5 Standout Shows to See at Small Galleries This November https://ift.tt/7VFpoDH

Y el agua cae otra vez/And the Water Falls Again〈水再次落下〉, 2026
Ana Teresa Barboza
NUNU FINE ART

In this monthly roundup, we spotlight five stellar exhibitions at small and rising galleries.

“Afterglow: From the Residue of a Departed Sun”

Tabari, at No. 9 Frieze Cork Street, London

Through Nov. 21

Barzakh #11, 2025 -2026
Mohamed Monaiseer
Tabari

Will the Gods Belong?, 8, 2023
Maitha Abdalla
Tabari

“Afterglow” brings together the work of four artists—Maitha Abdalla, Omar Kholeif, Mohamed Monaiseer, and Randa Maddah—as they explore the porous border between life and death through painting, spoken word and poetry, installation, mixed media, and sculpture.

These works draw on diverse cosmologies, from Emirati folk narratives and the African trickster myth to Islamic metaphysics. Egyptian artist Monaiseer presents delicate, constellation-like paintings of botanical forms on cotton fabric, while Emirati artist Abdalla paints gestural mythic scenes that blend animal and human forms. Kholeif, who is best known as a curator and author, paints reverie-like abstractions that hover at the edge of legibility, hinting at landscapes or figuration. Kholeif was born in Cairo to Egyptian and Sudanese parents, and raised between Glasgow and Los Angeles, among other places. His works are shaped by these diasporic experiences. Syrian Maddah, who was born in the occupied Golan Heights in 1983, paints mythic, mysterious paintings of women beings who merge into birds and trees. Maddah, who also creates puppets, films, and other media, imagines figures shaped by weighty psychological burdens.

Presented at Dubai gallery Tabari’s London space, the exhibition brings together an evocative range of creative voices from across the Middle East looking at mysteries of life, death, and the hereafter.

Tony Huynh

“Heaven or Las Vegas”

Galerie Christian Lethert, Cologne

Nov. 6–Dec. 18

As Days Go By, 2026
Tony Huynh
Galerie Christian Lethert

American painter Tony Huynh makes his European solo debut with “Heaven or Las Vegas,” his first show with Galerie Christian Lethert. His small-format oil paintings on wood draw from centuries of art history, particularly outsider art, as well as techniques from Japanese printmaking. Working in a restrained palette, Huynh portrays playful, almost childlike visions—a woman in a blue dress reading, a cow in a bucolic landscape, or a small child with a toboggan—that carry an air of solitude and loneliness. In one painting, As Days Go By (2026), a woman is shown from above resting fully clothed on a bed. Her face is blank and featureless, and her bed appears almost book-like in its form. The painting echoes the pithy and poetic works of Milton Avery.

Huynh was born in 1986 in San Francisco and lives and works in Sacramento. He earned his BFA at the California College of the Arts. His previous solo exhibitions include “Magical Thinking” (2025) at PABLO´S BIRTHDAY in New York, “A Summer’s Dream” (2024) at Scroll NYC Gallery in New York, and “Bay Vistas” (2023) at Bryant Street Gallery in Palo Alto, California.

Ana Teresa Barboza

“A Message From Water”NUNU Fine Art, New York

Nov. 6–Jan. 9

Camino a la montaña/Path to the Mountain〈通往山的路〉, 2026
Ana Teresa Barboza
NUNU FINE ART

Entre las hojas/Between the Leaves〈在葉子之間), 2026
Ana Teresa Barboza
NUNU FINE ART

Peruvian artist Ana Teresa Barboza draws from the landscape of her homeland in her fourth exhibition with NUNU FINE ART—her second in New York. Her mixed-media textile works render botanical forms from alpaca wool, Peruvian cotton, agave fiber, bronze, and photography.

Barboza has structured this exhibition as a visual diary, tracing an eastward journey across Peru, from the forests of the Utcubamba Valley to Gocta Waterfall in the Amazonas region. She has extensively studied traditional methods of producing plant-based fibers and natural dyes from local communities. Her dyes come from native plants that she pulverizes and boils, tying the works back to the ecosystem they came from. The centerpiece of the exhibition is Y el agua cae otra vez/And the Water Falls Again (2026), a massive, vividly colored textile work with a cascading form that evokes a waterfall moving through the cloud forest.

Barboza was born in 1981 in Lima. She studied at the Faculty of Art of the Pontifical Catholic University of Peru and has completed residencies in Melbourne, Geneva, Paris, and Taipei. She won first prize in the Central Reserve Bank of Peru’s Second National Painting Competition in 2010 and the MAC National Art and Innovation Award in 2019.

Peter Mohall

“När blommorna blommar”

QB Gallery, Oslo

Through Nov. 29

Blomsterstilleben på en odde, 2026
Peter Mohall
QB Gallery

Untitled (brushstrokes painting), 2026
Peter Mohall
QB Gallery

Norwegian Swedish artist Peter Mohall juxtaposes landscapes and still life in uncanny compositions. Here, vases of flowers sit directly on rocks in the terrain or in front of windows that offer a panoramic view of nature.

These landscape paintings, made with acrylic composite and painted in egg-oil tempera are purposely artificial, with their exaggerated and oversaturated hues. On the edge of several paintings is a control strip–like bands of color to each of the works, as if they were printed, underscoring their constructed nature. In two untitled works, the artist paints these test strip–like squiggles of color on otherwise bare linen canvases, heightening this photographic effect, reading like two blank negatives.

Mohall was born in 1979 in Löddeköpinge, Sweden, and lives and works in Nesoddtangen, outside Oslo. He graduated from the Oslo National Academy of Fine Arts and received a 2015 grant from the Ellen Trotzig Foundation at the Malmö Art Museum. He has had solo exhibitions with Luce Gallery in Turin, Koki Arts in Tokyo, Pablo’s Birthday in New York, and QB Gallery, and his work is in the collections of Fondazione 107 in Turin, the Central Bank of Norway, and the JP Morgan Chase Collection.

Quim Bové

“Levitation”

Bonner David Galleries, Scottsdale, Arizona

Nov. 5–Dec. 19

"The Horizon is Not Too Far II", 2026
Quim Bové
Bonner David Galleries

"Levitation XII", 2026
Quim Bové
Bonner David Galleries

Quim Bové creates bold compositions in pigment, acrylic, and resin, often pairing target-like patterns with gestural splashes of color. Bové has said that he hopes these paintings invite an emotional response rather than a fixed interpretation. “When you feel, you don’t think,” he said in a gallery statement.

Bové has been working for more than three decades and his works pull from philosophy, metaphysics, science, music, and drawing. His interests in classical music, jazz, and improvisation are foundational to his intuitive approach in which gesture becomes a way of thinking. Now living in the American Southwest, Bové also takes inspiration from the terrain’s vastness, intense light, and silence.

Born in Catalonia, Bové taught himself to paint. He has had more than 30 solo exhibitions, and his work has been shown across the United States and Europe, including his recent series “Architecture of the Universe.” In 1995, he founded the conceptual art group Andorran Currency.

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Arcature Fine Art / Ross + Co Gallery expands to new Palm Beach location. https://ift.tt/XM0QEOj

Arcature Fine Art / Ross + Co Gallery has opened two adjoining gallery spaces at 256 Worth Avenue in Palm Beach, Florida, marking the gallery's first major expansion after more than 25 years on the street. The second-floor space, called Suite 214, has been designed as an intimate setting for private viewings of secondary-market works. The gallery is especially known for its modern and contemporary holdings, offering works by Jean-Michel Basquiat, George Condo, KAWS, Keith Haring, Yayoi Kusama, Roy Lichtenstein, Pablo Picasso, and Andy Warhol, among others. The ground-floor space, named Suite T, will function as a dedicated exhibition venue, hosting a rotating program of solo shows, group presentations, and special projects spanning historical, post-war, and contemporary art.

“We wanted to create spaces that reflect both the foundation of our business and where we see it going,” said Ryan Ross, owner of Arcature Fine Art / Ross & Co. “The two galleries let us build on that foundation in different ways, through exceptional works on the secondary market and an evolving exhibition program that brings together artists and ideas across generations.” The gallery said the expansion responds to a broader shift toward locally driven collecting, pointing to research in the Art Basel Art Market Report on the growing importance of domestic collectors.

Operating under the names Arcature Fine Art and Ross + Co, the gallery has long maintained a dual concentration spanning the primary market for contemporary work and the secondary market for mid-century blue-chip material, representing and dealing in a roster that includes Banksy, John Chamberlain, Willem de Kooning, Helen Frankenthaler, Robert Motherwell, and Tom Wesselmann, alongside the artists featured in its new Suite 214 program.

That dual identity—part showroom for historical and contemporary blue-chip works, part platform for new exhibitions and discovery—is reflected in the design of the two new Worth Avenue spaces, which are intended to operate in tandem.

Previously located at nearby 238 Worth Avenue, the gallery had recently presented exhibitions including Nick Moss's “American Flag Series” this past March and “Jules Olitski: The Mitt Paintings 1990–1993” in January and February. The gallery also runs a Miami Beach space where it presented Matt DiGiacomo's “SMS” this past May.

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The Artsy Vanguard 2027: Sammi Lynch https://ift.tt/zsIy9eu

Fittingly, Sammi Lynch spends a lot of time outdoors in order to make her airy paintings of sweeping landscapes.

Whether sketching the water lilies of Claude Monet’s storied gardens in Giverny, France, or the seaside of Scotland’s Summer Isles, she’s always amassing quick yet sensitive drawings of a place, its colors, and the way it feels. Back in the studio, these studies become the starting point for large-scale oil paintings that are less literal depictions of a landscape than visual and emotional interpretations of it.

“The work that I make out in the landscape usually is quite instinctive and fast. I’ll be moving through a space and collecting information in the drawings or the smaller paintings,” she told us. “Sometimes, the drawings that you think weren’t good in the moment are the most useful when you get back to the studio.”

Fellow artists play an important role, too. “I feel like it’s beneficial to my work, and also just to my existence, to have people to work alongside,” she said.

Around the Islands, 2026
Sammi Lynch
Annely Juda Fine Art

Originally from the north of England, Lynch graduated from London’s Royal Drawing School in 2022. In 2025, she joined the esteemed roster of Annely Juda Fine Art in London, which has presented her paintings at major fairs including Art Basel in Switzerland and Hong Kong. Recently, she’s completed a string of residencies across France, Wales, and Scotland. In spring 2027, she’ll open her debut solo exhibition with the gallery.

We caught up with Lynch in London just before her move to Berlin. In this video, we follow her as she sketches with friends on a boat canal-side, draws among the lush greenery of Kew Gardens, and returns to her studio, where fleeting impressions find new life on canvas. Watch the video above and explore The Artsy Vanguard 2027.

Blue Suilven, 2026
Sammi Lynch
Annely Juda Fine Art

Video credits:

• Executive producer: Casey Lesser
• Creative director: Molly Gottschalk
• Director/DP: Susan Davis
• Editor: Jack Kuczala
• Designer: Douglas Escalante
• Special thanks to Kew Gardens for letting us film on location.

About The Artsy Vanguard

Now in its ninth year, The Artsy Vanguard is our annual celebration of 10 of the most promising artists working today. Spanning painting, sculpture, ceramics, photography, and more, the 2027 cohort brings together a new generation of artists making work that feels fresh, urgent, and distinctly their own. Through an original 10-part video series, we visit each artist in their studio and city, offering an intimate look at their creative processes, inspirations, and what it means to be an emerging artist today. Together, these are the talents shaping what’s next in contemporary art.

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Why Contemporary Artists Can’t Stop Making Green Paintings https://ift.tt/wJ5TDfC

The bartender looks up from making a drink, a lemon slice still held in hand, with an inscrutable expression, perhaps exhaustion, perhaps inviting. His hair, worn in two long braids, is a deep emerald hue, as is the long, billowy shirt he wears. A mirror positioned behind the bar reflects the night’s revelry in a dazzling array of perspectives, painted in verdant shades of green from mint to pine green, and passages of chartreuse.

The painting, The Bar on East 13th (2019) by Salman Toor, is the centerpiece of “Someone Like You,” the New York painter’s first solo museum show in Europe, on view through January 10th at the Courtauld Gallery in London. The work is Toor’s reinterpretation of Édouard Manet’s A Bar at the Folies-Bergère (1882), itself part of the Courtauld’s permanent collection, and on view in an adjoining room. Whereas Manet’s 19th-century masterpiece was a study of light and reflection in blacks, grays, and whites, Toor’s vision is a heady, seductive vision in lush leafy greens. Over recent years, Toor’s works have become known for reveling in these verdant hues, and at the Courtauld show, about half of the 19 paintings of queer and immigrant life on view are dominated by them. “There’s something glamorous about emerald green—and something nocturnal, inviting,” Toor said of his fascination with the hue, which he first embraced around 2019.

While Toor is perhaps the most well-known artist working with a green palette today, he is far from the only one. Contemporary artists including Brook Hsu, Colleen Barry, Jenny Morgan, and Huang Zhe are all embracing the color.

Why? For these artists, and others, green, with its associations with nature as well as toxicity and the alien, is the nuanced color for our complex times.

It embodies a collective longing for renewal

Fugue, 2026
Colleen Barry
Half Gallery

Art historian and author Evie Hatch, who runs a popular Instagram account about pigment history, says the earliest known uses of green in art trace back to the use of malachite in ancient Egypt. While the hue has had varied meanings across cultures and times, “the association between green and fertility and growth is a recurring one,” she said in an interview. In ancient Egypt, artists often gave the god Osiris—god of agriculture, fertility, and the afterlife—green skin to link the renewal of vegetation to his resurrection, for instance.

Hatch notes that green has more recently become the “color of ecological responsibility.” In June 1968, the Argentine artist Nicolás García Uriburu dyed Venice’s Grand Canal bright green with fluorescein during that year’s Biennale, to draw attention to pollution. Olafur Eliasson later paid tribute to the artwork with Green River (1998–2001), pouring harmless uranine into rivers in cities including Stockholm, Bremen, Los Angeles, and Tokyo.

For contemporary artists, the embrace of green is less rooted in any sense of environmental advocacy than a desire for personal renewal and reconnection to the earth. New York artist Colleen Barry made her first predominantly green painting, The Feet Washers (2022), after years of painting in browns, earth tones, and dark backgrounds. “It reminds me of spring emerging from winter, when everything suddenly comes alive after months of gray and brown,” she said. Earlier this year, Barry opened “Iconophilia,” a solo exhibition at Half Gallery. Most of the works in the exhibition leaned into an emerald palette. For Barry, green reflects a cultural turn away from detachment and irony toward something more earnest. “Green is the color of life, growth, and regeneration,” Barry said, “so it makes sense that it would accompany this renewed interest in the human condition.”

Green is also the color of poison and toxicity

Cell Death 16, 2018
Brook Hsu
Bahamas Biennale

The Symbolizer, 2024
Jenny Morgan
Anat Ebgi

But green is far from purely positive. In the 19th century, the hue became associated with poison and toxicity. Scheele’s green, a warm yellowish leaf hue, was developed in the 1770s by Swedish German chemist Carl Wilhelm Scheele and introduced commercially in 1814. The arsenic-based pigment was cheap and startlingly vivid. It was used to color candles, wallpaper, textiles, artificial flowers, and children’s toys. Yet, despite its widespread use, it was poisonous. Though most cases of arsenic poisoning were miserable but survivable, some were not. In 1861, Matilda Scheurer, a 19-year-old artificial flower maker in London, died of arsenic poisoning after dusting leaves with green powder. Her case was widely reported and helped turn public opinion against these pigments.

These toxic associations for green still linger. “Poison is still so often drawn in lurid green,” said Hatch, noting scenes in popular culture, such as the poisoned apple dipped in green brew in Disney’s Snow White. Green embodies, in her words, “paradoxical associations—with growth and renewal, and sickness and poison.” Last year, artist Maja Ruznic made an installation of paintings for the SITE Santa Fe International which centered around the color green. For Ruznic, who was born in Bosnia and lives in New Mexico, green became a subconscious way of referencing both the green fields of her homeland and the state’s history as a nuclear testing ground and, infamously, the site of Area 51. “I think about the land as being both beautiful but also still radioactive,” she said at the time.

Other lasting associations with the color green, as both glamorous and hallucinatory, may have been introduced by the popularity of absinthe, a green liquor popular during the late 19th century. Absinthe was fashionably consumed at the l’heure verte (or the green hour), a five o’clock feature at cafés in Paris and Prague. The drink was popular with artists including Van Gogh and Henri de Toulouse-Lautrec, and became associated (on poor evidence) with hallucination and madness. The green glow of absinthe is a direct inspiration for Toor’s green paints as well as the jewel tones of emeralds and jade.

New York and Wyoming–based painter Brook Hsu is known for her often mythic, sometimes autobiographical small-scale paintings rendered in hues of green, currently on view in the show “Trout Fishing in America” at Heidi in London. Hsu’s interest in the color is complex, but relates originally to the body and illness. About a decade ago, she saw someone vomit the “softest pale green-blue” and her relationship to the color changed. “The experience awakened me, and I fell in love,” she said in an interview. She thinks of herself as being in an ongoing relationship with the color, she added, and described her work with green as “intimate.”

For others, green simply offers a sense of distance

Control, 2025
Huang Zhe 黄喆
AAIE Gallery

Green smoke, 2025
Huang Zhe 黄喆
AAIE Gallery

For some artists, the color reflects the passage of time, the unreality of a dream state, or simply a critical distance from the demands of the moment. New York artist Jenny Morgan moved toward a cooler palette around 2016 and was deeply engaged with painting in minty tones by 2019, moving from skin tones to bodies and surroundings painted fully green. “Green felt like an immediate escape hatch out of the body,” she said, a move away from the warm and knowable toward something alien. She reads the wider trend of artists leaning into greens as a sign of a communal desire to escape, whether into nature, away from the body, or into a shared alternate space.

For Florence-based artist Huang Zhe, green is the color of memory. He grew up in a Buddhist family in southern China, where ceremonies and folk rituals were red, the color of good fortune. After more than a decade away, studying in Beijing and then Italy, “the red of my hometown gradually faded into yellow, and then into green in my memory.” Green became a way of filtering perception and emotion, he added, first carrying estrangement and later, as his work developed, associations with nature and vitality.

Barry sees green similarly, saying that in her figurative paintings, green can make an image feel “both intensely alive and strangely distant, like in a memory.”

Huang, for his part, sees artists embracing green palettes as a resistance to immediate legibility, a muddling of emotional meanings. “It can introduce distance and uncertainty, inviting a slower and more contemplative way of looking.” Green, in his reading, lets feelings stay unresolved.

But perhaps this penchant for green will only be understood in time. Art, as Barry said, “often reveals the psychological needs of its time before we can fully articulate them.”

Browse more green artworks in Artsy's collection.

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India Art Fair announces more than 120 exhibitors for 2027 edition. https://ift.tt/f8KaUI2

India Art Fair will return for its 18th edition at the NSIC Exhibition Grounds in New Delhi from February 4th through 7th, 2027, with more than 120 exhibitors spanning galleries, institutions, and design practices from India and abroad

Returning international galleries include David Zwirner, Galleria Continua, neugerriemschneider, Carpenters, Whitestone Gallery, and Sundaram Tagore Gallery, alongside new exhibitors including London’s Chilli (London) and Opera Gallery, which has 16 locations worldwide.

Leading Indian galleries also feature prominently, including Nature Morte, Vadehra Art Gallery, Chemould Prescott Road, Jhaveri Contemporary, Experimenter, and DAG. Three Delhi galleries—Gallery Vayu, Gallery XXL, and Pristine Contemporary—will also be joining for the first time.

The 18th edition of India Art Fair reflects the remarkable energy and ambition of South Asia’s artistic landscape today," said fair director Jaya Asokan. “What makes our 2027 fair particularly exciting is the momentum we have built through our year-round programming across the country.”

The fair’s Focus section will present solo presentations by artists including Rina Banerjee with Vadehra Art Gallery, Sameer Kulavoor with TARQ, and Ketaki Sarpotdar with LATITUDE 28, while its Platform section continues to spotlight South Asia’s craft and Indigenous artistic traditions, including a Tantric art survey from the Crites Collection and ICA Gallery.

Contemporary artist Jitish Kallat will reimagine the fair’s façade with a new architectural iteration of his work Here After Here After Here, rendering a network of highway signage across its exterior. “A highway sign stands here but is always about elsewhere,” Kallat said. “On the façade, the immediate becomes entangled with distant geographies and other times, as well as with places that live in myth.” Outdoor art projects elsewhere on the fairgrounds will include a large-scale installation by Birender Yadav presented by the Kiran Nadar Museum of Art and Time, Cosmos, and the City, a textile and graphic installation by December Design marking three centuries since Jaipur’s founding, presented by the City Palace Museum.

The fair will also mark the sixth edition of its BMW India-backed Future Is Born of Art Commission, which invites an artist to transform a space at the fair into a digital exploration of imagination and technology. “As BMW Group India marks its 11th year of partnership with India Art Fair, we reaffirm our commitment to giving artists the freedom to explore, experiment, and bring bold ideas to life,” said Hardeep Singh Brar, president and CEO of BMW Group India.

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5 Artists on our Radar in October 2026 https://ift.tt/gZt6Ob1

Inflorescência, 2026
Thalita Hamaoui
Simões de Assis

“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.

James Owens

B. 1995, Middlesbrough, U.K. Lives and works in London.

Night in the Woods, 2020
James Owens
PM/AM

I Don’t Like a Bank That Hides Its Skeletons, 2026
James Owens
Public Gallery

British painter James Owens conjures imagined scenes that are shaped by his childhood spent between the countryside and a Yorkshire fishing village. In Owens’s Symbolist-like paintings, sunflowers sway ominously and grass blades droop under beads of water. His figures are often overlaid with patterns and abstractions, so that they seem to recede into their surroundings in a kind of camouflage.

Owens was part of Artsy’s emerging art fair Foundations in 2024 and exhibited works at Kiaf SEOUL 2024. Earlier this month, Newchild Gallery announced his representation, and this November, Owens will be featured at the gallery in an upcoming duo exhibition with Yoo Geun-Taek.

Thalita Hamaoui

B. 1981, São Paulo. Lives and works in São Paulo.

Fim do horizonte, 2026
Thalita Hamaoui
Simões de Assis

Ritmo da terra, 2026
Thalita Hamaoui
Simões de Assis

Brazilian artist Thalita Hamaoui paints large, colorful landscapes built from memory and family storytelling. In a recent series, she painted scenery drawn from stories her grandmother told about her native Romania—a country Hamaoui has never visited. Filtered through the tropical environment she knows, the hills, seas, and flowering plants take on a lush look. Folklore, fantasy, and grief over her grandmother’s death run through the work, and the ground often seems to give way even as the terrain becomes a refuge, a place of possibility.

Hamaoui cites Brazilian Tropicália, a counterculture movement of the 1960s, along with Impressionists such as Pierre Bonnard as her influences. She studied fine art at Fundação Armando Alvares Penteado and spent years working in textile printing, an experience that continues to influence her understanding of form and color.

Hamaoui’s works were recently presented alongside historic works by Brazilian modern artist Miguel Bakun at a duo booth with Simões de Assis at Frieze London. Her New York solo debut, “Nascer da Terra,” was at Marianne Boesky. Earlier this spring she opened “Corpo de Vento” at Simões de Assis.

Qian Zhong

B. 1995, Sichuan, China. Lives and works in London.

Afterimage, 2026
Qian Zhong
Soho Revue

Artist Qian Zhong paints surreal, fragmented figures that explore women’s identity and desire. In her current solo show “Almost Body” on view at Soho Revue in London through October 31st, cropped-in snapshots of feminine bodies—an abdomen, a lower back, a crotch—are shown tightly clad in shiny lamé and sequined dresses. These spectacle-like ensembles offer a juxtaposition to the introspective, even lonely quality of the works, like coming home after a long night or standing alone on a crowded dance floor.

Zhong, who was born in Sichuan, earned her MA in painting at the Royal College of Art in London in 2025. Before that, she founded a studio in Chengdu, China, focused on public and community-based art, and her experience with large-scale murals informs how she handles space and visual impact on canvas.

Alejandro Javaloyas

B. 1987, Palma de Mallorca, Spain. Lives and works in Toulouse, France.

Is there a murder in your film?, 2025
Alejandro Javaloyas
Galeria Reus

Neither shall ye profane my holy name (Leviticus 22:32), 2026
Alejandro Javaloyas
Galeria Reus

Toulouse-based artist Alejandro Javaloyas creates intimately scaled, hazy, atmospheric images that balance a delicacy of form and color with a foreboding sense of unease.

This summer, Javaloyas’s solo exhibition “Un cuchillo que no corta” at Galeria Reus in Palma, Spain, delved deep into this tension. The book-size paintings were inspired by recurring nightmares the artist has, which he logs in a dream journal he has kept for years. Javaloyas then uses AI models to visualize his notes, selects a few images from many variations, and reworks them digitally into prints. The prints, made on cotton paper and layered with wax-based colored pencil, show burning houses, crashed cars, and baby teeth with the blur of a dream.

Javaloyas holds a master’s degree in film from ESCAC Barcelona Film School at the University of Barcelona, and many of his influences are cinematic, including directors such as Andrei Tarkovsky, Chris Marker, and David Lynch. This year, he won the 20th edition of the Prisma Art Prize with his colored pencil diptych titled Incredulità di San Tommaso (2026).

Austin Hayman

B. 1989, Santa Monica, California. Lives and works in Los Angeles.

Looking for a Friend, 2026
Austin Hayman
Make Room

Los Angeles painter Austin Hayman makes figurative oil paintings that teeter on the edge of Surrealism. Simple domestic scenes—girls braiding each other’s hair, for instance—are made unfamiliar by the introduction of out-of-place elements like a single green apple or a glowing candle that create a Magritte-like effect. These figures are usually people Hayman knows in spaces they inhabit.

A self-taught painter, Hayman has recently been on the rise. This summer, he had a solo show, “Looking for a Friend,” at Make Room in Los Angeles. Other recent exhibitions include the solo show “Won’t Say Anything at All” at Allgorithm Gallery in Los Angeles and the group exhibition “Inherent Manifest” at Gambit Gallery in New York.

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Centre Pompidou, MoMA, and M+ form new cultural alliance. https://ift.tt/Lwpl61x

Centre Pompidou, MoMA, and M+ have formed a new cultural alliance, the three institutions announced Friday. The museums have agreed to share their collections with one another's audiences, co-organize exhibitions and programs, and deepen their joint curatorial research and conservation work.

The museum directors—Christophe Cherix of MoMA, Laurent Le Bon of Centre Pompidou, and Suhanya Raffel of M+—signed a framework agreement at an event at M+ in Hong Kong. Each museum will retain its independence and identity, but the alliance is intended to give their combined 10 million annual in-person visitors and 125 million online visitors expanded access .

Founded in 1929, 1977, and 2021 respectively, MoMA, Centre Pompidou, and M+ each represented a new model for collecting institutions focused on the art of their time. Together the museums hold a broad, multidisciplinary record of 20th- and 21st-century creativity across three continents. “This cultural alliance makes our museums embassies for each other, in effect creating an extraordinary gateway that opens onto three continents,” MoMA’s Cherix said. “Beyond expanding our reach to an unprecedented level, the cultural alliance also deepens intellectual exchange, as we align our programming, organize joint exhibitions, preserve art, and unite audiences worldwide, allowing us to function as more than the sum of our parts.”

“No single institution can encompass the entire scope of global creativity. We aim to work on a broader and deeper level,” said Pompidou’s Le Bon, adding that the alliance would “enable long-term loans, deepening the presentation of key artists and movements.” The alliance arrives as Centre Pompidou marks its 50th anniversary with “Constellation,” a year of exhibitions and programs in Paris and internationally, while its landmark Beaubourg building undergoes an extensive renovation.

M+’s Raffel, meanwhile, framed the partnership as a chance to widen whose perspectives shape the story of modern and contemporary art. “As Asia's global museum of contemporary visual culture, M+ brings perspectives from Hong Kong and our region to this dialogue,” Raffel said “We hope to create new opportunities for artists and audiences, shape a more cooperative and sustainable future for museums, and reimagine how cultural narratives resonate around the world.”

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