#jhonathan-diaz

#jhonathan-diaz

Inframundo invites visitors to look inward and become a rock, drawing on the landscape shaped by cenotes, which are thought to be portals to the Maya underworld.

"My paintings can be described as sculptural in nature, emphasising physical presence, weight and materiality."

Abraham Vazquez has this lusty, powerful, aching voice. This song is about loss, and you feel it with every inch of intensity that he's performing.

Anderson's paintings are a poetic response to place, teeming with personal and cultural resonance, often relating to a feeling of 'being in one place while thinking of another.'

Much of Instagram's video content is organized around transformation-the virtual magic of the before-and-after and clips that show cause and effect. A person makes pasta from scratch in 20 seconds via edits that compress time-intensive labor.

In Cabranes, Asturias, Atelier Poem has realized the Taller Agropoetico for Foresta Collective—a space that integrates agricultural practice with pedagogy.

Braulio gives the crowd an incredible insight into a decade's worth of poster designs for Good Room, revealing how he finds inspiration in the most mundane things just by paying attention to what has 'already been designed' and remixing it into something new.

Jasper Johns seemed to reject the tortured, in-the-moment 'I' of Abstract Expressionism, ironically commenting on the heroism and spontaneity associated with Jackson Pollock and Willem de Kooning in his early work.

The show features pieces by participants in JASA's programs. The organization, which serves more than 40,000 older adults every year, offers art classes and creative workshops designed to bring people together while encouraging self-expression. The results will be on full display here, from paintings and textile work to other handmade pieces that reflect the artists' personal stories and styles.

We don't eat batteries. They take away the water; they take away life. This pronouncement, in Spanish, appears in a photograph that the artist Tomás Saraceno sent via WhatsApp last month from Salinas Grandes, a high-altitude salt flat in northern Argentina. There, in one of the world's largest lithium reserves, the artist is working alongside 11 Indigenous communities to build El Santuario del Agua (The Water Sanctuary), a monumental work about the global energy transition.

Michelle Paulin dances while instructing youth at the Dulce Tricolor Venezolano dance group at the Ariel Dance Studio in Campbell on Jan. 25, 2026. Dulce Tricolor, a Bay Area Venezuelan dance group founded in 2019, teaches children traditional folk dances while preserving culture, building community and offering a sense of home amid Venezuela's ongoing political and economic crisis. (Josie Lepe for KQED)

Now, he celebrates his first major presentation in Latin America, in congruence with Mexico City Art Week 2026 and ZSONAMACO, showcasing on an ideal stage inside one of the city's most architecturally layered interiors. Titled The Resident, the site-responsive installation, created during a residency at the Diez Company house, transforms the historic showroom into an immersive tableau where more than 50 works negotiate the boundaries between collectible design, contemporary art, and spatial theater.

The Lower East Side institution's OMA-designed, $82 million expansion debuted this week to mixed reviews, reflecting a range of opinions on its new look and functionality.

The artists José Parlá and Claudia Hilda, his wife, live in a former fire station in Fort Greene surrounded by memories of Cuba, which Parlá's ­family fled in 1970 and where ­Hilda lived until recently. "There's a lot of magical realism here, a big mix of Cuban traditions and religion," says Parlá, pointing to an icon of la Caridad del Cobre, the island's patron saint, in the kitchen. "We cannot move her!"

The artists José Parlá and Claudia Hilda, his wife, live in a former fire station in Fort Greene surrounded by memories of Cuba, which Parlá's family fled in 1970 and where Hilda lived until recently. "There's a lot of magical realism here, a big mix of Cuban traditions and religion," says Parlá, pointing to an icon of la Caridad del Cobre, the island's patron saint, in the kitchen. "We cannot move her!"

Artist Ayelet Gal-On does not just paint; she builds, layering oil, acrylic and plaster on canvas. Gal-On's signature subjects for "Taken by the Wind, Swept by the Light," her upcoming solo exhibition at Gallery 9 in Los Altos, are white dresses that appear to hang on a line, defying the stillness of the canvas. "I love the process of playing with color," says the artist.

"The four large-scale canvases that constitute the core of ' Misfits' maintain the fundamental elements of the artist's visual lexicon while radically reconfiguring compositional structure and spatial organization. These works advance a design freedom that is simultaneously forceful and controlled, achieving a balance between expressive intensity and formal restraint. As such, the series marks a decisive moment in Nuñez artistic evolution and possibly an initial step toward a more profound and transformative reorientation of his practice."

Regina Silveira has spent the better part of three decades considering the relationship between media and meaning, particularly as it relates to Latin America. First presented in 1997, "To Be Continued..." features 100 black-and-white reproductions of photos, newspaper clippings, propaganda, advertisements, and more. Silveira nests each image into an oversized puzzle piece, which cuts off faces and scenes to leave fragments of pop culture icons, flora and fauna, and even the occasional mugshot spliced next to one another.

OSCAR MURILLO (b. 1986, La Paila, Colombia) has developed a multifaceted and challenging practice that spans painting, collaborative projects, video, sound and installation. Through each body of work, the artist probes ideas of collectivity and shared culture, demonstrating a commitment to the power of material presence alongside complex meditations on contemporary society. A focus on the social dimension that sits on the border between performance and events is also central to Murillo's practice.