“Seeing comes before words,” writes art critic John Berger. I think of Berger’s words as I encounter, for the first time, the mysterious sincerity of Robert Bergman’s photographs. An abundance of these works are featured in The Lost Beauty of Humankind: Robert Bergman’s Portraits in the Hill Collection, an exhibition impeccably curated. 

Hanging in the vestibule of David Kordansky Gallery, Passport neatly sets up Odili Donald Odita: Shadowland, an exhibition that brings together the artist’s recent and older works with those of his father, the late Nigerian artist and academic Dr. Okechukwu Emmanuel Odita. The result is a powerful immersion in color and form enriched with considerations of time, legacy, and art making’s endless potential to foster both personal connection and political disruption.

In Long Pose (2025), the titular work of Ruby Sky Stiler’s exhibition at Alexander Gray Associates, these caryatids are tasked—as caryatids have been since ancient times—with the burden of supporting architectural elements with resilience and grace

Ellen Levy brings Ray Johnson’s life and art into a cohesive if somewhat unorthodox form in her biography of the artist, A Book about Ray. Beginning with the premise that not all stories must be told chronologically, Levy approaches Johnson’s life in the form of a fugue.

Into the Shining Dark at Welancora Gallery brings together nine of DuVerney’s new and recent works on paper which together present her attentiveness to Black womanhood, lineage, community, and survival. Through a series of impeccably rendered portraits and works of cut paper, she builds a constellation of separate women’s stories into a framework of ongoing solidarity that invites viewers to recalibrate narratives of collective history.

Tracing the threads, I find you at Sikkema Malloy Jenkins presents Teresa Lanceta's substantial weavings of wool and cotton, striated in dense colors, along with painted fabrics embroidered with hermetic signs and works on paper informed by centuries-old traditions of ornamentation and iconography.

Questions of how painting works—its illusions and intentions, what it is per se—thread their way through Merlin James's exhibition, Hobby Horse, and it is in this investigation that the artist pushes form and aesthetics.

For London-based artist Catherine Goodman CBE, drawing and painting are meditative acts, whether performed in the silence of her studio or the landscapes that call her back time and again. She infuses her practice with inspiration gleaned from poetry, film, travel, and memory. Goodman and Ann C. Collins met over Zoom to talk about Silent Music, Goodman’s exhibition at Hauser & Wirth that presents large-scale abstract paintings that pulse with her expressive brushwork and vivacious use of color. 

Lieu Non Lieu presents a cohesive array of works that question the certainty of physical form and self-recognition across more than thirty years of artmaking.

I try to make sense of the suddenness of color—chartreuse, canary, and cerulean—that unexpectedly follows the gray and beige work-a-day palette of the previous room as Sylvia shifts to landscape, painting a grassy lawn that stretches out to a coppice of golden trees. A low ridge rises behind them. Puffs of clouds, white, silver, yellow, and gray, drift through a perfect sky. I take it in for a moment, then inch closer. 

Stop Making Sense serves as both title and reproach. The exhibition presents sixteen of Henni Alftan’s recent paintings, each irresistibly imbued with a narrative potential that threatens to leap from work to work and unite the images scattered across the walls of Karma into one cohesive throughline.

Visual AIDS was formed in 1988 by a small group of curators and arts writers who were confounded by the lack of agency mustered by the art world in the face of the ongoing AIDS epidemic. “This organization has always thought of itself as an activist organization,” says Carlos Gutierrez-Solana, Treasurer of Visual AIDS, “but I think a lot of people don’t understand that there’s all kinds of activism. And quite honestly, my being alive today is an activist act. This organization existing is an activist act.”