Joe Bradley, Nothing Ever Happened (2022), via Petzel

On view this month at Petzel Gallery, artist Joe Bradley touches down for a show of new works that underscore the artist’s continued evolution and exploration of a certain type of wide-eyed abstraction, balancing color, stroke and structure through a range of vivid fields of paint. Marking his first solo show with the gallery since leaving Gagosian last year, Bhoga Marga, roughly translated from Sanskirt as “the enduring path of experience,” showcases the artist’ on a new plane of gesture and composition here.

Joe Bradley, Bhoga Marga (Installation View), via Petzel

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Fiona Connor, Closed Down Clubs, Hop Louie (2020), via Chateau Shatto

On view this month at Château Shatto in Los Angeles, the gallery presents Fiona Connor’s first solo exhibition at the gallery, My muse is my memory, an archive of Closed Down Clubs. Presented as a quite literal archive of closed spaces, vacant sites of cultural memory, the show makes much of the landscape of Los Angeles, introducing and removing works from the show over the course of its staging.

Fiona Connor, Closed Down Clubs, Once Upon a Page (2020), via Chateau Shatto
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Alvaro Barrington, The Rose That Grew from Concrete: Frank Miller Batman LA (2022), via Blum and Poe

On view this month at Blum & Poe’s Los Angeles exhibition space, artist Alvaro Barrington presents a powerful, challenging show dedicated to the music and culture of Los Angeles and New York during the 1990’s. Bearing the title 91–98 jfk–lax border, the show presents itself as an expression of joy and hope, and a tribute to the thriving hip-hop culture of both cities during the decade.  Read More »

Ryan Foerster, Looking Negative (2015-2022), via Martos

Marking his first exhibition with Martos Gallery since 2012, artist Ryan Foerster presents Frictional Archaeology this month in New York, presenting a series of works examining the artist’s wide-ranging practice through the prism of his photography, and showcasing works from the last decade in which Foerster excavates technical slippages in the photographic medium and the apparatus of the camera, achieving plastic effects through manipulating and embracing faded emulsion, deteriorated film, defective lenses and chance occurrences in the darkroom. Read More »

Austin Lee, Like It Is (Installation View), via Jeffrey Deitch

For over a decade, Austin Lee has explored the emotional potential of software-influenced art. Combining traditional techniques with digital tools to create colorful, energetic compositions in painting, sculpture and animation, the artist’s use of software in conjunction with his physical materials render works that split the difference between digital and physical spaces. For his most recent show, on view now at Jeffrey Deitch in New York, the artist explores emotion and physicality once again through a series of hazy, brightly colored paintings that continue their navigation through notions of tactility and experience. Read More »

Walid Raad, We Have Never Been So Populated (Installation View), via Paula Cooper

Conceptual artist Walid Raad opens a new show of works this month at Paula Cooper Gallery in New York, continuing his interest in investigative practice, stringing together works that explore a range of themes and histories in pursuit of hidden entanglements between art, politics, and the natural world. Read More »

Valentin Carron, 1 2 3 (after Max Weiss) (2015), via Eva Presenhuber

Currently on view at Eva Presenhuber in New York, the gallery is presenting And So America Opened Up, the gallery’s eighth solo exhibition by the Swiss artist Valentin Carron. Carron, whose work is defined by a fascination for modernity and its decay, here presents a series of works created over the past 13 years, unified by studies in modernist history, architectural detail, and the slow stream of history. Read More »

Kevin Dudley, Think Positive Thoughts (2021)

Post Sponsored in Collaboration with Silvershed, Walter’s Cube and Gallerie Kleindienst

Over the course of the last two years of pandemic-driven isolation, few trends have been made more readily apparent than the current capabilities and implications of widely accessible commercial technology in augmented and virtual reality, metaverse narratives, and the capacity for interconnectivity over the internet. Art fairs continued in online viewing rooms, artists continued to meet and collaborate over Zoom and other online video chat technologies, and new modes of socializing, connecting and collaborating developed quickly in the vacuum created by the demands for self-isolation. With these new modes, or, perhaps, more visible variants of existing developments in modern tech, so too come ideas of expressivity and emotionality, new modes of language and interaction. This concept sits at the core of On Waves, a show of work hosted by Leipzig’s Gallerie Kleindienst in collaboration with online viewing platform Walter’s Cube and curated by New York’s Silvershed, an artist-run project in downtown Manhattan that explores contemporary art values, ethics and aesthetics of the 21st century.

On Waves (Online Installation View)

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Shahryar Nashat, Hounds of Love (Installation View), via Gladstone

Gladstone Gallery presents an enigmatic and engaging body of new work by artist Shahryar Nashat this month at its Chelsea exhibition space this month, a selection of works that meditate on the body, space and perception in the realm of the digital. Read More »

Repeater (Installation View), via Sadie Coles HQ

On view this month in London, Sadie Coles HQ presents REPEATER, a show that makes the most of a reflection on repetition and difference, the act of continued movement, duplication, and continuation over a range of approaches and media. Encompassing a wide range of artists, the show examines ideas of sequence, seriality and replication – whether in the form of modular sculpture, painting in series, or digital reproduction – in order to highlight the potential that exists in the act of repeating. Read More »