CAA News Today

The fraught process of becoming whole again after relocation or displacement forms a recurring theme in this season’s Committee on Women in the Arts exhibition picks. Hayv Kahraman’s new figural paintings serve as offerings to appease the earth after the artist’s loss of her home to the California wildfires (Vielmetter Gallery, Los Angeles). Vlatka Horvat documents her creation of transnational connections with hundreds of artists living outside their home countries through long-distance artwork exchanges (Museum of Contemporary Art, Zagreb). And Mechelle Bounpraseuth’s ceramic sculptures of fruits native to her parents’ home country, Laos, invite viewers to celebrate their familial dining traditions (Art Gallery of New South Wales, Sydney).

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UNITED STATES

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Blazing Light: Photographs by Mimi Plumb
Through May 10
High Museum of Art, Atlanta

In this first solo museum exhibition of California-based photographer Mimi Plumb (b. 1953), more than one hundred photographs taken in San Francisco and throughout the American West from the 1970s to the present capture the impact of climate change, unchecked capitalism, and ceaseless military conflict on the landscape and on the anxieties of American life.

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Burnished: Pueblo Pottery at NMWA
May 8–September 7
National Museum of Women in the Arts, Washington, DC

Drawn from the NMWA’s extensive collection, these twenty-four vessels attest to the technical excellence and aesthetic diversity of Pueblo pottery by women artists in the American Southwest. Highlights include a ca. 1939 blackware jar hand-shaped and polished to a high sheen by San Ildefonso Pueblo artist Maria Martinez (1887–1980) and a 1983 pot with optically arresting black-on-kaolin white patterns of delicate, precise, densely packed lines by Acoma Pueblo potter and painter Lucy M. Lewis (1895–1992).

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Eva Jospin: Into The Woods
Through June 7
Savannah College of Art and Design (SCAD) Museum of Art, Georgia

French artist Eva Jospin has been creating her signature large-scale forests and architectural follies in sculpted cardboard, embroidered silk, and other media for fifteen years. Jospin’s debut US museum exhibition highlights the astonishing intricacy of these works, inviting visitors into a world of enchantment and mystery where fantasy and nature converge.

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Faith Ringgold: Artist, Storyteller, Activist
Through August 16
Sugar Hill Children’s Museum of Art & Storytelling, New York

This exhibition in Harlem honors Harlem-born artist, educator, writer, and activist Faith Ringgold (1930–2024). Materials from the artist’s archives—including facsimiles of working drawings and digital reproductions of two of her children’s books in working manuscript form, My Dream of MLK (1995) and If A Bus Could Talk: The Story of Rosa Parks (1999)—celebrate Ringgold’s love for storytelling and her commitment to social justice.

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Farah Al Qasimi: Psychic Repair
Through June 7
Savannah College of Art and Design (SCAD) Museum of Art, Georgia

Photographic installations and music videos by Farah Al Qasimi activate the museum’s facade vitrines and an interior gallery. Informed by her girlhood in the United Arab Emirates and by her experiences of womanhood in the US, Al Qasimi’s highly saturated images explore rituals of self-presentation, their shaping by contemporary beauty and fashion culture, and their ties to identity, memory, and belief formation.

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Firelei Báez
Through May 31
Museum of Contemporary Art (MCA) Chicago

In her monumental paintings and installations, Dominican Republic-born, New York–based artist Firelei Báez (b. 1981) creates fictional worlds that explore the legacies of colonial rule in the Caribbean and across the African diaspora. Her exuberant, colorful works contain complex and layered uses of pattern, decoration, and abstract gestures alongside symbols rooted in Afro-Caribbean cultures. In this first mid-career survey in North America, Baez challenges our understanding of acknowledged power, unsettling the often fixed categories of race, gender, and nationality and suggesting alternative histories.

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Ghada Amer: Big Rumi
Through March 2026
Institute of Arab & Islamic Art at Ruth Wittenberg Triangle, New York

The Cairo-born, New York-based artist Ghada Amer frequently incorporates Arabic, English, and French texts into her work, calling attention to the ambiguities of language and translation as a means of exploring tensions between East and West. The latticework sphere titled Big Rumi, the inaugural work of IAIA’s Public Art Program, comprises a repeated aphorism in Arabic attributed to thirteenth-century mystic poet Rumi that translates to English two ways: “You are what you seek” or “What you seek is seeking you.”

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Hayv Kahraman: Libations
Through March 21
Vielmetter Gallery, Los Angeles

Libations marks the first exhibition by Hayv Kahraman since her displacement by the 2025 Eaton Fire. Within her broader painting practice, which explores the poetics of loss, displacement, and migration, the Baghdad-born Kahraman seeks to make sense of her experience of the fire. These new paintings present female figures engaged in mysterious, ritualistic acts: sewing a strand of tears, revealing a portal, rhythmically whirling their long hair. The works uphold mysticism as an antidote to the ravages of ecological disaster and serve as an offering—a libation—to a burning world.

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How to Be a Guerrilla Girl
Through April 12
The Getty Center, Los Angeles

Drawing on the group’s own archive, and coinciding with their fortieth anniversary, this exhibition presents the inner workings of the anonymous feminist art collective Guerrilla Girls, placing their eye-catching, humorous posters in the context of their data research, protest actions, culture jamming, and distribution methods. How to Be a Guerrilla Girl tells the story of the group’s collaborative process in their ongoing call for equity for women and artists of color in the art world.

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Lay Your Burden Down
Through May 6
Seattle Asian Art Museum

Commissioned from Seattle-based Filipina American artist Carina A. del Rosario, this installation emerges from, and testifies to the power of, communal acts of care. Del Rosario invited participants to handwrite notes describing sources of stress and convened sewing circles to embroider the notes onto colorful scraps of fabric that the artist sewed into pillows and quilts. These textile works nestle in a hammock and hang on quilt racks, dispelling the anxiety of the notes through their associations with comfort and warmth.

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Mona Bozorgi: Strain and Strand
Through May 17
Savannah College of Art and Design (SCAD) Museum of Art, Georgia

For her ongoing series Threads of Freedom, Mona Bozorgi begins with photographs shared on social media by Iranian women protesting the government’s hijab mandate. After printing the images on silk, Bozorgi unravels and reassembles the silk strands, creating collages that mirror the deluge of online imagery. A meditation on female bodily autonomy and on the construction of identity, Strain and Strand highlights the intimacy, vulnerability, and impact of one’s public-facing images.

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Mulheres: Proposals from Brazil
Through May 10
ArtNexus Space, Miami

Representing the artistic production of fifty important Brazilian women artists, from renowned mid-twentieth-century pioneers like Lygia Clark and Lygia Pape to young representatives of contemporary art like Tadáskía and Rosa Maria Codinome (Ros4 Luz), the works in this exhibition respond to specific historical contexts and address myriad issues of gender and race, including the role of women in society, social resistance, and censorship.

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Rania Matar: Where Do I Go? لوين روح؟
Through August 2
Sidney and Lois Eskenazi Museum of Art, Indiana University, Bloomington

These intimate portraits of young Lebanese women by Lebanon-born Arab American photographer Rania Matar foreground the women’s creativity, strength, dignity, and resilience amid the legacy of the Lebanese Civil War and the country’s ongoing crises. Set in locations chosen by the subjects themselves, from the Mediterranean Sea to the craggy peaks of Mount Lebanon to the traditional and modern buildings of Beirut, Matar’s photographs weave together the women, the land, and the architecture into a tapestry of beauty and anxious promise.

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Shani Crowe: Red, Black, and Green
Through March 29
Museum of Contemporary African Diasporic Arts (MoCADA) Culture Lab II, Brooklyn

Chicago-based artist Shani Crowe draws this show’s namesake palette from the tri-colored Pan-African flag, an enduring symbol of African diasporic identity and liberation. Crowe employs textured hair and its ornamentation as central modalities and incorporates photographic portraiture, yarn tapestry, beading, and performance to create works that expand the Black radical imagination.

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Theresa Hak Kyung Cha: Multiple Offerings
Through April 19
Berkeley Art Museum and Pacific Film Archive (BAMPFA), CA

In her videos and performances, as in her posthumously published avant-garde novel Dictée (1982), Theresa Hak Kyung Cha (1951–1982) favored “multiple telling with multiple offerings”: the creation of nonlinear narratives inviting open-ended interpretations. This first retrospective of Cha’s work in twenty-five years likewise affords a range of entry points into Cha’s work, guiding visitors through such recurring themes as memory, displacement, and the mutability of language.

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Toshiko Takaezu: Dialogues in Clay
Through July 5
Princeton University Art Museum, NJ

This exhibition spotlights the pioneering ceramics of Toshiko Takaezu (1922–2011), a longtime Princeton faculty member. Drawn from the museum’s holdings, these vessels and sculptures illustrate the artist’s distinctive closed forms and painterly glazing. Works by Finnish American ceramicist Maija Grotell, who served as a mentor to Takaezu, and by the artist’s contemporaries, including Helen Frankenthaler, offer context, while reflections by Takaezu’s students underscore the artist’s importance to later generations.

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Vitória Cribb: echoes of a wet finger
Through May 24
Wexner Center for the Arts, Columbus, OH

This animated science fiction short by Brazilian artist Vitória Cribb explores how technology reshapes identity, surveillance, and self-perception. Released in its cinematic version in 2025, echoes of a wet finger follows Tixa as a lizard slips into her shower and her ordinary world skews into the surreal, providing a metaphor for the fragile, sometimes mysterious experience of existing online. Tixa’s metamorphosis into a fantastical creature presents transformation as a possible form of resistance.

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Vivian Caccuri: I Hear My Blood Singing
Through August 9
Mattress Factory, Pittsburgh

This installation by Brazilian artist Vivian Caccuri transforms the Mattress Factory into a visceral concert hall. Caccuri recuperates sounds that have traditionally been marginalized because of their links to pathologies, class-marked popular musical genres, and/or colonized geographies. In Caccuri’s work, these sounds assert their presence, becoming ghosts of resistance that haunt the now. Listening itself thus becomes an act of rebellion.

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Yasmine El Meleegy: Red Gold
Through September 6
Mattress Factory, Pittsburgh

Cairo-based Egyptian artist Yasmine El Meleegy (b. 1991) has long explored the labor of food production and in the politics of agriculture. In her first US solo exhibition, El Meleegy turns to the salting and sun-drying of Roma tomatoes in the Nile Valley, a process that transforms the fruits into more valuable commodities, or “red gold.” El Meleegy’s salt sculptures in two and three dimensions, including vacuum-sealed tomato replicas, call attention to the complex and often invisible forces behind a favored food.

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Zina Saro-Wiwa: Table Manners: Season 1
Through August 30
University of Michigan Museum of Art, Ann Arbor

In these eight videos by the Nigeria-born, Brooklyn-based artist Zina Saro-Wiwa, individuals on the Atlantic coast of Nigeria eat meals tied to the region’s cultural and natural landscapes. By centering everyday people who make direct contact with the camera as they enjoy their culinary traditions, Saro-Wiwa subverts the extractive lens often imposed on the region, offering instead a moment of connection, reflection, and quiet resistance.

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MEXICO

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Aquí entre nos . . . Ven y te cuento (Just Between Us… Come and I’ll Tell You)
Through May 23
Museo Archivo de la Fotografía, Mexico City

This exhibition of work by thirteen women photographers foregrounds feelings and emotional experiences, aspects of life that are often silenced by social conventions of modesty, especially for women and other marginalized groups. The photographs invite viewers to engage intimately with the themes of identity, affection, and family; of embodiment and sensory experience; of mental and physical health challenges; and of gendered violence, resistance, and transformation.

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Melanie Smith: Un tiempo de libertad en que el mundo había sido posible (A Time of Freedom in Which the World Had Been Possible)
Through March 15
Museo Jumex, Mexico City

Developed in collaboration with biologist Eria Rebollar and curator Helena Chávez Mac Gregor, this video installation by British Mexican artist Melanie Smith considers the long visual history of the axolotl as a deity, scientific specimen, and cultural symbol alongside its contemporary commodification amid ecological threat. In keeping with the exhibition’s title, taken from Julio Cortázar’s short story “Axolotl,” Smith approaches the axolotl as a fluid surface that eludes a fixed identity.

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Todas las cosas se mezclaron con las palabras (Everything Got Mixed Up with Words)
Through April 30
Galería Ana Tejeda, Mexico City

This exhibition places in dialogue—”mixes up”—the work of Deborah Castillo, Marianna Dellekamp, Carmen Mariscal, Yohanna M. Roa, Teresa Serrano, and Marina Vargas, establishing points of connection among their diverse approaches to words and objects and to the power of texts and things in patriarchal society. Apparently dichotomic realms intersect here: the objective and the subjective, the personal and the political, the individual and the collective.

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CANADA

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Elizabeth Wyn Wood
Opens April 25
National Gallery of Canada, Ottawa

Ontario modernist sculptor and art educator Elizabeth Wyn Wood (1903–1966) was celebrated for her simplified designs, natural forms, and experimentation with materials. This exhibition brings together five of Wood’s works from the AGO Collection, including the recently acquired Receiving (ca. 1957–61), a recessed relief with gold inlay of a male nude in a celestial landscape.

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Helen McNicoll: An Impressionist Journey
May 8–October 12
National Gallery of Canada, Ottawa

Known for her mastery of light and for the immersive quality of her tableaux, painter Helen McNicoll (1879–1915) helped elevate the profile of Canadian art on both sides of the Atlantic, despite being deaf and living only to age thirty-five. The paintings here epitomize McNicoll’s Impressionist style and the intimacy of her portrayals of women, whether they perform agricultural labor or engage in leisure activities, often with children, in domestic settings or in the bright outdoors.

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Tania Willard: Photolithics
Through May 24
The Polygon, Vancouver, British Columbia

Artist, curator, and scholar Tania Willard draws on her mixed Secwépemc and settler-Scottish ancestry in a collaborative practice that attends to the history, present, and future of the land and of the Indigenous community. The focus of this ten-year survey is Willard’s ongoing experimentation with photography as a medium of both colonization and decolonization. As the exhibition’s title suggests, Willard works directly both with the sun’s changing rays and with myriad formations of soil, crystal, metal, and sediment.

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SOUTH AMERICA

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Claudia Alarcón & Silät: Vivir, Tecendo (Living, Weaving)
Through August 2
Museu de Arte São Paulo (MASP), Brazil

Silät is a collective of over one hundred Wichí women weavers in northern Argentina led by Claudia Alarcón. Building on the tradition of yica bags, whose geometric motifs evoke local flora and fauna, the group weaves resilient native chaguar fibers into abstract compositions that resonate with Wichí mythology and the regional landscape. Silät has developed collaborative techniques that allow multiple members to work on a single textile, foregrounding collective authorship.

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Fernanda Laguna: Mi corazón es un imán (My Heart Is a Magnet), 1992–2005
March 13–June 22
Museo de Arte Latinoamericano Buenos Aires

Fernanda Laguna has been one of the most influential figures in Argentine art for decades. Moving fluidly among literature, visual art, activism, and the management of independent spaces, Laguna has forged a distinctive, defiantly undisciplined language in which struggles, desires, generations, and communities converge. This exhibition offers the most comprehensive survey of her work to date, presenting two hundred works alongside notebooks, poetry, prose fiction, and personal photographs.

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Olga de Amaral: Cuerpo textil (Textile Body)
Through May 11
Museo de Arte Latinoamericano Buenos Aires (MALBA), Argentina

This exhibition surveys the textile practice of Colombian artist Olga de Amaral from the 1960s to the early 2000s. More than fifty works drawn from public and private collections in Bogotá, Medellín, and New York testify to the visual richness and material experimentation of de Amaral’s oeuvre. Blurring the boundaries between weaving, sculpture, painting, and immersive installation, de Amaral’s works invite viewers to consider the relationship of textiles to the body and to humanity writ large.

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Sandra Gamarra Heshiki: Réplica (Replica)
Through June 7
Museu de Arte São Paulo (MASP), Brazil

Since the late 1990s, Peruvian artist Sandra Gamarra Heshiki has produced sculptures, paintings, drawings, collages, and other works that invoke and challenge canonical Latin American art history, especially that of the colonial era. In the eighty works that compose her first panoramic exhibition, Gamarra trenchantly questions the neutrality of arts institutions and upholds the replica as a means of responding to dominant narratives.

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Edelmira Boller: Acoplamientos (Couplings)
Through April 26
Galería Santa Fe, Bogotá

At ninety years old, Edelmira Boller returns to the opening venue of her 1984 exhibition Sculptures, which presented the artist’s first incorporations of industrial waste into her work. Today, Boller continues to investigate the function and memory of materials, as well as their relation to the body, space, and life itself. Acoplamientos brings together more than five decades of Boller’s freestanding and wall-hung sculptures, demonstrating the simultaneous breadth and coherence of her oeuvre.

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Tatiana Parcero. Principio y fin (Beginning and End)
Through May 3
Walden Naturae, Pueblo Garzón, Uruguay

Through three decades of self-portraiture and photo-performance, Mexican artist Tatiana Parcero has probed the relationships between identity, memory, nature, and the body. Overlaying the nude female form with symbols in a manner that calls to mind the mapping of land, Parcero examines how personal processes, social dynamics, and natural catastrophes form part of the same fabric that connects individual experience with collective memory.

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EUROPE & UK

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Adorado Barragán, de Lake Verea (Adored Barragán, by Lake Verea)
Through May 10
Fundación Casa de México en España, Madrid

Mexican artist duo Lake Verea, a major force in contemporary queer photography in Latin America, pays homage to Mexican architect Luis Barragán (2006–2013) in twelve photographs of his 1948 Studio House in Mexico City. Accompanying the images are two glass spheres, a key motif for the architect that signifies his expansive, poetic way of viewing. Through an intimate and playful gaze, Lake Verea transforms spaces and constructs new visual narratives about modern Mexican architecture.

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Ana Mendieta
July 15, 2026–January 17, 2027
Tate Modern, London

This major retrospective presents key works by Cuban-born American artist Ana Mendieta (1948–1985). Alongside her celebrated Silueta Series exploring the presence and absence of the human body, the exhibition features remastered films, early paintings, and some of Mendieta’s final sculptural works. It reflects Mendieta’s deep engagement with more-than-human worlds and ecological concerns; it also marks Mendieta’s important role within the US feminist art movement, including as a member of the Heresies journal collective.

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Catherine Opie: To Be Seen
Through May 31
National Portrait Gallery, London

Over the past thirty years, American artist Catherine Opie has employed myriad contexts and visual formats for her photograph portraits. Conceptually rigorous and meticulously executed, these photographs make visible queer communities, mentors, collaborators, children, surfers, high school soccer players, political crowds, and Opie herself. This first major exhibition of Opie’s work in the UK asks viewers to reflect upon who has traditionally been portrayed and who has gone unseen.

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Lorna Simpson
March 26–November 22
Punta della Dogana, Venice

Known for her groundbreaking conceptual photography, African American artist Lorna Simpson has made painting a critical part of her artistic practice over the past ten years. Like her photographs, Simpson’s paintings address issues of gender, race, history, and identity in the US, such as the instability of narratives and the failures of representation. The exhibition offers one of the most extensive selections of Simpson’s paintings ever to be shown in Europe.

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Nancy Holt
Opens May 2
Goodward Art Foundation, Chichester

One of the few women artists associated with the Land art Movement, Nancy Holt (1938–2014) produced large-scale earthworks and site-specific installations as well as concrete poetry, audio works, film, video, photography and drawing. Drawing from astronomy and geology, Holt linked human experience to natural and cosmic systems, activating sunlight, shadows, and constellations to make viewers conscious of their position in space and time. Holt’s largest exhibition in the UK to date extends into the Goodward Art Foundation’s expansive grounds.

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No Master Territories: Feminist Worldmaking and the Moving Image
Through May 3
Kunstnernes Hus, Oslo

This latest iteration of the exhibition series launched in 2022 at the Haus der Kulturen der Welt in Berlin foregrounds documentary and experimental film and video exploring gendered experience. Concentrating on the 1970s to 1990s, No Master Territories traces multiple genealogies and highlights cultural forms that are strongly inhabited by women but that have been frequently sidelined by dominant and even feminist-informed film histories: activist tapes, avant-garde experiments, essay films, docu-fictions, personal testimonies, and observational documentaries.

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Shubigi Rao: Pulp I-IV
Through May 3
Tensta konsthall, Stockholm

Shubigi Rao charts the role played by women in radical library work: preventing the destruction of books and manuscripts during times of war and crisis, creating shadow libraries, and initiating programs of radical publishing. Through films, annotated photographs, books, and drawings, Rao brings attention to libraries, archives, and private collections in Sarajevo, Manila, and other regions afflicted by conflict. Pulp I-IV celebrates publications and libraries as carriers of memory and identity, language, and culture.

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Vlatka Horvat: By the Means at Hand
March 10–May 10
Musej Suvremene Umjetnosti (MSU; Museum of Contemporary Art), Zagreb

For the Croatian Pavilion at the 2024 Venice Biennale, Vlatka Horvat invited some two hundred artists living “as foreigners” in different countries around the world to exchange newly made small-scale artworks with her. For every work she received, Horvat sent a collage from the series she was making while living in the pavilion. The exhibition at the MSU will present the extensive archive of Horvat’s continually shape-shifting system at the Biennale, the incoming and outgoing material traces of connection amid relocation.

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ASIA

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Fear No Power: Women Imagining Otherwise
Through November 15
National Gallery Singapore

For these five women artists from Southeast Asia, Amanda Heng, Dolorosa Sinaga, Imelda Cajipe Endaya, Nirmala Dutt (1941–2016), and Phaptawan Suwannakudt, art, life, kinship, and community are inseparable. Fear No Power features works from the 1960s through today, decades marked by decolonization, developmentalism, Cold War tensions, and sweeping social change. Through their diverse and situated strategies, these artists refuse a one-size-fits-all feminism, offering an array of nuanced insights into the gendered dynamics of power.

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MIDDLE EAST & NORTH AFRICA

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Nadia Ayari: Oblivion Rains: Notations of Gravity, Light, and Resistance
Through April 18
Selma Feriani Gallery, Tunis

In this first solo exhibition of Brooklyn-based artist Nadia Ayari in Tunis, her native city, the stylized botanical protagonists of Ayari’s paintings negotiate gravity, light, and chaos within charged and saturated atmospheres, operating as notations in a visual score registering rhythm, momentum, and time. Together, the works trace an expansive narrative about perception and persistence, revealing how color, motion, and compositional rupture can hold truth against the pull of oblivion.

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AFRICA

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Imbeleko: Zizipho Poswa
Through April 16
Southern Guild, Cape Town

Explorations of mothering and matrilineal traditions inform this exhibition of new earthenware sculptures by South African isiXhosa artist Zizipho Poswa. The exhibition’s title refers to an isiXhosa ceremony that introduces a newborn baby to their ancestors and honors the mother’s acts of giving birth and carrying the baby on her back. Reflecting on this tradition, and maintaining the ethos of homage that dwells at the heart of her practice, Poswa frames motherhood as both a gift and a load to bear.

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Irma Stern: A Life of Displacement
Through August 17
Norval Foundation, Cape Town

This multi-year exhibition series examines the life and work of one of South Africa’s most significant modernists, Irma Stern (1894–1966). Drawing from the artist’s archives as well as her personal collection, the exhibition explores themes of movement, cultural encounter, and identity through paintings, works on paper, travel artefacts, and documentary material.

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L’Art D’Être, Femmes Noires (The Art of Being, Black Women)
Through May
Musée des Civilisations Noires (Museum of Black Civilizations), Dakar

The established and emerging women artists featured here address memory, cultural heritage, and political commitment as intersecting facets of Black womanhood across Africa and its diasporas. Multiple narratives converge, reflecting the complexity of Black female identities and lived experiences. L’Art D’Être, Femmes Noires avoids didacticism to instead invite reflection on the power of storytelling through art, and it affirms that to speak of Black women is to speak of history, resilience, and presence.

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Penny Siopis: Love in a Turning World
Through March 21
Stevenson Gallery, Cape Town

In her glue-and-ink–based practice, South African artist Penny Siopis foregrounds love as a position or disposition rather than as pictorial subject, even as suggestions of embracing figures and birth abound. The notion of turning operates across multiple registers in this solo exhibition, speaking to current global and psychological states of tumult as well as to the processes of transformation inherent in the artist’s materials and methods, which leave form, meaning, and emotion open rather than fixed.

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Portia Zvavahera: Tanda rima (Chase Away the Darkness)
Through September 6
Norval Foundation, Cape Town

Based in Harare, Portia Zvavahera is a Zimbabwean artist internationally recognized for her deeply expressive, rhythmic paintings. The exhibition’s title comes from Shona, the language in which Zvavahera’s life and artistic practice are rooted; roughly translating to “chase away the darkness,” the phrase links this exhibition to its 2023 Cape Town predecessor: Pane rima rakakomba (There’s too much darkness.) The works in Tanda rima share an intimate and vulnerable narrative suffused by themes of motherhood, care, spirituality, and personal transition.

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OCEANIA

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Aunty Ellen Trevorrow: Weaving Through Time
March 21–June 21
Ararat Gallery, Textile Art Museum Australia (TAMA), Victoria

JamFactory’s ICON series, which celebrates South Australia’s most influential visual artists working in craft-based media, turns its spotlight to Aunty Ellen Trevorrow, a prolific, internationally acclaimed Ngarrindjeri weaving artist whose practice spans more than four decades. The exhibition attests to the depth and breadth of Aunty Ellen’s oeuvre, from early traditional Ngarrindjeri baskets and fish traps to recent large-scale sculptures, wearable textiles, and jewelry, some produced in collaboration with Philippines-born Australian artist Jelina Haines.

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Mechelle Bounpraseuth ສູ້ສູ້ Sou Sou (You Can Do It/Stay Strong)
March 14, 2026–February 2027
Art Gallery of New South Wales, Sydney

Sydney-based artist Mechelle Bounpraseuth is known for her hand-built glossy ceramics depicting food and other homely treasures. This colorful interactive exhibition confers sacred status onto hard-to-get delights from Bounpraseuth’s parents’ homeland of Laos: mangosteen fruits piled high on a plate, dragon fruits overflowing a bowl. Visitors can sit at tables or on traditional Lao floor mats to honor family, memory, and ritual by sharing tales of their own favorite meals.

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Nadia Hernández: Para verte mejor, en todo tiempo (To See You Better, At All Times)
March 21–June 21
Art Gallery of New South Wales, Sydney

Venezuela-born, Australia-based artist Nadia Hernández explores memory and its links to personal, historical, and shared experience. For her first Sydney exhibition, Hernández highlights the complexities of displacement and connection in an evolving project centered on Venezuelan protest songs. Across an immersive textile collage, mural, and soundscape, the artist assembles phrases drawn from an archive of this music into fragmented texts, illustrating how resistance and remembrance can be encoded into both song and poetry.

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ONLINE/VIRTUAL

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Five Women Artists from Latin America
Ongoing
National Museum of Women in the Arts (NMWA), Washington, DC

As part of #5WomenArtists, NMWA’s ongoing social media initiative to amplify women and nonbinary artists, this online exhibition features five major modern artists who bridged Latin America and the United States: Maggie Foskett (1919–2014), Fanny Sanín, Elena Presser, Ana Mendieta (1948–1985), and Graciela Iturbide. The photographs, abstract paintings, performances, and mixed-media works presented here, all taken from the museum’s own collection, innovatively confront themes of belonging, memory, and transformation.

Visually arresting, thought-provoking, innovative art nourishes our souls. The exhibitions listed here offer the opportunity to immerse ourselves in the unique visions of important women and femme-identifying artists who challenge norms, call for change, encourage community, uplift underrepresented subjects, and ignite our aesthetic sensibilities.

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UNITED STATES

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Amy Usdin: After All
Through February 22
Minneapolis Institute of Art, MN  

From abstract landscapes woven onto ragged fishing and horse-fly nets to digitally woven sculptures that evoke the endless tread of feet on airport floors, Minnesota-based artist Amy Usdin speaks to loss, longing, and the dissonance of nostalgia. After All urges viewers to strengthen our fragile ties to one another and to the earth. 

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Ang manok na hindi nakikita, hindi rin nakakain: The chicken you don’t see, you cannot eat
Through January 11
Minnesota Center for Book Arts, Minneapolis  

In this interactive sculptural installation, Filipinx American artist Maeve Leslie interrogates the paradox of our cultural dependence on immigrant labor and the systemic erasure of those who provide it. As suggested by the exhibition’s title, a Filipino proverb that roughly equates to “out of sight, out of mind,” Leslie seeks to provoke conversations that lead to greater empathy and understanding. 

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Artemisia Gentileschi: Naples to Beirut
Through May 31
Columbus Museum of Art, OH 

This exhibition centers on two large-scale narrative scenes painted in Naples in the later 1630s by Artemisia Gentileschi (1593–ca. 1654): the museum’s own Bathsheba, and the recently rediscovered Omphale and Hercules, in which the mythological Lydian princess subjugates the Greek hero as her domestic servant. Long considered lost, the latter work resurfaced in Beirut, Lebanon, in 2020 after a devastating explosion and underwent a lengthy conservation at the Getty Museum before going on public view this year.  

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Ayoung Kim: Delivery Dancer Codex
Through March 16
MoMA PS1, Queens, NY

Korean artist Ayoung Kim (b. 1979) presents the US debut of her three-part Delivery Dancer video installation, which examines the evolving relationships between data, human beings, and the environment. Using generative AI, videogame engines, and live-action footage, Kim centers the labor of fictional female delivery drivers En Storm and Ernst Mo (anagrams of “monster”), challenging capitalist pressures to meet increasing global market demands through self-optimization. 

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Eliza Au: Squaring the Circle
Through March 1
Crow Museum of Asian Art, Dallas 

In this new site-specific installation by Eliza Au (b. 1982), ceramic tiles, blocks, and screens draw from the geometry of lines and circles. Au’s abstract ornamental patterns pay homage to many types of sacred architecture, from Buddhist caves to grottos to Islamic houses of worship. At the same time, the artist’s application of Rhino CAD 3D and other technologies to the ancient medium of clay illuminates the potential of architectural ornament to ignite our imaginations in new ways.

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Edmonia Lewis: Said in Stone
February 14–June 7
Peabody Essex Museum, Salem, MA

The marble statues of Black and Mississauga Ojibwe sculptor Edmonia Lewis (ca. 1844–1907) are stylistically classicizing—the artist spent much of her career in Rome—but relate frequently to Lewis’s experience as a person of color: Her subjects include an allegory of liberation from slavery, portraits of social reformers, and the regal figure of a dying Cleopatra. This first retrospective of the acclaimed yet underrecognized artist also features works by later-generation artists she influenced. 

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Enough Already
Through February 15
MOCA/CT (Museum of Contemporary Art, Connecticut), Westport

Featuring eighty works by modern and contemporary women artists from the private collection of Sara M. and Michelle Vance Waddell, Enough Already reflects the collectors’ interests in LGBTQ+ communities and in feminist social issues like reproductive rights. The exhibition presents works by, among others, Louise Bourgeois, Deborah Butterfield, Barbara Kruger, Ana Mendieta, Catherine Opie, Cindy Sherman, Kiki Smith, and Carrie Mae Weems as well as several emerging artists. 

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Gabrielle Goliath: Personal Accounts
Through March 16
MoMA PS1, Queens, NY 

This acclaimed video series (2024–) by South African artist Gabrielle Goliath (b. 1983), shown here in its US premiere, responds to the impact of patriarchal violence in a range of global contexts. Collaborating with survivors to document their stories, the artist exclusively presents the moments in between the words: breaths, sighs, cries, humming, even laughter. Goliath’s sonic cycles trouble false binaries of the “voiced” and “voiceless,” revealing the enormity of what can be conveyed by perceived silence.  

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Georgia O’Keeffe: Architecture
Through January 3, 2027
Detroit Institute of Arts, MI

This groundbreaking exhibition argues that the architectural paintings of Georgia O’Keeffe (1887–1986) bear as much visual potency and personal meaning as her better-known landscapes and flower images. In the roughly three dozen paintings shown here, O’Keeffe applies her signature volumetric yet reductive style to a wide range of built environments, from rural farms to Manhattan skyscrapers to the adobe homes of New Mexico.

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An Indigenous Art: Huipiles from Mia’s Collection
February 14–August 2
Minneapolis Institute of Art (Mia), MN

Composed of two or three handwoven rectangular panels stitched together into a blouse or tunic, the huipil has been worn by Indigenous women throughout Mesoamerica for more than five hundred years and remains popular today among descendants of the Maya in Guatemala’s highland regions. The examples in An Indigenous Art, drawn from a significant textile donation to the museum, showcase the colorful embroidered and appliquèd motifs by which wearers identified their village affiliation and social standing.  

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Jana Marie Cariddi: Amygdala
Through January 19
Savannah College of Art and Design (SCAD) Museum of Art, GA 

Taking its name from the brain’s processing center for memory and emotion, this debut museum exhibition of SCAD alumna Jana Marie Cariddi includes new examples of the artist’s signature colorful sculptural paintings, which unsettle viewers by their uncanny resonances with pop-cultural touchstones. Cariddi’s graphite drawings likewise privilege feeling over logic, their abstract pseudoscientific ecosystems coalescing into an alphabet of idiosyncratic petroglyphs.

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Jenny Saville: The Anatomy of Painting
Through January 18
Modern Art Museum of Fort Worth, TX

Rendered in thickly layered brushstrokes, the bodies and heads of Jenny Saville (b. 1970), one of the world’s foremost contemporary figure painters, challenge conventional ideals of female beauty. This first major museum exhibition in the US of Saville’s work traces her practice to date, from the monumental nudes that first garnered the artist acclaim in 1992 to a recent series of portraits interrogating the intersections of the physical and the virtual in our image-saturated age. 

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Joyce Pensato
Through March 15
Institute of Contemporary Art, Miami, FL

Her most comprehensive museum survey yet, Joyce Pensato examines five decades of recurring characters in the work of the New York–based artist (1941–2019), from her Batman drawings of 1976–81 and vividly colored gestural oil abstractions of the 1980s to her early enamel paintings of the 1990s and charcoals, pastels, and paintings of the 2000s. Pensato’s treatments of iconic cartoon and live-action figures reflect on the history of American popular culture and on the transformations of technology.  

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METAMORPHOSIS! Butterflies and Botanicals by Maria Sibylla Merian
Through January 3
Philbrook Museum of Art, Tulsa, OK 

The exquisitely drawn and hand-colored illustrations of artist-scientist Maria Sibylla Merian (German, 1647–1717) revolutionized entomology in two ways: by documenting live insects at every stage of development, and by including the plants consumed at each stage. METAMORPHOSIS! presents a selection of prints from a privately owned 1718 Dutch edition of Merian’s The Marvelous Transformation of Caterpillars and Their Strange Diet of Flowers (Der Raupen wunderbare Verwandlung und sonderbare Blumennahrung).

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New Work: Sheila Hicks
Through August 9
San Francisco Museum of Art (SFMOMA), CA

For nearly seven decades, Sheila Hicks (b. 1934) has redefined the expressive possibilities of fiber as a sculptural form. Hicks’s first solo exhibition at SFMOMA features recent works in natural and synthetic materials on a range of scales inspired by objects, textures, and patterns in places that hold personal significance for the artist, from the cobblestones of her courtyard in Paris to the rugged landscape and towering lighthouses of the island of Ouessant, France. 

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Petah Coyne: How Much A Heart Can Hold
Through March 14
Lowe Art Museum, University of Miami, FL

These large-scale sculptures by Petah Coyne (b. 1953) forge dialogues with an array of women authors and female literary figures. Using her signature wide range of unorthodox materials, from human hair and wax flowers to steel wire spun from the body of an Airstream trailer, Coyne hauntingly invokes the experiences of, among others, Zelda Fitzgerald, a fragment of whose poetry provides the exhibition’s title; the grieving Joan Didion in My Year of Magical Thinking; and the objectified young women of Yasunari Kawabata’s House of Sleeping Beauties.  

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Radius: Helen Frankenthaler Prints in Context
Through February 15
Sidney and Lois Eskenazi Museum of Art, Bloomington, IN

While best known as an Abstract Expressionist painter, Helen Frankenthaler (1928–2011) also produced a large body of inventive prints over five decades, imbuing a wide range of print types with unusual energy and immediacy. Radius places select works side-by-side with prints from the museum’s collection by other Ab Ex artists, including Lee Krasner, Robert Motherwell, and Jackson Pollock

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Ruth Orkin: Women on the Move
Through March 29
National Museum of Women in the Arts, Washington, DC 

Women project confidence in these postwar photographs by the American Ruth Orkin (1921–1985). Some subjects are Hollywood celebrities or Broadway actresses, others live on an Israeli kibbutz or walk Italian streets as tourists, while still others populate American classrooms, homes, parks, or cities. By capturing their lively facial expressions and dynamic poses, Orkin vividly conveys the women’s sense of agency. 

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Sheida Soleimani: What a Revolutionary Must Know–2020s
Through January 25
Contemporary Arts Center, Cincinnati, OH 

This exhibition comprises the full Ghostwriter series by Iranian American artist Sheida Soleimani (b. 1990): tableaux executed in photography, sculpture, and video that piece together the remarkable escape from Iran’s totalitarian regime by Soleimani’s parents in the 1980s. Employing a surreal, metaphorically resonant, collagic visual language, the artist frames this deeply personal story as a larger meditation on political trauma, resistance, diaspora, identity, and memory. 

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The View from Here: Women Photographers of the American Landscape
Through January 4
New Orleans Museum of Art, LA 

The View From Here honors the fortieth anniversary of Deborah Bright’s influential essay “Of Mother Nature and Marlboro Men,” which argued that male American landscape photographers constructed and reinforced contemporary cultural ideals under the guise of pure aesthetics. The women photographers in this exhibition represent a wide range of approaches to the same landscape while lending themselves to an acknowledgement of cultural situatedness, from Imogen Cunningham and Laura Gilpin to Suzanne Camp Crosby and Stephanie Dinkins. 

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Uman: After all the things…
Through May 10
The Aldrich Contemporary Art Museum, Ridgefield, CT

Somalia-born artist Uman (b. 1980) expresses feelings through color in a hybrid abstract-metaphorical mode that is intuitive, multilayered, adaptable, and free. Influenced by memories of her homeland and by her diasporic experiences in Kenya, Denmark, New York, and beyond, Uman’s practice is “its own activism, just painting my life, existing, living.” The new and recent works in After all the things. . ., her first institutional solo exhibition, include paintings, works on paper, and a sculpture.

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Una Kirkpatrick
Through February 21
Houston Center for Contemporary Craft, TX

Having studied disparate subjects at two institutions in the city where this exhibition appears, biochemistry at the University of Houston and ceramics at the Glassell Studio School, Una Kirkpatrick (b. 1952) found clay to be the perfect medium for articulating “the elegance [of] biological design.” Kirkpatrick’s sculptures echo the rhythmic grouping, layering, and spiraling of organic forms within diverse ecosystems.

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Vaginal Davis: Magnificent Product
Through March 2
MoMA PS1, Queens, NY 

Spanning five decades of Vaginal Davis’s practice as a performer, visual artist, author, filmmaker, musician, educator, self-proclaimed “Blacktress,” and countercultural icon, Magnificent Product spotlights Davis’s role as an underground trailblazer in culture and queer politics. Organized thematically, the exhibition features major installations, video, paintings, zines, audio works, sculptures, and extensive archival materials as well as cross-disciplinary collaborations.

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Women Artists in Ascendance
Through July 2
The Jule Museum, Auburn University, AL 

Featuring works from the university art collection alongside loans from the Whitney Museum of American Art, Women Artists in Ascendance celebrates twelve women artists who were goliaths of modern American art, including Joan Brown, Dorothy Dehner, Helen Frankenthaler, Grace Hartigan, and Lee Krasner.

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MEXICO

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Chantal Peñalosa Fong: Loom Tales / Cuentos de presagio
Through January 4
Museo de Arte de Zapopan (MAZ), Jalisco

In this multimedia exhibition, Chantal Peñalosa Fong (b. 1987) examines the phenomenon of Chinese immigration to northern Mexico, drawing on her ancestors’ traumatic personal histories as well as on official versions of the narrative and on current xenophobic discourse. Landscapes and floral elements evoke the uncanny qualities of a liminal place shot through with memory and forgetting. 

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Hablando se entiende la gente: interviniendo el archivo Pinto mi Raya a partir del texto, la imagen y la palabra (“People Understand One Another Through Talking: Intervening in the Pinto mi Raya Archive Using Text, Image, and Words”)
Through February 14Celda Contemporánea, University of the Cloister of Sor Juana, Mexico City

This exhibition brings together works created by the prolific feminist artist, writer, and activist Mónica Mayer (b. 1954) over the past three years. These works emerged from Mayer’s reactivation of her vast archive, a territory of aesthetic, pedagogical, and political experimentation. Operating in this field where power, affection, memory, silences, and possibilities are intertwined, Mayer’s works collectively activate the intersections of intimate personal memories with political and artistic histories.  

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Lilia Carillo. Todo es sugerente (Everything Is Suggestive)
Through February 8
Museo del Palacio de Bellas Artes, Mexico City  

Lilia Carrillo (1930–1974) was a prolific painter whose contributions were central to the development of non-figurative painting in Mexico. Todo es sugerente features more than a hundred works produced over twenty-six years of Carrillo’s short life, not only paintings in oil and acrylic but also drawings, collages, and lithographs. Documentary materials additionally highlight Carillo’s collaborations in set design, costume design, illustration, and curation as well as her activism and participation in major cultural movements. 

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Marina Vargas: Revelaciones (Revelations)
Through January 18
Museo de Arte Contemporáneo, Querétaro 

This exhibition centers on the feminist investigation by Spanish artist Marina Vargas (b. 1980) into the visibilities of women in visual culture, particularly in the history of the sacred and the spiritual. With the figure of Mary Magdalene as a starting point, Vargas employs sculpture, silver-ink printmaking, photography, and other media to explore how women have been relegated to the background in art and religion, presenting new works that reveal what has been concealed by patriarchal silences.  

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CANADA

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Allison Katz: Inner Momentum
Through April 26
Art Gallery of Ontario, Toronto

The paintings of UK-based artist Allison Katz (b. 1980) merge realism with the fantastical, incorporating wordplay as well as literary, historical, and autobiographical references. Anchoring this exhibition of new and recent works is the emblematic Truth (2023), in which Katz’s grandmother regards an Alberto Giacometti sculpture given substance by modeling paste; the tableau embodies the artist’s, and viewer’s, complex relationship to the history of modern art.

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Charlotte Zhang: Tireslashers
Through March 8
The Polygon Gallery, Vancouver 

For Los Angeles–based artist Charlotte Zhang (b. 1999), the figures of petty criminals who haunt materials as old as Elizabethan-era moralizing pamphlets simultaneously threaten upright society’s notions of property/propriety and personify fantasies of individualism and heroic citizenship. Tireslashers presents Zhang’s readymade sculpture series Bloodsport/Playground Rules (2023–) of interventions to public benches and her image-dyed fabric collage series Rogue Pamphlets (2025–).  

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Diasporic Worldings: Gabriela Aceves Sepúlveda
Through February 16
Urban Screen, Libby Leshgold Gallery, Emily Carr University, Vancouver 

This 2025 experimental video by Guadalajara-born, Vancouver-based artist Gabriela Aceves Sepúlveda (b. 1973) explores the experiences of people who belong to a forced or voluntary diaspora as they form relationships with land, place, territories, and ecosystems. Inspired in part by Mexican writer Cristina Rivera Garza’s use of frottage drawing to recover an embodied connection to place, Diasporic Worldings features actions performed on camera and images involving different approaches to map-making.  

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 Emily Carr: Navigating an Impenetrable Landscape
Through January 20–February 24
Art Gallery of Ontario (AGO), Toronto 

Experiencing a painting by Emily Carr (1871–1945) can be like looking at a dense forest: the environment seems inviting yet impenetrable. This exhibition uses the metaphor of physical closeness to or distance from nature to probe Carr’s thinking about the forests she painted. It also examines the white Canadian artist’s representation of Indigenous villages and totem poles in relation to the forest, given the tendency in Carr’s era (as often still today) to conflate Indigenous cultures with nature.  

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Issokawo’taan (Faye HeavyShield)
Through February 22
Art Gallery of Ontario (AGO), Toronto 

Kanai (Blood) Nation artist Faye HeavyShield (b. 1953; in Blackfoot, Issokawo’taan), recipient of the AGO’s 2021 Gershon Iskowitz Prize, has for more than three decades created powerful installations and sculptures characterized in many cases by repeating spirals, circles, grids, or lines. This exhibition presents several works by the Alberta-based artist, including a restaging of her acclaimed 1995–96 Venus as Torpedo, in which an arm draped in clothing items extends across the museum floor. 

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Jesse Mockrin: Echo
Through March 6
Art Gallery of Ontario (AGO), Toronto 

In her first solo museum exhibition, American artist Jesse Mockrin (b. 1981) radically reenvisions familiar art-historical subjects—Bathsheba, Solomon, and Daphne among them—through her own contemporary feminist lens. Urgent and subversive, Mockrin’s closely cropped compositions reveal the unsettling, uncanny dramas buried in traditional depictions of these figures. Echo features new large-scale paintings and works on paper installed alongside paintings, drawings, and sculptures from the AGO’s European collection.

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Nan Goldin: Stendhal Syndrome
Through April 12
Art Gallery of Vancouver

The moving-image works of Nan Goldin (b. 1953), originally created as slideshows on carousels set to music, invite visceral responses. Evoking the metaphor of the Stendhal Syndrome—dizziness, confusion, or even hallucinations triggered by exposure to intense beauty—Goldin’s 2024 work of this title, presented here in single-channel video format, juxtaposes the artist’s photographs of famous classical, Renaissance, and Baroque mythological works with recreations by queer and otherwise nonconforming bodies. 

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SOUTH AMERICA

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Margarita Paksa: Ideas correspondientes (Corresponding Ideas) 1964–1984
Through February 16
Museo de Arte de Buenos Aires (MALBA), Argentina

A key figure in Argentine and Latin American art, Margarita Paksa (Buenos Aires, 1932–2020) embodied the transformation art underwent in the 1960s in response to a globalized world. Corresponding Ideas, 1964–1984 reviews two decades of this prolific artist’s work, bringing together more than sixty graphic and object-based works and installations as well as documentary materials relating to her projects.  

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Suspensión (Suspension)
Through March 8
Museo de Arte Contemporáneo de Buenos Aires (MACBA), Argentina

In the practice of São Paolo–based artist Carla Chaim (b. 1983), which moves between performance and drawing, the body becomes measure, tool, and limit—a sensitive surface that interrupts the logic of control and productivity. The artist’s first solo exhibition in Buenos Aires brings together a selection of representative recent works where the trace is a breath and movement, a form of thought.

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Ahora (Now): Claudia Vásquez Gómez
Through January 25
Museo de Arte Contemporáneo (MAC), Parque Forestal, Santiago, Chile

Characterized by extensive logistical efforts, limited duration, and rigorous design, the actions and interventions of Santiago-based Claudia Vásquez Gómez (b.1981)—some solo, others collaborative—in natural and urban landscapes recall North American land art of the 1960s onward. The projects represented in Ahora highlight diverse geographical regions of Chile, from deserts to forests to the mountainous valleys of Elqui, as well as the frozen terrain of Antarctica. 

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¿Qué saben las cotorras de especies exóticas? (What Do Parakeets Know of Exotic Species?): Valentina Soto
Through March 29
Museo de Arte Contemporáneo (MAC) Quinta Normal, Santiago, Chile

Valentina Soto (b. 1988), a Chilean artist, tells stories about nature by asking unconventional questions, using a wide variety of materials to replicate, test, and transform observed phenomena. This exhibition treats the history of the monk parakeet, which is considered invasive in Chile. Sculptures and audiovisual recordings serve as a speculative ethnography concerning what the term “exotic species” might mean to the parakeet. 

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Ritos Corpóreos (Corporeal Rites): Gabriela Carmona Slier, Isidora Kauak Aguad, and Fernanda Núñez Camus
Through March 29
Museo de Arte Contemporáneo (MAC) Quinta Normal, Santiago, Chile

Corporeal Rites brings together the multidisciplinary practices of Chilean artists Gabriela Carmona (b. 1980), Isidora Kauak (b. 1995), and Fernanda Núñez (b. 1989), who update ancestral traditions and challenge social and patriarchal orders as they explore the ritual power of objects and the body. Their works constitute a spiritual practice and a source of knowledge, becoming a locus of invocation, memory, and community.

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EUROPE & UK

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Dove le liane s’intrecciano (Where the Vines Intertwine): Binta Diaw
Through March 8
Parco Arte Vivente, Turin, Italy

This project by Senegalese Italian artist Binta Diaw (b. 1995) investigates Afro-descendant diasporic memory, ecological survival, and female resistance. Key works include Dïà s p o r a (2021), in which plants grow amid a weblike structure of braided hair, evoking the practice by enslaved women on plantations of concealing seeds from their homeland and escape maps in their hair, turning their bodies into storehouses of memory and resources for survival. 

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Emilija Škarnulytė
ThroughApril 12
Tate St. Ives, Cornwall, UK

In her films and immersive installations, Emilija Škarnulytė (b. 1987) assumes half-human, half-fish form to explore submarine tunnels, hydroelectric plants, and other hidden elements of infrastructure associated with mechanical and societal power. For Škarnulytė “future archaeologist” character, these built environments are relics of a lost human culture, parts of new mythologies for our currently endangered planet. 

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Larissa Sansour: These Moments Will Disappear Too
Through February 15
Kuntshal Charlottenborg, Copenhagen

Past, present, and imagined futures come together in the meticulously crafted video works and installations of London-based Palestinian Danish artist Larissa Sansour (b. 1973). These Moments Will Disappear Too takes the history of Palestine as its point of departure while offering a space to reflect on broader themes of national identity, shared human experience, collective memory, and potential environmental catastrophe. 

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Maruja Mallo: Máscara y compás (Mask and Compass)
Through March 16
Museo Reina Sofia, Madrid

This retrospective brings greater visibility to the work of Maruja Mallo (1902–1995), a leading figure of modern art in Spain and a member of the avant-garde Generation of ’27. Máscara y compás traces the artist’s practice from the Surrealist compositions of her early years to the fantastical geometric configurations of her final works. Whether her settings are the working-class neighborhoods of Madrid or the remote countryside, Mallo invests the relationship of humans to nature with cosmic significance.  

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ASIA

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Almagul Menlibayeva: I Understand Everything
Through May
Almaty Museum of Arts, Almaty, Kazakhstan

This inaugural exhibition of the Almaty Museum of Arts showcases works from the late 1980s to the present by Almagul Menlibayeva (b. 1969), one of the most prominent voices in Central Asian contemporary art. Across painting, printmaking, photography, video, performance, textiles, and multimedia installations, Menlibayeva addresses the complex cultural, historical, and sociopolitical history of Kazakhstan, weaving in Indigenous mythologies and confronting such issues as women and identity, ecology, energy, and neocolonialism.  

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Anti-Action: Artist-Women’s Challenges and Responses in Postwar Japan
Through February 8
National Museum of Modern Art, Tokyo

Art criticism of the 1950s and 1960s in Japan rarely addressed women’s contributions to the action painting movement. This exhibition adopts the gender studies perspective of Nakajima Izumi’s 2019 book Anti-action: Post-war Japanese Art and Women Artists, focusing on Yayoi Kusama, Hideko Fukushima, and less well known women artists working in this era. 

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Ayesha Sultana: Fragility and Resilience
Through January 5
Jaipur Centre for Art, India, in collaboration with the Ishara Art Foundation

Against the backdrop of social, ecological, and personal upheavals, Fragility and Resilience brings together works by Bangladesh-born, US-based artist Ayesha Sultana (b. 1984): hand-blown glass sculptures, oil paintings, watercolors on Japanese silk tissue, works on clay-coated paper, and photographs that explore the delicate balance between our planet’s vulnerability and its strength. 

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MIDDLE EAST & NORTH AFRICA

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Ghadeer Saeed: Undefined
Through January 1
Dar Al-Anda Gallery, Amman, Jordan

Ghadeer Saeed (b. 1981, Libya), a Palestinian diasporic artist living in Amman, digitally and physically interweaves photographs—many of them her own—to create predominantly monochromatic collages punctuated by vivid bursts of color. By focusing on iconic “Oriental” and global subjects, Ghadeer explores human disorientation in an era when technology overwhelms our humanity and themes of war and chaos intersect with questions of identity.  

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AFRICA

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Cauleen Smith: Afflict the Comfortable, Comfort the Afflicted
Through October 4
Zeitz Museum of Contemporary Art Africa (MOCAA), Cape Town

In this first major presentation on the African continent of African American artist Cauleen Smith (b. 1967), films and videos interact with drawings, sculpted objects, colorful textile banners, and sound to offer visitors a layered sensory experience. Smith meditates here on myriad ongoing interests, including Black experimental cinema, Afrocentric aesthetics, Black feminism, non-Western cosmologies, the emancipatory uses of the utopic, and what the artist calls “the everyday possibilities of the imagination.”  

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I’m Not Governed By My Flesh
Through January 17
Affinity Art Gallery, Lagos

In the quiet rumble of pigment pressed into rough canvas, Johannesburg-based artist Lulama Wolf (b. 1993) elevates her subjects—women crowned with horns, sometimes drawing the gaze of a horned cow—to the threshold between heaven and earth. Animated by ritual, myth, and ancestral memory, Wolf’s figures are delicate and restful yet full of power.  

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Rachel Marsil: Ce que la mer murmure (What the Sea Whispers)
Through January 17
Galerie Cécile Fakhoury at Hotel Sokhamon, Dakar, Senegal

Senegalese French painter and sculptor Rachel Marsil (b. 1995) draws on the history of the exhibition venue, originally built as a maternity hospital and spiritual site, and on the Afrofuturist mythology of 1990s Detroit-based electronic music duo Drexciya to evoke an underwater world inhabited by the children of pregnant Black women thrown overboard during the transatlantic slave trade. 

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OCEANIA

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Yasmin Smith: Elemental Life
Through June 8
Museum of Contemporary Art Australia (MCA), Sydney

Relying on field research, community collaboration, and technical experimentation, ceramic artist Yasmin Smith (b. 1984) formulates unique glazes whose chemical signatures echo the environments from which she draws the plants and minerals she burns to create them. Elemental Life presents the major wall-based installation Seine River Basin (2019), commissioned by the Centre Pompidou in Paris and acquired for the MCA Collection in 2020, alongside new and recent works investigating waterways in relation to deep geological time.