5 Artists We Discovered at Felix Art Fair 2026 https://ift.tt/hSwjeVx

Sun-soaked and stylish, Felix Art Fair returned for its eighth edition on February 25, 2026, once again taking over the iconic Hollywood Roosevelt Hotel.

Founded in 2018 by collector and television executive Dean Valentine alongside Al and Mills Morán of local gallery Morán Morán, the fair has become a cornerstone of L.A. Art Week thanks in no small part to its storied setting and sharp eye for tastemaking exhibitors.

Few venues capture old Hollywood glamour quite like the Roosevelt. This year, blessed with warmer-than-expected weather (a welcome reprieve for blizzard-weary New Yorkers), the hotel felt especially inviting. From the David Hockney–designed pool that anchors the fair’s social scene to the guest rooms—replete with rich textures, hardwood floors, and the occasional sliding barn door—Felix balances conviviality with discovery, with artworks tucked inventively into the hotel’s intimate interiors.

And with this year’s edition featuring 57 galleries (more than 20 of which are participating for the first time) there is plenty to unearth. Nearly a third hail from Los Angeles, joined by exhibitors from as far afield as Tokyo and Seoul. That said, artworks across the fair regularly referenced its locale: Many highlighted the iconography and influences of the City of Angels, as well as Hollywood heritage and Californian culture.

Felix is also permeated by a remarkable sense of communality and collective spirit. That ethos was especially palpable at Felix’s 2025 edition, when organizers forged ahead in the wake of devastating fires across the city. Now, with renewed resilience, Felix—and L.A.’s art scene at large—continues to look forward.

Below, we spotlight five artists we discovered in the rooms, cabanas, and even the occasional bathroom at Felix Art Fair 2026.

Maddy Inez

B. 1993, Los Angeles. Lives and works in Los Angeles.

Showing with Megan Mulrooney

Among the greenery on the deck of L.A. gallery Megan Mulrooney’s elegant cabana presentation, a gentle trickle can be heard. Its source is The Sower (2023), a fountain by local artist Maddy Inez. Lurching and biomorphic, the ceramic form seems to rise from the ground itself, its shimmering surface evoking bubbling earth or calcified organic matter. What could sound foreboding instead feels hypnotic: water flows calmly through the sculpture, giving the shaded installation a meditative calm.

Inez is the daughter of Alison Saar and granddaughter of Betye Saar, two major artists who are towering figures in L.A.’s history, and her practice carries that legacy. Working primarily in ceramics, she creates forms that echo plant and animal life, often threading in personal references. Her ongoing series “Memory Jugs,” for instance, pays direct homage to her grandmother Betye’s references to African American folk art tradition. They function as intimate vessels that honor her family histories.

Julien Lischka

B. 1986, France. Lives and works in Paris.

Showing with sobering

Mustang, 2025
Julien Lischka
sobering

Le Bouquet , 2025
Julien Lischka
sobering

At a fair teeming with references to California, some of the sharpest takes on the state come from much farther afield. French painter Julien Lischka, represented by Paris gallery sobering, is “obsessed” with California, according to co-founder Patricia Kishishian—and it shows. In the gallery’s densely hung room, his paintings cut through with a cool precision and emotional weight.

Lischka cites West Coast movies like Michael Mann’s Heat (1995) and Nicolas Winding Refn’s Drive (2011), and his canvases have the visual impact of film stills. In Mustang (2025), a gas station’s red canopy casts a harsh, artificial glow that slices through inky darkness, catching the chrome and curves of the car below. The result is high-contrast images simmering with tension, which wouldn’t look out of place in either film.

Initially trained as a mathematician, Lischka brings a rigorous compositional logic to even his quietest scenes. Le Bouquet (2025), for instance, a meticulously rendered still life of flowers in a glass vase, reveals that same exactitude, with order and atmosphere held in taut balance.

Seo Hyun Kim

B. 1991, South Korea. Lives and works in Seoul.

Showing with Gallery Playlist

Dancing fossil, 2026
Seo Hyun Kim
Gallery Playlist

South Korean artist Seo Hyun Kim makes her U.S. debut with Gallery Playlist, presenting a suite of paintings made with traditional materials and oil paint to evoke geological and historical depth.

Working with pigment and oil on fabric-layered canvas, Kim builds up skin-like surfaces. The embedded fabric creates subtle ridges and valleys that catch the light of the hotel suite, creating a tactile presence. In Dancing Fossil (2026), a mythic, horse-like figure emerges from a swirl of pale pigment that cuts through a murky ground of indigo and charcoal. It’s like a ribbon of smoke, at once animated and frozen.

Kim joins several other rising South Korean artists in the gallery’s presentation, such as Park Yunji and Heejo Kim, who are deftly bridging inherited traditions and contemporary abstraction.

Sacha Ingber

B. 1987, Rio de Janeiro. Lives and works in New York.

Showing with Uffner & Liu

Stolen Document 3, 2022
Sacha Ingber
Uffner & Liu

Part painting, part ceramic, part architectural fragment, Stolen Document 3 (2022), on view at Felix 2026, distills Brazilian artist Sacha Ingber’s ongoing exploration of bureaucracy and craft.

The work consists of two irregular fragments of glazed ceramic mounted inside a thick, curving cast frame with a red inner edge. They’re presented like archaeological fragments, with sections of cane webbing—more commonly found in chair seats or backs—filling parts of the ceramic.

The wall sculpture belongs to a larger body of work inspired by a visit to the Victoria & Albert Museum, according to Uffner & Liu director Lucy Liu. There, Ingber began reflecting on how, as children, we are trained to see and organize the world in grids. Across the surface of the ceramic, loose, gestural marks echo the rhythm of handwriting without yielding legible information. At the same time, green-blue inkjet-transferred grids and administrative symbols impose a sense of rigid formatting. This tension between improvisation and order animates the work: it’s surprising, fragile, and beautiful.

Ingber, who previously exhibited with the gallery under its former name, Rachel Uffner Gallery, will mount a solo presentation at the gallery next month.

Keisuke Tada

B. 1986, Aichi, Japan. Lives and works in Aichi, Japan.

Showing with Chilli Gallery and Slip House

Painting of Incomplete Remains #302, 2025
Keisuke Tada
Chilli Gallery

Painting of Incomplete Remains #306, 2025
Keisuke Tada
Chilli Gallery

Deeply researched and painstakingly rendered, Keisuke Tada’s paintings can take up to two years to complete. At the shared booth of London’s Chilli Gallery and New York’s Slip House, the Japanese artist presents a series of fictional historical landscapes built from as many as 20 layers of acrylic and modeling paste. The dense surfaces convincingly mimic weighty materials such as rusted chains or wooden doors before being subjected to an artificial aging process. Through chemical reactions and physical force, Tada cracks, peels, and distresses the paint, giving the impression of a relic from an imagined past.

Up close, the works resemble 19th-century landscapes or Dutch still lifes salvaged from a damp basement after two centuries. Paint flakes and curls; entire passages appear to have fallen away. Yet the exposed “wood” beneath is itself meticulously painted. “Everything you see is hand-painted, and it has this very digital feel—it’s kind of uncanny,” said Chilli director Aubrey Higgin.

That play between reality and fiction lies at the heart of Tada’s practice. Having previously exhibited with Tokyo galleries, including Gallery Common, the artist made his New York debut late last year with Slip House.

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David Hockney's first English landscape painting to go on sale at Sotheby's. https://ift.tt/gNn0Hyw

English Garden (1965), the first English landscape David Hockney ever painted, is headed for auction. The work will be included in Sotheby’s modern and contemporary evening auction in London on March 4th. It is estimated to fetch between £2.5 million and £3.5 million ($3.38 million–$4.73 million). Ahead of the sale, the work will be on display for the first time in three decades in Sotheby’s London galleries. English Garden marks a pivotal moment in Hockney’s career; rigorous explorations of natural scenes came to define his work. The artist painted the tableau from memory while living in Boulder, Colorado. “English Garden was also painted in Boulder from a photograph of topiary work in England that I found in American Vogue,” the artist wrote in his 1988 book, David Hockney by David Hockney. “As it was painted at the same time as Rocky Mountains and Tired Indians (1965), some students thought it was a picture of Indians squatting on a lawn.” It was painted at a time when abstract art dominated the market, and Hockney’s portrayal added new depth to the landscape genre. The last time the work was publicly seen was in 1997, when it was sold at a previous Sotheby’s auction and entered a private collection.

Other sale highlights include a series of works by School of London artists, ranging from a 1972 self-portrait painted by Francis Bacon following a personal tragedy (estimated £8 million–£12 million; $10.8 million–$16.2 million) to a pair of career-defining portraits, A Young Painter (1958) (estimated £4 million–£6 million; $5.41 million–$8.11 million) and Blond Girl on a Bed (1987) (estimated £6 million–£8 million; $8.11 million–$10.8 million) by Lucian Freud. Leon Kossoff’s Children’s Swimming Pool (1971) (estimated £600,000–£800,000; $811,000–$1.08 million), which is considered to be the British figurative painter’s masterpiece, is also on offer.

Meanwhile, a suite of Impressionist and Modernist works by Claude Monet, Paul Signac, Fernand Léger, and Edgar Degas are also for sale, their estimates ranging from £2.5 million–£3.5 million ($3.38 million–$4.73 million) for Degas’s Scène de ballet (c. 1885) to £6.5 million–£8.5 million ($8.79 million–$11.49 million) for Monet’s 1884 oil on canvas Maison de jardinier, which he painted while in Italy.

Other works by major British painters round out the sale. They include a monumental sculpture by Barbara Hepworth, a large-scale example of Briget Riley’s curve paintings, and Glenn Brown’s only self-portrait.

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Hungarian conceptual artist Dóra Maurer dies at 88. https://ift.tt/J1V892z

Seven Rotations 1 – 6, 1979
Dóra Maurer
Whitechapel Gallery

Dóra Maurer, a multimedia artist who was a monumental figure of the Hungarian art scene, died on February 14th at the age of 88. Her death was confirmed by the the Széchenyi Academy of Literature and Art in Budapest, where she had served as president since 2017.

The artist’s work spans painting, printmaking, film, sculpture, photography, performance, and collage. She was fascinated by motion, and the way that forms are transformed by time and space. Over the course of her more than 50-year career, she produced experimental work using geometry and color theory that was grounded in playful investigation. “My whole way of thinking comes less from painting; my approach is much more influenced by my long years of conceptual and conceptional activity,” the artist once said of her work, according to a text published by White Cube, which represented the artist along with Carl Kostyál.

Maurer was born in Budapest in 1937. She studied painting and graphic arts at the Hungarian Academy of Fine Arts during the Hungarian revolution. She graduated in 1961 and began working as a printmaker, before expanding her practice to include painting and photography towards the end of the 1960s. Her marriage to Austrian artist Tibor Gáyor in 1967 allowed her the opportunity to travel between Budapest and Vienna, which gave her a unique perspective on both sides of the Iron Curtain that was reflected in her work.

The 1970s were her most productive decade, producing some of her best-known works including Quasi-images (1970–73), Seven Twists (1979), and her Reversible and Changeable Phases of Movement (1970s) series. Color began to show up in her work in the 1980s as the communist regime imposed less control over artists, and in 1990 she began teaching at the Hungarian Academy of Fine Arts. During this time she traveled back and forth between Hungary and Austria, sometimes smuggling other Hungarian artists’ work with her.

While she had been a star in her native Hungary since the 1970s, she only received greater international acclaim later in life. Curators Jens Hoffman and Adriano Pedrosa included a selection of her 1979 Seven Rotations dizzying self portraits in the 2011 Istanbul Biennale, which led to group shows at New York’s Museum of Modern Art, the Centre Pompidou in Paris, and the Museum of Fine Arts, Houston. Prominent solo shows have been held at the Tate Modern in 2019, and the Museum Ritter in 2014. Her work is held in prominent collections including The Metropolitan Museum of Art, the Art Institute of Chicago, and the Neue Nationalgalerie. In 2021 she was awarded the Artist of the Nation award, a Hungarian state honor for cultural achievements.

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Venice Biennale 2026 announces list of 111 artists participating in main exhibition. https://ift.tt/dBFQlqr

The 2026 Venice Biennale’s main exhibition, “In Minor Keys,” will include 111 artists, the organizers announced today. The exhibition, curated by the late Koyo Kouoh, will go on as planned following the curator’s untimely death from cancer at the age of 57 in May of last year. The biennale will run from May 9th through November 22nd, with pre-openings on May 6th, 7th, and 8th. The awards ceremony will be held on May 9th.

Among the 111 artists included, 105 are individual artists and 6 are artist-led organizations. This is far fewer than the 330 artists that were included in the 2024 Venice Biennale, which was curated by Adriano Pedrosa. Notably, there is a broad geographical focus among this year’s participating artists, many of whom hail from the Global South. There is also a strong uptick in living artists (both the 2024 and 2022 editions included many artists who were deceased).

The oldest living artist who will show in the exhibition, Mmakgabo Mmapula Helen Sebidi, was born in 1943, while the youngest, Mohammed Z. Rahman, was born in 1997. Other artists invited to exhibit in the show include Otobong Nkanga, Torkwase Dyson, Wangechi Mutu, Alvaro Barrington, and Tuấn Andrew Nguyễn. Australian artist Khaled Sabsabi, who will be presenting work at the Australian pavilion following a turbulent selection process, is also included in the main show.

Following Kouoh’s death, the Biennale confirmed that the curator had already begun selecting artists, considering commissions, and building out programming. She had also devised the main theme for the show. However, there will be no Golden Lion lifetime achievement awards presented at this year’s Biennale, as Kouoh did not have time to select them. As previously reported, the curator’s plans for the exhibition will be realized by her team, including advisors Gabe Beckhurst Feijoo, Marie Hélène Pereira and Rasha Salti, Siddhartha Mitter, and research assistant Rory Tsapayi.

“The pages of In Minor Keys, which Koyo sent to La Biennale almost a year ago, offer a striking insight into her curatorial practice and spell out a crystal-clear notion of her own concept of an exhibition,” said Biennale president Pietrangelo Buttafuoco in a statement. “It is an exhibition permeated with spirit, with a sacredness that puts the person, the human being, back at the heart of things, rediscovering the sense of being in the world by reacquiring a sense of proportion with respect to all earthly elements, and by looking to the sky once more.”

The show will be organized around motifs including “Shrines,” “Procession,” “Schools,” “Rest,” and “Performances”. “Shrines” in the Sala Chini, for instance, will be presented as a dual tribute to artist and poet Issa Samb and Beverly Buchanan, who worked across painting, sculpture, video, and land art.

The works under the “Procession” motif, meanwhile, draw inspiration from the act of engaging with a crowd rather than simply observing, like at carnival festivities or Afro-Atlantic gatherings. These include works by Big Chief Demond Melancon, Nick Cave, and Ebony G. Patterson (who was featured in the Artsy Vanguard 2019).

Elsewhere, Kouoh devised the “Schools” theme to give space to art institutions that have been pivotal in shaping artists,. “Rest” will present works by Linda Goode Bryant, Kennedy Yanko, and Annalee Davis to provide moments of contemplation and pause through multisensory installations and spaces. In addition, a program of performances, including one inspired by Kouoh’s 1999 performance Poetry Caravan, will take place in the Giardini.

The full list of artists participating in the 2026 Venice Biennale main exhibition can be found here.

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Major Lee Krasner and Jackson Pollock show to open at the Met. https://ift.tt/aVUhC2x

The Metropolitan Museum of Art in New York has announced a two-person show featuring major artists Lee Krasner and Jackson Pollock. The exhibition, titled “Krasner and Pollock: Past Continuous,” will be on view from October 4th, 2026 through January 31st, 2027. It brings together more than 120 paintings, works on paper, and ephemera from over 80 collections.

The comprehensive exhibition will cover the entire careers of the two Abstract Expressionist artists, who were peers and life partners, and trace the parallels between their practices. The show will mark the first time in over two decades that either artist has been the subject of a major show in New York.

The Eye is the First Circle, 1960
Lee Krasner
Royal Academy of Arts

“By considering each artist on their own terms while also foregrounding their consequential relationship, the exhibition situates Krasner's and Pollock's work within a broader cultural and artistic context,” said The Met’s director, Max Hollein, in a statement. “This project affirms Krasner and Pollock not only as defining figures of their moment, but as artists whose work continues to shape and inspire future generations.”

As distinct as their practices were, Krasner and Pollock also had an immense influence on each other’s work. They met as young artists when they were both included in an exhibition organized by the American painter John Graham in 1942, and married in 1945. Pollock soon shot to fame with his drip paintings which employed novel uses of paint on canvas, though his career was cut short by an untimely death in 1956. Krasner was known for her own approach to painting, in which the artist collaged paper and canvas from her previous works to form new compositions. Though she maintained her practice over the course of nearly six decades, she was largely overshadowed by Pollock—in 1949, LIFE Magazine asked if he was “the greatest living painter in the United States.” Recent dialogues have reconsidered the imbalance, and with the forthcoming exhibition, The Met seeks to course correct the narrative.

“‘Krasner and Pollock: Past Continuous’ begins with the fundamental premise that these artists are equals, partners in life, giants in the history of art, and revolutionaries who defined what abstraction could be,” said David Breslin, The Met’s curator in charge of the department of modern and contemporary art, in a statement. “Each found a partner who would insist on the primacy of art over life; and they both aspired to an art that was forged out of historical connections but that also promised freedom and radical possibility in a world forever changed by war. The exhibition concerns entwined lives but is also about how different artistic directions come from shared terrain.”

The show will be organized into twelve chapters, with some galleries dedicated to each artist individually, and others placing their work in dialogue. Highlights include Krasner’s Composition (1949), The Eye is the First Circle (1960), and Combat (1965), and Pollock’s Stenographic Figure (1942), Number 1, 1950 (Lavender Mist) (1950), and The Deep (1953). The show will feature rarely-seen works from private collections, as well as pieces on loan from institutions including the Museum of Modern Art (MoMA), the Whitney Museum of American Art, and the Centre Pompidou.

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Erin Wright’s Hyperreal Paintings Make Luxury Living Weird https://ift.tt/gQasdoG

Boy Tears, 2026
Erin Wright
Albertz Benda

Erin Wright, a painter who also trained as an architect at UCLA, has a keen eye for domestic detail. The emerging Los Angeles artist makes hyperreal compositions of luxury interiors, painstakingly recreating the latch on a window, the chipped grout between tiles, and the track on a sliding door. Yet something is always awry: too bright, too sharp, too glitchy. Wright’s approach undermines viewers’ notions of homes curated to perfection.

For her new solo exhibition, “Fever Dream,” at Albertz Benda in Los Angeles, Wright has responded to the mid-century modern architecture and contemporary interior design of this unique exhibition space. The home gallery, which occupies the residence’s ground floor, is a collaboration between art collector Thorsten Albertz and design showroom Friedman Benda; they will unite their collections for intimate exhibitions staged just blocks from the famed Chateau Marmont. Albertz purchased the 1970s home around 2015 and subsequently remodeled it. Wright gives the space a second makeover as she replicates architectural elements and furniture in her compositions, then rearranges the environment as she places her canvases in different spots than the rooms they depict. Her paintings reproduce the gallery’s windows and glass doors to scale, turning the features into what she calls “architectural stickers.” This allows her to move the kitchen door into the dining room, or the front entrance over the stairwell.

Wright’s conceptual renovations run parallel to her own homebuilding experience in Los Angeles. Last December, her family moved into a house she designed, saving time and money with her insider knowledge of the industry. For those without such connections, she acknowledges that the dream homes portrayed in her paintings—and perhaps homeownership at large—are mere fantasy.

Slider, 2025
Erin Wright
Albertz Benda

Untitled, 2026
Erin Wright
Albertz Benda

Painting interior details

In the parallel world of “Fever Dream,” Slider (2025) relocates the living room’s sliding glass door to a wall that faces the street. Instead of portraying what would be expected on the other side of this wall—the curb, fencing, and occasional car—Wright depicts the back of a woman resting in a wide, white chair and a red-tailed hawk who cuts across the sunset. The real lounger, Wendell Castle’s Concrete Chair (white) (2010), also happens to be located in the home, except it’s placed outside on the back lawn. “This house becomes an architecture model where I get to play a little game,” Wright said.

This was a first for Wright. Her previous shows have taken place in white-cube galleries and fair booth settings, like last year’s exhibition, “Mapping The Middle,” at Anat Egbi’s Tribeca outpost, and her solo presentation at the Armory Show with Sow & Tailor in 2024. In those environments, she viewed her style more as a trompe l’oeil. In a home, she feels that her approach as a painter-turned-architect really shines.

The paintings duplicate many objects in Friedman Benda’s inventory, like a fuzzy white chair by Fernando Laposse, Carmen D'Apollonio’s head-shaped vase, and a foggy crystal stool by Faye Toogood. Wright’s paintings transform them from showroom pieces into well-loved furniture that’s fully integrated into someone’s home. Boy Tears (2026), for example, shows a fresh-cut bouquet of wild daisies stuffed into D'Apollonio’s bronze upturned head, and in Untitled (2026), a dachshund glances up at a tennis ball, a cookbook, and two cocktail glasses perched on Toogood’s stool, which has been repurposed into an end table.

L.A. Influences, from David Hockney to Pierre Koenig

Through these objects, Wright indicates glamorous lifestyles that can feel unobtainable in Los Angeles. She also finds inspiration in other sources rooted in fantasy: The dogs and color palettes were informed by David Hockney’s pastel-hued portraits of Los Angeles’s backyard pools. The tableaux come from imagining parties at the Stahl House, which can be spied from Albertz Benda’s front windows. The home, designed by Pierre Koenig in 1960 and officially known as Case Study House No. 22, recently went up for sale with an asking price of $25 million. Photographer Julius Shulman made the mid-century masterpiece famous when he captured two partygoers chatting in a glass room, which juts off the edge of the world while Hollywood glitters below.

Hyperreal style

Wright paints in a hyperrealistic style, which she achieves by masking out portions of the canvas and airbrushing with acrylic. Her flat surfaces help the artwork look more photographic. Additionally, Wright frequently uses a glazing technique she learned from her mentor, painter Nancy Cheairs, which boosts the dreamy colors and adds a slight sheen to the atmosphere, like an Instagram filter.

“Heavy gestural figuration has been really prominent in the market for the last decade or so, but I’m not interested in making it,” Wright said. She’s not impressed by abstraction, and she wants to dispel the feeling that an artwork is only valuable if it demonstrates artistic expression. “I’m trying to remove the hand as much as possible,” she added.

Armchair, 2025
Erin Wright
Albertz Benda

An architectural perspective

Wright pairs this realism with a playful approach to resolution and glitches, casting doubts on subjects’ aspirational lifestyles and moving her scenes into the uncanny valley. Up close, the breezy palms in French Door (2025) appear blurry, even though the steel doors that frame them are crisp; and the woodgrain floor in Armchair (2025) wiggles a bit, like pixels have been racked back and forth due to a rendering error. Wright often positions her subjects in an isometric perspective, a foreshortened angle used in architectural renderings that can’t be replicated in real life. In Good Boy (2025), for example, the angle causes one of Toogood’s blocky chairs to dwarf a small dachshund.

Wright’s subtle warping of perception encourages viewers to rethink the craftsmanship and promise embedded in domestic detail. Viewers begin to fully admire the artistry required to engineer a knob, handle, or bathroom tile, yet question their own desire for a life pulled from Instagram. By situating Wright’s work in a house, “Fever Dream” shows that a painting may offer an unusual view of the home it’s in. Before knocking down a wall to add a window, consider transforming the view with a canvas.

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The 2026 Met Gala dress code has been announced as “Fashion is Art.” https://ift.tt/KThtsUD

Karlie Kloss, Feast for the Eyes, New York, Vogue, 2009
Patrick Demarchelier
Staley-Wise Gallery

The 2026 Met Gala, which launches the forthcoming “Costume Art” exhibition at the Metropolitan Museum of Art’s Costume Institute, has revealed its dress code. Vogue announced via Instagram that the directive, “Fashion is Art,” will invite guests “to express their own relationship to fashion as an embodied art form.” The festivities will take place on May 4th (colloquially known as “the first Monday in May”) under the leadership of co-chairs Beyoncé, Nicole Kidman, and Venus Williams. Zoë Kravitz and Yves Saint Laurent’s creative director Anthony Vaccarello will serve as co-chairs of the gala host committee, and a larger benefit host committee will include visual artists Tschabalala Self, Amy Sherald, and Anna Weyant.

“Costume Art” further solidifies a longstanding partnership between Vogue and The Met. It will be the debut exhibition in the museum’s 12,000-square-foot Condé M. Nast Galleries, honoring the media conglomerate that owns the magazine. The company provided a significant lead gift for the new galleries, which were designed by Brooklyn’s Peterson Rich architecture firm, with aid from New York’s Beyer Blinder Belle Architects. “The newly designed, state-of-the-art Condé M. Nast Galleries further reflect The Met’s commitment to displaying and appreciating fashion as an art form,” Met Director and CEO Max Hollein said in a statement.

As previously announced, the show will position fashion within the context of 400 objects from The Met’s permanent collection, which spans more than 5,000 years of art. According to Hollein, it “will present a dynamic and scholarly conversation between garments from The Costume Institute and an array of artworks from across The Met’s collection, elevating universal and timeless themes while bringing forward new ideas and ways of seeing.” The exhibition focuses on embodied experiences of fashion and is organized into sections including the “Naked Body,” “Classical Body,” “Pregnant Body,” “Aging Body,” “Anatomical Body,” and “Mortal Body.” Georges Seurat’s 1884 Study for “A Sunday on La Grande Jatte” will appear alongside a 19th-century “walking dress,” while 1st–2nd-century and 20th-century sculptures will find high-fashion counterparts by Glenn Martens for Y/Project in collaboration with Jean Paul Gaultier and Comme des Garçons, respectively.

Andrew Bolton, The Costume Institute’s curator in charge, shared that “the opening of the new Galleries will mark a pivotal moment for the department, one that acknowledges the critical role that fashion plays not only within art history but also within contemporary culture.”

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