Columna Rota/Broken Column sprawls across the chronically defunded and intermittently shuttered Museum of Mexico City, the Church of Jesús Nazareno, and into streets that also happen to be near the site of Kahlo’s incapacitating accident.

Throughout his career, Paul Sietsema has engaged with the conditions of image-making as historical and contemporary practice. He often uses wildly labor-intensive techniques, constructing intricate visual worlds. 

#34 is Rebecca Morris’s first solo exhibition with Regen Projects, but as befits its numeric designation, the thirty-fourth of her career. In Los Angeles, Morris left the gallery without the walls that typically sub-divide it, her new works (all 2024–25) encircling what became a massive, light-suffused room.

Young-Il Ahn: Selected Works 1986–2019, a tight historical survey curated by Jennifer King, (re)acquaints viewers with the gorgeous “Water” paintings for which he is best known. 

With a sense of first vague, then specific discomfit, it became clear to me that I had been hiding behind other people’s art. I made an alibi of that art. How presumptuous are the supposed competences that authorize us to interpret the art of others. I picked at the scab. Why the disciplinary fixation on the artist’s intentions—as meaning but also in the opacity of refusal—with comparably little attention paid to our own?

In 1953, Jay DeFeo returned to Northern California after a year spent in Europe and North Africa. In a Berkeley studio on Delaware Street, she made a group of nine drawings of trees, characteristic pretexts for formal as well as material experimentation. The Laguna Art Museum owns two of these, prompting an occasion to bring the series back together.

On the occasion of the Aspen Art Museum’s forty-fifth anniversary, Allison Katz mounted a transhistorical group show with over a hundred works, inclusive of Katz’s own paintings and fresco fragments from Pompeii.