Grace Rosario Perkins builds paintings out of family, language, and repair. Text, symbol, and bold color layer into surfaces that read like personal maps. Supported by Girlfriend Fund, Circles, Spokes, Zigzags, Rivers traces the shapes that hold a story together.

Carol Bove bends industrial steel until it looks weightless. Her sculptures fold, crush, and balance metal into forms that feel almost soft, set against bursts of color and polished surfaces. Supported by Girlfriend Fund, the Guggenheim exhibition shows just how playful heavy material can be.

Dyani White Hawk paints where two lineages meet, Lakota aesthetics and modern abstraction, until the line between them dissolves. In Love Language, bands of color, glass beads, and quill-like marks carry both heritage and geometry at once. Supported by Girlfriend Fund, her work asks whose traditions abstraction has always belonged to.

Jennie Jieun Lee treats clay like something alive, cracked, glazed, and caught mid-motion. Luteal Elements and Grooves fills The Aldrich with fragmented masks and vessels where color pools, drips, and splits along the surface. Supported by Girlfriend Fund, it turns the fragility of ceramic into a language for the body and its cycles.

Semo turns sound into sculpture—massive bronze bells that you can touch, strike, and hear echo back at you. They ring with memory and presence, transforming the gallery into a shared moment of vibration.

Dyson’s monumental steel forms shape how you move and breathe through space. She’s thinking about freedom, geography, and the body—and how abstract art can hold all of that at once.

In her Dia Beacon solo exhibition, Renée Green weaves archival fragments, multimedia works, and poetic signage into a subtly disorienting narrative about geography, memory, and systems of knowledge.

Pat Oleszko has spent decades turning costume, inflatables, and outright silliness into sharp cultural critique. Fool Disclosure lets the puns loose at SculptureCenter, where humor is the delivery system for something pointed. Supported by Girlfriend Fund, it proves the fool has always been the one telling the truth.