Lotus L. Kang | 52 Walker | 11 April – 7 June
Two greenhouses in Lotus L. Kang’s solo present at 52 Walker, ‘Already’, supply a glimpse into her artistic laboratory. Inside these areas, Kang exposes what she calls ‘skins’, referring to unfixed photographic movie. A large sheet of this movie hangs inside one greenhouse, Receiver Transmitter (49 Echoes I) (2022–25), alongside small objects together with plaster- and aluminium-cast birds and dried lotus tubers. Within the artist’s close by ‘Molt’ collection (2022–25), movie cascading from the ceiling adjustments color over time, recalling In Cascades (2023), the set up that earned her acclaim on the 2024 Whitney Biennial. Adapting to the atmosphere, the light-sensitive materials in these installations speaks to our personal growth as we expertise the world round us, embodying themes of impermanence and transformation. You may learn Simon Wu’s profile of Kang for frieze right here.
Sam Moyer, ‘Girl with Holes’ and ‘Topic to alter’ | Hill Artwork Basis; Sean Kelly Gallery | 1 Might – 1 August; 2 Might – 14 June
Multidisciplinary artist Sam Moyer’s follow is on full view in concurrent exhibitions at Hill Artwork Basis and Sean Kelly Gallery. Included within the latter presentation are new summary work on canvas with reclaimed inlaid stones organized into fernlike kinds. In the meantime, the institutional present supplies context for these work with its concentrate on the artist’s penchant for incongruities and contradictions throughout quite a lot of media. In terrazzo soapstone sculptures, summary slabs interlock like a jigsaw puzzle, delicately balanced to help each other – a relationship evoked by titles like Dependents 7 (2021). The exhibition additional contextualizes Moyer’s follow by displaying her work alongside items from the gathering by artists together with Vija Celmins and Isamu Noguchi.
Kang Seung Lee | Alexander Grey Associates | 26 April – 31 Might
Time collapses in Kang Seung Lee’s solo present at Alexander Grey Associates, ‘Physique of Reminiscence’ – the South Korean-born, Los Angeles-based artist’s first presentation with the gallery. Throughout drawing, mixed-media assemblage and video, Lee considers the physique – specifically, the queer physique – as a vessel of remembrances and a private archive. Specializing in pores and skin, he characterizes growing older as not a path in the direction of loss of life however as a steady strategy of regeneration. Within the movie Pores and skin (2024), Meg Harper, a dancer in her 80s, is seen acting from reminiscence, her wrinkles proof of the physique’s capability to be each weathered and resilient. Lee’s assemblages, in the meantime, pair visible references to queer historical past with wooden veneer – the pores and skin of timber – marked with traces of burl or knots. ‘These knots are fashioned by way of harm, by way of illness,’ Lee tells me. ‘This course of, this trauma, creates one thing lovely.’
Pierre Huyghe | Marian Goodman Gallery | 6 Might – 21 June
Teetering between otherworldly and post-apocalyptic, ‘In Imaginal’ at Marian Goodman Gallery is an immersive presentation of Pierre Huyghe’s unnerving potential to problem the viewer’s understanding of actuality. Creating fictional narratives, Huyghe’s movies, sculptures, images and installations study the connection between the human and the nonhuman. Within the movie Camata (2024), additionally proven at Punta della Dogana throughout the 2024 Venice Biennale, machine-learning robots within the Atacama Desert carry out a ritual on a discovered human skeleton. Utilizing synthetic intelligence, Camata endlessly edits itself in response to sensors within the gallery. Additionally utilizing AI to be taught in actual time are Huyghe’s alien-like gold masks, Idiom (2024), which mumble an unintelligible language: a haunting soundtrack to accompany the viewer’s expertise.
Sanya Kantarovsky | Michael Werner Gallery | 8 Might – 3 July
Sanya Kantarovsky took longer than standard to complete the brand new work, works on paper and monotypes for his solo, ‘Scarecrow’, at Michael Werner Gallery. The artist, who is thought for figurative work stuffed with humour and angst, initially supposed the present to open final October, however determined to postpone, taking time to revisit the items and ‘acclimate to them past only a easy feeling of approval or disapproval’, he tells me. Throughout this time, Kantarovsky noticed his topics evolve and turn out to be much less grounded in a particular narrative. ‘A portray would pivot barely or drastically due to an expertise, an exhibition, an article,’ he explains. Nonetheless, the works on view reference actual occasions, such because the loss of life of Hera – the canine of artists Dana Sherwood and Mark Dion – who Kantarovsky depicts mendacity peacefully coated in flowers (Hera, 2025).
Catherine Opie | Lehmann Maupin | 3 April – 10 Might
From Yves Klein’s fixation with Worldwide Klein Blue to Pablo Picasso’s depressive Blue Interval, the color blue has lengthy been a supply of inspiration for artists. In Catherine Opie’s meditative investigation of the hue at Lehmann Maupin, ‘A Research of Blue Mountains’, new images and ceramic sculptures – of which this exhibition is her first presentation – showcase the ephemeral, shifting shades of the sky over Norwegian mountaintops. Opie’s eager concentrate on the refined variations of sunshine and ambiance provides a shocking show of the vary of nature’s magnificence, transporting the viewer to the fleeting second every tone was captured. The breathtaking blue of Untitled #9 (Norway Mountain) (2024) appears to spill onto the customized plinth that holds Opie’s quaint earthenware mountains.
‘The Making of Fashionable Korean Artwork: The Letters of Kim Tschang-Yeul, Kim Whanki, Lee Ufan and Park Search engine optimization-Bo, 1961–1982’ | Tina Kim Gallery | 5 Might – 21 June
‘The Making of Fashionable Korean Artwork’, an exhibition and publication of the identical identify, provides a deeply researched, intimate view of the challenges artists in Korea confronted within the aftermath of the Korean Conflict (1950–53). Within the absence of institutional help, and amid political and social upheaval, artists seemed to 1 one other for succour, writing letters that expressed shared issues. On view at Tina Kim Gallery alongside works by the artists who penned them, such archival supplies situate their practices throughout the postwar context. The letters supply not solely glimpses of the personalities of the authors – Kim Tschang-Yeul’s humour contrasting his reticent manner, because the publication describes him – but in addition insights into how their handwriting pertains to their creative kinds, with Park Search engine optimization-Bo’s be aware recalling his well-known collection of calligraphic work, ‘Écriture’ (1967–2023).
Important picture: Kang Seung Lee, Untitled (Pores and skin, Constellation 5) (element), 2024, graphite, watercolor, acrylic, paper, goatskin parchment, mom of pearl buttons, vintage 24K gold thread, sambe, fern fossil from Carboniferous interval, wild olive burl, maple burl, acasia thorn, straw braid, drift wooden, bookbinding wire, dried seeds, dried palm leaf, piercing needle, pebble, pearls, silver wire, ash olive burl veneer mounted on Dibond, walnut body, 123 × 245 × 6 cm. © 2025 Kang Seung Lee, courtesy: Alexander Grey Associates, New York; Commonwealth and Council, Los Angeles and Mexico Metropolis; Gallery Hyundai, Seoul
