Eliana Willis

Whether you are just returning to the city from Miami or simply wanting to see what’s on in the city before the holidays, we’ve rounded up 10 solo exhibitions that are not to be missed before the end of the year. And though the weather may have turned cold, the art scene is hot in New York City.
From an artist mining the “cat lady” cliché through ceramics to a fiber artist pushing the boundaries of their medium to a painter imagining a vivid fantasy world populated by fairies, these 10 artists span the dynamic landscape of art-making today.

Dan Lam, “Guttation”Hashimoto Contemporary, December 16–January 6
Dan Lam. Photo: Justin Clemons. Courtesy of Hashimoto Contemporary.
Hashimoto Contemporary will present a whopping 40 new works by Dan Lam in “Guttation” this month, filling the galleries with polychrome sculptures that appear to ooze and drip. Ranging from small- to large-scale, the collection of works illustrates the artist’s ongoing interrogation of shape, texture, and color, with the works recalling the way water is secreted by plants and fungi in nature. Walking the line between alluring and repulsive, and crafted out of materials like foams, resins, and polymers, the experimental and playful sculptures embody a visceral tactility and materiality.
The Texas-based artist has garnered more than half a million followers combined across TikTok and Instagram, as well as a staunch art world and celebrity collectorship—with Miley Cyrus, The Game, and the Tisch family being just a few of the big names to snap up her work.
Dan Lam, Bark (2023). Courtesy of Hashimoto Contemporary.

TM Davy, “Fae”Company, through January 6
TM Davy. Courtesy of Company.
New York-based painter TM Davy, a graduate of and current teacher at the School of Visual Arts, is recognized for his vibrant figurative paintings and pastels that recall the tradition of magical realism. Frequently incorporating breath work, group singing, and meditation into his practice, he is able to “go there” and fully tap into his creative imagination, manifesting fantastical scenes and scenarios into each of his works.
His current solo exhibition at Company gallery, called “Fae,” features a collection of oil paintings (though most are on canvas, one is on a tambourine and another on a drum). These works bring viewers into his own faerie world, a fantasy realm of winged creatures, “tiny monsters,” and surreal, saturated colors. Inspired in part by media he consumed as a child, including the Dark Crystal (1982) and The Gremlins (1984), the narratives and stories that unfold from these images invite joyous reflection.
TM Davy, a sea of relief (2023). Courtesy of Company.

Mondongo, “Welcome”Barro, through January 6
Mondongo artist collective, Juliana Laffitte and Manuel Mendanha. Courtesy of Barro.
Barro New York is showing “Welcome” by Argentine art collective Mondongo, presently made up of artists Juliana Laffitte and Manuel Mendanha. Working together since 1999, their work has been consistently provocative, frequently engaging with themes of power, work, sexuality, and more. Unconventional materials are also a signature, ranging from meat to wax, video to painting.
“Welcome” highlights three key works from 2023: Villa II is a tondo-shaped work in clay, depicting in meticulous detail lesser-known neighborhoods in Buenos Aires, Dharavi, and Rio de Janeiro. An audiovisual work embedded in plasticine bricks, The Wall, made in collaboration with filmmaker Albertina Carri, employs media materials related to the pandemic. Finally, “Cada cual tendrá derecho a su propio rectángulo” (Each will have the right to their own rectangle) is a series of paintings depicting partial visages of people from the artists’ circle, a play on the virtual meeting of people during quarantine.
Together, the exhibition examines the social, cultural, and political experiences of the past years, with an emphasis on the perspective of the Global South—and presents an intriguing look at the continually evolving state of the world today.
Mondongo, Villa II (2023). Courtesy of Barro.

Diamond Stingily, “Sand”Greene Naftali, through Jan 20
Diamond Stingily, Past (2023). Photo: Zeshan Ahmed. Courtesy of Greene Naftali.
In her highly anticipated solo show “Sand” at Greene Naftali, New York-based artist Diamond Stingily takes over the gallery space with a series of predominantly large-scale works that are based on the material of sand. The inclusion of bronze pieces modeled after various body parts, such as hands, arms, feet, knees, fingers, and ears, evokes an archeological dig or discovery. Recognized for her sparse and emotionally resonant work, the present exhibition highlights her ability to tap the visceral qualities of her chosen materials to engage with themes of place, memory, and experience.
A recent addition to the gallery’s roster, Stingily’s work has been acquired by public collections around the world, including the Museum of Modern Art, New York, Museum Ludwig, Cologne, and Institute of Contemporary Art, Miami.
Diamond Stingily, detail of Sand (2023). Photo: Zeshan Ahmed. Courtesy of Greene Naftali.

Linus Borgo, “Monstrum”Yossi Milo, through January 20
Linus Borgo. Courtesy of Yossi Milo.
For his debut solo exhibition in New York, and first with Yossi Milo, Linus Borgo interrogates “Monstrum,” the title of the show and Latin term for “monster.” In his otherworldly and often unsettling figurative paintings, Borgo explores the boundaries of the human body—how it is depicted and arranged, within the context of both reality and fantasy. Employing rich and lavish color palettes, each painting is a window into another world; whether incorporating urban landscapes, secluded forest glens, or residential bathrooms, Borgo maintains an incredible command of atmosphere.
“Monstrum” also includes the first exhibition of the artist’s sculptures in bronze, which feature the artist himself as imaginary creatures such as an angel or merman—the latter of which is a motif he has continually returned to in his practice. Tapping elements of Surrealism and mythology, as well as pervasive and personal perceptions of the human body, Borgo’s captivating, even sublime vignettes offer new approaches to ideas around bodily aesthetics, transformation, trauma, and transition.
Linus Borgo, Death Is Like Taking Off a Tight Shoe (2023). Courtesy of Yossi Milo.
Ana Elena Garuz, “Fragments of Belief and Disbelief”Proxyco Gallery, through January 20
Ana Elena Garuz. Courtesy of Proxyco Gallery.
Mining a massive personal archive of magazine cutouts, Ana Elena Garuz draws inspiration from the glossy scraps and pages, composing paintings that vacillate between abstraction and hyperrealism. An apparent fold or tear seen along the edge of her fields of color, or swaths of white that could be interpreted as a highlight, Garuz’s work invites prolonged looking, examining the boundary between what the familiar and the foreign.
In her solo show with Proxyco Gallery, “Fragments of Belief and Disbelief,” Garuz’s recent body of work on view brings to mind historical modes of abstraction, yet her unique artistic sensibility and source materials make each painting decidedly contemporary. Together, the artist’s practice can be understood as a poetic and ongoing dialogue with line and color.
Ana Elena Garuz, Untitled (with pink form) (2023). Courtesy of Proxyco Gallery.

Erik Lindman, “Helian”Peter Blum Gallery, through January 20
Erik Lindman. Courtesy of the artist and Peter Blum Gallery.
Marking the first time that the breadth of artist Erik Lindman’s practice will be on view simultaneously, Peter Blum Gallery is staging “Helian,” featuring the artist’s paintings and sculptures, as well as works on paper. A native New Yorker, Lindman’s work relays his fascination with both material and composition across genre.
Informed by found materials such as steel fragments or heavyweight fabric webbing, Lindman constructs his works in such a way that they may be read holistically rather than by their elements or parts. In his paintings, a central form, evoking a bird or a humanoid form, frequently emerges from a monochromatic field. Lindman builds up the area with paint and mixed-in media to give it texture and “topography,” creating a ground that dialogues with the ambiguous figure. Lindman’s sculptures similarly explore material, but with the advantage of having a third dimension, allowing for experiments with perspective. Ultimately, “Helian” offers a new take on abstraction and its possibilities today.
Erik Lindman, Helian I (2023). Courtesy of the artist and Peter Blum Gallery.

Jennifer Ling Datchuk, “Karma is a Cat”Ruiz-Healy Art, through January 26
Jennifer Ling Datchuk. Photo: Scott Ball. Courtesy of Ruis-Healy Art.
The “cat lady” trope has been widely used to dismiss women for decades, but in Jennifer Ling Datchuk’s solo exhibition with Ruiz-Healy Art, “Karma is a Cat,” the artist reexamines and reclaims this label. Self-described as an “overeducated, cat-loving, elder millennial in a committed and loving relationship with a man and a cat” (a response to Congressman Matt Gaetz’s 2022 tweet criticizing women rallying against overturning Roe v. Wade), Datchuk presents a collection of object-based works that reimagine assumptions about the feminine.
Frequently using materials like porcelain and textiles, often associated with “women’s work,” Datchuk’s show is at once playful and deeply complex, delving into social, cultural, and political assumptions on identity, womanhood, and intersectionality.
Jennifer Ling Datchuk, Hear Us Coming (2023). Courtesy of Ruiz-Healy Art.
Brendan Fernandes, “Within Reach”Susan Inglett Gallery, through January 27
Brendan Fernandes. Photo: Michael Salisbury. Courtesy of the artist and Susan Inglett Gallery.
Brendan Fernandes is the subject of his first solo exhibition with Susan Inglett Gallery, “Within Reach,” comprised of a series of sculptures as well as a program of activations performed by contemporary dancers. Fernandes’s sculptures are inspired by West African headrests, functionally made to preserve complex hairstyles while the wearer sleeps, but with deep-rooted cultural and spiritual importance, with the belief that these objects can promote dreams or prevent nightmares.
Meanwhile, the artist’s choreography juxtaposed with the artworks results in a hybrid dialogue between African and Western artistic practices and presents a complex critique of colonialism and insight into the Fernandes’s own personal identity. (The next performance is scheduled for Saturday, January 20, 2024.)
Also on view in the exhibition are works from the “As One” photography project undertaken by Fernandes in 2015. Originally initiated as part of a commission for the Seattle Art Museum, and later expanded upon using the Cravens Collection at the UB Art Galleries, within the context of the performed dances, the work further interrogates the colonial legacies of the West.
Brendan Fernandes, In Being III (2023). Courtesy of the artist and Susan Inglett Gallery.
Sagarika Sundaram, “Source”Palo Gallery, through February 4
Sagarika Sundaram. Photo: Anita Source. Courtesy of the artist and Palo Gallery.
Sagarika Sundaram’s debut New York solo exhibition “Source” at Palo Gallery offers some immense works made of felt. Featuring both wall-mounted and free-standing pieces, the selection of works are a testament to Sundaram’s ongoing exploration of and experimentation with textiles. Using raw fibers and hand-dying techniques, the artist is able to achieve a painterly quality in her compositions as well as to invoke sculptural traditions, since even the wall-mounted works spill into three-dimensional space. With many pieces seemingly defying physics, Sundaram is an artist to watch in her quest to forward the boundaries of textile and fiber art-making.
Coinciding with the exhibition is the production of a fully illustrated catalogue, edited by curator Andrew Gardner and anthropologist and curator Vyjayanthi Rao, featuring essays by each as well as a dialogue between Sundaram and Bahauddin Dagar, an acclaimed Indian classical performer of the rudra veena.
Sagarika Sundaram, Atlas (2023). Photo: Kunning Huang. Courtesy of Palo Gallery.
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The iconic Flemish artist who lived from 1577 to 1640, was commonly thought to have painted inactive, silent female subjects. But an exhibition at the Dulwich Picture Gallery titled, “Rubens & Women” on view until January 28, 2024, presents a more nuanced look at how the artist depicted women and their influence on his creative world.
The show includes a range of over 40 works, such as intimate drawings and dramatic oil paintings, plus archival material from throughout the artist’s career, spotlighting how “women in Rubens’s art were not simply passive objects to be observed, but active agents of their own destiny,” states the exhibition text.
The show, curated by Dr Ben van Benedon and Dr Amy Orrock, includes international masterpieces never shown in the UK before, along with works from the gallery’s collection.
“Prepare to be surprised by the many faces of Rubens’s women,” said Orrock in a statement. “You will meet formidable patrons, nurturing goddesses, and much-loved family members, all depicted with Rubens’s mix of skill, erudition, and humanity.”
A walk through the exhibition begins with a series of portraits, including one of the artist’s most lavish productions: Marchesa Maria Serra Pallavicino or Marchesa Veronica Spinola Doria (1606–7), while other highlights include Young Woman Looking Down (Study for head of St Apollonia) (1628), on loan from the Uffizi Gallery, Florence, for which the artist’s wife and child posed.
A particularly touching portrait of his daughter, not long before she died at age 12, is also on view.
Importantly, Rubens’ approach to the female nude is explored in a series of works illustrating how his process evolved over time, particularly in connection to the artist’s work with sculpture. And lastly, the show concludes with large paintings of heroic, mythological women, such as the unforgettable, The Birth of the Milky Way (1636-38), on loan from the Prado, Madrid.
The Exhibition “will highlight the tenderness and empathy with which Rubens depicted not only his family, but many of his female figures. If Raphael endowed his female figures with grace, and Titian with beauty, Rubens gave them veracity, energy and soul,” said Van Benedon.
Below, get a sense of the show and some of its highlights at the London show.
Peter Paul Rubens, The Birth of the Milky Way (1636–38). © Photographic Archive. Museo Nacional del Prado. Madrid
Peter Paul Rubens and Frans Snyders, Diana Returning from the Hunt, (ca. 1623). Courtesy bpk | Staatliche Kunstsammlungen Dresden | Elke Estel | Hans-Peter Klut.
Peter Paul Rubens, The Virgin in Adoration before the Christ Child, (ca. 1616–19). KBC Bank, Antwerp, Museum Snyders&Rockox House
Peter Paul Rubens, Venus, Mars and Cupid (ca. 1635). Courtesy Dulwich Picture Gallery.
Peter Paul Rubens, Clara Serena Rubens, the Artist’s Daughter, (ca. 1620–3). Private Collection.
Rubens & Women at Dulwich Picture Gallery. Photo by Graham Turner.
Rubens & Women at Dulwich Picture Gallery. Photo by Graham Turner.
Rubens & Women at Dulwich Picture Gallery. Photo by Graham Turner.
“Rubens & Women” is on view at the Dulwich Picture Gallery, London, through January 2024.

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Director Yorgos Lanthimos’s new film Poor Things tells the fantastical tale of a young woman, played by Emma Stone, who’s brought back to life by Willem Dafoe’s mad scientist. It’s the stuff of gothic horror, woven with the Greek filmmaker’s winking absurdism, as the movie follows our lead Bella Baxter from her rebirth in the 1880s through the 1960s. Key to that storytelling isn’t just Lanthimos’s surreal scene-setting, but the film’s lavishly eccentric costuming, overseen by designer Holly Waddington.
“I was really encouraged by Yorgos to just go big,” the costume designer told the Motion Pictures Association of her work on the film. “What we ended up with had a lot to do with texture—big textures in the clothing, things that felt organic, things that felt inflated.”
Now, Waddington’s costumes have made their way off-screen and into a showcase at the ASU FIDM Museum in Los Angeles. Organized by Searchlight Pictures, “Poor Things Costume Exhibit” arrays 13 costumes from the film, including eight worn by Stone, and others by her co-stars including Dafoe, Mark Ruffalo, and Ramy Youssef. 
Mark Ruffalo in Poor Things (2023). Photo: Yorgos Lanthimos. Courtesy of Searchlight Pictures. © 2023 Searchlight Pictures All Rights Reserved.
To the museum’s curator Kevin Jones, these pieces, while recognizably “historic,” present a blend of styles to create “looks that are not pedantic.” In an email, he brings up “leg-‘o’-mutton sleeves mixed with go-go boots, lobster-tail bustles worn as outerwear, and reconfigurations of Madeleine Vionnet and Charles James eveningwear.” 
This interplay of styles emerged from Lanthimos’s and Waddington’s vast body of references for the film. According to her, they included Victorian designs as much as 1960s nods to the space age. The works of Otto Dix, Egon Schiele, Georgia O’Keeffe, and John Singer Sargent also served as inspirations. Waddington’s use of period-appropriate fabrics were additionally woven with contemporary techniques—an, ahem, Frankenstein-esque mix-and-match that nailed the movie’s otherworldliness. 
Emma Stone in Poor Things (2023). Photo: Yorgos Lanthimos, Courtesy of Searchlight Pictures. © 2023 Searchlight Pictures All Rights Reserved.
Among the pieces in the exhibition are a paper silk ensemble cut into a mermaid silhouette (what Waddington calls a “weird bustle cage“) that nods to Bella’s awakening youth, and an eye-poppingly yellow Victorian evening gown, complete with pointed sleeves, that marks her sexual liberation.  
Jones himself highlights Bella’s first outfit, a lush blue creation, which mirrors the waters out of which she is rescued by Dafoe’s character, as well as a bronze satin day gown that “blends into the wood paneling of her husband’s chateau—sartorially imprisoning her just as he is trying to physically.” 
“Each costume is a character unto itself that reflects the actor’s circumstance, and subtly reveals to movie-goers the hero’s or villain’s course of action,” he said. “How much costume detail is lost on screen, or how the colors or patterns enhance or subdue the believability of the storyline is evident in the exhibition.” 
See more images from the show below. 
Installation view of “Poor Things Costume Exhibit” at ASU FIDM Museum. Photo courtesy of ASU FIDM Museum.
Installation view of “Poor Things Costume Exhibit” at ASU FIDM Museum. Photo courtesy of ASU FIDM Museum.
Installation view of “Poor Things Costume Exhibit” at ASU FIDM Museum. Photo courtesy of ASU FIDM Museum.
Installation view of “Poor Things Costume Exhibit” at ASU FIDM Museum. Photo courtesy of ASU FIDM Museum.
“Poor Things Costume Exhibit” is on view at the ASU FISM Museum, 919 South Grand Avenue, Los Angeles, California, through December 15. 

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Jamian Juliano-Villani, the New York-based painter known for reappropriating images from memes, fashion photography, and art history for her irreverent paintings, will be showing at Gagosian in March 2024.
The solo exhibition, titled “It,” will feature new paintings, anchored by Spaghettios (2023). The large-scale work, about six feet long and seven feet tall, depicts a bowl of Campbell’s torus-shaped pasta in the foreground and a Spaghettios soup can in the background, with her signature hyperrealism.
The show will be accompanied by the first major publication dedicated to her work, encompassing 45 paintings from 2013 to 2023, including a number of works from the March exhibition.
“I am finally making the work I want to make,” Juliano-Villani said in an email. “Freedom of expression is something I do with defiance and it’s worth defending. Larry [Gagosian] understands that. This show is a love letter from one visionary to another.”
Juliano-Villani is currently exhibiting one of her works at the Gagosian booth at Art Basel Miami Beach this week—alongside new art by the likes of Carol Bove and Lauren Halsey—marking the second year of her journey with the gallery.
One of her works had previously been included in “100 Years”—a group exhibition and collaboration between dealers Jeffrey Deitch and Larry Gagosian during Miami Art Week in 2022, which launched her work with the gallery. Gagosian has since showed her work at Art Basel Hong Kong, Art Basel, and Paris+.
Juliano-Villani had been represented by JTT gallery in New York and Massimo De Carlo, who has galleries in Milan and Hong Kong, as well as in London, since at least 2019. (JTT gallery, in a surprise move in August, closed after over a decade in business.)
In 2021, Juliano-Villani opened her own Lower East Side gallery, O’Flaherty’s, with two longtime friends, Billy Grant and Ruby Zarsky. O’Flaherty’s recently moved locations and reopened in March, inaugurated by the Viennese collective Gelatin.
“Jamian has such a unique and creative perspective that crosses generations from Pop Art to TikTok,” Gagosian senior director Kara Vander Weg said in an email. “We’ve been talking for some time and are delighted to host her exhibition next year.”
“It” will be on view at Gagosian New York, 541 West 24th Street, New York, from March 16, 2024.

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Miami Art Week is welcoming all manner of young and emerging artists, but the Standard Spa on the beach will be showcasing a creative entirely unlike all others. 
From December 5–10, the boutique hotel will host a presentation from Australian interior design company Studio Snoop, featuring works by its A.I. powered designer, Tilly Talbot. Titled “House of Tilly,” the show unfolds within a house-like structure, installed with five “future-living” design prototypes that have been crafted in partnership with human artists. Her collaborators include PLP Architects, Vert Design Studio, and Magical Mushroom Company.
As a digital avatar, Tilly will also show up in an interactive experience to share insights into her designs, as well as information about the hotel, effectively serving as its concierge.
Tilly was designed by the studio’s founder Amanda Talbot to respond to emotional intelligence, following her inquiries into how—and why—humans access A.I. “I started to come across this idea of how loneliness can lead people to tap into artificial intelligence,” she told Dezeen, “and how that can actually help people not feel lonely.” 
The model has been programmed to generate “human-centered” and environmentally minded designs. According to Talbot, Tilly will prioritize eco-friendly materials in her designs, gathering data in real-time to inform her “educated decisions.” 
The Tilly A.I.  Design Collection, featuring Polar Bear with Cadrys and Gus with PLP Architects and Magical Mushroom Company. Photo: Peer Lindgreen for Studio Snoop.
Miami marks Tilly’s U.S. debut, following her appearance at Milan Design Week in March, where she presented at Charles Philip gallery. There, her machine-imagined works were arrayed alongside tablets with which visitors could interact with Tilly via chat. 
Tilly is far from the only A.I. presence in the design space, which is increasingly tapping the potential of generative models. Zaha Hadid Architects, for one, has been leaning on machine intelligence in its design of workspaces, just as firms such as Kahler Slater and Coop Himmelb(l)au are tapping A.I. models to complete tasks including rendering and dreaming up innovative forms. 
Talbot, for her part, is quick to emphasize that Tilly is a tool as much as a collaborator. As with most A.I., Tilly comes with built-in, which “you’ve got to get through,” but Talbot professed the model’s involvement in the studio’s processes has “invigorated” its practice. 
“The more knowledge we have,” she said about A.I., “the more we can engage with it and learn about it and be a part of it.” 
See more of Tilly’s designs going on view at Miami Art Week below. 
The Tilly A.I. Design Collection, in partnership with Vert. Photo: Peer Lindgreen for Studio Snoop.
The Tilly A.I. Design Collection, in collaboration with PLP Architects and Magical Mushroom Company. Photo: Peer Lindgreen for Studio Snoop.
The Tilly A.I. Design Collection. Photo: Peer Lindgreen for Studio Snoop.
“House of Tilly” is on view at the Standard Spa, 40 Island Avenue, Miami Beach, Florida, December 5–10. 

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