All the Art You Need to See During L.A. Art Week 2026 https://ift.tt/TbRWeNx

Frieze Los Angeles launched in 2019 and swiftly became a fixture in the art world calendar. The event effectively kicks off the city’s busiest week of fairs, gallery openings, talks, parties, dinners, and more. This year, it also serves as a runway to an especially big season for L.A.: In March, beloved local artist Lauren Halsey debuts sister dreamer, her long-anticipated sculpture park in South Central, and in April, LACMA will open its long-awaited David Geffen Galleries, a major expansion of the museum’s footprint.

Frieze still headlines art week from its tent at the Santa Monica Airport, though the week’s best discoveries expand far beyond the fairgrounds. If, like me, you’re visiting for the week and aren’t driving (and you’re confounded by the logic of L.A. traffic), the smartest approach is to plan by neighborhood. Pick your clusters wisely and you’ll spend more time with art—and less time crawling the 10 in an Uber.

Below is a focused selection of 10 key art destinations for L.A. Art Week 2026. We’ve also made this Google Maps list you can save to your phone, with the following sites (plus more galleries), to make navigating on the ground easier.

1. Frieze Los Angeles

Santa Monica | Santa Monica Airport, 3027 Airport Avenue, Santa Monica

The main event: Frieze Los Angeles brings together around 100 international galleries under a tent at the Santa Monica Airport. As you approach from the parking lot or drop-off point, you’ll typically find a solid lineup of food trucks and dining options, plus Frieze Projects, a slate of public artworks curated by Art Production Fund. While it’s a close cousin of the other Frieze fairs, there’s a light-filled, al fresco West Coast character that sets this event apart from convention-center events. I always make time for the Focus sector, which highlights solo and duo presentations by emerging galleries. It’s a nicely scaled fair—you can see most of it in around two hours with time left for a bite or a beverage outside.

2. Post-Fair

Santa Monica | 1248 5th Street, Santa Monica

Going into its second year, Post-Fair has built a reputation as the cool, fresh counterpart to Frieze—and its location makes it a convenient stop after the main fair. Local gallerist Chris Sharp directs the charming, unhurried event in the lofty and light-filled Art Deco halls of the former Santa Monica Post Office. Galleries receive generous wall and floor space, so the layout feels more open and free-flowing than a typical booth setup. One-third of the galleries are local, but there’s also a strong international presence, with exhibitors hailing from Paris to Oaxaca, Mexico. Expect emerging and mid-career talent and more experimental work—and a useful reset for your eyes after the bigger fair. I’m especially excited for P.P.O.W’s presentation of Phoebe Helander’s paintings. You can walk it quickly, but it’s worth lingering and chatting with gallerists; I’d budget at least an hour.

3. Felix Art Fair

Hollywood | The Roosevelt Hotel, 7000 Hollywood Blvd, Los Angeles

Felix has become one of the most beloved satellite fairs in the country—largely because it revolves around the delightful David Hockney–painted pool at the Hollywood Roosevelt Hotel. The cabana rooms around the pool are where I usually start: Each hotel room hosts a different gallery, mainly small and midsize programs known for giving emerging artists a platform. Then take the elevator up to the tower for two more floors of guest rooms filled with art. Pop in and out as you sweep through the long hallways and rub shoulders with the art crowd. It’s always fun to see which artworks get hung in the bathrooms. Plan to stay awhile: It takes time to see all the rooms, and it’s hard to resist hanging by the pool. If you want to do it properly, I’d give it at least two hours—maybe three—and stop by some nearby Hollywood galleries before or after.

4. Hollywood Galleries

Hollywood | Various locations

During art week, the stretch of galleries from West Hollywood through central Hollywood becomes an essential circuit that could keep you busy for many days. Several blocks of Santa Monica Boulevard, North La Brea, and Highland Avenues are dotted with excellent galleries. This is one of the rare areas where you can gallery hop on foot—within reason. It’s not New York (where a long stroll between neighborhoods is nice and convenient in good weather); in L.A., even a mile can be impractical, and sometimes not the safest route. Focus on small clusters, not a meandering marathon. Our Google Maps list is especially helpful here. On Tuesday evening, I’m excited about several openings, including three new shows at Megan Mulrooney—Kate Zimmerman Turpin, Alma Berrow, and a group show called “Afterimage” curated by artist Tommy May—as well as the Leiko Ikemura show at Lisson Gallery; and a pair of solo shows at Karma of works by Milton Avery and Casey Bolding.

5. MAK Center for Art and Architecture

West Hollywood | 835 Kings Road, West Hollywood

No visit to L.A. is complete without taking in local architecture, and I’m always drawn to the MAK Center during art week. Housed in Rudolph Schindler’s landmark Schindler House, it’s an unusual-yet-delightful exhibition setting. This year, the MAK Center presents “Nancy Holt: Light and Shadow Poetics,” exploring the pioneering Land artist’s use of light, perception, and space. The California modernist architecture alone is worth the trip.

If you’re craving more art inside very L.A. architecture and planning to head east, look up Frank Lloyd Wright’s Hollyhock House in Barnsdall Park and the Neutra VDL House along the Silver Lake Reservoir. Both similarly stage exhibitions within their historic environs, and their settings offer some of the best communal, outdoor space that the east side of Los Angeles has to offer.

The MAK is conveniently located for a West Hollywood galleries run, too. The lovely Francis Gallery and Hauser & Wirth’s West Hollywood outpost are nearby. Plus, Perrotin is staging a compelling group show in West Hollywood at the former Spago restaurant (1114 Horn Avenue), called “Paging Dr. Feelgood,” tapping into the city’s history as a mecca of spirituality and wellness.

6. Hauser & Wirth Downtown

Arts District | 901 E 3rd Street, Los Angeles

We Live Close To Tha Ground, 2026
Christina Quarles
Hauser & Wirth

If we were ranking the most impressive gallery spaces in the U.S., Hauser & Wirth’s downtown L.A. flagship would be high on the list (the gallery also has an impressive space in West Hollywood). For anyone used to New York’s tighter footprints and crisp white cubes, it’s always awe-inducing. The gallery is set inside a former flour mill the size of a full city block in the Arts District and typically presents multiple shows at a time. The on-site restaurant Manuela and a small garden with chickens add to the considerable charm. During art week, a big Monday-night opening packs the house. This year, I’m especially eager to see a solo presentation of L.A. painter Christina Quarles, who’s known for electric, fluid depictions of the body, as well as a major show displaying the collection of trailblazing L.A. collector Eileen Harris Norton. If you’re making the trip downtown, MOCA and the galleries in the Santa Fe building are easy stops to add on.

7. The Museum of Contemporary Art (MOCA)

Downtown L.A. | 250 S Grand Avenue + Geffen Contemporary, 152 N Central Avenue, Los Angeles

With two locations downtown, MOCA is one of L.A.’s essential institutions. It boasts an impressive permanent collection of post-war and contemporary art, and the museum always has at least one temporary exhibition worth prioritizing during art week. This year I’m compelled to visit both venues. The Grand Avenue building will open “Haegue Yang: Star-Crossed Rendezvous,” a major presentation of the Korean artist’s signature Venetian-blind installations. And at the Geffen Contemporary in Little Tokyo (a short Uber hop east), “MONUMENTS” genuinely justifies a visit: The show presents decommissioned monuments, including Confederate statues, alongside contemporary artworks to address how such sculptures portray and influence American history and national identity. The show is co-presented by fellow art institution The Brick, which is located along the same stretch as the Melrose Hill galleries.

8. Julia Stoschek Foundation

Downtown L.A. | Variety Arts Theater, 940 S Figueroa Street, Los Angeles

Earlier this month, the Julia Stoschek Foundation opened its first U.S. show, an immersive exhibition spread across six floors of the historic Variety Arts Theater. Based in Berlin and Düsseldorf, the foundation of major collector Julia Stoschek has amassed one of the world’s most significant private collections of time-based and video art. This American debut, “What a Wonderful World: An Audiovisual Poem,” is edited by Udo Kittelmann and features work by Marina Abramović, Arthur Jafa, Anne Imhof, Jordan Wolfson, Jacolby Satterwhite, Lu Yang, and others. It’s open evenings on Wednesday through Sunday from 5 p.m. to midnight, plus an events program on Sundays.

9. Melrose Hill Galleries

Melrose Hill | Various locations

Melrose Hill emerged a few years ago as a gallery destination, anchored in large part by the L.A. outpost of David Zwirner, with several cool younger galleries within walking distance. During art week, David Zwirner is opening solo presentations of work by Belgian painter Luc Tuymans and L.A. painter Raymond Saunders, who passed away last year. James Fuentes, Fernberger, and Chateau Shatto are along the same few blocks of N Western Avenue.

10. Miracle Mile/Mid-Wilshire Galleries

Miracle Mile/Mid-Wilshire | Various locations, Wilshire Boulevard, Los Angeles

The stretch of Wilshire around LACMA is a rewarding gallery corridor—and several exciting shows will be on view during art week. LACMA itself is always worth a stop, and just across the street, Sprüth Magers is opening an exhibition of new paintings by David Salle. Down the block, Anat Ebgi is opening three solo shows featuring Veronica Fernandez, Heather Guertin, and Alejandro García Contreras. Plus, there’s an exciting pop-up show: Barry McGee, with The Hole and Jeffrey Deitch, is turning a former 99-cent store near LACMA (6121 Wilshire) into a weeklong “artist flea,” with an anti-fascist zine fair and live performances.

A short drive west, Pace’s idyllic ivy-covered gallery is showing an exhibition of large energizing paintings by young L.A. artist Lauren Quin that I’m dying to see. Plus, David Kordansky, Perrotin, and Roberts Projects are all within reach. This part of the city rewards a properly planned afternoon—and unlike some other stops on this list, you can probably park by or Uber to one location and walk between a few spots.

Explore our favorite works from L.A. Art Week in our curator’s picks collection.

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10 Must-See Exhibitions During Frieze Los Angeles 2026 https://ift.tt/FwlQjIq

After last year’s wildfires scorched more than 40,000 acres and displaced over 180,000 residents, the Los Angeles art community came together in ways unusual for the sprawling metropolis: Benefit exhibitions and mutual aid networks flourished. That surge of local pride and solidarity carries into this year’s Frieze week, with institutions and galleries foregrounding California artists, many closely tied to the city itself.

Solo presentations of historical figures like Wallace Berman and Raymond Saunders (at Michael Kohn Gallery and David Zwirner, respectively) join those of rising, ultra-contemporary voices such as Veronica Fernandez and Ash Roberts (at Anat Ebgi and Francis Gallery). At Hauser & Wirth, a major exhibition devoted to storied L.A. patron Eileen Harris Norton surveys decades of advocacy while bringing together many of the region’s defining artists of the last half century.

The expanding art fair landscape reflects the same enthusiasm and momentum: new arrivals like ENZO in Echo Park join Frieze, Felix, The Other Art Fair, and last year’s standout addition, Post-Fair, turning the week into a citywide festival.

Here are 10 of the most anticipated gallery shows during Frieze Los Angeles 2026.

Veronica Fernandez

“Prey”

Anat Ebgi

Feb. 21–Apr. 4

Veronica Fernandez’s oversized canvases stage intimate portraits of family life. In her debut solo exhibition with Anat Ebgi, the Los Angeles–based artist deploys impasto, gestural abstraction, and rich jewel tones to blur the boundaries between representation and recollection. In Highway Laundry (2026), for example, thick skeins of magenta pigment threaten to overtake the street, the three figures walking along it, and the glowing gas station sign overhead. The built-up surfaces mirror the accumulation of time and memory. Fernandez often draws from the periods of housing instability she experienced during childhood: Suitcases, laundry bins, brown paper bags, and improvised toys recur across the paintings, binding otherwise disparate scenes together. The show’s title, “Prey,” conveys both the tenderness and wariness that characterize the artist’s approach to representing her past.

Leiko Ikemura

“Riding Horizon”

Lisson Gallery

Feb. 24–Mar. 28

Leiko Ikemura likewise addresses the innocence and anguish of adolescence. For her first Los Angeles exhibition, the Japanese Swiss artist explores the relationship between femininity and the natural world. Across paintings and sculptures, girlish figures merge with birds, cats, fallen trees, and ocean waves. In one colored bronze, a head gives way to a brace of blue birds; in another, feline ears sprout from a crop of hair.

The large tempera paintings amplify this ambiguity. Forms dissolve into wispy clouds, translucent washes of fog, and the raw jute canvas itself. In Zarathustra I (2014), a windswept tree grows from a creature nearly indistinguishable from an outcrop of rocks. Ikemura’s style synthesizes Western Symbolist paintings, East Asian sansuiga landscapes, and traditional Japanese ink drawings as the artist emphasizes multiplicity. Ultimately, her work yields a vision of selfhood that’s as fluid, permeable, and capacious as the worlds it depicts.

“Destiny Is a Rose: The Eileen Harris Norton Collection”

Hauser & Wirth

Feb. 19–Apr. 26

One of this year’s most anticipated Art Week exhibitions turns the spotlight on Los Angeles collector Eileen Harris Norton, whose five decades of patronage have centered on artists of color, especially women, working in California. Organized into chapters, the presentation gathers more than 80 works across mediums and generations, showcasing Norton’s connoisseurship as well as her commitment to social justice and education. Lorraine O’Grady’s Mlle Bourgeoise Noire (1980–83/2009)—a debutante gown made from 180 white gloves—shares space with Alison Saar’s winged assemblage Bye Bye Blackbird (1992) and David Hammons’s African American Flag (1989). Figurative paintings by Kerry James Marshall and Amy Sherald are interspersed with abstractions by Frank Bowling and Alma Thomas. Seen together, the works reveal a collector who shaped formative conversations about representation, materiality, and the cultural legacy of the American West.

Wallace Berman

“It Don’t Mean a Thing (If It Ain’t Got That Swing)”

Michael Kohn Gallery

Through Apr. 25

“It Don’t Mean a Thing (If It Ain’t Got That Swing)” marks the centennial of Wallace Berman’s birth. The exhibition focuses on the Los Angeles artist’s iconic Verifax works: collages he produced using an early photocopy machine gifted to him in 1963. Reworking a negative image of a hand holding a transistor radio, Berman filled the device’s face with fragments of photos culled from old books, newspapers, and magazines. Jean Harlow nudes and tarot cards appear next to portraits of Fidel Castro and advertisements for pistols. Curated by his son Tosh Berman, the presentation extends the artist’s legacy beyond his Beat-era associations, emphasizing his engagement with mysticism and Kabbalah and his prescient critique of image saturation and mass media.

Raymond Saunders

“Notes from LA”

David Zwirner

Feb. 24–Apr. 25

Raymond Saunders, who passed away last July at age 90, also incorporated found imagery into his mixed-media assemblages. The Pittsburgh-born painter spent most of his career in Oakland, California, covering canvases with inky blank expanses layered with advertisements, exhibition posters, and handwritten correspondence. We Try (1985), for instance, reads as a blackboard awash with chalky smears, children’s illustrations of suns and flowers, taped papers with daubs of colorful paint, and bits of Chinese calligraphy. Throughout, texts and artifacts associated with his longtime career as an educator appear alongside gestural marks and textural color fields. The canvases register as spaces for ongoing notation and accumulation rather than resolution—visual diaries that he never quite closed.

Alma Berrow

“What Slips Beneath the Sugar”

Megan Mulrooney

Feb. 24–Mar. 28

Rising U.K. ceramist Alma Berrow transforms the gallery into an immersive dinner party. At the center of the exhibition, an oval table holds glossy, trompe l’oeil sculptures of half-empty salad bowls, torn In-N-Out sauce packets, bonbons coated in suggestive white powder that falls from open baggies, and ashtrays stuffed with crinkled gold cigarette butts. The guests are absent, but it’s easy to imagine the gallery-going set who’d only just slipped out for the next event. Handmade from earthenware, fired and painted with fine pigments and gold luster, the works toggle between the hyperreal and the cartoonish, the glamorous and the abject. Berrow captures the aftermath of conviviality with a sharp eye toward the performance and excess embedded in many of the city’s social rituals.

Hayv Kahraman

“Libations”

Vielmetter Los Angeles

Through Mar. 21

The paintings in Hayv Kahraman’s third exhibition with Vielmetter respond to the 2025 Eaton Fire in Altadena that displaced the artist and her family. Conceived as offerings “to a burning world,” the pictures feature her signature female figures—prominent brows, dark hair, pupilless eyes—engaged in rituals of mourning and resistance like dancing and sewing strands of tears. In I’ve been circling for thousands of years (2025–2026), four women whirl their long hair in circles, strings of water droplets forming a mandala-like shape between their faces.

Ritual also structures the material surface. The paintings incorporate handmade flax textiles, marbling techniques, Arabic inscriptions, and talismanic symbols such as Sufi magic squares. The canvases simultaneously depict and enact a kind of divination, proposing image-making as an antidote to disaster and devastating loss.

Tacita Dean

“Trial of the Finger”

Marian Goodman Gallery

Feb. 21–Apr. 25

Following her first major U.S. career survey, “Blind Folly,” at the Columbus Museum of Art, Tacita Dean unveils a new body of analog films, drawings, and photographs. The centerpiece: a 16mm film, Sidney Felsen decorates an Envelope (2026), observes the late Gemini G.E.L. cofounder carefully covering an artist’s royalty payment with postage and rubber stamps from his office archive. Visual evidence of his decades of creative partnership surrounds him. Elsewhere, abstract 35mm film installations share space with gestural chalk drawings on salvaged school slates and painted Polaroids of artifacts from the artist’s studio, which include mirrors and fragments of Roman sculptures. Together, the works situate Dean’s longstanding commitment to manual image-making within L.A.’s history of collaboration between artists, printers, filmmakers, and fabricators.

“The Stars Before Us All”

La Loma Projects

Through Mar. 28

La Loma Projects presents paintings by a group of nine Australian First Nations artists whose work is rarely seen in Los Angeles. They index landscapes, narratives, and ceremonial practices while remaining rooted in ancestral traditions reaching back tens of thousands of years. The show is organized in collaboration with Michael Reid and spans 1990 to the present, featuring luminous, layered color fields by Anmatyerre elder Emily Kame Kngwarreye and swirling dotted abstractions on linen by Raylene Walatinna and her mother Betty Chimney. Elsewhere, Timo Hogan’s monumental diptych depicts a pastel lake bisected by a white snake, while Djirrirra Wunuŋmurra’s work covers bark with repeating motifs associated with Yukuwa (yam). The paintings altogether sustain and reinvigorate techniques and symbols from one of the world’s longest continuous cultures.

Ash Roberts

“The Year Room”

Francis Gallery

Feb. 20–Apr. 18

A series of 12 paintings, each measuring 48 by 72 inches, traces a year’s passage in rising contemporary artist Ash Roberts’s fourth showing with Francis Gallery. As you circle the gallery, pale pink water lily–filled ponds give way to verdant forest floors, while gold-leaf skies blaze above grassy hillsides, and deep blue shadows gather between snowdrifts. Across the shifting color palettes and natural imagery, a rippling mark reappears—sometimes suggesting a flock of starlings, other times a wavering waterline.

In a departure from earlier works that leaned toward abstraction, these paintings feature recognizable forms including butterfly wings, birch trees, cirrus clouds, and full moons. Roberts draws inspiration from both her current home in Los Angeles and from her childhood in upstate New York. She suffuses the paintings with a palpable nostalgia for predictable weather patterns and discrete seasons now all but lost.

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The estate of Carol Rama is now represented by Hauser & Wirth. https://ift.tt/e1rDJEp

Hauser & Wirth has begun representing the estate of Italian artist Carol Rama, who died at the age of 97 in 2015. The gallery’s presidents Iwan Wirth, Manuela Wirth, and Marc Payot announced the news. Galerie Isabella Bortolozzi will continue to represent Rama’s estate in Berlin. A solo exhibition of the artist’s work will open this May at Hauser & Wirth’s gallery in New York.

Rama is known for her provocative explorations of sex and the body. Corporeal forms throughout her painting, sculpture, drawing, and printmaking thematized lust, illness, and death. The artist never adhered to one style and often incorporated raw materials including teeth, glass eyes, beads, bicycle tires, syringes, and animal claws into her work. She was self-taught, and though she regularly exhibited and made work over the course of nearly eight decades, she only received major acclaim late in life.

“Self-taught, fiercely independent and utterly untamed, Rama was a pioneer—she was unafraid to be as visceral and autobiographical as others were studied and protracted,” said Manuela Wirth in a press statement. “Her legacy already is interwoven into the fabric of our gallery’s history through familial connection as we were first introduced to Carol’s art through my mother Ursula Hauser, a longtime champion. And we see such powerful connections between this artist’s concerns and those of other remarkable Hauser & Wirth artists, including Louise Bourgeois, Eva Hesse, Maria Lassnig and Lee Lozano who, like Carol, were underappreciated during their lifetimes and now are considered titans of art history. That so many of our younger gallery artists deeply admire Carol Rama is a sure signal that there will be very exciting dialogue and discovery ahead.”

Born in Turin, Italy in 1918, Rama’s turbulent childhood and family life informed the diaristic, raw nature of her work, which she sometimes viewed as therapy. Her first major series, figurative watercolors she made in the 1930s and 1940s, featured amputated bodies and unattached limbs. They were considered too provocative, however, and the police shut down her debut exhibition in 1945 with allegations of obscenity.

Rama went on to explore abstraction and briefly joined Italy’s Movimento Arte Concreta (M.A.C.). During this time, the figurative elements of her work faded into patterned, geometric forms. The artist deepened her exploration with unconventional materials, which she paired with splashes of paint on canvas that she thought resembled bodily fluids. Her father had owned an automobile and bicycle factory, and during the 1970s Rama incorporated associated materials into her work; she made collages with dangling inner tubes sourced from bicycles, which hung like male genitalia or intestines. She worked in tangent with the Arte Povera movement, although she was never a member of it.

Rama’s work only gained real momentum in the 1990s. She was awarded the Golden Lion for Lifetime Achievement at the Venice Biennale in 2003, and solo presentations of her work have been held at institutions including the Stedelijk Museum Amsterdam, the Musée d’Art Moderne de Paris, and the New Museum. Her work is included in the collections of museums such as the Museum of Modern Art (MoMA), the Tate London, and the Uffizi Gallery in Florence.

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5 Artists on Our Radar This February https://ift.tt/wbF7Ajg

“Artists on Our Radar” is a monthly series focused on five artists who have our attention. Utilizing our art expertise and Artsy data, we’ve determined which artists made an impact this past month through new gallery representation, exhibitions, auctions, art fairs, or fresh works on Artsy.

Alejandro Asensio

B. 1993, Spain. Lives and works in Paris.

Azul, Amarillo y Cerveza, 2025
Alejandro Asensio
sobering

Lunch Time, 2025
Alejandro Asensio
sobering

Cama de Rosas, 2025
Alejandro Asensio
sobering

Au Bouillon, 2025
Alejandro Asensio
sobering

Spiderman, Mami y Verano, 2025
Alejandro Asensio
sobering

Cubiertos y cuadrados, 2026
Alejandro Asensio
sobering

For Spanish artist Alejandro Asensio, mundane moments such as riding an elevator or having a quiet afternoon drink become cinematic scenes suspended in time. Working primarily with colored pencils on paper, Asensio captures elements of the everyday—checkered diner tablecloths, shared meals, picnics—and elevates them into richly realized meditations on memory.

In contrast to the sharpness of photorealism, Asensio’s drawings carry a hazy, dreamlike quality. In Azul, Amarillo y Cerveza (2025), for instance, a fleeting moment of respite is captured. A cropped figure is depicted with a sunsoaked glass of beer, their hand resting near the edge of the frame. It’s a moment that feels intimate and anonymous, the heat almost palpable through the grain of the colored pencil.

Asensio, who is also a film photographer, had his first gallery show last December with sobering in Paris as part of the group show “On the Road.” Earlier this month, his work was featured as part of the gallery’s booth at Intersect Palm Springs.

Sander Coers

B. 1997, Terneuzen, the Netherlands. Lives and works in Rotterdam, the Netherlands.

POST no. 72, 2023-2025
Sander Coers
Galerie Caroline O'Breen

POST no. 57, 2023-2025
Sander Coers
Galerie Caroline O'Breen

A Dinner No. 05, 2025
Sander Coers
Galerie Caroline O'Breen

The Gathering 05, 2025
Sander Coers
Galerie Caroline O'Breen

POST no.71, 2025
Sander Coers
Open Doors Gallery

The Gathering 01, 2025
Sander Coers
Galerie Caroline O'Breen

A Dinner No. 06, 2025
Sander Coers
Galerie Caroline O'Breen

Sander Coers’s photographs elicit an off-kilter nostalgia. Saturated palettes, tight croppings, wood and ceramic substrates, and a focus on objects and sartorial details from the recent past suggest a contemporary approach to archival images. In fact, the Dutch artist uses AI to reinterpret moments from his family’s history. Memory, ever fallible, gains another layer of fiction. Coers approaches his inheritance like a novelist, using invention to get at something that feels more true.

The artist graduated from the Willem de Kooning Academie in Rotterdam in 2021, and galleries and institutions swiftly embraced his work. Coers recently opened a solo exhibition, “Eulogy,” at PhMuseum Lab in Bologna, Italy. This year, London’s Open Doors Gallery and Amsterdam’s Galerie Caroline O’Breen will bring his work to fairs in London, Cape Town, and Rotterdam.

—Alina Cohen

Zoe Schweiger

B. 2000, Miami. Lives and works in Miami.

Cici at Floyd, 1:09 AM, 2025
Zoe Schweiger
Mindy Solomon Gallery

Night at Club Deuce, 2025
Zoe Schweiger
Mindy Solomon Gallery

Twist and Shout, 2025
Zoe Schweiger
Mindy Solomon Gallery

Last Dance at Willy's Wynwood, 2025
Zoe Schweiger
Mindy Solomon Gallery

Lip liner at Pastis, 2025
Zoe Schweiger
LATITUDE Gallery New York

Last Friday Night, 2025
Zoe Schweiger
LATITUDE Gallery New York

Zoe Schweiger’s smoky scenes appear to be melting, like sweat running down a wall. Her paintings take place in the intimate surroundings of Miami’s queer nightlife, centering those spaces and friendships. Working from her own experience, she captures the sensory overload of late nights—heavy bass, bumping hips, and moisture gathering in basement air. Her figures blur and overlap in embraces beneath saturated reds and oranges, evoking the cozy euphoria of the dance floor.

Her current solo exhibition, “Sun-Kissed,” at Mindy Solomon Gallery in Miami, draws from significant venues in the community, including Twist on South Beach and the recently closed Willy’s in Wynwood. As Miami continues to transform, Schweiger’s paintings depict the warmth and vitality of a city in flux. Schweiger has exhibited at several other Miami galleries (Zilberman, Spinello Projects) as well as further afield (she exhibited in Shanghai for a group show with Latitude and Long Story Short). In 2022, she earned her BFA from the Maryland Institute College of Art.

—Josie Thaddeus-Johns

Harry Spike

B. 1996, United Kingdom.

Tying Knots, 2024
Harry Spike
Cob

Icarus' Wheel, 2025
Harry Spike
Cob

Car park, 2023
Harry Spike
Cob

Anyone's Will But Your Own, 2023
Harry Spike
Cob

SB 7, 2024
Harry Spike
Cob

Halve it, Then Halve it Again, 2024
Harry Spike
Cob

In Harry Spike’s enigmatic paintings, anonymous figures emerge from fragmented scenes like misty memories. Through fleeting encounters and lingering kisses, Spike’s male subjects share an intimacy defined by queer love. In his current solo exhibition, “Dig,” on view at Cob, the British artist looks inward to unearth personal memories and a sense of place set against the sweeping valleys of the Peak District in the U.K., where he grew up.

Spike’s visual language draws from Neoclassical and Renaissance motifs, creating works that are rooted in art history and reimagined through a contemporary lens. In Icarus’ Wheel (2025), Spike depicts the titular character in warm, harmonious layers of acrylic. The cropped composition places Icarus in an almost dreamlike state, offering a peaceful interpretation of the classical Greek tragedy.

After completing a BFA in painting and printmaking at the Glasgow School of Art, Spike continued his studies at the Royal Drawing School, which informs his current practice. His work has been exhibited at the French House, Mothflower Gallery, the Royal Scottish Academy, and is held in the Royal Collection.

—Adeola Gay

Liu Xin

B. 1996, Weifang, China. Lives and works in Xi’an, China.

Three Moons, 20025
Liu Xin
Luce Gallery

Where Does the Dust Collect Itself, 2025
Liu Xin
Luce Gallery

Moon Light, 2026
Liu Xin
Luce Gallery

The Bridges of Madison County, 2025
Liu Xin
Luce Gallery

Waltz of Love, 2025
Liu Xin
Luce Gallery

The Pillow Poem of Erebus, 2025
Liu Xin
Luce Gallery

Nightmare I , 2025
Liu Xin
Luce Gallery

In her first solo exhibition, “I Had the Same Dream as Freud,” now on view at Luce Gallery, Liu Xin mines Surrealist tradition as she taps her own dreams to envision the unconscious.

Her smooth, moody canvases feel like they’re draped in dark veils: Soft blues and greens contrast with velvety browns and tans. Women slumber by pools, lounge lustfully in bed, and dance for men who sit at the piano—they’re restless, charged, and hungry for something more.

In Where Does the Dust Collect Itself (2025), a woman sits poolside in a gauzy white dress. She gazes upward, perhaps in desperation. A flaming playing card, a three of diamonds, appears to levitate from her fingertips. Liu’s approach to the figure recalls the spindly, searching characters of Lenz Geerk while her recurring symbols—moons, playing cards, cats, pianos—evoke undersung American Surrealist Gertrude Abercrombie.

Liu received her degree from the Experimental Art Department of the Xi’an Academy of Fine Arts in 2021 and earned a Diploma from the school’s Intermedia Art Department in 2024.

—Casey Lesser

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