Jacqueline Humphries transforms the language of abstract painting into a field of encoded gestures and digital symbology. jHΩ1:) expands her exploration of light, code, and mark-making, merging painterly instinct with algorithmic rhythm.

Hard Cover brings together six artists—Rose B. Simpson, Jane Irish, Sharon Hayes, Howardena Pindell, Judith Scott, and Wilmer Wilson IV—whose work explores protection, exposure, and the narratives we hide or reveal through material. Across fiber, film, clay, and collage, each artist opens a conversation on the physical and psychological covers we build to survive.

Sze’s installations are like living constellations—bits of paper, projection, and light suspended in motion. You don’t look at them, you wander through them.

In I’m, Deborah Roberts confronts the narratives that shape Black childhood and identity through layered collage and portraiture. Her figures—composed from fragments of media, history, and imagination—stand powerful, vulnerable, and wholly human.

B. Ingrid Olson bends architecture and the body until both start to shimmer. With History Mother and Little Sister, the Carpenter Center becomes a stage for mirrored limbs, carved reliefs, and architectural riffs that press photography and sculpture into playful, feminist conversation. Supported by Girlfriend Fund, these twin exhibitions are as sly as they are structural.

Harrison’s sculptures are part joke, part critique, and completely her own. Pop culture meets fine art in a mash-up that’s as smart as it is mischievous.

Hilma af Klint’s visionary paintings reveal abstraction as a spiritual and philosophical pursuit. Created decades before her contemporaries, the works challenge linear art histories and foreground intuition, symbolism, and unseen forces.

INDUCTION brings together the work of Tauba Auerbach and Éliane Radigue in a focused exploration of sound, vibration, and perception. The exhibition invites viewers into a shared sensory field where visual form and sustained tone unfold slowly, emphasizing attention, duration, and embodied experience.

Owens paints like she’s in on the joke—and maybe writing the punchline. Every canvas is part chaos, part genius, and completely alive.

Clear Day brings together Maureen Gallace’s quietly radiant paintings, where spare compositions and luminous color distill everyday scenes into moments of stillness and clarity. Small in scale but expansive in feeling, the works invite close looking and slow attention, rewarding viewers with subtle shifts of light, space, and mood.

Njideka Akunyili Crosby layers Nigeria and America in the same image—collage and transfer meet painting to map diasporic identity with intimacy and complexity.

Louise Lawler’s WHY PICTURES NOW brings her incisive, decades-long inquiry into power, authorship, and display squarely into the present moment. Installed at MoMA, the exhibition reframes familiar images and objects to ask how context shapes meaning—and why these questions still matter now.

Leslie Hewitt in collaboration with Bradford Young, Stills, 2016, installation view, Collective Stance, SculptureCenter, 2016. Three synchronized video projections

Leonard looks slowly and asks us to do the same. Her photographs linger on the edges of things—borders, seams, the places where one story touches another.