Upon entering In Caravaggio’s Light, it’s clear the museum sought to mirror the drama of the Baroque in the design of the exhibition.

LOOK HERE celebrates creativity and tenacity, highlighting each person’s devotion to their crafts, which range from ceramics and mixed media sculptures to works on paper. The artists’ personalities come through in their work—the things that fascinate them and make them want to continue to create.

Upon first glance, Caleb Hahne Quintana’s figurative paintings on view in A Boy That Don’t Bleed are captivating, their vibrant jewel tones contrasting moody dark shadows.

With Northern Lights, the Buffalo AKG Art Museum underscores the shared experiences of artists drawing inspiration from the planet’s largest land biome: the boreal forest.

There’s an almost obsessive quality to Marc Handelman’s “Terra nullius” series (2024– ). At first glance, the paintings—uniform in size and bearing earthy hues, sometimes with barely visible imagery—resemble monochromatic abstract compositions that are often arranged in similarly colored grids. “Terra nullius” consists of 239 paintings, a selection of which are on view in West After West at Sikkema Malloy Jenkins.

Roughly twenty years ago, Emin returned to painting, a selection of which is on view in Tracey Emin: I Loved You Until the Morning at the Yale Center for British Art. Though three bronze sculptures of partial figures are also in the exhibition, it showcases her skill as a painter.

With Future Fossils at MassArt Art Museum, Ginger Gregg Duggan and Judith Hoos Fox curators behind the duo c² (curatorsquared) query in their wall texts, “If life as we know it were to come to a sudden stop, what would archeologists find decades from now? … When [the works are] viewed together as the remains from some kind of apocalypse, we get a glimpse into our current way of living.”

Gala Porras-Kim’s The motion of an alluvial record is part of a year-long, multi-sited project organized by Storefront for Art and Architecture that explores the relationships between water and land, using swamps as a conceptual structure to reveal the socioeconomic and ecological complexities of wetlands.

For his first solo show in New York, The Provocateurs at Charles Moffett, Keith Jackson uses his work to give life to a part of his family history that until recently he had never heard of: the 1937 displacement of 12,000 farmland tenants and workers in the Missouri Bootheel and the subsequent sharecropper protests of January 1939.