Robert Therrien's 'Under the Table' is a 10-foot-tall sculpture that captivates visitors, inviting them to experience its scale and intricacies from below. The piece exemplifies Therrien's ability to transform everyday objects into monumental art.
I was nine years old, and I felt like I lost that childhood. I felt like I became a kid when I looked at a TV this morning. Burn that image into your mind, his mother told him, knowing the city would never be the same. It was 2003, and mere days later, the United States and its allies would launch their invasion of Iraq, raining airstrikes down on the city.
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Bringing together roughly 180 galleries representing 18 countries, the presentations together cover 120 years of art history. Using its distinctive fair model featuring halls dedicated to different art historical periods and dialogues, historically significant works from classical Modernism-comprised of pivotal movements from the late 19th- to mid-20th century like Concrete art, Art Informel, Pop art, and more-meet the dynamic field of contemporary art today.
It stands a hair shy of five feet tall and is a bit over one-and-a-half feet wide. Made of nine interlocking pieces of gray ribbon slate, it feels as though a small push would completely wreck it. Humpty Dumpty stands on three legs, but it looks two-dimensional. It has an ovoid shape, and it juts upwards like a flat rocket ship.
Until 29 March 2026 Pressure is the largest survey to date devoted to the American sculptor Richard Hunt (1935-2023) and focuses on his ambitious, material-forward practice between 1955 and 1989. It coincides with a growing interest in the Chicago artist's singular approach to dimensionality and transcendence; White Cube, which began representing his work a few weeks before his death, staged solo shows of his work in New York (in 2024) and London (last spring).
Henry Moore believed tactility to be paramount, "as an aesthetic dimension", to both the making and the experiencing of sculpture. He really wanted us to be able to touch his work. However, its value and importance now means that doing so in most museums would be considered a big no-no-and for anyone for whom touch provides sight, this is massively restricting.
Hudson's work is defined by a recurring vocabulary of shapes grounded in the language of abstraction, where organic and geometric forms drawn from both the external and internal world converge. In It's Alright Cause I Know My Own Way Back Home From Here, references to landscapes and still lifes sit alongside forms that channel ongoing themes of loneliness, hopefulness, darkness and positivity. His paintings layer these motifs into compositions that are at once meditative and playful,balancing introspection with optimism.
Jeff Koons's "Banality" sculptures of the late 1980s are anything but ordinary: few can easily forget the sight of the Pink Panther embracing a partially naked woman, for one. But there's nothing quite so out of the ordinary about the artist's recent creations such as his 2016-21 sculpture Aphrodite, an eight-and-half-foot-tall nude that made its public debut at Gagosian gallery in New York last week.
When Robert Therrien passed away in 2019 at 71, he left behind a series of small note cards, each bearing a labeled line drawing. To those closest to him, they felt like legends that, if decoded, might reveal something of the elusive artist's practice. Many feature recurring forms in his work, like a keystone with the words "this is her" scrawled beneath it, or a bent cone titled "this is the path."
Opening on November 14, 2025, at the gallery's Bikini Berlin location, this immersive showcase invites visitors to explore the intricate relationship between perception, stillness, and the malleable nature of time. Drawing inspiration from the phenomenon of chronostasis, where a fleeting moment appears to elongate, the exhibition encapsulates the delicate dance between motion and remembrance. Through their distinctive practices, Wirths and Flad illuminate how focused attention can metamorphose our experience of time itself.
Stacks of flattened cardboard and bags of clothing are compressed into ceramic cubes, their bulging surfaces recording the tension of containment. Glass bubble-wrap sculptures from Hivert's Demi-Jour series line shelves-fragile objects posing as protective shells for absent contents. A bronze cast of work gloves rests nearby, monumentalizing gestures of past labor. In the background, torn collages evoke the weathered palimpsests of wheatpaste advertisements caught between removal and renewal.
Curated by Louise Déry, Director of Galerie de l'UQAM, the exhibition David Altmejd. Agora unites almost thirty heads and busts, which are emblematic of the artist's sculptural practice and were made between 1999 and 2025. Forming a remarkable assembly of mythological and real characters, spiritual and terrestrial figures, as well as human and non-human creatures, this body of work reveals the extent to which Altmejd brings about a metamorphosis of the living, induced by creative and unconscious forces, to construct a world.
Over the past two decades, the Japanese artist Aki Sasamoto has developed a unique performance/installation practice in which she produces installations of absurd sculptural devices-from haemorrhoid cushions to oversized fishing lures-that, in turn, serve as an object-based score and environment for improvised performances that combine humorous spoken narratives with physical actions and mark-making. The artist's first mid-career survey, Aki Sasamoto's Life Laboratory at the Museum of Contemporary Art Tokyo (MOT), traces the evolution of this practice through a sharp combination of installations, documentation and live performances.
Born in Wakefield, Yorkshire in 1903 and working until her death in 1975 in St Ives, Cornwall, Barbara Hepworth lived through a time of astonishing technological and social change. She had a broad range of interests, from politics to music, poetry, science and spirituality-and a life-long engagement with landscape-which she brought into her work, alongside influences from her personal life.
Throughout her practice, Renée Condo draws on the philosophical tenets of her Mi'gmaq ancestry. The Montreal-based artist works with wooden beads that she sands, paints in bold acrylic, and nests into energetic compositions depicting juicy fruits, raindrops, and brilliant, golden suns. Condo is interested in mntu, or spirit, and what she refers to as heart knowledge, acts that emerge from empathy and love. Through sculptural pieces that emphasize interconnection and flow, the artist draws on Indigenous creation stories and myths, considering her beadwork a reimagining of various traditions.
In the lush gardens of L'Hôtel de Maisons, once the Parisian home of Karl Lagerfeld, designer Vikram Goyal unveils The Soul Garden, an installation that transforms India's ancient animal fables into a living, multisensory landscape. Presented by The Future Perfect for Design Miami/Paris 2025, the project, on view from October 21st to 26th, 2025, bridges sculpture, craft, design, and olfactory art in collaboration with Berlin-based artist Sissel Tolaas, who translates the invisible language of scent into a medium of storytelling and emotion.
A woman clutches a large red and white striped box of popcorn as she stares intensely at the cinema screen. Nearby a couple of men gaze in the same direction; one has his head slumped on the other's shoulder. Close behind, an older man with folded arms glares at them disapprovingly. This is Elmgreen & Dragset's installation, The Audience at Prada Mode, and the bodies are inanimate sculptures. They are rendered with such realism that
Hours after Princess Diana gave birth, she walked out onto the steps of the Lindo Wing, the private maternity ward of St. Mary's Hospital in London, where she was met with photographers from around the world. As she introduced Prince William, then a couple years later, Prince Harry, she looked radiant, with flawless makeup and flowing gowns. It was a portrait of maternal serenity.
If you're considering bathroom renovations, I would perhaps advise against hiring Lisa Herfeldt to do the work. Yes, it's true, she's something of a whiz with a silicone gun creating compelling sculptures from this unlikely art material. But the more you look at her creations the more you realise that something is a little off. The thick lengths of sealant she produces stretch beyond the shelves on which they sit, sagging off the edges towards the floor. The knotty foam pipes bulge until they split.
