Lyles & King presents new paintings by Kate Meissner in our project space, on view through April 4. Kate Meissner writes: "These works are an exploration of the human body's elasticity and capacity to metamorphose. Informed by my own experience of pregnancy and the birth of my first child last year, these paintings are a meditation on physiological transformation and the body's underlying animalistic and mammalian nature."

PPOW are pleased to present Orchid Rain on the Underground, Chris “Daze” Ellis’s third solo exhibition with the gallery. The show is on view through April 25, 2026. Featuring a new series of paintings, multimedia installation, and a site-specific mural, the exhibition harnesses the passion and spontaneity of the graffiti movement of the 1970s and 80s while demonstrating a thoughtful and meticulous practice honed over the past five decades. While the version of New York City that fostered Daze’s beginnings as a fine artist may feel like a bygone era, the works in this exhibition are evidence of its enduring legacy. By revitalizing that foundational energy for the present moment, Daze affirms the continued relevance of those figures and places, and their profound…

HESSE FLATOW is pleased to announce the opening of Franklin, an exhibition of paintings and works on paper by Nat Meade, marking his third solo presentation with the gallery. The show is on view through April 18, 2026. 

Mrs. is pleased to present The Light That Loses, The Night That Wins, Molly Bounds’ New York debut solo exhibition, on view at the gallery’s 6040 56th Drive location. This exhibition marks the Los Angeles-based artist’s second presentation with the gallery following The Armory Show in September 2025. The show will be on view through May 2, 2026.

Harper’s is pleased to announce Prussian Blue, New York–based artist Sophia Huitema’s first solo exhibition with the gallery. The presentation features new works by Huitema and will be on view through April 25, 2026. 

South African artist Cinga Samson’s exhibition of new paintings is titled ‘Ukuphuthelwa’, an isiXhosa word in the artist’s native language that translates as ‘unable to sleep’. Unlike the English word ‘insomnia’, the isiXhosa term carries no negative connotation and accordingly, for Samson, sleeplessness is not a condition to be cured but a state of spiritual alertness, a sensitivity that deepens in the dark. Rendered in the artist’s signature occluded palette of near-blacks, carbon and deep Prussian blues, Samson’s scenes depict men-like figures, dogs in overgrown fields and portraits of plant life native to South Africa. Encouraging slow, contemplative looking, a sense of existential gravity pervades Samson’s new series of oil paintings, attempting to depict a vast reality that is continuously…

Welcome to the latest edition of Nuart Aberdeen. As far as we can ascertain, this will be the first street art festival in the world with a focus primarily on poetry and text-based works. Over the years, for better or worse, the large scale colourful figurative mural has come to dominate the culture we work with, and although it’s an aspect of the culture we support, due to the resources required to produce murals, they’re perhaps also the least democratic form of art on the streets. As curators, researchers and producers working in “festival” culture, we have a responsibility to not only showcase and celebrate the most interesting and technically competent works of our time, but to also ensure the…

Gagosian is pleased to announce an exhibition of new tennis court paintings by Jonas Wood. The gallery’s tenth exhibition of Wood’s work, and its first based in Los Angeles, will be on view through April 25, 2026. 

Perrotin is pleased to present Borrowed Chord, Danielle Orchard’s second exhibition in Paris and her seventh with the gallery. The exhibition brings together new works that deepen her engagement with figuration, intimacy, and the history of painting. Borrowing its title from a musical term describing a harmony drawn from a parallel key, the exhibition reflects Orchard’s longstanding practice of working within established pictorial traditions—modernist fragmentation, classical composition, and the reclining figure—while subtly shifting their emotional register. The show is on view through April 18, 2026.

GRIMM is pleased to present Vignettes & Mutations, a solo exhibition of new paintings by Los Angeles–based artist Eric White on view through May 2, 2026. This is the artist’s fifth solo exhibition with GRIMM and his third solo exhibition at the New York gallery.

Alicia McCarthy’s abstract and colourful compositions instantly capture the viewer’s attention. From afar, the use of repeated geometric patterns recalls the Op Art of the 1960s. A closer look yet reveals that these optical effects aren’t engineered and calculated by machines with mathematical precision, but the result of a spontaneous gesture. McCarthy’s modular blocks of colours are rather improvised and embodied. By incorporating drips and splashes of colour, she lets her hand run free in her work, boldly embracing vibrant imperfection. Her works are built up from the centre, line by line, with a strong sense of presence.

“What I paint is something that no longer exists,” Francisco Rodríguez says. “Like how the stars we’re looking at are already dead—their light reaches us after they’ve turned to dust.” He describes his practice simply: “I’m painting dust—memories of places that no longer exist.”