Gagosian is pleased to announce an exhibition of new tennis court paintings by Jonas Wood. The gallery’s tenth exhibition of Wood’s work, and its first based in Los Angeles, will be on view through April 25, 2026. 

South African artist Cinga Samson’s exhibition of new paintings is titled ‘Ukuphuthelwa’, an isiXhosa word in the artist’s native language that translates as ‘unable to sleep’. Unlike the English word ‘insomnia’, the isiXhosa term carries no negative connotation and accordingly, for Samson, sleeplessness is not a condition to be cured but a state of spiritual alertness, a sensitivity that deepens in the dark. Rendered in the artist’s signature occluded palette of near-blacks, carbon and deep Prussian blues, Samson’s scenes depict men-like figures, dogs in overgrown fields and portraits of plant life native to South Africa. Encouraging slow, contemplative looking, a sense of existential gravity pervades Samson’s new series of oil paintings, attempting to depict a vast reality that is continuously…

Harper’s is pleased to announce Prussian Blue, New York–based artist Sophia Huitema’s first solo exhibition with the gallery. The presentation features new works by Huitema and will be on view through April 25, 2026. 

In February 2026, SPARC (Social and Public Art Resource Center) will return to Jeffrey Deitch to exhibit the latest complete segment in the expansion of The Great Wall of Los Angeles mural, fifty years after its initial production.

Right from the jump; it’s all here. FUTURA 2000, the Bronx, graffiti, street culture, 50 years of art history…, like there are few art forms, and an artist for that matter, that represent a particular era (and the transcendence of said era to move through the years) quite like FUTURA. He and graffiti go together, even though FUTURA didn’t linger in graff for too long. He took the freedom, the expression of it, and took it with him. I think that is an important part of the lore of the great FUTURA; his is a story of taking the essence of a thing and moving it through his life, applying it to all endeavors while not repeating the act to…

Lyles & King is pleased to present Time Bends for the Tender, a solo exhibition of Akea Brionne’s work on view through February 21, 2026. Drawing inspiration from bell hooks’ Sisters of the Yam, this series explores the interior landscape of black women cultivated in order to survive the psychic, social, and geographic pressures placed upon them.

Welcome to the latest edition of Nuart Aberdeen. As far as we can ascertain, this will be the first street art festival in the world with a focus primarily on poetry and text-based works. Over the years, for better or worse, the large scale colourful figurative mural has come to dominate the culture we work with, and although it’s an aspect of the culture we support, due to the resources required to produce murals, they’re perhaps also the least democratic form of art on the streets. As curators, researchers and producers working in “festival” culture, we have a responsibility to not only showcase and celebrate the most interesting and technically competent works of our time, but to also ensure the…

Mrs. is pleased to present The Light That Loses, The Night That Wins, Molly Bounds’ New York debut solo exhibition, on view at the gallery’s 6040 56th Drive location. This exhibition marks the Los Angeles-based artist’s second presentation with the gallery following The Armory Show in September 2025. The show will be on view through May 2, 2026.

HESSE FLATOW is pleased to announce the opening of Franklin, an exhibition of paintings and works on paper by Nat Meade, marking his third solo presentation with the gallery. The show is on view through April 18, 2026. 

PPOW are pleased to present Orchid Rain on the Underground, Chris “Daze” Ellis’s third solo exhibition with the gallery. The show is on view through April 25, 2026. Featuring a new series of paintings, multimedia installation, and a site-specific mural, the exhibition harnesses the passion and spontaneity of the graffiti movement of the 1970s and 80s while demonstrating a thoughtful and meticulous practice honed over the past five decades. While the version of New York City that fostered Daze’s beginnings as a fine artist may feel like a bygone era, the works in this exhibition are evidence of its enduring legacy. By revitalizing that foundational energy for the present moment, Daze affirms the continued relevance of those figures and places, and their profound…