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

09/08/2026

Querida Ana,

Hoy, como siempre, estás en nuestros corazones y pensamientos.
Today, like most days, you are present in our hearts and thoughts.

Te ofrecemos flores para celebrar tu vida y espíritu eterno.
We offer you flowers in memory of your life and eternal spirit.

Aunque ya hayan pasado 41 años desde que dejaste este mundo,
Even though it is your 41st year of departing this earth,

Tu legado perdura, para siempre.
Your legacy lives on, forever.

Con mucho cariño de tu familia, amigos y admiradores
With lots of love from your family, friends, and admirers

Ana’s solo exhibition at Tate Modern continues through 17 January 2027.

Images: Portrait of Ana Mendieta in 1976; “Untitled,” 1973, one from a suite of 6 black and white photographs; “Untitled: Silueta Series,” 1977, Color photograph

09/04/2026

The Benefit Auction at the Fondation Beyeler offers a chance to own a pivotal work (or two) by Pierre Huyghe and support a notable cause. The works in the auction have been donated by distinguished artists, galleries and collectors, in order to support the museum’s wide-ranging exhibition programs.

Huyghe’s “Timekeeper” project began in 1999, when the artist sanded down a 20 cm, eye-level section of white wall in a museum to reveal the layers of paint left by previous exhibitions. Through this process, the older coats of paint were uncovered within the center, in colorful concentric rings, akin to the growth rings of a tree, effectively creating a portrait of the institution’s exhibition history. This 2026 work is extracted from the Beyeler itself.

“Camata I” is a still from Pierre Huyghe’s film “Camata,” shot in the Chilean Atacama Desert. It shows a group of machines performing an unknown ritual on the unburied skeleton of a young man discovered in the desert. As the machines observe the skeleton and carry out their tasks, the endless ritual simultaneously becomes a progressive learning process. From everything they perceive, record, and process, an inanimate subjectivity takes shape.

To participate in the auction, which concludes the evening of 5 September (6 p.m. CET) please register at fondationbeyeler.ch.

Images:
“Timekeeper (Drill Core) Beyeler,” 2026. Architectural intervention, layers of paint and materials on the museum wall, gypsum fiberboard, wood
“Camata I,” 2024. Photograph

09/04/2026

In a culture obsessed with certainty, Nairy Baghramian has built a practice around doubt – treating it not as a limitation, but as a method for keeping sculpture open to relation, contingency and change.

From the structures of dependence embedded in her sculptures to the temporary public commission at Basel’s Messeplatz, Baghramian approaches art as an ongoing negotiation between bodies, objects, architecture and context. Her work resists fixed readings, finding possibility in ambiguity, humour and the refusal of mastery.

In her cover story for SHADOWPLAY Magazine, Nairy Baghramian reflects on public space, migration, and the value of remaining “emerging” after decades of practice — because, for the artist, curiosity survives by resisting the comfort of expertise.

Pre-order your copy now to read the full interview.
_ Photography by Jelka von Langen Jelka von Langen and Roman Goebel Roman Goebel
Fashion by Santi Rodriguez Santi Rodriguez
Interview by martin onufrowicz
EIC Michael Marson  Photographer’s assistant Timo Wagner timowagner_
_

09/03/2026

Tacita Dean’s landmark installation “FILM” makes its US debut at the Marciano Art Foundation (MAF) from 18 September 2026 through 27 February 2027.

Conceived at a time when analog filmmaking tools and processes seemed in serious jeopardy of disappearing, Dean’s piece acts as both a large-scale tribute and insistent statement about the singular depth, beauty, and vitality of film.

First produced as a site-specific project commissioned by Tate Modern’s Turbine Hall, the 11 minute long, silent 35 mm film installation takes Dean’s beloved medium as both its material and subject. Projected onto a vertical screen, “FILM” takes the form of a monumental strip of film gloriously emerging from the floor of the gallery, and as the work unfolds, the viewer experiences complex cinematic compositions that intercut a variety of images such as a waterfall, a street clock, a pine tree, a smokestack, a flickering bulb, a mountain, and an enormous ostrich egg.

As a hallucinatory cinematic apparition, “FILM” brings together the handmade and the visionary with the playful and the profound, freely collaging in-camera passages of breathtaking beauty and surrealist dissonance with numerous moments of surprise, humor, and absurdity.

A screening and discussion of “The Uncles” in 16mm with Tacita Dean and Laurence Kardish will be screened on the evening of 18 September at the Ted Mann Theater of the Academy Museum.

For details on Dean’s forthcoming exhibitions and events please visit her artist page at mariangoodman.com.

Image credits: Tacita Dean, FILM, 2011. Installation view, Tate Modern, London, 2012. Courtesy the artist, Marian Goodman Gallery, New York / Paris and Frith Street Gallery, London. Photograph: Marcus Leith and Andrew Dunkley

09/02/2026

Pierre Huyghe’s “UUmwelt,” at MoMA The Museum of Modern Art, 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. The title is a riff on the German scientific term umwelt (environment), referring to the idea that every species perceives the world according to its distinct physical characteristics.

The work is activated in real time by the gaze of visitors to the Sculpture Garden (which are detected by a sensor) and data collected from virtual simulations of cancer cell mutations. These results 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.

“UUmwelt” remains on view through 29 November 2026.

Pierre Huyghe. UUmwelt, October 2018–ongoing
Deep image reconstructions, screens, sensors, sound
Exhibition view, MoMA Sculpture garden, New York, 2026
Courtesy the artist
© Kamitani Lab / Kyoto University and ATR
© Pierre Huyghe / ADAGP, 2026
Photo credit: Alex Yudzon

09/01/2026

A new exhibition at Nasher Sculpture Center takes on the concept of memento mori through its intimate ties to creation, death, and remembrance, employing taxidermy to enliven something that has perished and transform living nature into still life.

In “Bruce Nauman: Identical,” his first exhibition organized by a Texas museum, Nauman presents recent sculptures and drawings depicting animal forms that build upon his long-term investigation of his own role as an artist and his daily practice in the studio. The exhibition features a group of polyurethane, silicone rubber, and plaster-cast animal forms fabricated from elements the artist had in his New Mexico studio, as well as a selection of related silverpoint and goldpoint still life drawings.

“Bruce Nauman: Identical” goes on view from 19 September 2026 to 21 March 2027.
–
Bruce Nauman, 3 foxes stacked horizontally with 4 hammers, 2024. Polyurethane foam, threaded rods, pencils, screws, hot glue, wire, hammers, wood, wax, and earplug. As installed: 117 1/2 x 38 x 19 inches (298.5 x 96.5 x 48.3 cm). @ 2026 Bruce Nauman / Artist Rights Society (ARS), New York.

08/31/2026

Leonor Antunes‘s “the homemaker and her domain II” at Kula explores the spatial, historical, and gendered realms of society.

Antunes’ practice provides a unique contemplation on modern art, architecture and design through a reinterpretation of sculpture in a given space. Inspired by important figures in the realm of creation in the 20th century, and often influenced by female protagonists, her work begins by measuring features of architecture and design that interest her. She then uses these measurements as units which can be translated into sculpture. Embracing traditional craftsmanship from around the world, she employs materials such as rope, leather, cork, wood, brass, and rubber to create unusual forms.

“the homemaker and her domain II” ” ends soon; be sure to visit before the exhibition concludes on 5 September 2026.

Photos: Nick Ash

08/28/2026

Please join us on Thursday, 3 September, from 6:30 – 8 pm, at Marian Goodman Gallery Paris for a book signing with Annette Messager.

Messager will sign copies of “Une hirondelle ne fait pas le printemps,” the catalogue accompanying her exhibition at the Musée de la Chasse et de la Nature, published by the museum together with Dilecta. The signing will take place in the presence of Colin Lemoine, curator of the exhibition.

Organized in collaboration with the museum and its bookshop, the event coincides with Messager’s solo exhibition at Marian Goodman Gallery Paris, “Histoires des oreillers,” which reopens on 1 September and continues through 26 September.

The exhibition brings together a selection of the artist’s historic and iconic works, their narratives turning on the romantic imagination and the secrets of intimacy. Within them, romantic relationships shift between tenderness, fear, and even menace — for Messager, those who love one another are bound to each other, their embrace as much a protection as a confinement.

Booksigning with Annette Messager
Thursday 3 September, 6.30 - 8 pm
Galerie Marian Goodman, Paris

📸 1. Portrait of Annette Messager; 2. Portrait of Colin Lemoine. Photo: Francesca Mantivani; 3-4. “Annette Messager: Une hirondelle ne fair pas le printemps,” published by Musée de la Chasse et de la Nature and Dilecta, Paris; 5. Installation view, “Annette Messager: Histoires des oreillers,” Marian Goodman Gallery, Paris. Photo: Rebecca Fanuele

08/27/2026

“The Ark” at Powerhouse Arts brings together nearly 90 animal sculptures by some 50 contemporary artists in a celebration of the natural world and a conservationist cri de cœur, writes Brian P. Kelly in The Wall Street Journal.

Bruce Nauman’s towering “Two Leaping Foxes” (2018) is an eerily acrobatic assemblage of tumbling taxidermy forms in which a pair of the petite canines pirouette, balancing massive deer and caribou above them.

It’s no surprise that a show that draws its name from a story of environmental disaster ruminates on death, Kelly continues. Actual dead pigeons make up Maurizio Cattelan’s “Ghosts” (2021), the taxidermied critters posted as sentries around the rafters of the cavernous space in which the show is staged. I saw the work at Paris’s opulent Bourse de Commerce several years ago; here the mood of these silent watchers is more dour, grittier, showing that even a topic as indelible as mortality is susceptible to atmospheric influence.
The Ark at Powerhouse Arts continues through 30 August 2026.

📸Installation views, The Ark, curated by Eric Fischl and Eric Shiner at Powerhouse Arts, Brooklyn, New York 2026
in partnership with The Church, Sag Harbor, New York

1, Bruce Nauman, “Two Leaping Foxes,” 2018. Polyurethane foam with steel and wire cables. Courtesy of the artist and Marian Goodman Gallery. © 2026 Bruce Nauman / Artists Rights Society (ARS), New York
Photos: Xavier Petromelis

2, Maurizio Cattelan, “Ghosts,” 2021. Taxidermy pigeons. Courtesy of the artist and Marian Goodman Gallery. Photo credit: Xavier Petromelis

08/26/2026

Palazzo Grassi – Pinault Collection presents a screening at Il Teatrino of “Such a Morning (2017, 85’)” by Amar Kanwar, in celebration for his solo exhibition “Co-travellers,” on view at Palazzo Grassi until 10 January 2027. The artist and curator Jean-Marie Gallais will be present.

The screenings, which take place on 28 and 29 August, offer an opportunity to explore a central aspect of Kanwar’s practice, in which images, documents and testimonies become tools for reflecting on memory, political violence, justice, and forms of individual and collective resistance.

“Such a Morning” is a contemporary parable on the search for truth. Its protagonist, a renowned mathematician, suddenly abandons his life and retreats into a decommissioned railway carriage, transformed into a dark space for an intense journey of self-discovery. From this experience emerges an “Almanac of Darkness,” a series of studies into different forms of darkness, through which Kanwar reflects on ways of reinterpreting the present and imagining new forms of thought and action.

The theater offers free entry until capacity is reached, though tickets are required for admission to the exhibition. For more information please visit pinaultcollection.com.

Marian Goodman Gallery

09/08/2026

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