{"id":90438,"date":"2026-06-23T11:10:14","date_gmt":"2026-06-23T11:10:14","guid":{"rendered":"https:\/\/www.europesays.com\/ch\/90438\/"},"modified":"2026-06-23T11:10:14","modified_gmt":"2026-06-23T11:10:14","slug":"16-booths-that-prove-art-basel-2026-is-firing-on-all-cylinders","status":"publish","type":"post","link":"https:\/\/www.europesays.com\/ch\/90438\/","title":{"rendered":"16 Booths That Prove Art Basel 2026 Is Firing on All Cylinders"},"content":{"rendered":"

From museum-quality historical presentations to forward-looking contemporary statements, Art Basel 2026<\/a> saw galleries<\/a> transform the fair booth into a site of scholarship, discovery, and conversation. Across the halls, the strongest exhibitions did more than assemble significant works\u2014they articulated distinct points of view through art history<\/a>, cultural memory, material innovation, figuration, ecology<\/a>, and architecture<\/a>. The following selections stood out for the rigor of their ideas as much as for the quality and conviction of the art on view.<\/p>\n

White Cube<\/p>\n

Art as Social Catalyst<\/p>\n

\"Installation
\n Georg Baselitz, \u201cEin zerrissener Hund, aufw\u00e4rts (A Torn Dog, Upwards),\u201d 1968, oil on canvas, 162 x 130.4 cm | 63 3\/4 x 51 5\/16 in. \u00a9 Georg Baselitz. Photo \u00a9 White Cube (Theo Christelis).<\/p>\n

\"Installation
\n Richard Hunt, \u201cFigure Form,\u201d 1966, welded chromed steel, 142 x 63 x 42 cm | 55 7\/8 x 24 13\/16 x 16 9\/16 in. \u00a9 2026 The Richard Hunt Estate \/ Artists Rights Society (ARS), New York. Photo \u00a9 On White Wall.<\/p>\n

White Cube<\/a> brought together artists whose practices demonstrate how contemporary art can foster dialogue, reflection, and shared experience. Featuring works by Michael Armitage, Antony Gormley, Howardena Pindell, Richard Hunt, Gabriel Orozco, Georg Baselitz, and Isamu Noguchi, among others, the booth is united by a shared engagement with memory, identity, material transformation, and cultural history. A particular highlight is Michael Armitage\u2019s Campus Divas (2014), which weaves together personal narrative, contemporary culture, and East African traditions, while works by Hunt, Pindell, and Gormley underscore the gallery\u2019s commitment to artists who have expanded the language of contemporary sculpture and painting. As Julia Baumhoff Zaouk<\/a>, Director of White Cube, notes, the presentation centers on artists who create \u201cspaces of gathering, exchange, and reflection for communities,\u201d demonstrating how art can catalyze conversation and cultural engagement. Balancing historical significance with contemporary urgency, the booth reveals the enduring power of art to connect individual experience with broader social and cultural narratives.<\/p>\n

What We Love: Artists whose work invites reflection, dialogue, and meaningful engagement with the world around us.<\/p>\n

Soci\u00e9t\u00e9<\/p>\n

The Future in Motion<\/p>\n

\"Installation
\n Installation view of Soci\u00e9t\u00e9 at Art Basel 2026. From left to right: Ned Vena, Kaspar M\u00fcller, Timur Si-Qin, Bunny Rogers, and Jeanette Mundt. Photo by Sebastiano Pellion di Persano. Courtesy of the artists and Soci\u00e9t\u00e9, Berlin.<\/p>\n

Soci\u00e9t\u00e9<\/a> offered one of the fair\u2019s most forward-looking surveys of contemporary practice, spotlighting artists whose work was undergoing significant formal and conceptual expansion. Spanning painting, sculpture, video, and digital media, the presentation resisted a singular thematic framework in favor of a more nuanced proposition: a portrait of artistic evolution in real time. Works by Lu Yang, Timur Si-Qin, Bunny Rogers, Kaspar M\u00fcller, Conny Maier, Trisha Baga, Petra Cortright, and others demonstrated practices that continued to evolve across questions of technology, perception, ecology, consciousness, and image-making.\u00a0<\/p>\n

\u201cWhat made the booth special was the convergence of several important trajectories at once.\u201d<\/p>\n

As Marius Wilms, Director of Soci\u00e9t\u00e9, explained, \u201cWhat made the booth special was the convergence of several important trajectories at once.\u201d Pointing to Timur Si-Qin\u2019s largest sculpture to date, new bodies of work by Bunny Rogers and Kaspar M\u00fcller, and forthcoming institutional exhibitions for Conny Maier, Wilms noted that the presentation became \u201cless a survey of a program than a snapshot of artists at a genuine moment of transformation.\u201d\u00a0<\/p>\n

What We Love: Soci\u00e9t\u00e9 focused on artistic trajectories in motion\u2014revealing practices that were actively shaping the future of contemporary art.<\/p>\n

Vadehra Art Gallery<\/p>\n

An Artist Emerges<\/p>\n

\"Installation
\n Installation view of Vadehra Art Gallery\u2019s booth, \u201cOf Cities and Tongas,\u201d at Art Basel 2026. Courtesy of the artists and Vadehra Art Gallery.<\/p>\n

Vadehra Art Gallery<\/a> presented \u201cOf Cities and Tongas,\u201d a focused solo exhibition of early paintings, drawings, and collages by the celebrated Indian artist and scholar Gulammohammed Sheikh. Comprised of works from 1961\u201362, the booth offered a rare glimpse into a formative chapter of Sheikh\u2019s six-decade career, before the layered historical narratives and cultural palimpsests for which he is widely known. Created following his move to Baroda and prior to his studies at the Royal College of Art<\/a> in London, these works reveal an artist experimenting with cityscapes, horse-drawn carriages, shifting perspectives, and evolving notions of identity. As Roshini Vadehra, Director of Vadehra Art Gallery, noted, \u201cthis body of vintage works from 1961\u201362 by Gulammohammed Sheikh is being presented for the first time as a solo project,\u201d adding that the works \u201coffer new insights even to long-time followers of the artist\u201d and capture Sheikh \u201cat a formative moment, just prior to his first direct encounters with European Masters.\u201d<\/p>\n

What We Love: A museum-quality booth that revealed the foundations of Sheikh\u2019s visual language, offering a rare glimpse into the emergence of one of India\u2019s most influential post-modern artists.<\/p>\n

OMR<\/p>\n

Now What Next<\/p>\n

\"Installation
\n Art Basel 2026, OMR Mexico City (Booth L25). Courtesy of OMR. Photos by Casey Kelbaugh \u00a9\ufe0f.<\/p>\n

OMR<\/a> presented works by Pia Camil, Jos\u00e9 D\u00e1vila, Julian Charri\u00e8re, Claudia Comte, Gabriel Rico, SUPERFLEX, and Troika in a cross-generational exhibition exploring perception, ecology, memory, and transformation through a distinctive architectural approach. Occupying one of Art Basel\u2019s multi-level spaces, the gallery replaced conventional walls with translucent linen curtains, creating an environment defined by openness, movement, and encounter.\u00a0<\/p>\n

\u201cIf we are collectively not asking ourselves what happens now, what\u2019s next, what now, then we\u2019re generally failing as a society.\u201d\u00a0<\/p>\n

As Crist\u00f3bal Riestra, owner of OMR, explained, the presentation represents \u201ca synthesis of what we\u2019ve been doing\u201d after 26 consecutive years at Art Basel. Rather than concealing the architecture, Riestra sought to reveal it, transforming the booth into \u201can extension of hospitality\u201d where visitors are invited to gather, pause, and engage with the works. He points to SUPERFLEX\u2019s text work Now What? as encapsulating the spirit of the presentation: \u201cIf we are collectively not asking ourselves what happens now, what\u2019s next, what now, then we\u2019re generally failing as a society.\u201d The result was a booth that felt less like a fair display than a considered reflection on the relationship between art, space, and public experience.<\/p>\n

What We Love: OMR turned a simple but urgent question\u2014Now What?\u2014into a curatorial proposition, inviting visitors to reconsider how we inhabit space, encounter art, and imagine the future.<\/p>\n

Lisson Gallery<\/p>\n

Memory Myth Material<\/p>\n

\"Installation
\n Installation view of Lisson\u2019s Art Basel booth, 18 \u2013 21 June 2026 \u00a9 Lisson. Photography by Dawn Blackman.<\/p>\n

Lisson Gallery<\/a> anchored its presentation in ideas of memory, transformation, and cultural continuity, bringing together artists whose practices bridge history, mythology, spirituality, and material experimentation. Timed to coincide with major institutional projects across Venice and beyond, the booth featured works by Dana Awartani, Wael Shawky, Anish Kapoor, Olga de Amaral, Ding Yi, Hiroshi Sugimoto, Huguette Caland, and Dalton Paula, among others. Rather than foregrounding a single medium or movement, the booth unfolded through a series of interconnected narratives, from Awartani\u2019s reflections on architectural heritage and preservation to Shawky\u2019s reimagining of ancient mythologies and Sugimoto\u2019s meditations on time and cultural memory. Historical works by Carmen Herrera and H\u00e9lio Oiticica further deepened the presentation, while new works by Yu Hong and Ding Yi pointed toward contemporary questions of identity, cosmology, and knowledge. Rich in symbolism and intellectual depth, the booth rewarded sustained viewing, revealing how artists across generations continue to engage with the enduring relationship between past and present.<\/p>\n

What We Love: A richly layered dialogue between mythology, memory, spirituality, and material experimentation.<\/p>\n

Victoria Miro<\/p>\n

The Power of Figuration<\/p>\n

\"Installation
\n Installation view, Art Basel 2026, 16\u201321 June 2026, Victoria Miro, Booth E6, Hall 2.0. All artworks \u00a9 the artist. Courtesy the artists and Victoria Miro.<\/p>\n

Victoria Miro<\/a> proposed a refined exploration of figuration, gathering artists who approach the human form as a site of memory, imagination, identity, and transformation. Spanning generations and cultural perspectives, the booth included works by Milton Avery, Hernan Bas, Mar\u00eda Berr\u00edo, Chantal Joffe, Isaac Julien, Wangechi Mutu, Chris Ofili, Paula Rego, Flora Yukhnovich, Barbara Walker, Khalif Tahir Thompson, and Emil Sands, among others. A major highlight was a new painting by Ofili, one of two related works debuting simultaneously at Art Basel, while Avery\u2019s luminous Fishing Bird (1962) provided a powerful historical anchor. Elsewhere, new works by Joffe, Celia Paul, Thompson, and Sands demonstrated the continued reinvention of figurative painting, while Mutu, Julien, and Berr\u00edo expanded its possibilities through sculpture, photography, and richly layered narrative.\u00a0<\/p>\n

As Glenn Scott Wright, President of Victoria Miro, noted, the presentation was united by \u201ca focus on figuration,\u201d creating meaningful connections between artists from different generations and backgrounds. The result is a booth that feels both intimate and expansive, revealing the enduring relevance of the figure as a means of understanding ourselves and the world around us.<\/p>\n

What We Love: A beautifully paced booth that showed how the human figure continues to serve as one of contemporary art\u2019s most powerful and adaptable languages.<\/p>\n

David Zwirner<\/p>\n

Masters Meet the Moment<\/p>\n

\"Installation
\n Michae\u0308l Borremans, \u201cMan Asleep,\u201d 2005, oil on canvas, 16 1\/2 x 14 1\/8 inches (42 x 36 cm), signed, titled, dated, and inscribed verso. Courtesy of the artist and David Zwirner.<\/p>\n

\"Installation
\n Dana Schutz, \u201cSea Group,\u201d 2023, gouache on paper, 30 x 24 3\/4 inches (76.2 x 62.9 cm), Framed: 33 7\/8 x 28 1\/2 inches (86 x 72.4 cm), Signed and dated verso. Courtesy of the artist and David Zwirner.<\/p>\n

David Zwirner<\/a> transformed the fair stand into a sweeping survey of contemporary and postwar art, pairing new works by Amy Sillman, Dana Schutz, Chris Ofili, Victor Man, Neo Rauch, Sasha Gordon, and Liu Ye with landmark works by Ruth Asawa, On Kawara, Joan Mitchell, Alice Neel, Gerhard Richter, Mark Rothko, and Felix Gonzalez-Torres. Rather than advancing a singular curatorial narrative, the presentation embraced the breadth of the gallery\u2019s program, creating unexpected conversations across generations, geographies, and artistic movements. Highlights ranged from Sillman\u2019s densely layered new painting Blue Siren (2026) and Victor Man\u2019s meditations on rebirth and transformation to a rare 1950s looped-wire sculpture by Asawa and an early 1966 Date Painting by Kawara. Anchored by major historical figures while championing some of the most compelling voices working today, the booth demonstrated the gallery\u2019s remarkable ability to move seamlessly between art history and the contemporary moment.<\/p>\n

Associate Partner and Head of David Zwirner London, James Green said, \u201cWe have sold more than 70 works by over 40 artists at Art Basel so far. Highlight sales include several significant 20th-century secondary market works, the placement of our Isa Genzken presentation at Basel Unlimited with a major European museum, and a number of new works by younger contemporary artists on our roster, including Walter Price and Yu Nishimura.\u201d<\/p>\n

What We Love: An ambitious survey that balanced blue-chip masterpieces with compelling new works while maintaining exceptional quality throughout.<\/p>\n

MASSIMODECARLO<\/p>\n

A Singular Vision<\/p>\n

\"Installation
\n Installation view of the MASSIMODECARLO booth at Art Basel 2026. Photo by Andrea Rossetti. Courtesy of MASSIMODECARLO<\/p>\n

MASSIMODECARLO<\/a> brought together established masters and emerging voices from Europe, Asia, and the United States, while placing a particular focus on the singular practice of Pietro Roccasalva. Works by Carla Accardi, Alighiero Boetti, Maurizio Cattelan, McArthur Binion, Elmgreen & Dragset, Carsten H\u00f6ller, Jordan Casteel, Jennifer Guidi, Paola Pivi, Yan Pei-Ming, and others reflected the breadth of the gallery\u2019s program. Yet the booth was anchored by a concentrated selection of Roccasalva\u2019s works, which drew upon literature, philosophy, cinema, religion, and art history to construct a highly personal visual language.\u00a0<\/p>\n

As Massimo De Carlo, Founder of MASSIMODECARLO, explained, \u201cWe\u2019ve been coming to Basel for more than twenty years, and we always come with the artists who represent us. This year, the booth spans generations and geographies\u2014established masters and younger voices, American, European, Asian. But the heart of it is Pietro Roccasalva, whose visual grammar is built from decades of art history, literature, and cinema.\u201d That focus gave the booth its unique character, transforming an international selection into a compelling statement on artistic depth and continuity.<\/p>\n

What We Love: Amid an impressive international roster, the intellectual richness of Pietro Roccasalva\u2019s practice provided the booth with a distinctive center of gravity.<\/p>\n

Pace Gallery<\/p>\n

Voices Shaping Today<\/p>\n

\"Installation
\n Installation view of the Pace Gallery booth at Art Basel 2026. Courtesy of the artists and Pace Gallery.<\/p>\n

Pace Gallery<\/a> brought together one of the fair\u2019s most internationally resonant constellations of artists, centering figures whose work currently shapes the cultural conversation well beyond Basel. The booth was anchored by recent works from Yto Barrada, Nigel Cooke, Torkwase Dyson, Lee Ufan, and Trevor Paglen, each of whom has a major project on view in Venice this year, offering a timely view of contemporary artistic practice across disciplines and geographies. Particularly striking were new works by Dyson, whose investigations of space, movement, and architecture continue to gain momentum internationally, alongside recent works by Lauren Quin and Anicka Yi, two artists expanding the possibilities of painting and sculpture through distinct visual languages. Rather than isolating contemporary voices, Pace placed them in dialogue with landmark works by Alexander Calder, Agnes Martin, Louise Nevelson, and Claes Oldenburg, revealing unexpected continuities between generations. The result was a presentation that felt both of the moment and historically grounded, demonstrating how innovation was carried forward across decades of artistic experimentation.<\/p>\n

What We Love: A timely dialogue between Venice\u2019s leading voices and the innovators who came before them.<\/p>\n

Jack Shainman Gallery<\/p>\n

Rewriting Cultural Memory<\/p>\n

\"Installation
\n Installation view, Jack Shainman Gallery, Art Basel, 2026. Courtesy of the artists and Jack Shainman Gallery, New York. Photo by Andrea Rossetti.<\/p>\n

Jack Shainman Gallery<\/a> assembled a powerful cross-generational presentation that traced seven decades of artistic inquiry into representation, visibility, and cultural memory. With works by Gordon Parks, Faith Ringgold, Barkley L. Hendricks, Lynette Yiadom-Boakye, Toyin Ojih Odutola, Nick Cave, Hank Willis Thomas, Diedrick Brackens, Jesse Krimes, Charisse Pearlina Weston, and Yoan Capote, among others, the booth highlighted artists whose practices have expanded and redefined the narratives traditionally afforded space within art history. As the gallery noted, the presentation formed a multigenerational chorus of voices. Across works created over the past 70 years, these artists offer what the gallery described as \u201cnew perspectives to the times in which they lived with everlasting urgency.\u201d Rather than presenting history as fixed, the booth revealed it as a continually evolving conversation, shaped by artists who challenge inherited narratives while creating new ways of seeing the world.<\/p>\n

What We Love: Seven decades of artistic voices united by a shared commitment to reimagining cultural memory.<\/p>\n

Mennour<\/p>\n

Past Meets Present<\/p>\n

\"Installation
\n Views of Mennour booth, Stand \/ Booth C5, Art Basel, Messe Basel, Basel Switzerland, June 16 \u2013 21, 2026. Courtesy of the artists and Mennour.<\/p>\n

Mennour<\/a> presented one of the fair\u2019s most compelling intersections of the primary and secondary markets, placing twentieth-century masterpieces alongside artists who had recently joined the gallery\u2019s program. As the gallery notes, \u201cmore than half of the Mennour booth is devoted to the secondary market,\u201d with works by influential figures including Alexander Calder, Joan Mir\u00f3, Germaine Richier, Francis Picabia, Lucio Fontana, Roy Lichtenstein, and Yayoi Kusama forming a significant part of the presentation. These historical works were shown in relation to contemporary artists such as Camille Henrot, Alicja Kwade, Petrit Halilaj, Ryan Gander, Zineb Sedira, andLee Ufan, underscoring the breadth of the gallery\u2019s roster. Particularly noteworthy was Mennour\u2019s first presentation of works by Manoucher Yektai and Yinka Shonibare following the recent announcement of their representation.\u00a0<\/p>\n

What We Love: Rather than separating historical and contemporary positions, the booth revealed how artistic legacies continue to inform and enrich the present.<\/p>\n

Sean Kelly Gallery<\/p>\n

The Art of Looking<\/p>\n

\"Installation
\n Sean Kelly at Art Basel 2026, June 18-21, 2026. Hall 2.1, Booth R2, Messe Basel, Switzerland, Photo by Sebastiano Pellion di Persano. Courtesy of Sean Kelly, New York<\/p>\n

Sean Kelly Gallery<\/a> foregrounds the enduring relevance of connoisseurship in contemporary art. New works by Shahzia Sikander, Kehinde Wiley, Mariko Mori, Julian Charri\u00e8re, Sam Moyer, and Janaina Tsch\u00e4pe appear alongside significant works by Marcel Duchamp, Rebecca Horn, Joseph Kosuth, and Idris Khan, creating a presentation that rewards close looking and thoughtful engagement. Highlights include Sikander\u2019s new mosaic, Charri\u00e8re\u2019s Imperfect Lovers\u2014a meditation on the relationship between human and geological time\u2014and Wiley\u2019s latest portrait, which continues his exploration of visibility and power through the lens of art history. Asked to define the central idea behind the booth, Sean Kelly, Founder of Sean Kelly Gallery, offered a single word: \u201cconnoisseurship.\u201d It is a fitting description for a presentation distinguished by the quality of its selection.<\/p>\n

What We Love: A reminder that connoisseurship remains one of the most compelling curatorial ideas at the fair.<\/p>\n

Hauser & Wirth<\/p>\n

Modern Contemporary Dialogue<\/p>\n

\"Installation
\n Installation view, Hauser & Wirth at Art Basel 2026. Left to right: Gerhard Richter, \u201cAbstraktes Bild (940-7)\u201d (2015) \u00a9 Gerhard Richter 2026; Louise Bourgeois, \u201cCinq\u201d (2007) \u00a9 The Easton Foundation \/ 2026 ProLitteris, Zurich; Pablo Picasso, \u201cLe peintre et son mod\u00e8le dans un paysage\u201d (1963) \u00a9 Succession Picasso \/ 2026, ProLitteris, Zurich. Photo by Stefan Altenburger Photography Z\u00fcrich.<\/p>\n

At Booth C10, Hauser & Wirth<\/a> staged a nuanced exploration of the continuities between modern and contemporary art. Anchored by exceptional works from Juan Gris, Pablo Picasso, Philip Guston, Francis Picabia, Maria Lassnig, Louise Bourgeois, and Bruce Nauman, the presentation unfolded as a concise history of artistic reinvention, where formal innovation, psychological inquiry, and material experimentation reverberated across generations. These seminal works were placed in compelling proximity to artists including Gerhard Richter, Amy Sherald, Rashid Johnson, Lorna Simpson, Henry Taylor, Jenny Holzer, Pierre Huyghe, and Nicole Eisenman, underscoring the enduring vitality of their predecessors\u2019 concerns. As Iwan Wirth, President and Co-Founder of Hauser & Wirth, noted, the booth was \u201ca radical focus on 20th and 21st-century masterworks,\u201d guided by the conviction that \u201cthere is no contemporary without the modern.\u201d The result was an offering of remarkable depth and clarity, one that treats art history not as a sequence of movements, but as an ongoing conversation.<\/p>\n

What We Love: A living dialogue between modern and contemporary art, revealing how the most urgent artistic questions persist across time.<\/p>\n

Levy Gorvy Dayan<\/p>\n

The Power of Provenance<\/p>\n

\"Installation
\n Installation view of Levy Gorvy Dayan at Art Basel 2026. Courtesy of the artists and Levy Gorvy Dayan.<\/p>\n

Levy Gorvy Dayan<\/a> offered a curated selection of postwar and contemporary masterworks that foregrounded rarity, connoisseurship, and art-historical significance. Works by G\u00fcnther Uecker, Pierre Soulages, Michelangelo Pistoletto, Sigmar Polke, Keith Haring, Yves Klein, Jean Arp, Otto Piene, andC\u00e9sar reflected the gallery\u2019s commitment to exceptional examples by some of the defining artists of the twentieth century. As Brett Gorvy, Co-Founder of Levy Gorvy Dayan, explained, \u201cArt Basel in Switzerland is a fair that is very meaningful to the gallery,\u201d noting that the presentation was carefully conceived around the strengths of the Basel audience and the gallery\u2019s core European artists, particularly Uecker and Soulages. \u201cOverall it is essential for us to focus on quality,\u201d he added, observing that many of the fair\u2019s most meaningful conversations centered on \u201chistoric and rare works.\u201d At a moment when market conditions continue to evolve, the booth served as a reminder that exceptional works with strong provenance and historical importance remain among the most sought-after categories for collectors.<\/p>\n

What We Love: Connoisseurship, rarity, and historical significance brought together through exceptional museum-caliber works.<\/p>\n

Kukje Gallery<\/p>\n

Memory Through Material<\/p>\n

\"Installation
\n Installation view of the Kukje Gallery booth at Art Basel 2026. Courtesy of Kukje Gallery.<\/p>\n

Kukje Gallery<\/a> examined how memory, history, and cultural knowledge are transmitted through material form. Anchored by works from pioneering figures including Yoo Youngkuk, Wook-kyung Choi, and Kim Yun Shin, alongside contemporary voices such as Jenny Holzer, Kyungah Ham, Michael Joo, Jae-Eun Choi, andKorakrit Arunanondchai, the booth revealed artists who transformed abstraction, craft, language, and natural materials into carriers of historical experience. Highlights ranged from Holzer\u2019s luminous redaction paintings and Yoo\u2019s distilled modernist landscapes to Ham\u2019s intricate embroideries, whose dazzling surfaces concealed complex networks of labor, censorship, and exchange.\u00a0<\/p>\n

What We Love: The way abstraction, craft, and natural materials became vessels for memory, history, and cultural exchange.<\/p>\n

303 Gallery<\/p>\n

Time Value Perception<\/p>\n

\"Installation
\n Installation view of the 303 Gallery booth (K21) at Art Basel 2026. Courtesy of 303 Gallery.<\/p>\n

303 Gallery<\/a> constructed a precisely calibrated exhibition that explored the shifting relationships between objects, systems, and perception. Works by Doug Aitken, Alicja Kwade, Mary Heilmann, Rob Pruitt, Sam Falls, Jeppe Hein, Cassi Namoda, Stephen Shore, Tala Madani, Larry Johnson, andSue Williams created moments of connection and contrast across disciplines and generations. A particular highlight was Alicja Kwade\u2019s Heavy Heart, in which a marble sphere suggestive of the world rests inside a bronze-cast Balenciaga handbag, collapsing distinctions between value and burden, luxury and universality. Equally compelling were Rob Pruitt\u2019s new Let\u2019s Start This Day Again (After Ugo Rondinone) works, a grid of functioning clocks that transformed the passage of time into a visual gradient, allowing color, duration, and perception to converge.<\/p>\n

What We Love: An intelligent exploration of time, value, and perception through unexpected encounters between objects and systems.<\/p>\n

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