September 6
Kunstmuseen Krefeld, Germany

Ugandan artist Acaye Kerunen creates sculptural works and installations in natural fibers sourced near her home city Kampala. Incorporating baskets and other objects woven by local women’s communities, Kerunen uses such traditional techniques as knotting, braiding, sewing, to give form to the ecology, social dynamics, and colonial context of Uganda. This first solo museum exhibition devoted to Kernune occurs alongside her curation of the Ugandan Pavilion at this year’s Venice Biennale.

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Archival Chain Reactions: Between and Beyond Archivo Pinto mi Raya, Re.Act.Feminism, City of Women
Through September 13
Museum of Contemporary Art Metelkova, Ljubljana, Slovenia

The exhibition brings together artworks and documents from three important yet financially precarious archives of feminist art: Pinto mi Raya (I Paint My Line, Mexico City), re.act.feminism (Berlin), and City of Women (Ljubljana). Underscoring that these bodies of material require continuous maintenance, the project aims to raise awareness about the need for funding to preserve these crucial resources. It also demonstrates how collaboration and exchange among the stewards of feminist archives can foster mutual support as well as build knowledge.

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Aurèlia Muñoz: Entes (Entities)
Through September 7
Museo Reina Sofía, Madrid

Initially linked to movements such as the Nouvelle Tapisserie movement and the Catalan School of Tapestry, Barcelonitan textile artist Aurèlia Muñoz (1926–2011) transcended the realms of weaving, fiber, and craft. This comprehensive overview illustrates how Muñoz combined ancestral and contemporary techniques to address the impact of post-industrial crises on terrestrial, aquatic, and aerial ecosystems.

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Candace Hill-Montgomery: A Bare Woman Mutters Nothing…
Through July 18
Hollybush Gardens, London

This first solo exhibition in the United Kingdom of African American artist Candace Hill-Montgomery highlights the experimental nature of her approach to a wide range of media, including textile assemblages, painting, photography, and writing. In a practice that continues to this day, Hill-Montgomery’s works reflect her experience of postwar segregation in New York and the revolutionary activism of the 1970s.

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Carmen Laffón: Variaciones (Variations)
Through September 27
Museo Nacional Thyssen-Bornemisza, Madrid

Over her more than sixty-year career, Sevillian artist Carmen Laffón (1934-2021) returned many times to personally meaningful motifs: domestic furnishings, city buildings, a coastal salt marsh. The seventy-seven oil paintings, pastels, charcoals, and sculptures in Variations attest to the wide range of Laffón’s formal approaches to these subjects, from realism to an impressionistic near-abstraction.

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Ewa Juszkiewicz
Through September 6
Museo Nacional Thyssen-Bornemisza, Madrid

In her first solo museum presentation, Gdańsk-born painter Ewa Juszkiewicz engages critically with canonical representations of feminine beauty. Juszkiewicz adopts the realism and characterizing motifs of eighteenth- and nineteenth-century women’s portraits but obscures her sitters’ faces with elaborate arrangements of fabric, hair, fruit, or vegetation. She thus draws upon a Surrealist sensibility to liberate her subjects from traditional ideals of beauty and decorum, instead opening her images to multiple readings.

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Francesca Woodman: Lately I Find a Sliver of Mirror Is Simply to Slice an Eyelid
Through July 31
Gagosian Gallery, Rome

The self-portraits and images of other nude or clothed women by American photographer Francesca Woodman (1958–1981) exhibit dynamic blurring, dramatic cropping, and other unorthodox technical and formal qualities. This exhibition focuses on the artist’s affinities with Surrealism and features nearly fifty prints made during Woodman’s lifetime, many of which have never previously been exhibited.

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Frida Kahlo: The Making of an Icon
Through January 3
Tate Modern, London

This exhibition considers the transformation of Frida Kahlo from a painter known locally in her hometown of Mexico City into a cultural phenomenon and a touchstone for artists around the globe. In addition to more than thirty paintings by Kahlo as well as materials from Kahlo’s archives, The Making of an Icon presents 120 works created by other artists in dialogue with Kahlo’s life and oeuvre, such as a selection from contemporary Brazilian artist Camile Fontanele de Miranda’s photographic project Todos Podem Ser Frida (Everyone Can Be Frida).

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Julie Mehretu: Kairos/Hauntological Variations
Through August 30
Museum of Modern Art, Warsaw

The work of Ethiopian American artist Julie Mehretu, who is partly of Polish descent, makes its first-ever museum appearance in Poland in Kairos/Hauntological Variations. The exhibition’s title pairs the ancient Greek notion of a critical turning point with Derrida’s hauntology, a state in which the ghosts of an unresolved past haunt the present. Works include Mehretu’s analytical diagrams of the late 1990s; drawings, watercolors, and prints on paper and mylar of the 2000s; and recent large-scale, heavily layered abstractions in ink and acrylic that function as seismographs of today’s global tensions.

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Kimathi Mafafo: Passion Flower
Through July 4
Kristin Hjellegjerde Gallery, Berlin

South African artist Kimathi Mafafo, whose practice spans embroidery, painting, and installation, explores the embodied experience of nature as shaped by sensation, connection, and care. The plant of the exhibition’s title is a recurring motif that pays homage to Mafafo’s late grandmother, who taught the artist about the flower’s calming and restorative properties; the petals also call to mind satellite dishes, transmitters and receivers of messages. Mafafo’s long-term collaboration with two women artists with their own embroidery styles produces richly layered surfaces that celebrate solidarity within feminine spaces.

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Laure Prouvost, We Felt a Star Dying
Through July 26
Grand Palais, Paris

French artist Laure Prouvost presents a sensorially complex environment stemming from her two-year research into quantum physics. Combining video, sculpture, sound, scent, and light, the exhibition asks, “What would it feel like to perceive reality from a quantum point of view?” Tunnels, kinetic sculptures, videos, and objects suspended from the glass roof of the Grand Palais evoke the quantum phenomenon of entanglement, an interconnected world in which, as Prouvost suggests, “we are one … we are we.”

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Marina Abramović: Transforming Energy
Through October 19
Gallerie dell’Accademia, Venice

Performance artist Marina Abramović is the first living woman artist to be honored with a major exhibition at the Gallerie dell’Accademia in Venice. Spanning the museum’s permanent and temporary galleries, this exhibition places the artist’s practice in dialogue with Renaissance masterpieces that have shaped the cultural identity of Venice. By situating the visitor’s body at the center of the work, the exhibition invites a durational form of looking, one that is less about passive observation and more about participation and the possibility of inner change.

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Nuliaminik Neqilik (The Flesh of Wives): Laakkuluk Williamson
Through June 27
Mimosa House, London

Greenlandic-Canadian Inuk artist Laakkuluk Williamson speaks to the current international discourse on Inuit identity and agency over belongings, bodies, and territories, issues made all the more urgent within heightened attention to Greenland and the circumpolar region. The new and recent works here include the titular multimedia installation giving larger-than-life form and avenging power to the wronged wife Masaannaaq of Inuk legend. The mounting of the exhibition in Britain—near the British Museum, no less—constitutes a small revolutionary act, challenging enduring legacies of colonial power and expansion.

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Ranti Bam: Sacred Groves
Through August 23
South London Gallery, London

British Nigerian artist Ranti Bam works with clay as a means of connecting spiritually with the earth and the divine. In her first solo institutional exhibition, Bam unveils large new sculptures from two series: Ifas, whose thick wrinkles come from Bam embracing the material before it dries, and Abstract Vessels, whose patterned, colorfully glazed surfaces render the works almost impishly lively presences. A new film by Ram traces humanity’s imprint on the landscape along the river through Ọṣun-Ọṣogbo, Nigeria, a forest sacred to the Yoruba fertility goddess Ọṣun.

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ASIA

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Nomera Yuka: Golden River
Through August 23
Aperto 21 Museum of Contemporary Art, Kanazawa, Japan

Japanese sculptor and installation artist Yuka Nomura produces slight shifts within familiar landscapes to unsettle and disrupt viewers’ perception. For this exhibition, she drew on the museum’s location in Kanazawa, where she attended school, and conducted firsthand research into the city’s history of gold panning in the Saigawa River. This new multimedia work translates the gestures of scooping and shaking into a meditation on the slow, often imperceptible forces that shape human experience and the natural world.

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Sayanee Sarkar: Alchemy of Absolute Intimacy
Through July 10
Emami Art, Kolkata, India

Sayanee Sarkar’s paintings reimagine intimacy through soft chromatic fields and elusive figuration, with gradients of unsaturated color destabilizing the boundaries between form and ground. In her debut solo exhibition, the Indian artist treats the body as a fluid, sensorial space where presence and absence, self and other, remain in constant negotiation.

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MIDDLE EAST & NORTH AFRICA

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In Circulation: Samar Hejazi
Through July 15
Aisha Alabbar Gallery, Dubai

The textile works, prints, and spatial interventions of Palestinian American artist Samar Hejazi probe the tensions between structure and instability. Hejazi adapts materials from the Palestinian Museum Digital Archive, including house deeds and architectural plans, to reimagine ideas of home, memory, and endurance. Resisting singular interpretations, Henjazi’s works reveal that meaning is continuously reshaped through material and time, with recognizable symbols unraveling into fragmented forms at the boundary of familiarity and strangeness.

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OCEANIA

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MOTHER: Stories from the NGV Collection
Through July 12
National Gallery of Victoria (NGV), Melbourne

Featuring two hundred works from the museum’s collection by contemporary and historical Australian and First Nations artists as well as international artists, and drawing upon a highly diverse range of media, storytelling modes, and mythological and religious iconographic motifs, MOTHER explores both universal and culturally specific experiences of motherhood: private transformation, societal expectation, intergenerational trauma and loss, and the deep connection between motherhood, nature, and one’s country.

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Slow Burn: Women and Photography/Ahi Tāmau: Māreikura Whakaahua
Through January 2027
Museum of New Zealand/Te Papa Tongarewa, Wellington

Emphasizing themes of slowness and care, this survey presents photographs from the museum’s collection by women and nonbinary artists in New Zealand/Aotearoa from the 1960s to today. Slow Burn considers the impact of first- and second-wave feminism on photography and explores the role of this medium in shaping identity, whānau (family), connections with the larger community, and one’s sense of place.