Summary

• Albertz Benda Los Angeles hosts a joint exhibition by Felipe Pantone and Etai from July 17 to August 8, 2026
• Mid-century furniture is digitally remapped and upholstered with custom Limonta fabrics

Albertz Benda is set to present Parallel Practices: Tailored Structures & Kinetic Surfaces, a landmark exhibition marking the very first collaboration between Felipe Pantone and rising fashion-design voice Etai. The presentation will be hosted within the distinct domestic architecture of the gallery's Los Angeles location, which is housed in a mid-century modern home. Rather than treating the pieces as standalone objects, the exhibition arranges Pantone’s wall-based artworks and their collaborative furniture pieces into an interconnected artistic system that explores questions of utility, intimacy and contemporary lived experience.

The exhibition debuts a new body of collaborative design pieces centered on a rigorous process of structural dialogue, material deconstruction, and reconstruction. The physical workflow began with mid-century furniture sourced across Los Angeles, which Etai digitally mapped and reworked as a foundation for physical transformation. Pantone then designed custom, high-concept fabric elements produced by the historic Italian textile house Limonta. These vibrant textiles were systematically integrated into the furniture, blending contemporary imagery and digital visual languages with classic structural forms while preserving the original functional logic of each object.

Functioning as both conceptual accelerators and visual anchors, Pantone’s signature wall-based kinetic artworks are displayed in direct dialogue with the furniture. These pieces utilize optical effects driven by rhythm, velocity and repetition to mirror modern systems of digital circulation and data flow, establishing a chromatic vocabulary that carries directly into the printed fabrics used throughout the space.

Parallel Practices: Tailored Structures & Kinetic Surfaces opens on July 17 and will run until August 8, 2026 at Albertz Benda's Los Angeles gallery space.

Albertz Benda L.A.
8260 Marmont Lane, Los Angeles,
CA 90069, USA

Click here to view full gallery at Hypebeast

Summary

• Visual artist Matt McCormick and Mike Tyson have announced “Judgment Day,” a limited-edition blind-pack fine art print collection under McCormick's “Past The Line” project, centered on November 22, 1986 — the night 20-year-old Tyson became the youngest world heavyweight champion in history
• The collection is available in two editions: the Gold Pack, hand-signed by both McCormick and Tyson, and the Silver Pack, hand-signed by McCormick alone, both blind-packed with numbered variants so the edition size printed on each piece tells you exactly how many of that variant exist
• McCormick's work does not depict the fight itself but the pause immediately after; the instant before the outcome was called, when the reverberations of what just happened had not yet settled

Matt McCormick and Mike Tyson have announced “Past The Line - Judgment Day,” a blind-pack fine art print collection built around a single frozen moment: the pause after Trevor Berbick hit the canvas on November 22, 1986, before the world caught up with what Tyson had just done. The collection drops in two editions, Gold and Silver, each blind-packed with numbered variants that tell you exactly how rare your pull is.

McCormick's framing of the subject is what separates this from standard sports memorabilia. Rather than depicting the fight or the knockout itself, the work focuses on the instant immediately after the outcome became clear but before its weight had settled — the seconds in which a 20-year-old from Brownsville became the youngest heavyweight champion in history, but the full meaning of that had not yet arrived. It is a technically precise editorial choice: the violence is absent, the spectacle is present, and the mythology is in the process of forming. McCormick has described his practice as navigating the tension between mythology and contemporary life, and “Judgment Day” is that idea applied to one of the most culturally loaded moments in twentieth century sport.

The blind-pack format is not a gimmick applied to a fine art context but a structural decision that makes the act of collecting the work as meaningful as the work itself. Each pack contains one numbered fine art print; the edition size printed on that number tells you exactly how many of that variant exist across the entire collection, with no ambiguity and no secondary market guesswork. The Gold Pack carries McCormick's and Tyson's signatures on every single print, while the Silver Pack carries McCormick's signature across a wider variant pool. Both follow the same blind-pack reveal ritual, where the specific variant remains unknown until the pack is opened.

The November 22, 1986 win over Berbick was the beginning of a run that would see him unify the WBA, WBC, and IBF titles and become undisputed heavyweight champion of the world — a dominance so complete it produced a mythology that has outlasted the career itself. Few athletes have crossed into the kind of cultural territory where strength, volatility, and reinvention become simultaneously legible in a single name. McCormick's exhibitions have run at Jeffrey Deitch in Los Angeles, Just A Space in Paris, and OMNI in London, among others; his practice has consistently located the point where American heroism and its architecture become visible. “Judgment Day” is that lens applied to its most concentrated subject.

Matt McCormick and Mike Tyson’s “Judgment Day” is available in Gold and Silver editions via Past The Line.

Click here to view full gallery at Hypebeast

Summary

• Museo Jumex in Mexico City is currently staging Football & Art: A Shared Emotion through July 26, spotlighting art's fascination with football across generations and mediums
• Objects of Glory, a sprawling showcase of iconic sports memorabilia opening June 10, spans the game from its origins to today

Football fever is on the up, and Mexico City's Museo Jumex is joining the kickoff with two new exhibitions geared towards contemporary art and design's longstanding love for sports.

First up is Football & Art: A Shared Emotion, now running through July 26. One of the many soccer-inspired shows cropping up around Mexico City, the exhibition, presented as part of the Host City Mexico City Cultural Corridor, maps the Beautiful Game across generations and mediums — painting, sculpture, installation, photography and video — spotlighting its cultural impact in Mexico and beyond.

Among the standout works is “Dechado de impedimentos (Sampler of obstacles),” a new textile commission by Sofía Echeverri, which tells the story of Mexico's 1971 Women's World Cup qualifiers, honoring their accomplishments while shedding light on the social hardships they faced. Elsewhere, in “Tribunas (Stands),” art collective Tercerunquinto reworks salvaged seats from the Azteca Stadium, where the inaugural match will be staged, into a sculptural installation.

Next month, the conversation carries into Objects of Glory, a collection of some of the most significant objects in football history. Opening June 10, in partnership with Qatar Museums and 3-2-1 Qatar Olympic and Sports Museum, the show traces the sport from its origins in the late 19th-century to today, features historic match balls, boots, trophies, jerseys and archival documents that map the game’s evolution.

Must-sees include Diego Maradona’s match-worn jersey from the 1986 World Cup quarter-final and boots worn by Pelé during the 1970 World Cup, a defining moment in the sport's global rise.

“Sport has a unique ability to bring people together through shared emotion and experience,” said Abdulla Al Mulla, Director of the 3-2-1 Qatar Olympic and Sports Museum. “Objects of Glory reflects our commitment to preserving the stories behind football’s most iconic moments while creating new connections between audiences, cultures and communities through the game.”

If you're in Mexico City, Football & Art: A Shared Emotion is now on view through 26. Objects of Glory will open on June 10 and will remain open until August 30. Check out the museum's website for more on how to visit.

Museo Jumex
Blvd. Miguel de Cervantes Saavedra 303,
Granada, Miguel Hidalgo,
11520 Ciudad de México, CDMX,
Mexico

Click here to view full gallery at Hypebeast

Summary

• Uffner & Liu presents Arghavan Khosravi's What Remains in New York through July 2, 2026
• The exhibition features multi-paneled sculptural canvases and her new Altar Series
• Works blend Persian miniature traditions with surrealist, mixed‑media compositions

Uffner & Liu in New York is presenting What Remains, a solo exhibition by Iranian artist Arghavan Khosravi. Marking her third solo showcase with the gallery, the exhibition unveils a compelling evolution in Khosravi’s dynamic studio practice.

The showcase brings together three large-scale wall works, a freestanding sculpture and a suite of intimate, small-scale multi-media compositions. Each piece operates as an intricate, multi-dimensional system—featuring hinged panels, divided surfaces, and elements that shift between compartments—collapsing traditional distinctions between structural canvas and painted image.

Central to the exhibition is the debut of her Altar Series, a group of seven intimate compositions that occupy the gallery's front room. Taking medieval European devotional altarpieces as their formal point of departure, these works mirror the compact scale, hinged shutters, and physical movability of their historical source material. However, Khosravi fundamentally subverts their original symbolic function; rather than offering spiritual resolution or religious dogma, the works use formal division, suspended cords, and structural interruptions to stage psychological and political moments that actively resist closure.

Other standout pieces include "Suspended," a meticulous portrait constructed from acrylic, wood panel, leather cord and plexiglass, as well as the monumental wall assemblages "The Whisper" and "Bearing, "the latter of which depicts a female figure supporting an unstable, leaking Persian building.

Arghavan Khosravi's What Remains will remain on view at Uffner & Liu until July 2, 2026.

Uffner & Liu
170 Suffolk Street
New York, NY 10002

Click here to view full gallery at Hypebeast

Summary

• American artist Lorna Simpson has unveiled a new solo exhibition in Venice, titled Third Person
• Staged at Punta della Dogana, the exhibition features over 50 cross-medium artworks in a sweeping review of Simpson's practice from the last decade
• The show is now on view through November 22

Buzz around Lorna Simpson’s new solo, Third Person, is sweeping Venice. Following a blockbuster Met exhibition last spring, the multi-disciplinary pioneer heads to Punta della Dogana, the Venetian art museum designed by Tadao Ando, for her most significant European show yet.

Featuring over 50 artworks – paintings, collages, sculptures, installation and film – the exhibition matches the painterly focus on Source Notes, the first museum show to delve into Simpson’s canvases. She’s also debuting new works for the occasion, created in response to the space.

Third Person marks a full-circle moment for the artist, a history-maker in Venice. She became one of the first African American women to exhibit at the Biennale in 1990, and was later invited back for the 2015 edition.

Curated by Emma Lavigne, the Director and Curator of the Pinault Collection, the exhibition also gathers selections from her most emblematic series created since 2015, such as Ice, Special Characters, Earth and Sky, her latest body of work, alongside a number of paintings created for her 2015 Biennale participation, curated by Okwui Enwezor.

“Third Person is a play on the literary point of view in terms of how one speaks about oneself or addresses someone else,” Simpson mused in a recent interview. “But it does also make you think outside of the binary: Who is the third person?”

Having started her career as a conceptual photographer, Simpson’s practice is defined by her ardent curiosity, using images, collage, film and, as of the last decade, painting to reckon with conventional narratives and the “uncertain zones at the edges of the visible,” the museum wrote.

Third Person by Lorna Simpson is now on view in Venice until November 22.

Click here to view full gallery at Hypebeast

Summary

• Hayward Gallery at London's Southbank Centre has announced You Never Did Anything Wrong, Nan Goldin's first major UK show in over 20 years
• The showcase examines the artist and activists's extensive autobiographical oeuvre and will be on view from November 24, 2026 through March 7, 2027

Nan Goldin is London bound. For the first time in over 20 years, the acclaimed American artist and activist gets the spotlight at a major UK institution with You Never Did Anything Wrong, opening at Hayward Gallery this November.

Goldin, the chronicler of 1980’s New York, is known for capturing vulnerable moments of love and loss. Over the last 50 years, she’s become a force in contemporary photography, pulling the medium into the center of contemporary art discourse, with honest, tender captures that close the gap between observer and the observed.

The forthcoming showcase gathers some of Goldin’s most important works from her diaristic oeuvre, described as a “profound living record human intimacy and resilience,” by Southbank Centre’s Artistic Director, Mark Ball. It arrives as a fitting follow-up to the UK debut of The Ballad of Sexual Dependency, her beloved downtown opera, at Gagosian London earlier this year.

Much of her practice is devoted towards documenting and amplifying the stories of loved ones and communities typically pushed out of the mainstream, such as the queer and post-punk scenes in the ’80s and ’90s and her more recent anti-war and human rights advocacy for those affected in Gaza.

“While UK audiences may have seen glimpses of Nan’s story, this major exhibition will offer a long overdue institutional-scale immersion into the world of a true revolutionary,” says Rachel Thomas, the Roden Chief Curator. “The Hayward’s show extends an invitation to experience work that is essential for understanding the interconnectedness of personal experience and political action, revealing the human condition in all of its beauty and fragility.”

You Never Did Anything Wrong is set to open doors on November 24 at Hayward will remain on view through March 7, 2027. Head to the Southbank Centre website for more details.

Hayward Gallery
Southbank Centre,
Belvedere Rd,
London SE1 8XX,
United Kingdom

Click here to view full gallery at Hypebeast

Summary

• Manami Okazaki’s The Japanese Tattoo explores Japan’s tattoo culture
• The book offers rare access to horishi masters and multigenerational tattoo families with an extensive documentation of archival images and new photography
• Retailing at $50 USD via Penguin Random House

Tokyo‑based journalist and author Manami Okazaki has released The Japanese Tattoo, a comprehensive study of Japan’s tattoo culture that bridges tradition and modernity.

It provides an illuminating study of a craft that, while globally recognized, remains widely misunderstood. Okazaki artfully navigates the apparent contradiction defining the contemporary tattoo scene in Japan: the friction between the deeply private, hidden world of traditional horishi (master tattoo artists) and the highly visible, modern landscape of social media. Her close relationships with multigenerational tattoo families also offers rare access to the craft’s inner circles, offering readers an authentic perspective on a practice that is globally admired yet often misunderstood.

Published by Prestel Publishing, the book is enriched by a curated selection of new photography and historical archival images, which serve to decode the complex mythological and seasonal motifs that comprise the traditional irezumi narrative. Preview some of the pages from the book above. The Japanese Tattoo by Manami Okazaki is available through Penguin Random House's webstore, retailing at $50 USD.

Click here to view full gallery at Hypebeast

Summary

• Cameras roll on Shadow Man: Inside The Secret World of Larry Gagosian, an unauthorized documentary on the New York mega-dealer
• Directed Barry Avrich, little is known about the project so far save from interviews with former employees and artists
• Gagosian's team was allegedly unaware of the project when Page Six broke the news

Larry Gagosian, the New York titan art dealer, is the unbeknownst star of an upcoming documentary by director Barry Avrich.

From what we know about Shadow Man: Inside The Secret World of Larry Gagosian so far, “former employees and artists are lining up to tell their juicy Larry stories and scoop on the inner workings of the Gagosian empire,” wrote Page Six, who first broke the story after rumors about the film made their rounds. The project was later confirmed by Avrich’s team in an email to ARTnews.

Gagosian launched his first gallery in LA in 1980, and has opened 17 more since. A global force in contemporary art, its 112-name artist roster is of the most star-studded, including everyone from Ed Ruscha, Pablo Picasso, Francis Bacon, Tyler Mitchell and Takashi Murakami, with outposts spanning, New York, Paris, Hong Kong, London, Basel, Athens and beyond.

“The dealer has been so successful selling art to masters of the universe that he has become one of them,” reads The New Yorker's 17,000-word, profile on the art heavyweight from 2023. “Gagosian is not a household name for most Americans, but among the famous and the wealthy — and particularly among the very wealthy — he is a figure of colossal repute.”

The Gagosian documentary will be Avrich's third investigation into the art world following his 2020 film Made You Look: A True Story About Fake Art and Blurred Lines: Inside the Art World in 2017. The latter featured plenty of blue-chip names, like Marina Abramović, Damien Hirst and Rashid Johnson in an exposé of "the provocative contemporary art world, a glamorous and cutthroat game of genius versus commerce," per its description.

Stay tuned for more details on Shadow Man.

Click here to view full gallery at Hypebeast

Summary

• French artist Pol Taburet presents Paranoia as Method, his new solo exhibition at Villa Medici in Rome
• On through July 15, the exhibition wraps the villa in sculptures, paintings and charcoal drawings, all completed during his spring residency at the institution

For all their uncanny, Pol Taburet’s aren't inspired by dreams, he says. His figures, drifting between human and animal, evoke transformation, mortality and the uneasy space between life and death, each crescendoing with spiritual tension as it nears completion.

Fresh off a spring stint at curator Pier Paolo Pancotto’s Art Club residency at Villa Medici in Rome, the French artist has unveiled a new suite of works in a solo show, Paranoia as Method. Now on view through July 15, the exhibition envelops the villa’s gardens, loggias and salons with sculptures, large-format paintings and some rarely charcoal drawings (as seen in his "Cherry Blue" video for Oneohtrix Point Never), turning the 16th-century architectural splendor into tense psychic landscapes.

Tapping into his Caribbean roots, voodoo traditions, contemporary culture and classical painting, Taburet’s aesthetic mark, gestural and unruly, is entirely his own. The exhibition’s new body of work channels its titular paranoia as both its structure and method: bodies split and merge, and angst is left as your only compass.

“Anxiety here is a discipline, suspicion a way of composing, until the day comes to an end – and everything starts again,” wrote Matthieu Peck in the exhibition statement.

Taburet’s Paranoia as Method is now on view in Rome.

Villa Medici
Viale della Trinità dei Monti,
1 00187 Rome

Click here to view full gallery at Hypebeast

Summary

 
• DREAMHAUS transformed a classroom at South LA’s Vox Collegiate middle school into "Vox Peak," an immersive spatial wellness sanctuary for students and staff.

 

• The project serves as a blueprint for creative design in education and officially opens during a community Wellness Fair on Saturday, May 30.

LA-based art collective and creative agency DREAMHAUS is teaming up with Vox Collegiate, a charter middle school in South LA, to launch "Vox Peak." This is a dedicated, immersive wellness space built right inside a classroom. Designed for students, staff and the local community, the space is focused on reflection, emotional awareness and restorative care.

DREAMHAUS has been partnering with Vox Collegiate since the school opened back in 2017. Last year, the school tapped the agency to help bring this vision to life, aiming to create the kind of intentional sanctuary the team wished they had access to when they were growing up. Using their signature world-building process, DREAMHAUS designed the environment to show how creative spatial design can support mental health outside of standard academics. Moreover, they hope it serves as a case study for how other schools can use creative design to build supportive environments for the next generation.

The official reveal of Vox Peak lines up with Mental Health Awareness Month. It's set to open on May 30, during Vox’s first-ever community Wellness Fair from 10 am to 12 pm PT.

Click here to view full gallery at Hypebeast

On the 90th anniversary of the archetypal Aalto vase, Iittala invites a collective of contemporary artists to reinterpret the icon through their craft. Turning the object into a source of inspiration, The Spirit of Aalto aims to bring its design to new audiences in art and design while celebrating its longstanding legacy.

From its inception, when Alvar Aalto presented the vase at a design competition, to the various limited-edition releases with master artisans, collaboration lands at the core of the Aalto vase’s history. By welcoming artists, photographers and illustrators, the new creative series continues to echo the same principle that design lives on through the people who interact with it.

Among those putting their perspective on the Aalto vase is acclaimed Finnish photographer Arno Rafael Minkkinen. For over five decades, he has crafted striking images that capture the human relationship with nature without assistants or digital alteration, mentioning that, “There’s also something extraordinary about how reality behaves. It creates combinations, reflections, and moments that are far more imaginative than anything we might consciously design.”

Producing work that exists in the most raw and truest sense of art, his photographs have gone on to feature in 100 solo exhibitions and nearly 200 group shows across the US, Europe and further afield. In this collaboration, Minkkinen unearths some of his most famous pictures and recreates the featured forms with the Aalto vase in frame.

“What I find so compelling in Arno’s work is how naturally he navigates tension,” reflects Iittala Creative Director, Janni Vepsäläinen. “It mirrors the essence of the Alvar Aalto vase; a form that is both structured and free, timeless yet always evolving. That shared sensitivity to contrast is what makes this collaboration feel so meaningful and true.”

As well as exploring the same themes as Iittala in his work, this particular collaboration stands out as a shared expression of Finnish design. Vepsäläinen adds, “We don’t try to overstate things. Instead, we allow materials, forms, and moments to speak for themselves. That sensitivity comes from living in a place where contrasts are so strong: the darkness of winter, the brightness of summer, stillness and movement. There is this constant dialogue between opposites and Arno captures that balance so intuitively.”

In an exclusive interview below, Hypebeast sat down with Arno Rafael Minkkinen to discuss how he adapted his practice to capture the Aalto vase for its 90th anniversary.

Hypebeast: Tell us a bit about how you approached The Spirit of Aalto project.

Arno Rafael Minikkinen: I approached it with a sense of openness, allowing the process to unfold rather than trying to define it too quickly. That feeling shaped everything. I wanted to create something that was new, but never at the expense of the integrity of his design.

Early on, I took a very physical and almost literary approach. I remember placing my finger on the surface of the vase and tracing its outline, moving along its form, even with my eyes closed. That gesture became more than just an exercise; it revealed something fundamental about the object. Once you enter that line, it never ends. There are no corners, no interruptions, no forced decisions about direction. You simply trust the path. From that point, the project became less about photographing an object and more about responding to a philosophy embedded in its form.

How did you reimagine the timelessness of the Aalto vase?

The idea of timelessness came through the experience of the vase itself. That same gesture of tracing its form led me to think of it as something like a never-ending river: continuous, fluid, and without a clear beginning or end. I became interested in working with elements that share that same sense of flow, especially water. At one point, I placed the vase into a pool and filled it so that it began to interact with the surface, creating a kind of ribbon-like movement around it.

More broadly, the goal was not to situate the images in a specific time, but to remove them from time altogether. By focusing on natural elements, continuous forms, and minimal intervention, the images can exist in a space where it’s unclear whether they were made yesterday or decades ago, much like the vase itself.

How did looking back at your past works give you a new perspective on their narratives?

Looking back at my earlier work in the context of this project opened up a completely new way of seeing it. It became about how images relate to one another. I started thinking in terms of pairings, almost like diptychs: how two photographs “shake hands,” how they communicate, and what each one gives or receives from the other.

This process made me more aware of the emotional and visual dialogue between images. Some combinations create a sense of mystery. Others are more physical or visceral, where you can almost feel the weight or texture of what’s being held or experienced. In revisiting the work this way, I realized the narrative doesn’t exist in a single image, it emerges in the space in between. That perspective gave me a deeper understanding of my own practice and also helped ground the new work within a larger continuum.

What themes of duality played a defining role in this project?

I often think in terms of opposing forces — order and disorder, strength and vulnerability, control and spontaneity. There’s a concept I’ve always returned to: when both order and disorder exist within the same work, that’s where art begins. In practice, I’m constantly searching for that tension. That small imbalance is important, it humanizes the image and keeps it from becoming static.

With the Aalto vase, the challenge is even greater because the object itself already feels so resolved, so complete. The question becomes: how do you introduce something new without diminishing that perfection? Duality becomes the way in by finding moments where contrast, spontaneity, or unexpected relationships can emerge while still honoring the object’s presence.

How can art help us to understand our relationship with time?

For me, the relationship to time in art often comes down to what is present in the image. When I work in natural environments — water, forests, or landscapes — I’m dealing with elements that existed long before us. In those moments, the work feels timeless, because there’s nothing in the frame that anchors it to a specific era.

As soon as you introduce something human-made, like architecture, structures, even shadows cast by something constructed, you begin to sense time more clearly. Those elements carry a history and a context. The presence or absence of those details can shift how we experience time within the image. Art allows us to move between those states. It can make time visible, or it can remove it altogether. Rather than illustrating time directly, it creates a space where we become aware of it, sometimes subtly, sometimes very directly, through what is included and what is left out.

What makes Finnish art and design unique from other creative scenes around the world?

What I find most distinctive about Finnish art and design is its sense of originality. The ideas often don’t feel like variations or reinterpretations. They begin from a fresh starting point. There’s an independence in the thinking that sets it apart.

At the same time, there’s a deeply rooted connection to nature that has always influenced Finnish artists. I experienced that early on through painters like Akseli Gallen-Kallela and Pekka Halonen, whose work left a strong impression on me as a child. When I later returned to Finland after spending my formative years in the US, that same atmosphere — the landscapes, the light, the quiet presence of nature — became central to my own work.

There’s also a certain romantic sensibility that runs through Finnish culture, balanced by a clarity and simplicity in design. That combination creates something unique: work that feels both emotionally grounded and conceptually fresh. It’s not about following trends, it’s about creating from a place that feels entirely its own.

Explore Arno Rafael Minkkinen’s photography series in the gallery above.

To find out more about Iittala’s The Spirit of Aalto series, head to its website now.

Click here to view full gallery at Hypebeast

Summary

• The Barbican unveils Delcy Morelos’s "origo," a monumental earthwork in the Sculpture Court, on view until July 31, 2026
• The large-scale ovular pavilion uses soil and spices to challenge the estate's rigid concrete architecture

The Barbican has unveiled a major public artwork by Colombian artist Delcy Morelos, titled "origo." This marks the first time in a decade that the Court has been activated for its original purpose, integrating art into communal space.

Measuring 24 by 18 meters and rising over three metres high, "origo" is Morelos’ most ambitious outdoor work to date. The artist hand-built an immersive, multi-sensory environment using a tactile blend of clay, soil, hay and plant seed. The earthen body is sown with fragrant spices like cinnamon and cloves, which provide essential antifungal properties for the soil while creating a heady fragrance designed to trigger emotional memories and foster an ethical connection to the land. The work responds directly to the Barbican’s iconic concrete architecture, positioning organic materiality in dialogue with modernist ideals of urban living.

Rooted in ancestral Andean cosmovisions as well as the aesthetics of Minimalism and Abstraction, Morelos’s practice treats the earth as a symbiotic partner endowed with its own agency rather than a resource to be controlled. Born in 1967 in Tierralta - a Colombian region brutally affected by illegal land appropriation and mining conflicts - Morelos originally explored the entanglements of body, territory, and violence through red clay paintings before expanding into colossal, monochromatic earthworks.

Visitors are invited to fully engage with "origo" by roaming its internal, soil-lined tunnels, witnessing its shifting light and resting within its central enclosure to become an active part of the ecosystem. Delcy Morelos' "origo" is now on view at the Barbican Centre’s Sculpture Court in London until July 31, 2026.

Barbican Centre
Silk St, Barbican, London 
EC2Y 8DS, United Kingdom

Click here to view full gallery at Hypebeast

Summary

• David Zwirner in Chelsea is currently presentin g a solo show by seminal American artist Lisa Yuskavage
• Across over two dozen new and recent artworks, the show highlights recurring themes within the artist’s oeuvre, while introducing her first-ever collages and trompe-l’oeil elements

New York Art Week is hitting its peak and David Zwirner’s is putting Lisa Yuskavage front and center in Chelsea. An eponymous exhibition, on through June 26, gathers over two dozen recent works by the seminal painter, tracing recurring themes within her practices, while charting new territory.

A pivotal force in contemporary art, Yuskavage is known for pushing the envelope of painting. Color itself serves as a living companion beside her once-controversial nude femmes, deconstructing and reconsidering ideas like viewership, divisions between subject and object, artifice and the gendered gaze.

The ongoing presentation marks a technical evolution for the artist, marking her first foray into collage. Pastel, tempera and gouache are sublimely layered over Color-aid paper, which make for striking spatial illusions, tempered with trompe-l’oeil devices, a subtle play on the legacy of color-field abstraction.

While works appear to be staged in a studio, they are “more accurately located in the mind of the artist,” per a Zwirner statement, “becoming imaginative gatherings where time warps and folds back on itself, collapsing spatial and temporal boundaries.”

Canvases depicted within the paintings appear elsewhere in the gallery. Between monumental compositions and scaled-back, intimate frames, Yuskavage’s world fractures and folds in on itself, beckoning viewers into a self-reflexive pictorial universe.

“There’s a way in which a painting finds grace, a way that everything lands in place,” the artist wrote in a recent essay for Harper’s Bazaar. “When you’re making art and you do not have a rule book and you’re flying by the seat of your pants…when they all come together, the word that comes to mind is grace. There’s this feeling of just elegance, of purpose, and that is beautiful.”

Lisa Yuskavage is now on view at David Zwirner in New York.

David Zwirner Chelsea
533 W 19th Street,
New York, NY 10011

Click here to view full gallery at Hypebeast

Summary

 
• On view through October 2026, the expo features over 70 artists including Hajime Sorayama, VHILS and more.

 

• The exhibition includes 70 meter digital screens, massive marble sculptures, and architectural carvings, running daily until mid-October.

Ibiza’s club scene is seeing a pretty massive shift this summer. Three of the island’s heavyweights, [UNVRS], Hï Ibiza and Ushuaïa Ibiza, have been partially converted into galleries for a season-long art expo called Culture Collective. A collaboration between nightlife group The Night League and London-based W1 Curates, the exhibition officially launched last weekend with works from over 70 international artists.

The scale of the installations is definitely not what you’d expect to see in a club. Hï Ibiza now features a 70 meter digital gallery on its rooftop terrace, inaugurated with a site-specific piece by British conceptual artist Sir Michael Craig-Martin. Outside, the venue’s walls are covered in 10 meter murals by Valencian duo PichiAvo and UK artist.EPOD. Even the gardens have been transformed, housing two life-size Carrara marble sculptures by Nazareno Biondo, a Fiat 500 and a Vespa, each hand-carved from 15 tonne blocks of stone.

Over at the new [UNVRS] hyperclub, the entrance features a 68 square meter stone bas-relief by Portuguese artist VHILS, carved directly into the building's facade. The programming also includes digital highlights like Pascal Sender’s Hydronicum, which uses projection mapping to turn physical paintings into animations, and Voice Gems by Harry Yeff, which converts the voice prints of the club’s resident DJs into physical digital art.

The goal was to break down the walls of the traditional gallery and put world-class art in places where people are actually hanging out. Beyond the visuals, the opening weekend also featured a symposium with talks from artists like VHILS and industry figures from Gorillaz and Palm Angels. If you're heading to Ibiza this year, the expo is running daily through mid-October, making it one of the largest public art displays in Europe right now.

Open now through mid-October 2026. Venues: Hï Ibiza, Ushuaïa Ibiza, and [UNVRS].

Click here to view full gallery at Hypebeast

Summary

 
• Rei Kawakubo’s first-ever solo presentation at a New York art fair and her first major appearance in the city since her 2017 Met exhibition.

 

• The installation features 20 "objects for the body" housed in a custom architectural environment.

Rei Kawakubo and COMME des GARÇONS are taking over the Independent Art Fair this week and it’s a heavy moment for New York. While the CDG universe is a staple in the art-fashion dialogue, this marks the first time Kawakubo has ever staged a solo presentation at a New York art fair. It’s a major move for the iconic designer since her 2017 Met exhibition.

The installation anchors the fair’s new home at Pier 36 on the Lower East Side. The space is a site-specific environment designed by Kawakubo herself. Built from rebar and colored plastic joinery, the structure houses 20 objects for the body curated from her collections over the last five years.

Independent founder Elizabeth Dee intentionally made it the fair’s centerpiece, giving it a bit more life and edge from the usual corporate environment that’s been a mainstay of the art world. For Kawakubo, who has always operated on her own timeline, the goal was to show these works divorced from any chronology or seasons and make the archival work feel entirely new again.

Every look was produced in an edition of three or fewer, with only one of each available for sale on-site, priced between $9,000 USD and $30,000 USD. The fair runs through May 17, so move fast if you want to catch the install.

Independent Art Fair
299 South St.
New York, NY 10002

Click here to view full gallery at Hypebeast

Summary

• Gagosian Hong Kong opens “James Turrell: Lifting the Veil” on May 28, a survey exhibition spanning holograms, prints, three new Glasswork pieces, and documentation of the artist's Skyspaces and Roden Crater project
• The exhibition marks a rare opportunity to encounter Turrell's practice in Asia, where his philosophical alignment with traditions of emptiness, atmosphere, and perceptual threshold carries particular cultural resonance
• Lifting the Veil runs through August 1 at the Pedder Building in Central

James Turrell has spent more than five decades treating light not as a tool but as the thing itself, and on May 28, Gagosian Hong Kong opens “Lifting the Veil,” a survey exhibition that brings together holograms, prints, three Glasswork pieces, and documentary material from the artist's Skyspace and Roden Crater projects. For a city that operates at the scale and luminous intensity of Hong Kong, the timing and location feel less like coincidence and more like an argument.

To understand why a Turrell exhibition in Hong Kong carries particular weight, it helps to start with what Turrell actually does, and what he has been doing since the 1960s. Working initially from a studio in Santa Monica, he began with projections and natural light, progressively developing a practice in which the material is the light itself rather than anything it might illuminate. His own articulation of this is direct: "Generally, light is used to reveal something about the object. I use light as the revelation itself." Over five decades, that premise has produced one of the most consistently rigorous bodies of work in contemporary art, from the intimate scale of his early projection pieces to the geological ambition of Roden Crater.

Roden Crater remains the reference point against which everything else in Turrell's practice is measured. Under construction since 1977 in the Painted Desert of Northern Arizona, it is a naked-eye observatory built inside a volcanic cinder cone, designed for the contemplation of light, time, and landscape at a scale that has no real precedent in art history. The exhibition includes site plans, photographs, and models created for the project, offering Hong Kong audiences a rare material encounter with a work that most people will never experience in person. Fundraising to complete and open the crater to the public is ongoing, which gives these documentary works a particular urgency: they are records of something still becoming.

The three Glassworks on view — Resolute (2025), Patmos (2024), and Of One Mind (2024) — are each installed in dedicated chambers constructed within the gallery. Initiated in 2001, the series uses computer-controlled LED lights behind shaped apertures, an ellipse, a diamond, and a rectangle respectively, to produce slowly shifting fields of color that pulse between center and edge, alternating between impressions of depth and flatness. Installed in sequence, they function as a calibrated progression rather than three separate encounters, guiding the viewer through increasingly refined states of perceptual awareness. They are among Turrell's most accessible works in the sense that they require nothing from the viewer except attention and time.

The holograms, first introduced four decades ago, operate differently. They reflect and transmit light to produce ephemeral forms that appear to float either in front of or behind the picture plane, their apparent color, position, and depth shifting as the viewer moves. In the context of Hong Kong, a city with deep roots in philosophical and aesthetic traditions that privilege emptiness and the threshold between presence and absence, these works carry a resonance that extends well beyond their technical construction. Accompanying them are prints related to Aten Reign, the 2013 site-specific installation at the Solomon R. Guggenheim Museum that attracted nearly half a million visitors and became the most attended exhibition in New York that year. The Guggenheim moment established Turrell as something beyond a niche perceptual artist; it confirmed him as a figure capable of stopping a general public in its tracks.

That capacity is what makes Lifting the Veil more than a gallery exhibition for committed art viewers. Turrell's Skyspaces — architectural chambers with ceiling apertures open to the sky — have been installed in locations ranging from Scotland to Japan, and their effect on visitors with no prior knowledge of his practice is well documented. The models and site plans included in the Hong Kong exhibition give those works a new context, showing the thinking and construction logic behind spaces designed to make the sky feel like an object you could almost touch. For a city built on verticality and defined by its relationship to the sky above, that proposition is not abstract.

“James Turrell: Lifting the Veil” opens May 28 at Gagosian Hong Kong.

Gagosian Hong Kong
7/F Pedder Building,
12 Pedder Street, Central

Click here to view full gallery at Hypebeast

Summary

• A new show at Anton Kern Gallery in New York pairs work by photographers Roe Ethridge and Nobuyoshi Araki
• On view through July 2, the exhibition brings forth archival works by Araki, alongside new and “revisted” works by Ethridge

American artist Roe Ethridge opens the Nobuyoshi Araki archive for a new duet show at New York’s Anton Kern Gallery. Araki, known for his confessional “I-Photography” style, and Ethridge, a notable pop pictorialist, share the stage for the first time , united by talents for visual tension and their painterly, juxtapositional approaches to the camera.

Curated and sequence by Ethridge himself, the exhibition offers up trove of still lifes, nudes and floral arrangements, bridging the artists’s distinct aesthetic codes. Ethridge presents two new prints from his dreamy, pinhole Floral Arrangements series from the ’90s, a decision sparked by Araki’s Liquitex-drenched Painted Flowers (2004), evoking the quiet banality of suburban ornament and memories of his mother’s calendars.

He puts these in conversation with cuts from Araki’s archive, notably Flower Cemetery and Tokyo Nude. Staged erotic scenes are layered against the grit of Tokyo backstreets, moving between the public and private, while the typical politeness of floral beauty is disrupted by uncanny plastic figures, peppered throughout the works.

Ethridge takes cues from Araki’s instinctiveness  in “Landing in Tokyo,” an iPhone snap of Mount Fuji taken from an airplane window, and “Rainbow over Shore Front Parkway,” a sublime shot of what comes after rain. Both tap in to the visceral mode of documentation that characterizes the Japanese master, reconstructed through universal, contemporary gestures.

Nobuyoshi Araki and Roe Ethridge is now on view at Anton Kern Gallery's main gallery and 91 Walker window through July 2.

Anton Kern Gallery
16 East 55th Street,
New York, NY 10022

Click here to view full gallery at Hypebeast

Summary

• Artist Trevor Paglen will co-curate Zero 10, Art Basel’s digital arts platform, with returning curator Eli Scheinman at its upcoming main fair next month
• The Swiss edition marks the initiative’s largest presentation to date and will feature 20 exhibitors and artists, including Hito Steyerl, Andreas Gursky, Hauser & Wirth, Almine Rech and more

Zero 10, Art Basel’s platform dedicated to digital art, returns for its third edition at next month’s flagship event, and the fair has tapped artist Trevor Paglen to lead the charge, curatorially speaking.

The initiative debuted at last year’s Miami Beach fair, with a sophomore stop at the Hong Kong in March. The first European iteration is slated to be its largest presentation to date, with 20 global exhibitors in tow.

Co-curated with digital arts strategist Eli Scheinman, the upcoming edition, titled The Condition, probes into our state of digital saturation, exploring life in a world run by computational systems, AI and new technologies.

The lineup features pioneering and engineering voices in the digital, generative and new media space. Booths on our radar include “Green Screen” (2023) Hito Steyerl’s bioelectrical bloom jointly presented by Esther Schipper and Andrew Kreps, alongside Avery Singer’s “Sh*t Coin Maxi” (2025) with Hauser & Wirth and Andreas Gursky’s mesmeric “Ocean V” composite at Sprüth Magers.

Paglen, the 2026 LG Guggenheim Prize winner and a MacArthur Genius Grant recipient, has made waves in the digital space through his unflinching investigations into mass surveillance, AI systems and military power.

“Looking across the last 50 years of instruction - based and computational work, from postwar experimentalism through today’s generative practices, I see a continuous thread: a body of work that understands the digital as a medium with its own properties, possibilities, and demands,” wrote Paglen.

“The showcase becomes an intergenerational conversation about what it means to be alive in the digital era, led by artists who were thinking seriously about these questions long before the rest of the world caught up.”

Zero 10 will be in the event hall at Messeplatz from June 17 through 21 as part of Art Basel 2026. Visit the fair’s website to secure tickets and learn more about the next Zero 10.

Click here to view full gallery at Hypebeast