On View

“Got to hurry on back to my hotel room where I’ve got me a date with Botticelli’s niece,” Bob Dylan sang in 1971. “She promised that she’d be right there with me when I paint my masterpiece.”
It’s unclear if the Nobel Prize-winning songwriter ever got around to that masterpiece, but if he did, it’s almost certainly on view now in “Retrospectrum,” a survey of Dylan’s artistic output from the late 1960s through to today, which opened last month at Florida International University’s Frost Art Museum in Miami.
More than 180 paintings, drawings, and sculptures make up the show, much of which has never been seen by the public before. And that’s what makes the show special: The artist is one of the most famous humans on the planet, but its offerings will be largely new to audiences, especially in the U.S. The show marks the first time the artworks have been shown together stateside. (A previous version of the show was held at the Modern Art Museum in Shanghai in 2019.)
Bob Dylan, Rainy Night in Grand Forks (2021). Courtesy of the artist.
“Seeing many of my works years after I completed them is a fascinating experience,” Dylan said in a statement about the retrospective (a straightforward reflection from a man who, now in his sixth decade of making idiosyncratic music and art, rarely offers them). 
The insight gets even more Dylanesque from there: “I don’t really associate them with any particular time or place or state of mind, but view them as part of a long arc; a continuing of the way we go forth in the world and the way our perceptions are shaped and altered by life. One can be as profoundly influenced by events in Morretes, Brazil, as they can be by the man who sells El País in Madrid.” 
Much like his music, Dylan’s visual oeuvre spans a broad swath of styles and genres. But whereas his nasal voice would give away even the most out-there tune as a Dylan original, no such clue connects his artwork. From painted depictions of cramped urban cityscapes (think Edward Hopper) and yawning Western vistas, to a series of sculptural gates made from welding together a hodgepodge of metal materials, they don’t necessarily seem to be from one man’s hand.
Bob Dylan, Night Time in St. Louis (2020). Courtesy of the artist.
“I think what distinguishes Dylan as a songwriter is his willingness to take disparate literary and musical strains and incorporate them into his unique vision. You can see the same kind of open-mindedness and willingness to experiment in Dylan’s visual work,” the exhibition’s curator, Shai Baitel, told ARTnews last month. (Baitel is the artistic director of the Modern Art Museum Shanghai and organized Dylan’s 2019 show there.) 
“I am convinced that creativity, no matter in which field or context, comes from the same deep place within us,” she went on. “And the difference in its articulation through different art forms only serves to deepen our understanding of that creativity.”
Also on display is Dylan’s newest body of work, a series of paintings inspired by famous movie scenes called Deep Focus. 
“All these images come from films,” the artist explained. “They try to highlight the different predicaments that people find themselves in. Whether it’s James Cagney or Margaret Rutherford, the dreams and schemes are the same—life as it’s coming at you in all its forms and shapes.”
Bob Dylan, Abandoned Motel, Eureka (2015–16). Courtesy of the artist.
“Retrospectrum: Bob Dylan” is on view now through April 22, 2022 at the Frost Art Museum in Miami.
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During Miami Art Week (November 29–December 5), there will be plenty more to see beyond the Miami Beach Convention Center, the Ice Palace, and the beachside tents. As the city’s museums, nonprofits, private collections, and galleries return to form after the off year of 2020, they have saved some of their best programming for December, when they can seize the international art world’s attention. Read on for our picks.

“There Is Always One Direction” 
 de la Cruz CollectionOngoing through 2022
Installation view of “There Is Always One Direction” at the de la Cruz Collection. Photo courtesy of the de la Cruz Collection, Miami.
Since 2009, collectors Rosa and Carlos de la Cruz have operated a private museum that showcases new selections from their holdings each year. The current outing takes its name from Gabriel Orozco’s sculpture Four Bicycles (There Is Always One Direction) (1994), which is on view alongside works by the likes of Tauba Auerbach, Hernan Bas, Wifredo Lam, Glenn Ligon, Christina Quarles, Sterling Ruby, Vaughn Spann, Reena Spaulings, and Christopher Wool.
The de la Cruz collection is located at 23 NE 41st Street in the Miami Design District. Admission is free.

“Will Ryman: The Situation Room, 2014” 
Margulies WarehouseThrough April 30, 2022
Will Ryman, The Situation Room (2014). Photo courtesy of the Margulies Warehouse, Miami.
Mega-collector Martin Z. Margulies is staging no fewer than seven shows at his private museum this year, including ones dedicated to Arte Povera, new work by Anselm Kiefer, and Will Ryman’s life-size replica, in glittering black charcoal, of President Obama and his security council in the titular situation room during the covert Navy Seal operation that assassinated Taliban leader Osama bin Laden.
The Margulies Warehouse is located at 591 NW 27th Street. General admission is $10.

“Zhivago Duncan: Pretentious Crap”
Pérez Art Museum MiamiNovember 30, 2021–September 25, 2022
Zhivago Duncan, Pretentious Crap (2010–11). Collection of the Pérez Art Museum Miami, gift of Diane and Robert Moss.
In addition to current shows by Jed Novatt, Meleko Mokgosi, and Marco Brambilla, and of African and African diaspora artists from the Jorge M. Pérez collection, PAMM is staging an installation of Zhivago Duncan’s elaborate multimedia work Pretentious Crap (2010–11), which Diane and Robert Moss donated to the museum in 2014. The piece is by the artist’s alter ego Dick Flash, the sole survivor of a global apocalypse who has forgotten life before the end of the world, collecting scraps from a ruined civilization he doesn’t understand. The resulting display, with vehicle parts spinning aimlessly in a massive cabinet, parallels contemporary artists’ struggles to make work that explains our complex world.
PAMM is located at 1103 Biscayne Boulevard, Miami. General admission is $16.

“Shattered Glass”
Presented by Jeffrey Deitch at the Moore BuildingNovember 29–December 5, 2021
Delfin Finley, Two Sides of the Same Coin (2021). Photo courtesy of Jeffrey Deitch.
After five years of teaming up with Larry Gagosian to bring blue-chip art to the Design District’s Moore Building, Jeffrey Deitch is going it alone this year with “Shattered Glass.” He’s re-staging a show of new art by emerging artists of color that debuted at his Los Angeles space back in the spring, which attracted more than 1,000 daily visitors in its final weeks. Curators Melahn Frierson and AJ Girard are expanding the exhibition to include 15 additional artists. It’s also the last time Deitch will occupy the space because, according to the dealer, its being taken over by a “concept creation collaborative” called Woodhouse.
The Moore Building is located at 191 NE 40th Street, Miami Design District, Miami. Admission is free.

“Witness: Afro Perspectives”
El Espacio 23Through Winter 2021
“Witness: Afro Perspectives” at El Espacio 23. Photo courtesy of of El Espacio 23, Miami.
PAMM namesake Jorge M. Pérez opened his own private art space in Allapattah, the Dominican neighborhood that is also home to the new Rubell Museum. The second show, of over 100 works by African and African Diaspora artists, is guest-curated by Tandazani Dhlakama, of Cape Town’s Zeitz MOCA, in collaboration with Pérez Collection curators Patricia M. Hanna and Anelys Alvarez. Featured artists include Belkis Ayón, Lorna Simpson, and Leonce Raphael Agbodjelou, tackling weighty themes such as systemic oppression and identity. A companion show, “Allied with Power: African and African Diaspora Art from the Jorge M. Pérez Collection,” is also on view at PAMM (through February 2, 2022).
El Espacio 23–Jorge M. Pérez Collection is located at 2270 Northwest 23rd Street, Allapattah, Miami. Admission is free.

“Ellen Lesperance: Amazonknights” 
ICA MiamiNovember 30, 2021–March 27, 2022
Ellen Lesperance, Amazonknights. Womonspirit. Womonpower. Glory. (2017). Collection of the Institute of Contemporary Art, Miami; museum purchase with funds from Helen Kent-Nicoll and Edward J. Nicoll. Photo: Dan Kvitka.
In addition to “Betye Saar: Serious Moonlight,” which opened in late October and runs through April 17, 2022, the ICA is unveiling a quintet of solo presentations by Ellen Lesperance, Shuvinai Ashoona, Harold Mendez, Hugh Hayden, and Anthea Hamilton during Miami Art Week. Inspired by the women weavers of the Bauhaus, the Pattern and Decoration movement, and 1970s and ’80s feminist art, Lesperance has made paintings and sculptures based on hand-knitted garments worn by women activists who took part in the Greenham Common Women’s Peace Camp protests against nuclear weapons in Berkshire, England, between 1980 and 2000.
The Institute of Contemporary Art, Miami is located at 61 NE 41st Street, Miami Design District. Admission is free.

“Alex Israel x Snapchat”
Bass Museum of ArtNovember 29, 2021–May 1, 2022
Alex Israel, Self-Portrait (Pelican with Fish) (2019). Courtesy of the Bass Museum of Art, Miami Beach.
Alex Israel’s collaboration with Snap, which debuted at the Cannes Lions International Festival of Creativity in 2019, uses augmented-reality technology to create five AR experiences that each correspond to one of his “Self-Portraits.” At the museum, viewers can take in the physical paintings with their eyes, and then download the AR “lenses” to view the work though their smartphone, watching as the works come to life. A sixth AR work activates the museum’s Art Deco facade, transforming the entire building into a pedestal for a giant virtual sculpture of Israel himself.
The Bass Museum of Art is located at 2100 Collins Avenue, Miami Beach. General admission is $10.

“My Name Is Maryan”
MOCA North MiamiThrough March 20, 2022
Maryan, Personnage (Soldat), 1974. Collection of Beth Rudin DeWoody, on view at the Museum of Contemporary Art, North Miami.
Polish-born artist Maryan was a survivor of the Auschwitz and Birkenau concentration camps, where he sustained injuries that necessitated the amputation of his leg. After the war, he studied to become an artist in Jerusalem and Paris before moving to New York in the 1960s. His paintings, sculptures, drawings, and films often feature fictional figures he called his personnages, from the French word for character. This exhibition surveying his four-decade career, curated by Alison Gingeras, opens with an installation that re-creates Maryam’s studio at New York’s Chelsea Hotel, where he lived during the 1970s.
Museum of Contemporary Art North Miami is located at the Joan Lehman Building, 770 NE 125th Street, North Miami. General admission is $10.

“Reginald O’Neal: As I Am”
Rubell MuseumNovember 29, 2021–October 2022
Reginald O’Neal, Thyself (2020). Courtesy of Spinello Projects, Miami.
At the last proper Miami Art Week, in 2019, the opening of Don and Mera Rubell’s private museum was one of the most hotly anticipated events of the year, putting the city’s Allapattah neighborhood on the art-world map. This year’s offerings are from 2021 artists-in-residence Kennedy Yanko, Otis Kwame Kye Quaicoe, Cajsa von Zeipel, and Reginald O’Neal, a figurative painter whose work focuses on the Black experience. The Rubells commissioned two new paintings from the Miami-based artist, and will show them alongside works from his solo debut “At the Feet of Mountains,” held last year at Miami’s Spinello Projects. O’Neal will have a simultaneous show, “They Dreamt of Us,” at the gallery (through January 15.)
The Rubell Museum is located at 1100 NW 23th Street, Miami. Admission is free.

“Every Wall Is a Door”
SuperblueThrough 2022
Es Devlin, Forest of U, (2021). Installation view of “Every Wall is a Door,” Superblue Miami, 2021. Photo: Andrea Mora.
Superblue Miami’s inaugural exhibition—named after stage designer Es Devlin’s immersive mirrored environment of the same name—opened in May, adding even more visual star power to the Allapattah neighborhood. The show also includes one of James Turrell’s light-based Ganzfeld works and Drift’s kinetic installation Meadow, plus a digital experience from TeamLab.
Superblue Miami is located at 1101 Northwest 23rd Street, Miami, Florida. General admission is $36. 

“Bernadette Despujols: I Love You, Man”
Spinello Projects
Through January 15, 2022
Bernadette Despujols, Andres (2021). Courtesy of Spinello Projects.
Bernadette Despujols has previously painted naked women, creating works that confront society’s objectification of the female body. Here she turns her painter’s eye on the closest men in her life, creating intimate portraits of her friends, family, and lovers.
Spinello Projects is located at 2930 NW 7th Avenue, Miami. 

“Nadia Hironaka, Matthew Suib: Field Companion” 
Locust Projects
Through February 5, 2022
Nadia Hironaka and Matthew Suib, Field Companion, still. Courtesy of Locust Projects, Miami.
Locust Projects, a highly regarded nonprofit alternative art space, reliably hosts some of Miami Art Week’s most interesting offerings. This year, Philadelphia-based artists Nadia Hironaka and Matthew Suib have created an immersive film installation of Field Companion, a film loosely inspired by the forests of the New Jersey Pine Barrens but filmed in a terrarium in the artists’ studio. Mirrored walls make it seems as through the microcosmic film set, captured with a motion-controlled camera, stretches into infinity. Fantastical (digitally rendered) creatures inhabit this tiny world, which speaks to issues of coexistence and sustainability, and the the importance of nature.
Locust Projects is located at 3852 North Miami Avenue, Miami. Admission is free.

“Dominga’s Photo Studio” 
Wolfsonian–FIUDecember 1–8, 2021
Photo: Juan Luis Matos. Courtesy of the Wolfsonian FIU, Miami Beach.
It’s not just wealthy art collectors who can leave Miami Art Week with an original piece of art. In exchange for posing for a photographic portrait with Juan Luis Matos during his weeklong residence at the Wolfsonian’s Bridge Tender House, you’ll get a a print of the work. Each portrait’s pose and setting will be inspired by images in the Wolfsonian collection. The project is a collaboration with Bakehouse Art Complex and Miami Beach Open House.
The Wolfsonian–Florida International University is located at 1001 Washington Avenue, Miami Beach. General admission is $12.

“Retrospectrum: Bob Dylan”
Patricia and Phillip Frost Art MuseumNovember 30, 2021–April 17, 2022
Bob Dylan, One Too Many (2020). Private collection. Image courtesy of the artist.
Beloved singer-songwriter and Nobel Prize winner Bob Dylan gets his first U.S. retrospective of his work as a visual artist. The show, which originated at the Modern Art Museum Shanghai, features more than 180 paintings, drawings, ironwork, and ephemera, and teases out the connections between his material output and his music and lyrics.
The Patricia and Phillip Frost Art Museum at Florida International University is located at 10975 SW 17th Street. Admission is free.

“Margarita Cano: 90 Years”
NSU Art Museum, Fort LauderdaleThrough February 13, 2022
Margarita Cano, The Tumbler (1997). Collection of the NSU Art Museum Fort Lauderdale; gift of Isabel Hernandez in memory of Benjamin Holloway. © 2021 Margarita Cano.
Entirely self-taught, the Cuban-born, Miami-based artist Margarita Cano turned 90 this year. This exhibition celebrates her celestially inspired oeuvre, which includes miniature books, votive portraits, landscapes paintings, prints, and photographs.
Nova Southeastern University Art Museum is located at 1 East Las Olas Boulevard, Fort Lauderdale. General admission is $12.

“Judy Chicago: Judy Chicago In Glass”
Nina JohnsonNovember 30, 2021–January 15, 2022
Judy Chicago, Hand on Fire (Hands—Studies/Ancillaries) (2004). Courtesy of Nina Johnson, Miami.
Pioneering feminist artist Judy Chicago may be notorious for the ceramic plates she made for her massive installation The Dinner Party, but she has also developed her own techniques for painting on kiln-fired glass. Her second show with the Nina Johnson gallery will mark the debut of Mortality in Glass, her largest glass piece to date, as well as works from her glass sculpture series “Head’s Up” and “Hands.” Chicago has also re-fabricated Zig Zag, a Minimalist sculpture originally from 1965, in powder-coated steel.
Nina Johnson is located at 6315 NW 2nd Avenue, Miami. Admission is free. 
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It’s almost impossible to think about San Francisco without thinking about its landscape: the bay, the Golden Gate Bridge, the 1989 Earthquake. California’s Golden City, a boom-and-bust town with an economy, immigrants, and urban identity so tied to its environment, that the climate itself is a central character in San Francisco’s story. 
It was no surprise then that when For-Site Foundation founding director Cheryl Haines began to consider the next exhibition for the Bay Area-based organization, the climate crisis would be its central query. In the last decade, the city has been plagued by drought and fire, they too becoming local residents in the psyche of San Francisco. But it was when the National Park Service all but tossed Haines the keys to Cliff House, the Victorian-era landmark leisure complex on the Pacific Ocean, that the theme of the new exhibition, titled “Lands End,” really began to take on tones that might otherwise not be there. 

Cliff House, once the gilded getaway of the wealthy and later an overpriced tourist trap and wedding venue, fell prey to the pandemic and shuttered its doors on the last day of 2020. It remained unoccupied until last month, when For-Site opened the show there. It will occupy the space through March, free and open to the public, at which point the National Park Service hopes to have a new tenant.
Haines and her team had about six weeks to pull the exhibition together, and only in early September did they begin to install the works by 26 artists, including Doug Aitken, Andy Goldsworthy, Olafur Eliasson, and Ana Teresa Fernandez.
Despite the urgency and tattered timeline, Haines, who was also behind the 2014 Ai Weiwei show at Alcatraz, felt the exhibition was a necessary endeavor for the foundation: “Because we’re a project-based organization, we disappear in between projects,” she said. “We can’t stay financially viable if we’re quiet for too long.”

It felt uncomfortably ironic that the day I visited “Lands End,” while it was being installed last month, the Bay Area had just been battered by historic rainfall (effectively ending fire season, the other end of the region’s climate crutch). The water-logged fire alarm inside Cliff House wouldn’t stop beeping throughout the hour Haines took me around. (Sounding the alarm? So on the nose it could have served as a piece of art itself.)
Instead, inside the 1960s travel lodge rehabbed into a 1990s corporate structure, you’ll find sculpture, painting, video, and social practice works by an impressive roster of bold-named artists in a complete utilization of all spaces (including the trash room!). It’s evocative and ghostly, as well as quite literally a confrontation of our climate. 
Brian Jungen, Tombstone, (2019). Courtesy of the artist and Catriona Jeffries, Vancouver, B.C.
Haines personally installed some of the commissions for artists who weren’t able to travel. Of his Geophagia, an experiment in California Kaolin clay, Goldsworthy said: “I wanted to see if it would be possible for me to make this work from a distance—it’s difficult for an artist for whom place is so important. Cheryl would have to be my hands.”  
The clay is laid over dining tables in the former cafe space, cracking as it dries, and evoking the many themes of California: topography, drought, fault lines, fragile resources, and, as Goldsworthy said, “a reminder that when we dine, we eat earth.” 
Meanwhile, Ana Teresa Fernandez’s site-specific On the Horizon (2021) is a series of six-foot-high plexiglass tubes, filled with ocean water collected in buckets from outside, materializing the projected sea-level rise. 
Ana Teresa Fernández, On the Horizon,(2021). Courtesy of the artist and Catharine Clark Gallery, San Francisco.
Andrea Chung offered Sea Change, a cyanotype not made with the climate in mind, but in her interest exploring Caribbean colonial histories. Hung near huge picture windows facing the ocean, Chung’s work echoes ideas of the “reshaping of land because of colonialism. What we know of the Caribbean is all imposed fantasy of trying to create the garden of Eden, and there are consequences to that that people don’t consider in altering the land.“  
Though the exhibition is one of discovery—especially of art in unlikely places—that sparks dialogue about the changing nature of our world, “the artists I select don’t hit you on the head,” Haines said. “They’re not aggressive in their messaging, they’re inviting you to consider, and asking questions more than presenting answers.” 
With a topic as existential, anxiety-provoking, and seemingly insurmountable as climate change, it was important that Haines frame the curation intentionally. “Beauty and seduction of beauty is always a device I’ve used to bring people to big ideas,” she said, “but I’m feeling it more in this show than I have in the past.”
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Less than two months before the fifth edition of Prospect New Orleans was set to commence this past August, Hurricane Ida devastated the Louisiana city. The fate of the triennial—which was already postponed a year by the pandemic—was once again up in the air. 
Looming over the dilemma was a kind of perverse irony. The show’s central theme is about how the cycles of the past shape the present, and Ida no doubt recalled another tropical storm, Hurricane Katrina, from which the inaugural Prospect triennial was born 13 years ago. And so organizers of this year’s event decided to push on, too. 
“It became evident quite quickly that it was important for us to pursue the exhibition,” said Diana Nawi, who curated the show with Naima Keith. As with so many events canceled over the past year and a half, the city’s residents needed a “mark on the calendar.”  
“What we’ve heard over and over again is how excited people are for Prospect to be open right now,” added Keith. 
Diana Nawi and Naima J. Keith, the show’s curators. Courtesy of Prospect New Orleans.
The first slate of Prospect’s 50-plus projects opened last month, with more to come over the following weeks, including new work by artists Dawoud Bey, Dineo Seshee Bopape, and Nari Ward. 
The slowed rollout wasn’t ideal, but the landscape of New Orleans’s venues changed dramatically over the last year. It was one of the many concessions Keith and Nawi were forced to make as they battled an onslaught of logistical obstacles. Travel restrictions limited site and studio visit opportunities, while supply chain shortages challenged the production of certain artworks. The show’s catalogue, meanwhile, was delayed for months at a shipping port. 
“A million compromises were made, but I don’t feel that the show was compromised in the slightest,” said Nawi. “It’s a stronger, better show for everything that has challenged it.”
Most of the show’s participants evolved their contributions over the last year as well, some due to material considerations, others in the name of addressing the current political moment. 
An installation of new work by Dawoud Bey Vistors on view in “Prospect.5: Yesterday we said tomorrow.” Photo: Jose Cotto.
Glenn Ligon’s neon sculpture listing the names of toppled confederate statues has been updated with new entries, for instance, while new artworks by Willie Birch and Celeste Dupuy-Spencer reflect the January 6 attack on the United States Capitol. (All three artists’ offerings will go on view at the Ogden Museum of Southern Art this week.)
For her part, Adriana Corral, who had planned to erect an inverted gravestone made of bulletproof glass, decided to reallocate her commission funds, donating the majority to mutual aid in New Orleans. 
“I think the show is a really moving testament to what people are thinking about, what is important here in New Orleans, and how that reflects out to the larger nation and world at this moment,” said Nawi. It’s critical, she went on, “to bring people here and see what culture means, what the stakes of culture are here.”
“Prospect.5: Yesterday we said tomorrow” is on view now through January 23 at various locations in New Orleans. 
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The title of this year’s New Museum triennial is “Soft Water Hard Stone.” It’s a moniker that alludes to the natural world, to folk wisdom, and to the kind of quiet, insistent force that makes change over time—the idea being that even something as pliant as a soft current of water, over time, has an effect.
Curated by Margot Norton and Jamillah James, with the assistance of Jeanette Bisschops, the resulting show does indeed land gently. It’s a show of a lot of things that either lay on the ground or look like they were just picked up off the ground, and things that vaguely evoke a ruin. It is all washed-out colors and neutrals and graphite grays. It has a cool emotional tone (though not a cold one).
There are almost no big, central images—it’s a lot of things you have to look at like puzzles, for details. Even the big things and the figurative work feel faceless and diffuse somehow. The mental afterimage the show leaves is of a lot of people standing with their backs to you, talking in low tones.
It offers plenty to think about. As I put together my own thoughts on it, here are some photos of the show, so you can get a taste for yourself.

4th Floor
Cynthia Daignault, As I Lay Dying (2021) and Gabriel Chaile, Mamá Luchona (2021) in the New Museum Triennial. Photo by Ben Davis.
Tanya Lukin Linklater, An Amplification Through Many Minds (2019). Photo by Ben Davis.
Jeneen Frei Njooti, Fighting for the Title Not to Be Pending (2020). Photo by Ben Davis.
Various works by Kang Seung Lee. Photo by Ben Davis.
Nadia Belerique, HOLDINGS (2020-ongoing). Photo by Ben Davis.
Brandon Ndife, Pistachio (2021) and Market Fare (2021). Photo by Ben Davis.
Brandon Ndife, Pinched (2021) and Ripe Today, Finally (2021). Photo by Ben Davis.
Two panels from Cynthia Daignault, As I Lay Dying (2021). Photo by Ben Davis.
A work by Erin Jane Nelson. Photo by Ben Davis.
Gabriela Mureb, Machine #4: stone (ground) (2017). Photo by Ben Davis.
Alex Ayed, Untitled (2021). Photo by Ben Davis.

Stairway Gallery
Alex Ayed, Untitled (2021). Photo by Ben Davis.
Gabriela Mureb, Machine #3: belt (small) (2013-21). Photo by Ben Davis.
3rd Floor
Kate Cooper, Somatic Aliasing (2021). Photo by Ben Davis.
Krista Clark, Annotations on Shelter 5 (2021). Photo by Ben Davis.
Tomás Díaz Cedeño, 1000 Años (2019). Photo by Ben Davis.
Haig Aivazian, All of Your Stars Are But Dust on My Shoes (2021). Photo by Ben Davis.
Yu Gi, Flesh in Stone Ghost #8 (2021). Photo by Ben Davis.
Krista Clark, Annotations on Shelter #3 (2021). Photo by Ben Davis.
Ambera Wellman, Strobe (2021). Photo by Ben Davis.
Laurie Kang, Great Shuttle (2020-21) and Root 2020-21). Photo by Ben Davis.
Jes Fan, Networks (for Rupture) (2021) and Networks (for Extension) (2021). Photo by Ben Davis.
Iris Touliatou, Untitled (Still Not Over You) (2021). Photo by Ben Davis.
Works by Harry Gould Harvey IV (2021). Photo by Ben Davis.
Sandra Mujinga, Pervasive Light (2021). Photo by Ben Davis.

2nd Floor
Three works by Goutam Ghosh. Photo by Ben Davis.
Bronwyn Katz, Xãe (2021). Photo by Ben Davis.
Angelica Loderer, Untitled (ribbons) (2021). Photo by Ben Davis.
Alex Ayed, Untitled (Sail II) (2020) and Untitled (Sail IV) (2020). Photo by Ben Davis.
Ima-Abasi Okon, Put Something in the Air: The E-s-s-e-n-t-i-a-l Mahalia Jackson Blowing Up DJ Pollie Pop’s Chopped and Screwed Rendition of Wagner’s Ride of the Valkyries — Military-Entertainment Complex Dub [Jericho Speak Life!]*(Free of Legacy)* (2017). Photo by Ben Davis.
Works by Ann Greene Kelly. Photo by Ben Davis.
Blair Saxon-Hill, Emergency Contact (2021). Photo by Ben Davis.
Christina Pataialii, Footsteps in the Dark (2021). Photo by Ben Davis.
Kahlil Robert Irving, Routes&Roots[(SaintLouis NewYork (returnflight)] MEMORY MASSES (2021). Photo by Ben Davis.
Works by Ann Greene Kelly. Photo by Ben Davis.
Wallpaper and various untitled works by Evgeny Antufiev and [foreground] Hera Büyüktaşcıyan, Nothing further beyond (2021). Photo by Ben Davis.
Works by Evgeny Antufiev. Photo by Ben Davis.
Foreground: Hera Büyüktaşcıyan, Nothing further beyond (2021). Photo by Ben Davis.
Rose Salane, 60 Detected Rings (1991-2021) (2021). Photo by Ben Davis.
Amalie Smith, Clay Theory (2019). Photo by Ben Davis.
Gaëlle Choisne, Temple of Love—Love to love (2021). Photo by Ben Davis.
Lobby Gallery
Arturo Kameya, Who can afford to feed the ghosts (2021). Photo by Ben Davis.
Amy Lien and Enzo Camacho, waves move bile (2020). Photo by Ben Davis.
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The Frieze tent in London’s Regent’s Park has barely been disassembled and yet eyes have already shifted to Paris. This week, the French capital will welcome FIAC back to the Grand Palais Éphémère for the fair’s 47th edition, this year boasting 170 exhibitors. Elsewhere, the quirkier Paris Internationale will again set up shop in an intimate, residential building at 168 Avenue Victor Hugo, from where the smaller fair will continue its mission to champion emerging galleries.
Also participating in Paris Art Week are the city’s art institutions, a number of which are mounting a slew of high-caliber exhibitions, the quality of which is so laudable—so “must-see”—that you might even be up prompted to consider cutting fair time in favor of an old-fashioned museum excursion.
Here are seven you won’t want to miss.
“Ouverture” at Pinault Collection
Lynette Yiadom-Boakye, Vigil for a Horseman (2017). ©Lynette Yiadom-Boakye. Exhibition view, “Ouverture”, Bourse de Commerce—Pinault Collection, 2021. Courtesy the artist and Pinault Collection. Photo by Aurélien Mole.
Still fresh from its May unveiling, the new Bourse de Commerce–Collection Pinault continues to bask in that undeniable sparkle of the new. Collector François Pinault’s long-awaited Parisian venture now proudly stands in the Les Halles district, occupying a historic building revitalized under the guidance of visionary architect Tadao Ando.
Celebrating the museum’s inauguration is “Ouverture,” an ambitious group presentation of 200 works by 32 artists, installed across all 10 exhibition spaces. Works by David Hammons, Cindy Sherman, Maurizio Cattelan, Sherrie Levine, Lynette Yiadom-Boakye, Antonio Obá, Urs Fischer, and Kerry James Marshall appear in a sprawling display where each artist on view is a heavyweight in their own right.
Pinault Collection, 2 rue de Viarmes, 75001 Paris; through December 31, 2021.
“Anne Imhof: Natures Mortes”at Palais de Tokyo
Anne Imhof, ROOM VI (2021). Courtesy of the artist, Galerie Buchholz and Sprüth Magers. Photo: Andrea Rossetti.
Demand for tickets to “experience” the German artist’s newest project has gotten so intense that Palais de Tokyo implemented nightly extended hours through the show’s close. (At the time of writing, only eight “exceptional” days remain.) In signature Imhof fashion, “Natures Mortes” is touted more as a spectacle than an exhibition, taking over the Parisian center’s entire space with “an all-embracing, polyphonic work” of music, painting, drawing, and, of course, performance.
The Golden Lion winner also invited a cast of 30 artist “accomplices” to participate in a mysterious team venture that involves fellow artists Oscar Murillo, Precious Okoyomon, Jutta Koether, and Wolfgang Tillmans.
Palais de Tokyo, 13 Avenue du Président Wilson, 75116 Paris; through October 24, 2021.
“Marlene Dumas: Le Spleen de Paris and Conversations”at Musée d’Orsay
Marlene Dumas, Hafid Bouazza (2020). Courtesy Marlene Dumas. Photo: © Peter Cox, Eindhoven.
In an ode to Baudelaire and his enduring influence, esteemed contemporary painter Marlene Dumas produced 15 new works born from a collaboration with the late author and translator Hafid Bouazza, and timed to the bicentenary of Baudelaire’s birth, in 1821. Poetry and literature are well-known factors that shape Dumas’s work, and this new series was inspired by the legendary French poet’s collection Le Spleen de Paris. Portraits of figures such as Baudelaire and artist Jean Duval are displayed alongside still lifes that respond to a poem, or contain image motifs, such as a rat or a bottle, referenced within the poetry collection.
Musée d’Orsay, Esplanade Valéry Giscard d’Estaing, 75007 Paris; through January 30, 2022.
‘Bonaventure (Trafficking worlds)’at Fondation d’Entreprise Pernod Ricard
“Bonaventure (Trafiquer les mondes).” Installation view, from left to right: Minia Biabiany, Meris Angioletti, Gina Folly. Photo: Thomas Lannes, 2021.
Curated by Lilou Vidal, this group exhibition—also known as the 22nd Pernod Ricard Foundation Prize show—brings together (you guessed it) the nominees currently up for the award, which since 1999 has been recognizing artists under 40. Themes of storytelling and the occult dominate this year’s iteration (its title, bonaventure, refers to the uncertainty and risk involved in fortune telling), with rising stars such as Tarek Lakhrissi and Gina Folly included in the lineup of nine participants.
Fondation d’entreprise Pernod Ricard, 1 cours Paul Ricard, 75008 Paris; through October 30, 2021.
Martin Margielaat Lafayette Anticipations
© Martin Margiela.
Even though the trend of “fashion as art” has already peaked—and at this point is veering dangerously close to cliche—Lafayette Anticipations combats such associations head on by noting in the press text that Martin Margiela, founder of French fashion house Maison Margiela, “has always been an artist.”
Margiela is categorized here as an iconoclast, whose work across various media influenced his unbiased approach to material, providing him an attitude that regards a Caravaggio painting or a box of hair dye with equal significance. The show, organized by distinguished curator Rebecca Lamarche-Vadel, is framed as a single artwork in itself, encompassing installations, sculptures, collages, paintings, and films, all being shown publicly for the first time in a “labyrinthine” setting.
Lafayette Anticipations, 9 rue du Plâtre, F-75004 Paris, October 20, 2021 – January 2, 2022.

“Bianca Bondi: The Daydream”at Fondation Louis Vuitton
Bianca Bondi, detail of The Daydream (2021). Fondation Louis Vuitton, Paris. © Adagp, Paris, 2021, © Fondation Louis Vuitton / Marc Domage.
For her first one-person museum outing in France, Bianca Bondi has erected an indoor garden which drew original influence from Mexican cenotes, a form of region-specific topography that is heavily steeped in myth. The artist’s multisensory installation is situated around a central well outfitted with synthetic lungs, or alveoli. The well serves as the site’s primary energy source, by which its lungs regularly emit a colored, fragrant saline solution that “nourishes” the vegetation, flowers, and creepy-crawlers dwelling on branches in this half-fake, half-natural ecosystem. Bondi, who was born in South Africa and now lives in Paris, is an artist to watch: She also has a concurrent solo show at Fondation Carmignac in Porquerolles, France, and is slated to participate in the 2022 Gwangju Biennale.
Fondation Louis Vuitton, 8 Avenue du Mahatma Gandhi Bois de Boulogne, 75116 Paris; through January 24, 2022.
Jean Claracqat Musée Eugène Delacroix
Jean Claracq, Working Class Hero (2021). Courtesy the artist and Galerie Sultana. Photo: Romain Darnaud.
As part of FIAC’s programming, the emerging painter Jean Claracq has debuted seven new paintings at Musée Delacroix. Created in direct response to two Delacroix works from the Old Master’s namesake permanent collection, Claracq’s compositions examine the tension inherent in contrasting perceptions. Produced in the artist’s typical small-scale format, these new paintings encourage a dialogue with those of Eugène Delacroix. Despite centuries of separation, Claracq possesses distinct similarities to the most influential artist of the French Romantic school, particularly in their shared attempts to capture an individual’s internal distress, especially as it may be influenced by a sense of helplessness in a chaotic world.
Musée Eugène Delacroix, 6 Rue de Furstemberg, 75006 Paris; through November 1, 2021.
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In the aftermath of Kara Walker’s monumental fountain, Carsten Holler’s playground of slides, and Olafur Eliasson’s unforgettable indoor weather project, I had certain expectations for Tate Modern’s latest Turbine Hall commission, which opened yesterday. But the U.S. artist Anicka Yi, who has been tapped for the annual project, has a more subtle flavor than her noisier predecessors.
A squeal of delight in the audience directed my attention upwards to the bridge across the cavernous room where a fleet of jellyfish-like balloons floated close to the ceiling. For her installation, Yi has invented these hybrid biological and technological creatures called aerobes, which are classified either as “xeno-jellies” whose forms have been inspired by ocean lifeforms or “planulae,” from different types of mushrooms.
Filled with helium and propelled around the room by rotors, they look like they come from an alien planet but are more benign than H.G. Wells’s tripod creatures. As I drew closer, I realized that they were emitting a faintly pleasant aroma; one floated above me and performed a gentle twirl.
Installation view of Hyundai Commission Anicka Yi at Tate Modern, October 2021. Photo by Will Burrard Lucas.
The installation is rooted in the artist’s ongoing interest in shifting the relationship between technology, humans, and the biological world. It proposes a different kind of ecosystem: Her floating creatures imagine new ways that machines could inhabit the world alongside humans, rather than the traditional understanding that they function to serve humans, or work against us in some dystopian capacity.
“I wanted to open up that dialectic and expand the conversation;” Yi said in a press conference at the unveiling of the work. “Machines don’t necessarily have to serve us or scare us in order to coexist with us.”
Taking this idea as her starting point, Yi explained how she started to think about the concept of “wilding” machines; eliminating their functionality, and asking what it would look like to live with them then. Inspired by how organisms learn through their bodies and senses, as well as technological advances within the field of soft robotics, Yi endowed the aerobes with a sort of sensory intelligence. They respond to information, including the scents of the building, sources of heat, and an awareness of their place in space relative to each other. 
Once raised in the air, they are completely autonomous, driven by this artificial life program—a software that can be likened to the mind—that simulates and seeks to understand complex biological behaviors. Their unpredictable movements imbue them with a sense of life; the squeal of delight I had heard was a child reacting to them as animals and not machines.
Anicka Yi, “In Love With the World,” Hyundai Commission, Tate Modern. Photo by Joe Humphrys, courtesy Tate.
The sensorial element to the installation also resists the ability to be captured on Instagram. It has an evolving scentscape that you have to physically take into your body to experience, part of a genre that Yi called “metabolic” art. 
“You have to experience it in the radical present, in your body and mind as one,” she said. The changing odors emitted around the aerobes have been inspired by different eras of the surrounding Bankside area, from marine scents related to pre-human era to the spices thought to ward off the black death in the 14th century to smells from London’s industrial age.
The scents are subtle and offer up no clear illustrative associations. When I was there, there was was a faintly spicy, not unpleasant, smell of patchouli. When asked what was intended to evoke, Yi informed us wryly that the inspiration was cholera. It’s intentionally a surprise as Yi aims to expand our relationship to smell. We expect to instantly recognize something and categorize it as good or bad, but these confusing scents are not straightforward; they ask you to heighten your awareness, and breathe deeply.
“Yi has worked with smell and scent for a long time, and partly in terms of questioning the primacy of the visual, and the visual as principally male, rational, industrial, technocratic, and Western,”  the exhibition’s co-curator Achim Borchardt-Hume told Artnet News. “Whereas our experience of the world encompasses all the senses.”
Installation view of Hyundai Commission “Anicka Yi: In Love With the World” at Tate Modern, October 2021. Photo by Will Burrard Lucas.
The artist is also interested in the politics of air, in how scent can alter your perception of space, and make you aware of the air around you in ways that you weren’t before. Indeed, as I experience the same awareness of the odors and gasses in a room, and the potential risks they carry, I was instantly more aware that I was sharing the air with others.
“Engaging with the air, especially in the age of Covid, it’s an especially rich material to unpack,” Yi said. She wanted to foreground the olfactive questions with the pandemic and to really underscore the air that we’re sharing. Indeed, questions of how how we inhabit the world, climate emergency, and coexistence between humans and other species, have taken on a whole new importance over the past two years. Many people who got sick actually lost their sense of smell; I was one of them, and I don’t think I ever fully appreciated how crucial it was to my experience of the world—from determining if something was burning to recalling past experiences—until I lost it.
“Air is this charged site for social discourse, and with the pandemic and climate crisis it is this substrate that ties us all in this very symbiotic coexistence that we cannot escape,” she said. “We are all these vessels of interdependence and we have a responsibility toward each other.”
And that’s what the Turbine Hall commission has always done: brought people together. The show places Yi in dialogue with the works before her, such as Superflex’s three-man swings that required people to work together to enjoy them. So, too, does her work underscore how we—as either biological or technological entities—are all in this together.
“Anicka Yi: In Love With the World” is on view at Tate Modern through January 16.
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It’s Frieze week in London, and ahead of the fairs opening to VIPs tomorrow, here’s our pick of what’s on view beyond The Regent’s Park across a selection of galleries in London.

Elizabeth NeelPilar CorriasThrough October 23
Installation view, Elizabeth Neel, “Limb after Limb,” at Pilar Corrias. Photo: Mark Blower. Courtesy of the artist and Pilar Corrias, London.
In “Limb after Limb,” Elizabeth Neel presents a new body of work made in isolation on her family’s farm in rural Vermont. The large-scale paintings on canvas echo the natural environment and the physical and psychological tolls of isolation through a process of abstraction. Also on view is a short documentary about the artist by her brother, Andrew Neel, which explores her practice and fraught experience living as an artist within the legacy of her grandmother, Alice Neel.
“Limb after Limb” is on view at 2 Savile Row, London, W1S 3PA.
Simeon BarclayWorkplaceThrough October 29
Installation view, Simeon Barclay, “England’s Lost Camelot,” at Workplace.Courtesy of the artist and Workplace, London.
The U.K. artist Simeon Barclay has created new multimedia works and an installation for “England’s Lost Camelot,” on view at Workplace’s West End gallery. Taking its cue from Arthurian legends and the persistence of the figure of the gallant knight in British folklore and iconography, he follows this medieval legend through popular culture as well as his own personal biography, unpacking how these tropes play a role in determining notions of class, race, and gender.
“Simeon Barclay: England’s Lost Camelot” is on view at 40 Margaret Street, London, W1G 0JH.
Ösgür KarEmalinThrough November 10
Özgür Kar, Death with flute (2021). Photo: Stephen James. © Özgür Kar, courtesy of the artist and Emalin, London.
In “Storage Drama,” his first solo outing with Emalin, Turkish artist Özgür Kar presents three of his eerie “Death” sculptures, minimally animated drawings of musically inclined skeletons that ruminate on the nature of existence with humor and heft. There’s a timelessness to the anxiety expressed, evoking at once medieval manuscripts and plague traditions, but also the banal phrases of online exchanges and our contemporary moment of global disease. Scored by improvised woodwind riffs on an ominous tritone known as the “Devil’s Interval,” viewers might find themselves in a bit of a trance. As one of Kar’s characters puts it: “You either get the vibe or you don’t.”
“Storage Drama” is on view at 1 Holywell Lane, London, EC2A 3ET.
Ron MueckThaddaeus RopacThrough November 13
Ron Mueck, Dead Dad (1996–97). © Ron Mueck, courtesy of Thaddaeus Ropac, London, Paris, Salzburg, and Seoul.
Spanning 25 years of Ron Mueck’s career, this historical exhibition at Thaddaeus Ropac features some of the Australian sculptor’s most celebrated pieces plus never-before-exhibited works. Mueck’s famous sculpture Dead Dad (1996–97) is on view in the U.K. for the first time since it shocked in the Royal Academy’s storied 1997 “Sensation” exhibition, as is a new, as-yet-unseen cast-iron outdoor sculpture of a skull, Dead Weight (2021), which clocks in at a whopping one tonne. A moving figure of a young Black man with a stab wound, Youth (2009/2011), speaks to the urgency of addressing urban crime. From the small-scale to the monumental, the works on view evoke the gamut of human emotions and experiences.
“Ron Mueck: 25 Years of Sculpture 1996–2021” is on view at 37 Dover Street, London, W1S 4NJ.
“Sorry It’s a Mess, We Just Moved In!”LAMB ArtsThrough November 13
Clara Hastrup, Untitled (Leek) (2021). Courtesy of LAMB Arts, London.
This lively group exhibition explores everyday objects and the role they play in shaping and holding onto identity, asking whether, in a digital age, the physical carries more significance, or less. Curated by Roya Sachs, it places blue-chip names such as Christo & Jeanne-Claude, Erwin Wurm, and Isa Genzken in dialogue with works by emerging artists, such as Clara Hastrup’s photographs of “Perishable Sculptures,” to ask how we relate to objects, from throwaway items to functional commodities to treasured tokens of memory.
“Sorry It’s a Mess, We Just Moved In!” is on view at 32 St. George Street, London, W1S 2EA.
Noah DavisDavid ZwirnerThrough November 17
Noah Davis, 40 Acres and a Unicorn (2007). © The Estate of Noah Davis, courtesy of the Estate of Noah Davis and David Zwirner.
Curator Helen Molesworth has selected works by the late U.S. artist Noah Davis that span his brief but bright career for the first presentation of the artist’s dreamlike, figurative paintings in the U.K. The show is a follow-up to an acclaimed exhibition at David Zwirner in New York in January 2020, and while there are some repeats, most of the works on view will be different. Significantly, the London edition imports a version of the artist’s ambitious social-practice project, the Underground Museum, installed in the gallery’s upper level. Headquartered in an underserved Black and Latinx neighborhood in Los Angeles, the initiative is a Black-owned and -run art space that shows museum-quality work. Highlighting the importance to Davis of community, the show includes a sculpture by the artist’s widow, Karon Davis, and the film BLKNWS, by his brother, Kahlil Joseph, famed in his own right.
“Noah Davis” is on view at 24 Grafton Street, London, W1S 4EZ.
Issy Wood Carlos/IshikawaThrough November 20
Issy Wood, The sides (2021). © Issy Wood. Courtesy of the artist; Carlos/Ishikawa, London; and JTT, New York.
The young painting sensation Issy Wood’s exhibition “Trilemma” at Carlos/Ishikawa will scratch your brain—and not just because all the paintings are on velvet. The artist created this series of ‘depression’ paintings during lockdown in response to her contracted surroundings, and in works based on snippets of screenshots from the films and TV shows she was watching, there is an eerie sense of nostalgia for a world that once was. The show also includes a foray into installation with a suite of painted, velvet-upholstered Carlo Scarpa furniture entitled What if you showed up (2021) installed in the middle of the gallery.
“Issy Wood: Trilemma” is on view at Unit 4, 88 Mile End Road, London, E1 4UN.

“Social Works II”GagosianThrough December 18
Installation view, “Social Works II,” at Gagosian Grosvenor Hill, London. Courtesy Gagosian.
This group exhibition on view at the gallery’s Grosvenor Hill location is the sequel to recently-appointed director and curator Antwaun Sargent’s inaugural show at Gagosian in New York. It places front and center artists of the African diaspora whose projects extend beyond the walls of the gallery and into social practice. From architect Sumayya Vally’s wall fragment that functions as a site for research and ritual to historical collages by Black Arts Movement pioneer (and Turner Prize–winner) Lubaina Himid, the exhibition probes the ways that geography informs identity and perception in different communities and spaces.
“Social Works II” is on view at 20 Grosvenor Hill, London, W1K 3QD.

A.A. MurakamiSuperblueThrough Summer 2022
New Spring (2017). Photo: Juriaan Booij. Courtesy of COS x Studio Swine.
The Tokyo- and London-based duo A.A. Murakami—made up of Azusa Murakami and Alexander Groves from Studio Swine—has been tapped to debut Superblue in London, following the global launch of the experiential art powerhouse in Miami in May.
For “Silent Fall”—on view at Pace’s former Burlington Gardens space—the pair is presenting a new, Instagram-friendly multi-sensory experience that immerses audiences in a seemingly infinite forest of glowing trees. Their branches emit misty bubbles, which unleash different scents of nature, from pine to moss, when they burst. It’s part of the artists’ “ephemeral tech” installations, which use sophisticated technology to recreate organic experiences, and offers a glimpse of a future world in which we are trying to recreate a sense of the sublime in a nature that is lost.
“Silent Fall” is on view at 6 Burlington Gardens, London, W1J 0PE.
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