ANDREA BOWERS – DEMOCRACY NEEDS OUR COURAGE

Posted on 2026-09-28

Drawing on slogans used in worker’s rights movements from the turn of the twentieth century, as well as her own archive of political graphics, Bowers looks to connect the movements of the past to our present. In a new, large-scale drawing on collaged cardboard supports, a woman triumphantly sits atop an anvil, a longstanding symbol of worker’s rights, positioned as a political force in her own right. In another, the anvil is used as a tool as a woman connects the final link of a chain that reads, “vote for women.” A series of highly detailed graphite drawings isolate individual protestors on the page. Each realized from photographs taken by Bowers at protests throughout Donald Trump’s first presidential term, Bowers utilizes her own labor to elevate these figures, memorializing their actions in intimately scaled works that feel monumental. Their slogans, such as “families belong together,” join those of new light-based works in neon and LED, which announce “Fascism Isn’t Freedom,” and “Eco Not Ego.” The black cat,

Opposite – Free Speech, 2026

Exhibition runs through till October 31st, 2026

Andrew Kreps Gallery
22 Cortlandt Alley
10013
New York

www.andrewkreps.com

  

FÁTIMA RODRIGO – ¿CUÁNTAS VERSIONES MÁS DE MÍ TIENEN QUE MORIR?

Posted on 2026-09-28

The exhibition, whose title translates as “How many more versions of me must die?”, turns to Televisa as a producer of narratives about what it means to be a woman in Latin America. Although not exclusively, telenovelas (soap operas) have been a major vehicle through which Televisa has constructed what Italian theorist Teresa de Lauretis termed technologies of gender: cultural devices and practices that produce and naturalize particular forms of femininity and masculinity through representation. Historian Melixa Abad-Izquierdo describes the telenovela as a melodrama built around a basic narrative mechanism: “a poor young woman falls in love with a wealthy young man; the protagonist faces obstacles with resignation, almost heroically; the central conflict is the struggle between good and evil” portrayed without nuance, in starkly Manichean terms.

Opposite – Mis sueños se convierten en promesas

Exhibition runs through till October 25th, 2026

Pequod
Lancaster 29, Juárez, CDMX
06600
Mexico City

www.pequodco.com

  

ANDREW KERR X CAPTURE BUILTHIS

Posted on 2026-09-28

Andrew Kerr’s practice is rooted in drawing. His pencil drawings, exploring letterforms, text and shape, provide both pictorial ideas and a technique which move into painting. In Capture Builthis, there are pairs of paintings which share a common origin, following the approach of his drawings where the same word or set of forms are repeated and reshaped across different sheets. This intuitive method, one which relies on following an unfolding process rather than a strict logic, extends into Kerr’s investigations of sculpture and architecture too. Shapes chime between the dancing vessels, columnlike emblems, and pleated spaces in the paintings and the interventions in the space.

Opposite – Untitled, 2026

Exhibition runs through till November 7th, 2026

The Modern Institute
14-20 Osborne Street
G1 5QN
Glasgow

www.themoderninstitute.com

  

HERNAN BAS – TIME TO SHINE! (THE SALESMEN)

Posted on 2026-09-21

This new body of work is set in places of retail where, as comedy, tragedy and life in general tell us, minor characters assume leading dramatic roles. The title, TIME TO SHINE! (the salesmen), suggests moments illuminated by theatrical spotlight. Here, then, are actors in the theatre of, usually, suburban commerce poised for an encounter that seems every bit as electric as the hush before a revered thespian enters the stage.
This mercantile world takes us to stores and stands of different kinds, as well as to the seaside. Several works were triggered, Proust-like, by childhood memories. Yet it also extends to the hallowed environs of the contemporary art gallery, and here we’re reminded that Bas has often traded in the self-reflexive, conjuring words such as ‘meta’ long before they slipped into common parlance. The title First choice (two artists, a dealer and a collector) sets up a familiar artworld dynamic, only to wrongfoot us with the realisation that the artists depicted in the painting are not the humans.

Opposite – No refunds on relaxation, 2026

Exhibition runs through till November 14th, 2026

Victoria Miro
16 Wharf Road
N1 7RW
London

www.victoria-miro.com

  

OLIVER LEE JACKSON – FORM FOLLOWS FEELING

Posted on 2026-09-21

A Bay Area resident based in Oakland, Jackson builds his compositions around the human figure, a recurring presence that underpins his work’s structure. This presentation brings together works spanning several decades of his practice from paintings to a group of marble and mixed media sculptures. His sculptural output, a lesser-known but vital aspect of his oeuvre, was last seen in a monumental commission of metal figures for New York’s High Line in 2024, while these forms are being presented publicly for the first time.
After initially carving marble in Carrara, Italy in the 1980s, Jackson took to sculpting sensuous figures from stone and wood, but often left the unfinished works aside as he ruminated over their final forms. Thee resulting sculptures are complex constructions of juxtaposed matter, including draped cloth and graphite marks, each medium seeking out the figure contained within. Rupture occurs in the breaks and cuts between these materials, with flashes of gold leaf adding a sense of quiet ritual or spiritual uplift, but harmony is restored through Jackson’s keen sense of composition and balance.

Opposite – Untitled, 2026

Exhibition runs through till November 7th, 2026

Lisson Gallery
1037 N. Sycamore Avenue
90038
Los Angeles

lisson.com

  

NADA ELKALAAWY – THE BUTTERFLY’S BURDEN

Posted on 2026-09-21

Borrowed from the poetry of Mahmoud Darwish, the exhibition’s title speaks to the tension between sensitivity, beauty, and emotional weight. Across a body of paintings developed through layered processes of accumulation and erasure, Elkalaawy explores memory, loss, regeneration, and the passage of time. Ephemeral forms including flowers, butterflies, domestic vessels, family photographs, and ghostly figures hold traces of shared human experience, drifting between past and present, presence and absence.

Opposite – The Butterfly’s Burden, 2026

Exhibition runs through till November 15th, 2026

Lawrie Shabibi
Unit 21, Alserkal Avenue, Al-Quoz 1
Dubai
UAE

www.lawrieshabibi.com