Marian Goodman Gallery, 1120 Seward Street, Los Angeles, CA (2026)

05/30/2026

Barely across the threshold of the Marian Goodman Gallery, the eye first seeks its point of reference. Ettore Spalletti’s delicate palette imbues the space with a matte, tactile clarity, while Dan Graham’s reflective surfaces reflect the visitor’s image, instantly drawing them into the artwork, Maud de la Forterie writes about our Paris exhibition in .

The encounter between Ettore Spalletti and Dan Graham stems from a keen intuition: to bring together two artists who have made sensory experience one of the central concerns of their practice.

To learn more about the exhibition please visit mariangoodman.com.

À peine le seuil de la galerie Marian Goodman franchi, le regard cherche d’abord son point d’appui. La palette délicate d’Ettore Spalletti imprègne l’espace d’une clarté mate et tactile, quand les surfaces réfléchissantes de Dan Graham renvoient l’image du visiteur et l’incluent aussitôt dans l’œuvre.

La rencontre entre Ettore Spalletti et Dan Graham répond à une intuition juste, réunir deux artistes qui ont fait de l’expérience sensible l’un des enjeux majeurs de leur œuvre.

05/29/2026

Marian Goodman Gallery is pleased to announce the installation of “Pierre Huyghe: UUmwelt” at at the Abby Aldrich Rockefeller Sculpture Garden on view 1 July to 29 November 2026.

At a time when AI is dramatically changing how we see, what does it mean to visualize a world that’s no longer centered on the human mind? Pierre Huyghe’s immersive, otherworldly works have redefined how art can engage with technology, human consciousness, and the natural environment.

“UUmwelt,” presented on freestanding screens throughout the Abby Aldrich Rockefeller Sculpture Garden, uses machine learning to explore what it might look like if nonhuman entities could reconstruct our thoughts. Working with a team of neuroscientists in Kyoto, Japan, Huyghe asked a human subject to imagine a set of images while an fMRI scanner recorded their brain activity. An artificial neural network then used the data from the scans to generate thousands of visual interpretations of what they might have imagined. Hallucinatory and fragmentary, these indeterminate mental images reveal the neural network’s attempts to interpret and refine the data while conjuring a reality different from our own. The work is activated in real time by the gazes of visitors to the Sculpture Garden (which are detected by a sensor) and data collected from virtual simulations of cancer cell mutations. These inputs determine the creation of new images and their sequencing on the screens, drawing metaphorical connections between the limitless proliferation enabled by algorithmic systems and metastatic growth.

Image: Pierre Huyghe. “UUmwelt,” 2018–ongoing. Deep image reconstructions, screens, sensors, sound, scents © Kamitani Lab / Kyoto University and ATR

05/27/2026

Marian Goodman Gallery would like to wish Nairy Baghramian a very happy birthday today!
Nairy will soon unveil an elaborate site-responsive installation, “Modèle vivant (S’empilant) (2026),” on the Messeplatz at Art Basel as an inaugural Basel Awards Gold Award recipient in the Established Artist category. Conceived for the square’s fountain, the work unfolds as a rhythmic assembly of four large-scale sculptural groupings that extend her distinctive artistic language, combining biomorphic forms with geometric support structures.

On 17 June, Nairy will be in conversation with Elena Filipovic, director of Kunstmuseum Basel and a jury member for the awards. Currently, Nairy’s work is on view in as part of Julie Mehretu’s “Our Days, Like a Shadow (a non-abiding hauntology),” and as part of “Julie Mehretu: Kairos/Hauntological Variations” at .

Nairy’s work comprises sculpture and installation often in reference to architecture and the human body. Her work addresses temporal, spatial and social relationships to language, history, and the present, with forms which materialize in response to contextual conditions or the premises of a given medium. These structures offer the possibility of an open and discursive dialogue in response to a site, or a freeing of the assigned relationship between an object and its meaning.

The artist has been the recipient of numerous awards including the Nivola Award for Sculpture (2023); Nasher Prize Laureate (2022); the Zurich Art Prize (2016); the Arnold-Bode Prize, Kassel (2014); the Hector Prize, Kunsthalle Mannheim (2012); and the Ernst Schering Foundation Award (2007). She has participated in the Yorkshire Sculpture International at The Hepworth Wakefield, UK (2019); Venice Biennale, Italy (2019 and 2011); Skulptur Projekt Munster, Germany (2017 and 2007); the 8th and 5th Berlin Biennale, Germany (2014 and 2008); and Glasgow International Festival of Visual Art, Scotland (2012).

Images: Portrait of Nairy in front of “Jumbled Alphabet,” by Christian Werner; “Modèle vivant, Se levant (mauve),” 2022

05/24/2026

Marian Goodman Gallery is pleased to announce the opening of a new solo exhibition by Pierre Huyghe at the .

The Beyeler’s extensive exhibition features newly created works alongside key pieces from recent years. The presentation, exclusively conceived for the institution, at Fondation Beyeler invites visitors into a “soulscape”– an inner world composed of multiple temporalities, voices, and states.

It continues the artist’s exploration of a metaphysical and fictional approach to existence, reflecting on our condition as hybrid beings, without hierarchy between fiction and reality, the living and the artificial, the human and the non-human. Both sensory and reflective, the exhibition adopts an outside perspective that extends beyond the human experience, becoming the site of formation of subjectivities and opening onto alternative dimensions of reality.

For Pierre Huyghe “fictions are vehicles that give us access to other possible worlds, to a counterfactual imagination. Such fictions, separated from the known, unconstrained by the here and now, are open to speculation, to other roads not taken. They make it possible to experience ourselves from the outside.”

The exhibition begins 24 May and runs through 13 September 2026.

Images:
1,3: “Liminals,” 2025. Film, sound; body and landscape photogrammetric scans, motion capture and real time physical recording through game engine. Courtesy the artist and Galerie Chantal Crousel, Marian Goodman Gallery, Hauser & Wirth, EstherSchipper, TARO NASU. Commissioned by LAS Art Foundation and Hartwig Art Foundation. © Pierre Huyghe / ADAGP, 2026.

2: “ After ALife Ahead,” 2017; Ice rink concrete floor, sand, clay, phreatic water, bacteria, algae, bee colonies, chimera peacock, aquarium, black switchable glass, Conus textile, incubator, human cancer cells, genetic algorithm, Augmented Reality, automated ceiling structure, rain, ammoniac, logic game
Skulptur Projekte Münster
© Pierre Huyghe / ADAGP, 2026.

05/22/2026

MARe presents an extensive solo exhibition dedicated to Bernard Frize, featuring a selection of over 40 paintings. For the past 45 years Frize has developed a singular practice that has continuously questioned the role of the artist and the act of painting itself.

Far from being a constraint, limitation serves as Frize’s true creative catalyst. By delegating decision-making to self-imposed methods, often resembling board games or logical puzzles, the artist allows the painting to happen on its own. His systems transform the canvas into a playground where repetition consistently yields surprise, ensuring the results remain vibrant and dynamic despite their near-scientific rules. Each work emerges from the interaction between the human hand and the physical laws of matter, provoked and multiplied at will.

This exhibition is open now through 16 August 2026.

Image: Bernard Frize, Brent, 1992. Acrylic and resin on canvas. 70 x 70 inch. © Bernard Frize

05/21/2026

Marian Goodman Gallery would like to wish Paul Sietsema a very happy birthday today!

“Sietsema is a collector. He finds and chooses things; then comes research, overflowing bookshelves and stockpiles of back-catalogue stuff to make sense of them. He regularly translates objects, which, in the course of such mediation, and beyond digital infrastructural activity, might be reconstructed, photographed, drawn, painted, or filmed. Subjects vary, but all seem to reflect on how meaning erodes but also accrues through reproduction,” Suzanne Hudson wrote of the artist in .

Throughout his career, Sietsema has engaged with the conditions of image-making as historical and contemporary practice. He often uses wildly labor-intensive techniques constructing intricate visual worlds. He also seems to ask, in so many ways, how representation is managed and how value circulates, and what the artist has to do with this passage of material into currency, Hudson writes.

To learn more about the artist, please visit mariangoodman.com.

05/19/2026

This week, in his work, “Wandering,” the choreographer John Jasperse responds to Julie Mehretu’s exhibition at , “Our Days, Like a Shadow (a non-abiding hauntology).” During (sold out) performances, Wednesday to Saturday, seven dancers move through the space, arranging their bodies along the white walls and between the archways. Weaving paths around Mehretu’s translucent paintings, they trace ephemeral lines and arcs, brushing by other Mehretu works on the walls — and by audience members, writes Brian Siebert, in an interview and profile with the artist and choreographer in today’s .

Mehretu was first attracted to working with a choreographer while looking at how her “TRANSpaintings,” which stand in metal brackets by the sculptor Nairy Baghramian, were arranged in another exhibition. Mehretu’s partner, the performance studies scholar Ariel Osterweis, proposed several choreographers. Mehretu was drawn to Jasperse, who has been making formally intricate and philosophically searching dances for more than 30 years.

As the two artists began to collaborate, Jasperse noticed similarities in how they worked. “The way Julie moves from a source into abstraction made me feel totally at home,” he said. “There’s a kind of layering that’s not about it being shown, to explain the work, but like a river that runs underneath it because we are trying to grapple with our place in history.”

When the gallery is filled with viewers, space might be tight and navigation tricky, especially through those narrow archways. “But I think there’s going to be something provocative about that intimacy,” Mehretu said. “Being close to the paintings and this other activity, trying to understand it with your own discomfort, shyness, exhilaration.”

Photos by Lila Barth for The New York Times:
Mehretu and Jasperse; Andrea Soto and Catherine Kirk; Maria Fleischmann and Zo Williams; Jace Weyant and Maria Fleischman; Catherine Kirk; Cynthia Koppe

05/18/2026

ATLAS, the first solo exhibition in the Netherlands by Steve McQueen, is currently on view at De Pont Museum. The exhibition presents the new work “Atlas” (2026) – created for the exhibition– and the museum’s recent acquisition, “Sunshine State” (2022). Alongside the sound work “Untitled” (2025) and the photo series “Bounty” (2024), these works form a powerful ensemble in which McQueen explores the boundaries of space, memory, imagination and time.

With ATLAS, De Pont Museum presents an artist at the height of his powers: sharp in observation, deeply human in resonance. The four works unfold as a journey from the personal to the cosmic – from the intimate to the collective and from physical presence to the immensity of the universe. The exhibition reveals McQueen as both filmmaker and thinker, intertwining art, film and lived reality.

ATLAS continues through 30 August 2026.

05/16/2026

Textiles, wood, glass, ceramics, 3D prints, and found objects are just some of the materials brought together in Edith Dekyndt’s solo exhibition “It could be James on the beach. It could be. It could be very fresh and clear” at . The presentation unfolds from a meeting between James Ensor and Albert Einstein, guiding visitors from an old world to a modern one where technology increasingly shapes our lives.

Be sure to catch the exhibition before it closes tomorrow, 17 Sunday 2026.

05/16/2026

Opening today at : “Tavares Strachan: The Day Tomorrow Began,” the first museum survey in the U.S. of the pathbreaking conceptual artist. Defining himself as an explorer and storyteller, Strachan has developed a singular artistic practice fusing art, science, and cultural inquiry.

While visiting, be sure to take in the “Bar Room,” (2022/2025), a permanent installation by Strachan which transforms a third-floor gallery at The Pizzuti into a space of connection, conviviality, and cultural memory. This installation invites visitors to step through an unmarked door into a fully realized reggae bar. Inspired by the neighborhood rum bars of Strachan’s youth in the Bahamas, “Bar Room” links Columbus with the Caribbean, celebrating Afro-Caribbean music and the living legacies of the African diaspora in Central Ohio.

“Tavares Strachan: The Day Tomorrow Began,” co-organized by Columbus Museum of Art and the Los Angeles County Museum of Art, continues through 3 January 2027.

Image: Tavares Strachan, “A Map of the Crown (Amasunzu Black),” 2023, © Tavares Strachan, courtesy of the artist. Photo: Jonty Wilde

Marian Goodman Gallery

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