The inaugural edition of the Shenzhen Art and Technology Biennale (SATB) opens to the public from May 30, 2026, to April 30, 2027 at Shenzhen International Museum of Art (SIMoA). With its theme A Glimpse of the Infinite, this edition is directed by Zikang Zhang.

An artist-researcher, SMITH (born 1985) navigates between photography, moving images, installation, sculpture and performance. His work develops in open cycles, often starting with photographs.

Reflecting on loss, resilience and the power of rebuilding, “Forever Marked By The Day: A Quarter Century of Mourning and Renewal” marks 25 years since the attacks on Sept. 11, 2001. Approached through an architectural lens, the exhibition fosters intergenerational dialogue...

Sean Scully is one of the most important painters of his generation. While known primarily for his large-scale abstract paintings, Scully also works in a variety of diverse media, including printmaking, sculpture, watercolor and pastel.

Fotografiska Tallinn brings a photo exhibition to Finland for the first time. Entitled PLAY, the group exhibition is part of the European Capital of Culture programme...

World Press Photo is an independent non-profit organization that champions the power of photojournalism and documentary photography to deepen understanding of the world’s complexities, promote dialogue, and inspire action.

OFFSCREEN Paris is a nomadic event that values contemporary, historic and avant-garde artists with image-based practices. With its distinct voice, it is a must-see highlight of Paris Art Week each October...

The Fondation Beyeler is a museum of modern and contemporary art open 365 days a year. Its exhibitions of renowned artists of the 19th, 20th, and 21st centuries have brought the museum international recognition and established it as Switzerland’s most popular art museum.

Kishio Suga brings together a representative group of the artist’s sculptures, dating from the 1960s to the ’90s, that probe the slippages between seeing and knowing. Works culled from Dia’s holdings are complemented by key loans...

Arnold J. Kemp: Not One Thing is the first institutional survey of work by the Chicago-based artist Arnold J. Kemp (b. 1968, Boston). The exhibition focuses on Kemp’s performative and material tendencies of masking, traced through various media.

New Humans: Memories of the Future will inaugurate the New Museum’s expanded building with an exploration of artists’ enduring preoccupation with what it means to be human in the face of sweeping technological changes. New Humans will trace a diagonal history of the twentieth and twenty-first centuries...

César Cuspoca (1987–2022) is a Colombian artist whose artistic practice principally nourishes questions of perception, the duality between appearance and disappearance, and materialism and immaterialism.

A project of international scope, undertaken in the autumn of 2015 with a range of private partnerships, CAMERA aims to reinforce its connection with the territorial system ever more: a unique hub dedicated to photography...

Julie Bullard, a work of photographic fiction by Nadia Lee Cohen and Martin Parr. The book is designed as a late-seventies photo album, closely modelled on an example acquired from eBay, complete with faux leather spongy board covers…

The Other side of the Mountain brings together contemporary artists working across the African continent and within the Afro-Nordic diaspora. They explore how cities and modern landscapes shape our connections to one another…

Marking the beginning of the 2026 Ocean Space exhibition season, TBA21–Academy presents Tide of Returns, an exhibition running from March 28 until October 11, 2026, based on the artistic-research of the Repatriates Collective

Argo is a creative residency program and project space in Athens, Greece. We are open to visual artists, writers, performers, musicians, scholars, and any other creative discipline. Each residency includes accommodation, studio space, research support, and participation in a creative community.

Bringing together paintings and drawings from Howell’s Series 10, the exhibition examines a question that sustained his practice for decades: how much difference is necessary for something to become visible?