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Join us from 6 to 8pm today, September 22, for the opening of "Groomed," an exhibition of seven new paintings by Bea Sca...
03/10/2026

Join us from 6 to 8pm today, September 22, for the opening of "Groomed," an exhibition of seven new paintings by Bea Scaccia, at Gagosian, Park & 75, New York. The second in a series of solo presentations by different artists curated by Francesco Bonami, it is Scaccia’s debut exhibition with the gallery.

Incorporating an array of deliberately clashing textures and garish colors, the collections of objects in the works on view come together to approximate faceless bodies and puppetlike limbs that are sheathed in fishnet tights, positioned as if in arrested motion. These partially formed figures appear to attempt activities—sitting, reclining, reading, climbing, and exercising—that they cannot quite complete: https://on.gagosian.com/4Ay0FOS
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Installation views, "Bea Scaccia: Groomed," Gagosian, Park & 75, New York, September 22–December 23, 2026. Artwork © Bea Scaccia. Photos: Owen Conway

Rachel Feinstein's debut exhibition in Greece, "Fates," is now on view at Gagosian, Athens. The exhibition’s centerpiece...
01/10/2026

Rachel Feinstein's debut exhibition in Greece, "Fates," is now on view at Gagosian, Athens. The exhibition’s centerpiece is a pair of large caryatid sculptures (both 2026)—"Petra" and "Helen" both pictured in production with the artist here—that combine the female figure with architectural forms.

Feinstein’s caryatids were fabricated in terra-cotta by Porzellan Manufaktur Nymphenburg, a German ceramics manufactory founded in eighteenth-century Munich. They are life-size and integrated with bases and architectural capitals that elevate them to eight feet in height. For Feinstein, caryatids are symbols of how women uphold the world and its social order: https://on.gagosian.com/4yl5rxu
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Rachel Feinstein with her caryatids, including "Petra" (2026) and "Helen" (2026), in production at Porzellan Manufaktur Nymphenburg, Munich, 2026; Artwork © Rachel Feinstein; Photos: Rocka Studio

29/09/2026

Gagosian is pleased to announce an exhibition of recent work by Georg Baselitz opening on November 12 at the 555 West 24th Street gallery in New York. Conceived and designed by the artist and curated by Richard Calvocoressi, "Meine Schule" is Gagosian’s first presentation of Baselitz’s work since his death in April, and includes his last completed paintings; his last sculpture, "Strawinsky" ("Stravinsky," 2026); and a second late sculpture, "1965" (2024).

"Meine Schule, die Jungs" ("My School, the Boys"), shown here, is one of two paintings from the series "Meine Schule," which carry echoes of Baselitz’s earliest memory, from the 1940s, of the schoolhouse in Deutschbaselitz, Germany, where his father was a teacher and where the family lived during the war: https://on.gagosian.com/4rAnwF4
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Artwork © Georg Baselitz 2026; Music: CLARA

An exhibition of new and recent paintings by Stanley Whitney, titled "Isn’t Love the Strangest Thing," is now on view at...
26/09/2026

An exhibition of new and recent paintings by Stanley Whitney, titled "Isn’t Love the Strangest Thing," is now on view at Gagosian, Hong Kong!

The show, which features paintings at a variety of scales, from twelve to seventy-two inches square, is named for a jazz standard recorded by Duke Ellington and His Orchestra in 1936, with vocals by Ivie Anderson. The allusion to jazz—Whitney often references musicians associated with the genre, from Charlie Parker and Ornette Coleman, when discussing visual practice—is a constant in the exhibition, as is the idea that one color may “call” to another, producing new rhythms: https://on.gagosian.com/4dRamOl
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Installation views, "Stanley Whitney: Isn’t Love the Strangest Thing," Gagosian, Hong Kong, September 10–November 7, 2026. Artwork © Stanley Whitney. Photos: Ringo Cheung

"Brice Marden: I Am Plane Image"—a comprehensive survey of paintings by the artist presented in collaboration with the E...
26/09/2026

"Brice Marden: I Am Plane Image"—a comprehensive survey of paintings by the artist presented in collaboration with the Estate of Brice Marden—is on view at Gagosian, West 21st Street, New York.

During the opening month, we're highlighting works from each decade of Marden's career. Calligraphy was often a focus of Marden’s practice; in the early 1980s, he realized it at scale in his first calligraphic paintings, which include “Study for the Muses (Eagles Mere Version).” Conceived in his studio in Eagles Mere, Pennsylvania, this painting’s color echoes the surrounding woodland.

When shown in the 1995 Whitney Biennial, this painting was titled "February in Hydra," vertically oriented, and dated 1991–94. Following the exhibition, Marden brought the painting back to his studio and continued to work on it for several years, ultimately giving it a new title: https://on.gagosian.com/4hq9gKD
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(1) Brice Marden, "Study for the Muses (Eagles Mere Version)," 1991–94/1997–99, The Art Institute of Chicago. Photo: courtesy Estate of Brice Marden; (2) Brice Marden outside his Hydra, Greece, studio, 1990. Photo: Bill Jacobson; (3) Installation view, “Brice Marden: I Am Plane Image,” Gagosian, West 21st Street, New York, September 15–December 12, 2026. Photo: Owen Conway; Artwork © 2026 Estate of Brice Marden/Artists Rights Society (ARS), New York

Taryn Simon's exhibition "Father Country I Do Love You" is now on view at the Solomon R. Guggenheim Museum in New York. ...
25/09/2026

Taryn Simon's exhibition "Father Country I Do Love You" is now on view at the Solomon R. Guggenheim Museum in New York. The show brings together photographs, text, videos, and sculptures by Simon in a singular interactive installation filling the entirety of Frank Lloyd Wright’s iconic rotunda.

The artist directs our attention to the whispers and unseen forces shaping the worlds we inhabit. On view during the 250th anniversary of the United States, her new project gathers a massive constellation of images around a sweeping narrative that spirals through the space. Visitors choose their own pathways through the whirlwind Simon has assembled: https://on.gagosian.com/4jbJLiy
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Installation view, "Taryn Simon: Father Country I Do Love You," Solomon R. Guggenheim Museum, New York, September 18, 2026–March 14, 2027; Artwork © Taryn Simon. Photo: David Heald © Solomon R. Guggenheim Foundation, New York

"Groomed," an exhibition of seven new paintings by Bea Scaccia, is now on view at Gagosian, Park & 75, New York. The sec...
25/09/2026

"Groomed," an exhibition of seven new paintings by Bea Scaccia, is now on view at Gagosian, Park & 75, New York.

The second in a series of solo presentations by different artists curated by Francesco Bonami, it is Scaccia’s debut exhibition with the gallery. The paintings on view depict elaborate, sumptuous scenes filled with accumulations of fabric and various accoutrements of feminine style. The nocturnal atmosphere is reinforced by the matte surfaces that Scaccia achieves by mixing gesso with acrylic to mute the colors, reworking them with airbrush, and applying oil paint to selected details: https://on.gagosian.com/4An0oOi
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Bea Scaccia, "A Correct Way to Unravel," 2026 © Bea Scaccia. Photo: Owen Conway

23/09/2026

Gagosian is presenting six major new, large-scale paintings by Albert Oehlen in the 2026 edition of Frieze London, which opens on October 14. This video captures one of these works being framed ahead of the fair.

In these paintings, the artist continues to explore the still-rich possibilities of a long-established medium and format, riffing on varied fragments, forms, and motifs. Throughout his oeuvre, Oehlen reimagines diverse sources in ways that render “subject matter” less significant than the act of transforming images into new states. Combining graphic brushstrokes and painterly drips with unexpected chromatic and textural juxtapositions, he tests the limits of coherence: https://on.gagosian.com/4jgCiia
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Artwork © Albert Oehlen. Video: Studio Fifteen. Music: "Identified Dancing Object" by Elm Lake, courtesy Epidemic Sound

As part of the Gallery Met Banners project, the Metropolitan Opera has commissioned Anna Weyant to create a painting to ...
23/09/2026

As part of the Gallery Met Banners project, the Metropolitan Opera has commissioned Anna Weyant to create a painting to celebrate the company’s first new production of Giuseppe Verdi’s "Macbeth" in nearly twenty years. The work is reproduced in the form of a sixty-foot banner installed on the façade of Lincoln Center through October 21 and is also be viewable inside the opera house.

Weyant’s painting, which shares the same name as the opera, portrays Macbeth with Lady Macbeth’s bloody fingermarks around his neck—a powerful metaphor for the stranglehold she has on her husband’s psyche and the way in which her treasonous actions ultimately seal his fate. The play’s title is rendered below the image in a gothic typeface with a suitably crimson hue: https://on.gagosian.com/47ev6vM
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(1,2) Anna Weyant, “Macbeth,” 2026, installation views, Metropolitan Opera, Lincoln Center, New York, September 8–October 21, 2026. Photos: Owen Conway; (3) Anna Weyant, “Macbeth,” 2026 (detail); Artwork © Anna Weyant

"Brice Marden: I Am Plane Image" a comprehensive survey of paintings by the artist, is now on view at Gagosian, West 21s...
19/09/2026

"Brice Marden: I Am Plane Image" a comprehensive survey of paintings by the artist, is now on view at Gagosian, West 21st Street, New York. Presented in collaboration with the Estate of Brice Marden, this is the first such exhibition of the artist’s work in the city in twenty years.

During the opening month, we're highlighting works from each decade of Marden's career. "Number One," pictured here, belongs to a group of works that employ a "post and lintel" structure—as the artist characterized the arrangement of horizontal panels supporting vertical panels in this painting and others—that recall the architecture of Greek temples: https://on.gagosian.com/4xSW8oh
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(1) Brice Marden in his 54 Bond Street, New York, studio with "Number One" and "Number Two" (both 1983–84), 1983. Photo: Joe Maloney; (2) Brice Marden, "Number One," 1983–84, Whitney Museum of American Art, New York. Photo: courtesy Estate of Brice Marden; Artwork © 2026 Estate of Brice Marden/Artists Rights Society (ARS), New York

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