CAA News Today
CAA Signs on to The Phi Beta Kappa Society + ACLS Joint Statement on Executive Order to Dismantle Department of Education
posted by CAA — March 24, 2025
CAA has signed on to the Phi Beta Kappa Society and The American Council of Learned Societies (ACLS) joint statement addressing the Executive Order to close the US Department of Education. We join these societies in urging the administration to rescind this order, given the “…catastrophic implications for students, faculty, communities, and the nation.”
Read the full statement here. We strongly urge those in the CAA community to also make use of The Phi Beta Kappa Society toolkit, which contains resources to guide how members can take action.
OTHER LEARNED SOCIETIES WHO HAVE SIGNED ON TO THE PHI BETA KAPPA SOCIETY + ACLS JOINT STATEMENT
American Association for Italian Studies
American Association of Geographers
American Folklore Society
American Historical Association
American Philosophical Association
American Political Science Association
American Society for Environmental History
American Society for Theatre Research
American Society of Overseas Research
American Sociological Association
Association for Asian Studies
Association for Slavic, East European, and Eurasian Studies
Association for the Study of African American Life and History
College Art Association
German Studies Association
Linguistic Society of America
Modern Language Association
National Council on Public History
North American Conference on British Studies
North American Victorian Studies Association
Organization of American Historians
Renaissance Society of America
Rhetoric Society of America
Society for Cinema and Media Studies
Society of Biblical Literature
CAA Publications Need You—Apply to Serve on a Journal!
posted by CAA — March 21, 2025
Be a part of the beating heart of CAA! All four of CAA’s Field-Leading Publications are seeking candidates to fill several Board seats and editorial positions!
- Art Journal Open is seeking an Editor-in-Chief to serve a three-year term
- Art Journal is seeking a Reviews Editor to serve a three-year term
- The Art Bulletin is seeking two (2) Editorial Board Members to serve four-year terms
- caa.reviews is seeking a new Editor-in-Chief to serve a three-year term and Field Editors in three areas to serve three-year terms.
Descriptions of the roles, expectations, and detailed application instructions are provided in the links above.
Deadline: April 18
Call for Nominations: Council of Field Editors (caa.reviews)
posted by CAA — March 21, 2025
caa.reviews invites nominations for individuals to join the Council of Field Editors for a three-year term July 1, 2025–June 30, 2028 (with an option to renew once). An online, open-access journal, caa.reviews is devoted to the peer review of new books, museum exhibitions, and projects relevant to art history, visual studies, and the arts. Candidates may be artists, art historians, art critics, art educators, curators, or other art professionals with stature in the field and experience writing or editing books and/or exhibition reviews; institutional affiliation is not required.
CAA is searching for Field Editors in the following fields:
- Design History
- Eighteenth-Century Art
- Japanese Art
In collaboration with the caa.reviews Editor-in-Chief, the caa.reviews Editorial Board, and CAA’s staff editor, each Field Editor curates content for review, commissions reviewers, and evaluates manuscripts for publication. Field Editors specializing in books are expected to stay informed about newly released and significant books and related media within their areas of expertise, while those focused on exhibitions should remain updated on current and upcoming exhibitions (along with other related projects) in their respective geographic regions.
The Council of Field Editors meets once a year in February onsite at the CAA Annual Conference. Members of all CAA committees and editorial boards volunteer their services without compensation or financial support for travel to and accommodations at the Annual Conference.
Candidates must be current CAA members in good standing and should not be serving on the editorial board of a competing journal or another CAA editorial board or committee. Nominations and self-nominations are welcome. Nominators should ascertain their nominee’s willingness to serve before submitting a letter of nomination. Interested applicants—both self-nominated or nominated by someone else—should submit a CV and a cover letter as a single PDF document to Eugenia Bell, CAA Editorial Director.
Deadline: April 18
Call for Nominations: Editor-in-Chief (caa.reviews)
posted by CAA — March 21, 2025
caa.reviews invites nominations for the position of Editor-in-Chief for the term July 1, 2026–June 30, 2029. The three-year term is to be preceded by a one-year term as Editor-in-Chief Designate, July 1, 2025–June 20, 2026, and succeeded by a one-year term as past Editor-in-Chief, July 1, 2029–June 30, 2030.
CAA encourages applications from candidates with a strong record of scholarship who are committed to the imaginative development of caa.reviews. An online, open-access journal, caa.reviews is devoted to the peer review of recent books, museum exhibitions, and projects relevant to the fields of art history, visual studies, and the arts.
The Editor-in-Chief oversees the smooth operations of caa.reviews by ensuring the journal regularly publishes topical, scholarly, critical reviews in the arts; maintains the integrity of the journal by carefully monitoring and implementing the organization’s conflict of interest and ethical policies; and provides extra support to the Editorial Board, Council of Field Editors, and CAA editorial staff wherever necessary to ensure the journal’s operations remain in line with the organization’s overall mission of fostering worldwide access to intellectual and creative material promoting the highest standards of discourse in the disciplines of art and art history.
The Editor-in-Chief attends virtual caa.reviews Editorial Board meetings and Publications Committee meetings via Microsoft Teams in the spring and fall plus three meetings onsite at the CAA Annual Conference in February each year, including the annual Council of Field Editors meeting. The Editor-in-Chief does not receive financial support for travel to and accommodations at the Annual Conference but does receive a yearly stipend.
Candidates must be current CAA members in good standing and should not serve concurrently on the editorial board of a competitive journal or on another CAA editorial board or committee. The Editor-in-Chief may not publish their own work on caa.reviews during the term of service. Nominators should ascertain their nominee’s willingness to serve before submitting a name; self-nominations are also welcome. Interested applicants—both self-nominated or nominated by someone else—should submit a CV and a cover letter as a single PDF document to Eugenia Bell, CAA Editorial Director, with the subject line “caa.reviews Editor-in-Chief.”
Deadline: April 18
Call for Nominations: Editor-in-Chief (Art Journal Open)
posted by CAA — March 21, 2025
The Art Journal/Art Journal Open Editorial Board invites nominations for the position of Editor-in-Chief of AJO for the term of July 1, 2026–June 30, 2029 (with service as incoming editor designate, July 1, 2025–June 30, 2026). Candidates may be artists, art historians, critics, curators, educators, or other professionals within the membership served by CAA; institutional affiliation is not required.
AJO is an online forum for the visual arts that presents artists’ projects, conversations and interviews, scholarly essays, and other content from across the cultural field. The independently edited journal publishes original material by artists, scholars, teachers, archivists, curators, critics, and other cultural producers and commentators, with a commitment to foster new intellectual exchanges about contemporary art and culture. AJO is committed to broad representation and the inclusion of a wide range of approaches, methods, and subfields of modern and contemporary art history and art practice. Published on a continual, rolling basis, AJO is an open access journal that reaches a wide, global audience.
The Editor-in-Chief is responsible for commissioning all content for AJO. The editor solicits or commissions projects, texts, and time-based content by artists and other authors, and determines the appropriate scope and format of each project. Working in consultation with the Art Journal Editor-in-Chief, reviews editor, and Editorial Board, the editor determines which pieces should undergo peer review and subsequent revision before acceptance. The editor also works with authors and the CAA staff editor on the development and preparation of materials for publication. The Editorial Board expects that a significant portion of the journal will be geared toward work or concerns of artists, and that the Editor-in-Chief will endeavor to give voice to underrepresented perspectives. Qualifications for the position include a broad knowledge of current art, the ability to work closely with artists in a wide variety of practices, and experience in developing written and other content for arts platforms. The position includes membership on the Editorial Board and, after the orientation period, an annual honorarium.
The Editor-in-Chief attends virtual Art Journal/AJO Editorial Board meetings and Publications Committee meetings via Microsoft Teams in the spring and fall plus two meetings onsite at the CAA Annual Conference in February each year, and submits an annual report to the CAA VP for Publications.
Candidates must be current CAA members in good standing and should not serve concurrently on the editorial board of a competitive journal or on another CAA editorial board or committee. The Editor-in-Chief may not publish their own work on AJO or in Art Journal during the term of service. Nominators should ascertain their nominee’s willingness to serve before submitting a name; self-nominations are also welcome. Interested applicants—both self-nominated or nominated by someone else—should submit a CV and a cover letter as a single PDF document to Eugenia Bell, CAA Editorial Director.
Deadline: April 18
Call for Nominations: Reviews Editor (Art Journal/Art Journal Open)
posted by CAA — March 21, 2025
The Art Journal/AJO Editorial Board invites nominations for the position of Reviews Editor for a three-year term, July 1, 2025–June 30, 2028. The candidate may be an artist, art historian, art critic, art educator, curator, or other art professional; institutional affiliation is not required. Art Journal published quarterly by CAA, is devoted to twentieth- and twenty-first-century art and visual culture.
Working with the journal’s Editorial Board, the reviews editor is responsible for commissioning all book and exhibition reviews in Art Journal (approximately three per issue). The Reviews Editor selects books and exhibitions for review, commissions reviewers, and determines the appropriate length and character of reviews. The Reviews Editor also works with authors and CAA’s staff editors in the development and preparation of review manuscripts for publication. The person in this position is expected to keep abreast of newly published and important books and recent exhibitions in twentieth-century and contemporary art, criticism, theory, and visual culture. The three-year term includes membership on the Art Journal Editorial Board and an annual honorarium, paid quarterly.
The Reviews Editor attends virtual Art Journal/Art Journal Open Editorial Board meetings via Microsoft Teams in the spring and fall plus one onsite at the CAA Annual Conference in February each year, and submits an annual report to the CAA VP for Publications.
Candidates must be current CAA members in good standing and should not be serving on the editorial board of a competitive journal or on another CAA editorial board or committee. Members may not publish their own work in the journal during the term of service. Nominators should ascertain their nominee’s willingness to serve before submitting a name; self-nominations are also welcome. Interested applicants—both self-nominated or nominated by someone else—should submit a CV and a cover letter as a single PDF document to Eugenia Bell, CAA Editorial Director.
Deadline: April 18
Call for Nominations: Editorial Board Members (The Art Bulletin)
posted by CAA — March 21, 2025
CAA invites nominations of individuals to serve on The Art Bulletin Editorial Board for a four-year term, July 1, 2025–June 30, 2029.
The ideal candidate has published substantially in the field and may be an academic, museum-based, or an independent scholar (institutional affiliation is not required). The Art Bulletin features leading scholarship in the English language in all aspects of art history as practiced in the academy, museums, and other institutions.
The editorial board advises The Art Bulletin Editor(s)-in-Chief and assists by seeking authors, articles, and other content for the journal; performs peer review and recommends peer reviewers; may propose new initiatives for the journal; and may support fundraising efforts on the journal’s behalf. Members also assist the editor-in-chief to keep abreast of trends and issues in the field by attending and reporting on sessions at the CAA Annual Conference and other academic conferences, symposia, and events in their fields.
The Art Bulletin Editorial Board meets three times a year, with virtual meetings via Microsoft Teams in the spring and fall plus one onsite at the CAA Annual Conference in February. Members pay travel and lodging expenses to attend the conference in February. Members of all editorial boards volunteer their services to CAA without compensation.
Candidates must be current CAA members in good standing and should not be serving on the editorial board of a competing journal. Members may not publish their own work in the journal during the term of service. CAA encourages applications from colleagues who will contribute to the diversity of perspectives on The Art Bulletin Editorial Board and who will engage actively with conversations about the discipline’s engagements with differences of culture, religion, nationality, race, gender, sexuality, and access.
Nominators should ascertain their nominee’s willingness to serve before submitting a name; self-nominations are welcome. Interested applicants—both self-nominated or nominated by someone else—should submit a CV and a cover letter as a single PDF document to Eugenia Bell, CAA Editorial Director.
Deadline: April 18
CAA Signs on to AHA–OAH Joint Statement on Federal Censorship of American History
posted by CAA — March 17, 2025
CAA has signed on to the American Historical Association (AHA) and the Organization of American Historians (OAH) joint statement on Federal Censorship of American History.
We stand with AHA and OAH in recognizing the historical dangers of censorship and in condemning “…recent efforts to censor historical content on federal government websites, at many public museums, and across a wide swath of government resources that include essential data. New policies that purge words, phrases, and content that some officials deem suspect on ideological grounds constitute a systemic campaign to distort, manipulate, and erase significant parts of the historical record. Recent directives insidiously prioritize narrow ideology over historical research, historical accuracy, and the actual experiences of Americans.”
OTHER LEARNED SOCIETIES AND INSTITUTIONS WHO HAVE SIGNED THE AHA-OAH JOINT STATEMENT
American Academy of Religion
American Studies Association
Association of University Presses
Conference on Asian History
Education for All
French Colonial Historical Society
Historians for Peace and Democracy
Labor and Working-Class History Association
National Council for the Social Studies
National Council on Public History
Network of Concerned Historians
North American Conference on British Studies
PEN America
Society for US Intellectual History
Society of Architectural Historians
Western History Association
World History Association
CWA Picks: Spring 2025
posted by CAA — March 13, 2025
Jordan Ann Craig (Northern Cheyenne), Sharp Tongue II, 2022, acrylic on canvas, 70 x 70 in., Tia Collection
The selection of exhibitions and other events featured in the CAA Committee on Women in the Arts Spring Picks emphasize capacious connections that both well-known artists and their lesser-known counterparts have forged among the materials and imagery of fine art, craft, and popular cultures. The works remind viewers of the many ways that historical and contemporary art, makers, and communities are linked, and these multifaceted connections point to the deeply relational ways in which art is conceptualized, produced, disseminated, experienced, and remembered.
UNITED STATES
Annet Couwenberg: Sewing Circles
Through May 10
Zuckerman Museum of Art, Kennesaw, GA
Having published extensive research on such historically Dutch object types as ruffs and Delftware, Annet Couwenberg (b. 1950, The Netherlands) incorporates new technologies like laser cutting and 3D printing into the making of intricate origami and textile works that place these traditions in dialogue with the digital age.
Cara Romero: Panûpünüwügai (Living Light)
Through August 10
Hood Museum of Art, Hanover, NH
Cara Romero: Panûpünüwügai (Living Light) explores the narrative artistic practice of Chemehuevi photographer Cara Romero. Spanning the past decade of her work, this exhibition presents a thematic examination of Romero’s complex and layered images, which celebrate the multiplicity, beauty, and resilience of Native American and Indigenous experiences. Accompanied by a catalogue of the same title and debuting at the Hood Museum in January 2025, this is Romero’s first major solo exhibition.
Christina Ramberg: A Retrospective
Through June 1
Philadelphia Museum of Art, Philadelphia
This exhibition, the largest of Christina Ramberg’s (b. 1946) work to date, will illuminate the artist’s encyclopedia of imagery exploring experiences of gender, sexuality, and normative ideals of female beauty. Ramberg is usually associated with the Chicago Imagists, a loose fellowship of artists in the mid-1960s who made vibrant work inspired by popular culture, from comic books to low-budget films and store-front displays. However, her exquisitely detailed, kinky aesthetic has always set her apart. Ramberg consistently worked in pursuit of a “coherent visual statement”, honing in on feminized aspects of the body and its erotic trappings: hairstyles, hands, corsets, shoes.
Guerrilla Girls: Making Trouble
April 12–September 28
National Museum of Women in the Arts, Washington, D.C.
The dynamic artist collective known as the Guerrilla Girls (est. 1985), who declared themselves “the conscience of the art world,” mark their fortieth anniversary in 2025. Drawn from NMWA’s extensive holdings of work by the Guerrilla Girls, this exhibition presents an enthralling visual timeline of the group’s progress and ever-expanding subject matter, including gender disparity in the arts as well as politics, the environment, and pop culture.
Jordan Ann Craig: My Way Home
Through June 29
IAIA Museum of Contemporary Native Arts (MoCNA), Santa Fe
Known for her research-based, large-scale paintings, Jordan Ann Craig’s (Northern Cheyenne) A-i-R ’19 striking geometric abstractions and delicate dot drawings in My Way Home blend traditional influences with modern forms and dynamic explorations of color. Craig’s Hard–edge paintings draw inspiration from Northern Cheyenne and other Plains Indian art practices, including beadwork, hide painting (parfleche), weaving, and basketry patterns. Complementing these are her meditative dot drawings, which incorporate repetition and abstraction to evoke the landscapes of New Mexico, captured from memory. Her use of repetition and patterns also connect to deeper, contemplative art practices such as beading, stitching, and weaving.
The Laying of Hands
Through May 3
Southern Guild, Los Angeles
Contemporary South African artist Manyaku Mashilo’s first solo exhibition in the United States will feature a new series of multi-panel paintings exploring the artist’s emergence into womanhood and the matrilineal passage of indigenous knowledge.
Nancy Elizabeth Prophet: I Will Not Bend an Inch
Through July 13
Brooklyn Museum, Brooklyn
As an Afro-Indigenous woman artist, Nancy Elizabeth Prophet (American, 1890–1960) pursued her practice in the face of entrenched racism and sexism. Her sculpture is unmatched in its emotional nuance and technical virtuosity, and her story is a model of unshakable determination. I Will Not Bend an Inch—the first museum examination of this underrecognized sculptor—honors Prophet’s remarkable work and legacy with timely new scholarship. Twenty rare works and historical documentation reveal how she navigated an unwelcoming art world.
A Radical Alteration: Women’s Studio Workshop as a Sustainable Model for Art Making
April 25–September 28
National Museum of Women in the Arts, Washington, D.C.
A Radical Alteration: Women’s Studio Workshop as a Sustainable Model for Art Making examines the organization’s rich history as a proponent of book arts for marginalized communities in the US, where documentation and critical analysis in the field are still largely devoted to white male artists. Through artists’ books, zines, printed materials, ephemera, and archival materials, the exhibition shows how Women’s Studio Workshop’s policies, programming, and operations have evolved over the last fifty years, creating a space where the conditions of art-making and institutional support help to build a sustainable and more equitable art ecosystem.
Transcending Tradition: Selection of Works from The Bennett Collection of Women Realists
Through May 11
Muskegon Museum of Art, Muskegon, MI
Transcending Tradition celebrates women figurative realist painters who have changed the landscape for women in the arts. Featuring iconic paintings from The Bennett Collection, this exhibition highlights work by both historical and contemporary women painters, such as Artemesia Gentileschi, Mary Cassatt, Elaine de Kooning, Andrea Kowch, Zoey Frank, Katie O’Hagan, and many more. Throughout history, women artists have faced resistance to creating art and had to overcome societal rules and traditions to follow their passion. To create art, women had to be transcenders–people who stepped beyond tradition and its limitations in order to find success as artists.
Tsedaye Makonnen—Sanctuary :: መቅደስ :: Mekdes
Ongoing
National Museum of African Art, Washington, D.C.
Tsedaye Makonnen is a Washington, D.C.-based Ethiopian American artist. In the seven sculptures featured in this exhibition, she explores the dehumanization of Black women, femme people and their communities, finding connections in form and themes related to the power of motherhood and sisterly solidarity. Her seven light tower sculptures are made up of 50 boxes, each named after an individual lost to violence, enshrining their names with love as a form of comfort and solidarity, with a sense of hope for a different future.
The Visionary Art of Minnie Evans
May 10–October 26
Museum of Fine Arts, Boston
Over half a century, American artist Minnie Evans (1892–1987) created thousands of radiant and kaleidoscopic works of art inspired by vivid dreams and local landscapes in her native Wilmington, North Carolina. These imaginative, intricately detailed drawings and paintings merged her own inner world—her religious beliefs, interest in mythology, and study of history—with the natural environment that surrounded her. This exhibition features 16 multimedia works by Evans—all on loan from the Cameron Art Museum in Wilmington—and contextualizes them with handwritten letters, postcards, and other ephemera to illuminate the artist’s complex and profoundly spiritual relationship to nature in her hometown.
MEXICO
Cinco décadas en espiral/Five Decades in a Spiral
April 5–October 19
MUAC, Mexico City
Magali Lara is one of the most representative visual artists in Mexico, noted for her contribution to feminist art in Latin America. Her work, which encompasses painting, drawing, animations, objects and graphics, is characterized by an expressive visual language, where writing, space, and the representation of the plant and body world explore the contemporary female experience. Through a combination of subtlety and humor, it addresses themes such as fragility, everyday violence, and erotic and existential aspects. Five Decades in a Spiral offers an inverted narrative process of Magali Lara’s career, moving backward in time.
CANADA
Lauren Crazybull: Wish you were here
Through November 2
Contemporary Calgary Gallery, Calgary
What is at stake when sacred Indigenous sites are commodified and commercialized within a tourism-based economy? What would it mean to access these sites today – both as Indigenous people and settlers – and to bear witness to the history of these lands? Lauren Crazybull: Wish you were here reflects on our relationship to the ancestral lands that we inhabit, looking at the ways in which these familial and ancient places are transformed into heritage tourism sites that are both an extension and a reflection of the slow violence that is etched into their core.
Lucy Raven: Murderers Bar
April 18–September 28
Vancouver Art Gallery, Vancouver
Lucy Raven: Murderers Bar is the first major presentation of Lucy Raven’s work in Vancouver and the artist’s largest exhibition in Canada to date. It features the world premiere of the new moving image installation Murderers Bar (2025), alongside previous, related works. Lucy Raven (b. 1977) is a multidisciplinary artist who works in installation, photography, video, drawing and sculpture to examine historic and contemporary representations and narratives of the American West. The works reveal the intermingling of nature and technology, the frequent interrelation of military and entertainment applications, and the impact of these forces on lived experience.
Rajni Perera and Marigold Santos: Efflorescence/The Way We Wake
Through April 6
Contemporary Calgary Gallery, Calgary
This duo exhibition showcases recent paintings and sculptures produced by each artist from 2021 to 2024 and begins with the collaborative piece after which the show is named. Efflorescence/The Way We Wake speaks to the artists’ diasporic experiences, research into their respective cultural heritages, art making, and motherhood.
SOUTH AMERICA
Adela Casacuberta
Through April 27
Museo Nacional de Artes Visuales, Montevideo, Uruguay
Mexico-born, Montevideo-based Adela Casacuberta (b. 1978) creates agglomerations of ceramic objects–some amorphous and porous, others resembling clamshells or fine dishware; some modest in scale, some wildly oversized; some left white, some tinted, and some glazed, whether with drips, splatters, or meticulously rendered china patterns–evoking the growth and deterioration of fungal structures (the mycelium) and providing a metaphor, Casacuberta writes, for mi mapa corporal fragmentado, “my fragmented body map.”
Fabril La Mirada
Through June 16
MALBA, Buenos Aires, Argentina
Argentine artist Lucrecia Lionti uses narratives of modern art to question them, transferring the languages of conceptual art to the popular imagination, and from abstract art to crafts. This exhibition presents textile installations and a series of works on paper made between 2012 and 2017. The artist locates her work at the convergence between art history and craft practices, critically addressing the relationship between abstraction and the autonomy of materials. Her work activates not only the link with the work historically associated with women, but also with subaltern political movements, through the use of precarious materials and social slogans.
TMWYGH: Text Me When You Get Home
April 5–May 4, 2025
apexart, São Paulo, Brazil
Text Me When You Get Home,” a phrase translated to every language spoken by women, symbolizes a shared vigilance born of necessity. This exhibition, TMWYGH, weaves together the intricate layers of female identity, resilience, and the inherent solidarity forged from collective survival and the pursuit of safety in community. It aims to highlight the invisible threads that bind women across cultures, elevating a universal sisterhood crafted for survival.
EUROPE & UK
Barbara Steveni: I Find Myself
Through June 8
Modern Art Oxford, Oxford
Uncover female stories and explore the social impact of art through the life and work of artist-activist Barbara Steveni. Steveni often worked outside the art gallery creating artworks that were multidisciplinary and research based, and often took place without its participants realizing. Visit I Find Myself to see some of her most influential works come back to life through restagings and artist interventions. With a career spanning seventy years, Steveni was influential on many artists of different generations. Explore the galleries where some of Steveni’s key collaborators and those influenced by her career create new commissions responding to her work.
Citra Sasmita: Into Eternal Land
Through April 21
Barbican Centre, London
The Barbican presents Indonesian artist Citra Sasmita’s first solo UK exhibition. Via painting, installation, embroidery and scent, take a sensory journey exploring ancestral memory, ritual and migration. Sasmita’s practice often engages with the Indonesian Kamasan painting technique. Dating from the fifteenth century, and traditionally practiced exclusively by men, Kamasan was used to narrate Hindu epics. Reclaiming this masculine practice, Sasmita is interested in dismantling misconceptions of Balinese culture and confronting its violent colonial past. Challenging gender hierarchies and reinventing mythologies, her protagonists are powerful women who populate a post-patriarchal world.
ASIA
In the beginning, Womankind was the sun – Weren’t we?
May 17–June 14, 2025
apexart, Tokyo
This exhibition critiques the Japanese state’s control of women’s bodies and sexuality from the modern period to the near future by showcasing works by three contemporary Japanese women artists. These pieces offer perspectives on the imperialist era, the present and the future socio-political landscape of Japan.
Lai Kwan-ting, Everyday Whispers (Hong Kong Artist Dialogue Series)
Through May 7
Hong Kong Museum of Art, Hong Kong
Part of a series celebrating artists who live and work in Hong Kong, this show presents ink-and-watercolor renderings of unselfconscious figures by Lai Kwan-ting (b. 1985) in the traditional naturalistic gongbi style, pairing them with an exhibition of works from Paris by Paul Cézanne and Pierre-Auguste Renoir that forges especially strong links with Renoir’s depiction of subjects engaged in humble activities.
MIDDLE EAST & NORTH AFRICA
Ruth Patir: Motherland
Through September 13
Tel Aviv Museum of Art
A multi-episode video installation documents artist Ruth Patir’s journey to fertility preservation, told from a personal, funny, and touching perspective. Using advanced technology, she animates ancient fertility figurines from the region as avatars of herself and the women around her. Motherland raises questions about free choice, fertility control, and motherhood as a contemporary pursuit with ancient roots.
Shilpa Gupta: Lines of Flight
Through May 7
Ishara Art Foundation, Dubai
In the wide-ranging practice of Mumbai-based Indian artist Shilpa Gupta (b. 1976), represented here in works from 2006 to the present, the line insistently recurs, whether in the subdivisions of wooden boxes; in the delicate pencil outlines of individuals being removed from legislative meetings; in the cords of arrayed hanging microphones or light bulbs; or in the lettering of texts written in light or shown on flags, LED screens, or flapboards. These lines, and the works they compose or inhabit, ask the viewer to think about connections and divisions: ancestry, social networks, national borders, itineraries, and horizons.
AFRICA
One Must Be Seated
Through October 5
Zeitz Museum of Contemporary Art Africa
Zeitz Museum of Contemporary Art Africa presents this solo exhibition by Ghanaian-American artist Rita Mawuena Benissan. Deeply rooted within her Ghanaian culture, Benissan’s practice focuses on reimagining the royal umbrella and stool, symbols of Akan chieftaincy. The exhibition explores the enstoolment of a prospective chief, akin to coronation; a call to take their rightful seat in the stool that has been chosen for them. Through tapestry, sculpture, photography and video, Benissan’s work highlights and celebrates the rich traditions of Ghanaian culture. She breathes new life into traditional craftsmanship while addressing themes of leadership, community, and femininity within Ghanaian society.
OCEANIA
Lee Bul: Untitled
Through August 1
National Gallery of Victoria, Melbourne
Lee Bul is a Korean artist and leading figure in the contemporary art world. Since the late 1980s, Bul’s installations and sculptures have drawn from the visual languages of science fiction, anime and manga to explore the social constructions of the human body. Bul creates monsters and cyborgs that deconstruct binaries across gender, nature and artifice. These hybrid creatures occupy a strange, but awe-inspiring alternative reality as they extend and reconfigure human and animal forms to produce new, unsettling beings. Produced for the NGV in 2004, Untitled is being shown at the Gallery for the first time in over a decade.
Nusra Latif Qureshi Birds in Far Pavilions
Through June 15
Art Gallery of New South Wales, Sydney
This is the first major solo exhibition of Melbourne-based artist Nusra Latif Qureshi, whose allegorical paintings offer space for reflection, dialogue and dreaming. Born in Pakistan, she trained at the National College of Arts in Lahore, where she learnt the painting traditions brought to the Mughal courts from Persia in the 16th century. At once beautiful and challenging, Qureshi’s works bear witness to the indelible presence of the past and the persistence of trauma, dislocation and loss, coupled with the uncertainties of love. In her meticulously painted vignettes, solitary female figures float among fields of color, quietly asserting their presence.
Suzanna Vangelov: 2025 Solo Exhibition
June 5–June 26
M.Contemporary, Sydney
Light and shadow are integral to Suzanna Vangelov’s artistic practice. Working predominantly with abstract painting, she is influenced by the natural environment. Elements of construction are often evident in Vangelov’s surfaces. Working horizontally on a large scale, Vangelov cuts into swathes of canvas and reassembles the raw forms. Fabric creases and textures remain intact and provide a tactile surface. Secured with a mixture of pigment and rabbit skin glue or stitched together with thread, Vangelov relates these techniques to processes of transformation, healing and strengthening, and to craft practices traditionally considered to be “women’s work” like sewing, mending and binding.
Call for Applications: CAA-Getty International Program 2026
posted by CAA — March 12, 2025
CAA will begin accepting applications for the CAA-Getty International Program on March 15! Thanks to generous support from Getty, the program—now in its fifteenth year—enables scholars from around the world to travel to Chicago to participate in the CAA 114th Annual Conference, February 18–21, 2026. The program features a preconference colloquium on international issues in art history, followed by a week of sessions, workshops, events, museum visits, and professional development opportunities.
To date, the program has gathered 179 scholars from sixty-one countries, and continues to have significant global impact on the field. These annual convenings have yielded collaboration, community, and lasting connections while also serving to diversify CAA membership, increase international presence at CAA conferences, and foster greater cross-cultural discourse around international art scholarship and practice.
We also invite alumni of the program to apply to return and support first-time participants, take part in program events, and present new scholarship at the Annual Conference in our dedicated CAA-Getty International Program Alumni Session.
The individuals selected for the 2026 program will receive a one-year CAA membership, have their conference registration fee, travel expenses, and accommodation costs covered, and will receive per diems for meals and incidentals.
International art historians, curators, and other visual arts professionals are encouraged to apply!
Visit our CAA-Getty page for eligibility and application requirements. All interested Getty applicants, whether new scholars or alumni, will need to submit a general conference application (individual presentation proposal) and indicate their interest in participating in the CAA-Getty International Program.
Deadline: April 25
This program is made possible with support from Getty.
