Richard Heller Gallery is pleased to present, Reading the Rooms, a solo exhibition of new paintings by Gretchen Scherer. This will be Gretchen's second solo exhibition with the 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.

GR gallery is pleased to present My Screen Tests, the first New York City solo exhibition by Kohei Yamada. The exhibition examines the enduring value of the authentic relationship between artist and artwork, engaging in themes of irony, introspection, and visual metaphor, which draw inspiration from contemporary practice and Yamada’s nuanced admiration for American Pop art. 

Galerie Max Hetzler, Berlin, is pleased to announce X-Rated (1972–1974), a solo exhibition of paintings and works on paper by William N. Copley. This is the fourth presentation of the artist’s work at the gallery, and the show will be on view through April 22, 2026. 

“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.”

Josh Lilley is proud to present No Swans, an exhibition of new work by Providence based painter Timothy Lai (b. 1987, Kota Bharu, Kelantan, Malaysia). The landscape around Lai’s home has been the chief source of inspiration for this series of paintings executed across the past autumn and winter. Salter Grove Memorial Park conjoins the bluntly named Marsh Island and Rock Island there, two crescent jetties cradling small coves along the Providence River. Each island’s banks rise low out of the water, bordered by boulders and reeds, ensnaring dawn cobwebs and framing views of local waterfowl. Beyond the arcing boundary of the jetties, freight ships chug by on their daily deliveries beneath a low sky. You can see the weather coming…

Casey Bolding’s paintings make memory material. Using plaster and industrial paint in concert with oil, acrylic, and Flashe, the artist builds up densely layered surfaces which he then scrapes and reworks, excavating embedded imagery drawn from mementos, photographs, and art history. As personal as they are process-based, Bolding’s paintings of landscapes and interiors are particularly informed by his childhood in the plains of Colorado, his longtime practice of graffiti writing in abandoned buildings and trains, and commercial faux-finishing techniques learned from his uncle. For Bloodstream, Bolding has created a suite of works that he describes as “mirages or scenes captured from the perspective of someone floating down the Colorado River,” from the Rocky Mountains to the Mexico-California border. This traveler…

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. 

NANZUKA is pleased to present “Good Looking,” a solo exhibition of new works by Raymond Lemstra at NANZUKA UNDERGROUND. This exhibition marks the artist’s second solo show at NANZUKA following his first exhibition in Japan held at 3110NZ by LDH Kitchen (now Sushi Saito Hanare NANZUKA) in 2024. The show will be on through April 4, 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.

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…

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…