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Tomorrow: Yes is an exhibition of works by Austrian artist Erwin Wurm, and his first solo presentation to occupy the entirety of the extensive Thaddaeus Ropac Paris Pantin space. The exhibition unfolds around two monumental sculptural installations: a compressed schoolhouse, and a 6-metre-tall bent sailing boat. The works on view, the majority of which are exhibited here for the first time, en compass materials from marble to bronze to aluminium and span some of the artist’s most celebrated series, including his iconic participative One Minute Sculptures. Brought together, they form a sculptural vocabulary for the abstract and the intangible, testifying to Wurm’s radical disruption of the limitations of sculpture.
Waddington Custot is pleased to present ‘Aria', an exhibition of French artist Fabienne Verdier’s (b.1962) acclaimed Vortex paintings. In this series, Verdier explores the relationship between painting and sound, translating Mozart’s arias — including Le nozze di Figaro, Così fan tutte, and Don Giovanni — into visual form. Verdier initiated the series during her tenure as the first artist-in-residence at The Juilliard School in New York. Initially working on a small scale with pen on paper, she closely observed rehearsals, breathing techniques and vocal performances. She came to conceive arias as helices of sound spiralling through space, each composition generating its own distinct vortex.
Galerie Karsten Greve is pleased to present Ecritures, Megalithses et Cupules III, a solo exhibition by Loïc Le Groumellec. This exhibition marks the third chapter of a journey that began in St. Moritz then Cologne. The new display brings together recent works that encapsulate several decades of research around a single theme, bringing painting to an extreme state of reduction. For the first time, Le Groumellec introduces a new symbol into his vocabulary: the cupule.
Wifredo Lam’s paintings expanded the horizons of modernism by creating a meaningful space for the beauty and depth of Black diasporic culture. Born in Cuba at the start of the 20th century, Lam forged his political convictions and commitment to modern painting in war-torn Europe in the 1930s. His exile and return to the Caribbean after 18 years abroad drove him to radically reimagine his artistic project through Afro-Caribbean histories.
Sixties Surreal recontextualizes some of the decade’s best-known figures alongside those only recently rediscovered. The exhibition gathers a range of works by artists including Diane Arbus, Lee Bontecou, Franklin Williams, Nancy Grossman, David Hammons, Linda Lomahaftewa, Mel Casas, Yayoi Kusama, Romare Bearden, and Louise Bourgeois, among others. In the 60s, many of these artists sought new strategies for connecting art back to a lived reality that seemed increasingly unreal due to rapid postwar transformation and the social, political, and technological upheavals of the later part of the decade.
Emplie de couleurs, de sensualité, de drames et d'émotions, la peinture de Rothko se révèle avec éclat dans ce subtil portrait du maître américain de l'expressionnisme abstrait.
In January 2026, Almine Rech is dedicating an exhibition at its rue de Turenne space in Paris to the American painter Emily Mason (1932–2019). This will be the first major monographic exhibition devoted to the artist in Europe, spanning nearly sixty years of her creative output. Featuring around fifty works, this retrospective will cover a period from the late 1950s to the second half of the 2010s, offering the chance to discover her paintings on canvas, clayboard and paper.
’Symposium’, a group exhibition at Kristin Hjellegjerde Gallery, West Palm Beach, explores the potential of food and eating as cultural, political, and artistic activity. In ancient Greece, a symposium was a gathering for feasting, drinking, conversation, music, dance, poetry, and entertainment – events held to mark a particular occasion, achievement, or life event. In this show, contemporary artists reimagine the symposium through the lens of their own cultures and identities. What does the modern dinner party represent today? Can it still offer a platform for serious discussion, philosophical thought, and radical exchange as well as indulgence, pleasure and transgression?
With over 35,000 drawings, the Centre Pompidou’s graphic art collection is one of the world’s largest collections. For the first time, more than 300 works by 120 artists including Dubuffet, Basquiat, Delaunay, Kentridge and many others reveal, at the Grand Palais, a constantly reinvented art of drawing.
The German painter Birgit Jensen explores the relationship between truth and artifice — and the role mediation plays in it — through the unlikely medium of landscape painting. Her process begins with photographs, which she digitally edits, then manipulates into layers of geometric marks or patterns. From them, she painstakingly constructs multi-layered paintings on canvas. Up close, the imagery breaks into pixelated noise. From a distance, they appear nearly photographic.