In Flying Woman, Katherine Bradford presents a body of paintings centered on figures in motion—floating, leaping, and suspended against fields of luminous color. The exhibition highlights Bradford’s distinctive ability to balance vulnerability and strength, using simplified forms and saturated palettes to explore freedom, risk, and emotional resilience.

Through clay and care, Reverend Joyce McDonald transforms pain into hope — her small sculptures evoke rest, resilience, and repair, breathing tenderness and power into every gesture.

Sherald paints Black life with quiet power and perfect poise. Her portraits glow from within—otherworldly yet unmistakably real. You feel the stillness, the grace, and the invitation to really see.

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.

Kim translates sound into something you can see. Her work is funny, sharp, and political in the best way—turning the rules of communication inside out.

Bhabha’s towering figures feel ancient and futuristic all at once. Rough, powerful, and oddly tender, they hold the tension of survival—scarred but standing tall.