The title of Henry Taylor’s first major exhibition in France, installed in a neoclassical townhouse near the Champs-Elysées, doesn’t go unnoticed. The expression, which comes from Taylor’s mother’s lexicon, turns heads along with the rich colors of his beautifully rendered, loose paintings on view in the newest outpost of Hauser & Wirth, located in an enclave in the 8th arrondissement that has been historically associated with French luxury but has also a reputation for being “stuffy.”

The exhibition curated by Fernanda Brenner brings together a vast range of media, as well as artists from different contexts and career stages. Its title comes from a letter by the poet Paul Celan written in 1960.

The new iteration is part of TITAN, an outdoor exhibition from kurimanzutto gallery in phone booths all located within a short stroll along 6th Avenue between West 51st and West 56th Streets, in Midtown Manhattan. The site, one of the main arteries of the city, was selected for its abundance of advertising and proximity to cultural and financial powerhouses—Radio City Music Hall, UBS, CIB, MoMA, and Peggy Guggenheim’s original gallery Art of This Century.

Although the artists each cultivate highly personal, distinctive practices, they choose to challenge prevailing modes of art making through serial and conceptual approaches that often highlight the unspoken, the unseen, the unheard of—and that rely on the spectator.

New Yorkers who had an opportunity to see the exhibition Hélio Oiticica: To Organize Delirium at the Whitney Museum in 2017 may have tried on his “Parangolés”—multilayered garments and capes made of fabric, plastic, or paper often bearing political slogans.

Carvalho’s experiences were cultivated by his fascination with multiple fields of research, including psychoanalysis, ethnology, literature, and politics—“a source of mental turbulence” that he considered the foundation of artistic invention.