American painter Jacob Lawrence’s (b. 1917, d. 2000) first European retrospective at Kunsthal KAdE corrects the record. The exhibition features seventy paintings, twenty-five drawings, and seventy-five prints created across seven decades, and positions Lawrence as modernism’s co-equal innovator.

The friendship between Austrian painter Maria Lassnig (1919–2014) and curator Hans Ulrich Obrist reads like a love letter. Decades of handwritten correspondence, paired with studio visits and collaborative exhibitions, built an archive of intimacy that now anchors Living with art stops one wilting! at LUMA Arles.

American figurative artist Sasha Gordon’s (b. 1998) Haze exists between narrative and sensation, where disorientation refuses resolution. The show presents a loose sequence of paintings depicting a protagonist subjected to increasingly brutal hazings by three towering antagonists.

María Berrío: Soliloquy of the Wounded Earth presents large-scale canvases rife with movement and color, illuminating a world where ancient myths confront contemporary realities.

In Telos Tales, Polish-German contemporary visual artist Alicja Kwade (b. 1979) manipulates ordinary materials and systems into metaphysical investigations. The exhibition gives audiences a choreographed spatial experience founded in time and nature, and grounded in human impact.

Rashid Johnson: A Poem for Deep Thinkers, on view at the Guggenheim Museum, fills Frank Lloyd Wright’s iconic space with more than ninety works that chart the artist’s thirty-year career. Organized by Naomi Beckwith and Andrea Karnes, the exhibition offers an immersive take on the visual language for which Johnson is celebrated.

Metal sculptor Richard Hunt’s (1935–2023) posthumous retrospective at White Cube Bermondsey in London celebrates industrialism. Richard Hunt: Metamorphosis – A Retrospective is the Chicago-born artist’s first major European showcase.

“Definitions belong to the definers, not the defined.” Toni Morrison’s words from her renowned novel Beloved resonate throughout Real Monsters in Bold Colors, an exhibition that brings together figurative painter Bob Thompson’s kaleidoscopic reinterpretations of art history with Candida Alvarez’s vibrant abstractions, the latter born from personal memory.

Music Inspiration: Beethoven’s Compositions in Modern Art, currently on view at Beethoven-Haus in Bonn, attempts to bridge the gap between auditory and visual experience by inviting artists to translate Beethoven’s compositions into contemporary artworks.

When American visual artist Glenn Ligon (b. 1960) agreed to participate in an exhibition alongside the late Julius Eastman (1940–90), he crafted Sparse Shouts (for Julius Eastman) (2024), an homage to the musician’s highly structured, repetitive compositions and a way to honor the conductor’s sparse instructions, which often included vague written directions (along the lines of “sparse shouts”), leaving much up for interpretation.

En Iwamura would like audiences to see what’s behind the mask, literally and metaphorically, from an objective starting point of his own making. The artist’s solo exhibition Mask engages the viewer in spatial relationships with inanimate objects come to life by way of fourteen ceramic masks.

The Land of the Sun, on view at Mariane Ibrahim Gallery in Mexico City, presents Salah Elmur’s latest works, a continuation of his distinctive “figurative abstraction,” a term the artist uses to describe his artistic practice, the tones and shapes reminiscent of renowned Mexican artist Diego Rivera.

In Stony the Road, American artist Dawoud Bey (b. 1953 in Queens, New York) places himself in a Richmond, Virginia corridor steeped in historical trauma.

Mark Bradford reveals the cyclical nature of violence and racial injustice, as prevalent today as during the Great Migration era one-hundred years ago in America. On view at the Hamburger Bahnhof’s National Gallery of Contemporary Art through May 18, 2025, the artist’s first German solo exhibition, Keep Walking, marks the reopening of the historic Rieckhallen in Berlin.

Ravenous, exhausted, carved open—these are some of the emotional responses the viewer will experience at South African artist Turiya Magadlela’s survey exhibition In Our Barren Womb Boys Weep. The artist invites audiences to immerse themselves in the bodily experiences of women, to be tugged and prodded.

Ibrahim Mahama (b. 1987) knows a thing or two about repurposing objects. A SPELL OF GOOD THINGS, the Ghanaian artist’s first solo exhibition at White Cube New York, blends concepts of physical labor and postcolonialism, moving away from the jute sack installations that mark his earlier work and instead showcasing items Mahama salvaged from the former Gold Coast Railway system and Northern Ghana’s Tamale Teaching Hospital.