This winter, curator Amira Gad commissioned Mandy El-Sayegh to make her first solo exhibition in the Netherlands, a site-specific survey at Rotterdam’s The Depot titled Figure, Field, Grid that layers years of the artist’s projects across the institution’s third-floor gallery. El-Sayegh’s exhibition feels like entering the wound of our violent present. Images of atrocity, war, mass death, and torture are layered with headlines of political upheaval and paintings and drawings from the museum’s collection.

The Rose, a sprawling and timely exhibition on view through the end of the month at CPW, charts a constellation of solidarity, presenting the work of over fifty artists working across seven decades who use collage as radical, restorative fuel.

At the start of her 2021 retrospective at Tate Modern in London, Lubaina Himid asked: “We live in clothes, we live in buildings—do they fit us?” It’s a question that persists in the British artist’s latest exhibition, Make Do and Mend, now on view at FLAG Art Foundation in New York. 

Sara Cwynar’s current exhibition, Baby Blue Benzo, centers unattainable desire: that drug-like haze of possibility seducing the mind while convincing the body to stay at work. In October, Cwynar and Chloe Stagaman spoke over Zoom about desire, her recent photoshoot with Pamela Anderson, the color blue, and Baby Blue Benzo’s central protagonist: the dream car.