This seemingly straightforward question opens into a larger project—not to pin the term down with a definition, but to let it unfold. What fascinated us was its ambivalence: its uses, misuses, histories, politicization, trends, and the ways it has been claimed to hold power—or to hold on to a dream, often defining positions that came to capture the zeitgeist of their era.

In conversation around his debut solo exhibition at Almine Rech, Dustin Yellin describes his work as an inquiry into the unresolvable.

A central voice in the Italian Transavanguardia, Enzo Cucchi has spent decades crafting a visual language that evades fixed definitions. His work is radically intuitive, mythological, and defiant of context. Instead, it unfolds like a dream: layered, fragmentary, and permeated by a metaphysical current that resists resolution. This spring marks his return to New York with Mostra Coagula, a solo exhibition at Vito Schnabel Gallery—his first major US show since his landmark exhibition at the Guggenheim in 1986.

Kai Althoff’s exhibition, di costole, held in the historic port city of Genoa in northern Italy, resisted demands for interpretation by shifting the focus from contextualization to the work’s emotional impact.

In Lorenzo Amos’s solo show, No Regrets Because You’re My Sunshine, at Gratin Gallery, the artist’s studio transcends theme, concept, or setting, becoming a portal into the intimate rhythms of the creative process.