Diana Thater in Inaugural Installation of LACMA's Collection at the New David Geffen Galleries →

Diana Thater
Opening April 19, 2026 | Los Angeles County Museum of Art

Visitors in the David Geffen Galleries, photo © Museum Associates/LACMA

Los Angeles County Museum of Art's David Geffen Galleries will open on April 19 with a ribbon-cutting celebration, marking the beginning of two weeks of priority member access to the galleries as well as a series of events. From April 19 through May 3, LACMA members and donors will have the opportunity to see the inaugural installation of the museum’s collection. 

Visitors will enjoy seeing artworks spanning the entirety of art history, including museum favorites: Georges de La Tour’s The Magdalen with the Smoking Flame (1640); Henri Matisse’s La Gerbe (1953); Antonio de Arellano and Manuel de Arellano’s Virgin of Guadalupe (Virgen de Guadalupe) (1691); and more. Notable recent acquisitions will also be on view, including Francis Bacon’s Three Studies of Lucian Freud (1969) and Vincent van Gogh’s Tarascon Stagecoach (1888). Adding to the presentation of art from around the world and across time are special commissions by Todd Gray, Lauren Halsey, Sarah Rosalena, Do Ho Suh, Diana Thater, and others. 

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Philippe Parreno in 'New Humans: Memories of the Future' →

Philippe Parreno
Opening March 21, 2026 | The New Museum, New York

New Humans: Memories of the Future will inaugurate the New Museum’s expanded building with an exploration of artists’ enduring preoccupation with what it means to be human in the face of sweeping technological changes. New Humans will trace a diagonal history of the twentieth and twenty-first centuries through the work of more than 150 international artists, writers, scientists, architects, and filmmakers, highlighting key moments when dramatic technological and social changes spurred new conceptions of humanity and new visions for its possible futures.

Presenting new and recent works by artists including Sophia Al-Maria, Lucy Beech, Meriem Bennani, Cyprien Gaillard, Pierre Huyghe, Tau Lewis, Daria Martin, Wangechi Mutu, Precious Okoyomon, Berenice Olmedo, Philippe Parreno, Hito Steyerl, Jamian Juliano-Villani, Andro Wekua, and Anicka Yi in the context of works by twentieth century artists and cultural figures such as Francis Bacon, Constant Nieuwenhuys, Salvador Dalí, Ibrahim El-Salahi, H.R. Giger, Kiki Kogelnik, Hannah Höch, Tatsuo Ikeda, Gyula Kosice, El Lissitzky, Lennart Nilsson, Eduardo Paolozzi, Carlo Rambaldi, Germaine Richier, and Elsa von Freytag-Loringhoven, New Humans illuminates artists’ evolving visions of the future. The exhibition surveys the myriad shapes that humanity might take, from robots and cyborgs to haunting, seemingly alien life forms, and moves beyond the field of art by bringing together utopian architects, sci-fi filmmakers, and eccentric writers who imagine physical, virtual, and even post-human worlds. In an age when technological advancements and their unintended consequences seem to be accelerating at uncontrollable rates, New Humans proposes art as a collective form of creative prognostication—a vital self-portrait of the humans we may become.

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Uta Barth and Pae White in 'Destiny is a Rose: The Eileen Harris Norton Collection' at Hauser & Wirth →

Uta Barth and Pae White
February 24 – April 26, 2026 | Hauser & Wirth, Los Angeles

Pae White and Brian Eno
Oblique Strategies, 1996
Printed cards in Corian container
4 × 11 × 9 in. (10.2 × 27.9 × 22.9 cm)
Norton Family Christmas Edition

Renowned for her generosity to artists and institutions, Eileen Harris Norton has built a collection and philanthropy actively focused upon the work of women, artists of color and her native California. Marking fifty years since Harris Norton’s first acquisition—a print purchased directly from Los Angeles artist Ruth Waddy in 1976—‘Destiny Is a Rose’ presents more than 80 works that together reflect Harris Norton’s prescient vision and commitment to social justice and learning.

Titled after a painting by Kerry James Marshall, ‘Destiny Is a Rose’ includes work by such artists as Mark Bradford, Felix Gonzalez-Torres, David Hammons, Glenn Ligon, Marshall, Lorraine O’Grady, Adrian Piper, Betye Saar, Lorna Simpson, Kara Walker, Carrie Mae Weems and Jack Whitten, among others. In conjunction with ‘Destiny Is a Rose,’ Hauser & Wirth Publishers will release a catalogue featuring texts by Dr. Kellie Jones and curator Ingrid Schaffner, celebrating a collector who continues to be an agent of cultural change and growth.

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Kerry Tribe in 'Hollis Frampton: From Form to Idea to Form of Idea' →

Kerry Tribe
February 19, 2026 at 6pm | The University of Chicago Center in Paris

Kerry Tribe, Critical Mass, 2013, Single channel video with sound, 25 min approx (Edition of 5)

A segment of Kerry Tribe’s Critical Mass (2010-2013) is included in Axioms of Vision: Echoes of Hollis Frampton, part of the larger symposium Hollis Frampton: From Form to Idea to Form of Idea organized in partnership between Service de la collection film, Musée national d’art moderne - Centre Pompidou / CERILAC, Université Paris Cité / IRCAV, Sorbonne Nouvelle / LESA, Aix-Marseille Université / The University of Chicago Center in Paris / Université de Montréal / UQAM / York University (Toronto) / IUF (Institut Universitaire de France).

Axioms of Vision: Echoes of Hollis Frampton features a selection of moving image works that approach Hollis Frampton’s films as a set of propositions that test the limits of the formal systems he developed. The screening is curated and introduced by Clint Enns. Frampton’s rigorous investigations into the material and conceptual limits of cinema—film as language, as system, as thinking—provide both the scaffolding and the provocation for the program. Some works adopt his structural clarity with near-devotional precision, while others answer with satire or mischief, pulling at the threads of his seriousness to expose its comic underside. In this oscillation between homage and parody, the program resists the stability of a single reading, instead staging a field of echoes, ruptures, and counterpoints. What emerges is not a monument to Frampton but a living dialogue, where his axioms become function as invitations—coordinates for reimagining the possibilities of vision itself.

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A performance that cherishes time: Ann Veronica Janssens →

Ann Veronica Janssens | Bozar Center for Fine Arts

by Guillaume De Grieve & Cedric Feys

Four and a half hours. That’s how long it usually takes to perform ‘Notes for Philip Guston'. Time and space blur in this meditative work by Morton Feldman. The visual artist Ann Veronica Janssens is intimately familiar with such experiences. Her own works also refuse to adopt a fixed form. For the next Staging the Concert, she will create a movement of colour with HERMESensemble in which you can come and go as you please.

What appealed to you in Notes for Philip Guston, a piece for flute, piano and percussion?  

Ann Veronica Janssens: It was the fact that the duration of the piece gradually immerses the audience in softness and apparent simplicity. It is intended as an ‘open’ work. You can walk away from it and then come back again. You get the feeling that you are undergoing several variations of an experience you believe you’ve had before, but that no two iterations are ever quite the same. The piece reminds me of listening to birds having a conversation: you don’t understand what they’re saying, but it’s wonderful to hear. What interests me are impalpable forms, elusiveness, and that is something you can experience fully by listening to Notes for Philip Guston. My intention with this performance is to bring the musicians and the audience together as highly sensitive actors. 

Absolutely. And it’s true, Feldman is playing a game with perception. Sometimes he repeats motifs for an hour, even two hours. 

Ann Veronica: It’s a disconcerting experience, an idea that stimulates us. Is our memory playing tricks? Have we experienced this moment before? Have we heard this motif before? 

Do you apply that principle to your own work? 

Ann Veronica: Much of my work has to do with perception, with change caused by apparently very simple gestures. One thing I want to do, for example, is to make an experience of duration tangible. 

Read more here.

Ann Veronica Janssens & Michael François →

Ann Veronica Janssens
February 2 – April 18, 2026 | Galeria Mascota, Mexico City

Ann Veronica Janssens & Michel François, Golden Section, 2009, dimensions variable, transparent one-way mirror foil. Photo © Andrea Rossetti, courtesy Pirelli HangarBicocca

Bringing together major figures of contemporary European art, Ann Veronica Janssens & Michael François at Galeria Mascota in Mexico City explores perception, materiality, and embodied experience through distinct yet resonant practices. Janssens and François share a longstanding artistic dialogue, marked by collaboration, contrast, and mutual influence. The exhibition unfolds as a choreography of light, movement, and subtle intervention, inviting viewers into heightened states of awareness.

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Ann Veronica Janssens & Michael François: Zeitgeber →

Ann Veronica Janssens
Sunday, February 1 at 2pm | 164VANVOLXEM, Brussels

Photograph Courtesy of The Artist, Photo by Anne Van Aerschot

Zeitgeber, a collaboration between Ann Veronica Janssens and Michel François, was created and conceived for the forecourt of 164VANVOLXEM, a creative hub in Brussels. The work inaugurates and celebrates this new space as a social sculpture that brings people together. Zeitgeber is comprised of a monumental tree trunk from a century-old American oak placed on the meadow, creatinh a site of gathering.

Zeitgeber will be inaugurated on Sunday, 1 February at 2pm. Following an introduction by Katrien Laenen (Platform Kunst in Opdracht) Dirk Snauwaert (Director, WIELS), Boštjan Antončič will perform his solo Bernabo at the site.

Rosas, P.A.R.T.S., and Ictus are celebrating the opening of their renewed space 164VANVOLXEM in Brussels with an almost month-long festival (30 January–22 February 2026), featuring over 45 makers, each connected to the site.

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Jack Goldstein: Pictures, Sounds and Movies →

Jack Goldstein
January 24 – May 31, 2026 | Beim Stadthaus, Kunst Museum Winterthur

Jack Goldstein (1945–2003), who was born in Montreal and graduated from the California Institute of the Arts, became a key figure of the Pictures Generation, the artist movement that shunned traditional art forms and appropriated images from advertising, television, and popular culture.

His work is characterized by radical reduction, technical brilliance, and conceptual focus. At the beginning of his career, he created Post-Minimalist sculptures and performances. In the 1970s, he made experimental 16mm films such as The Jump (1978) in which a diver from Leni Riefenstahl’s film Olympia seems to jump into a void—a symbol for Goldstein’s own grappling with presence and erasure. Other videos, too, such as Shane (1973) and Metro-Goldwyn-Mayer (1975) explore the power of film images. 

In the same period, Goldstein began doing sound pieces and produced the series A Suite of Nine 7-Inch Records (1976), in which he combined sound effects from feature films to create sound artworks. Starting in 1980, he produced noteworthy large-format Photorealist paintings of natural phenomena, war scenes, and technological pictures, which consisted of illustrations from newspapers and magazines that his assistants had painted according to his directions. It was important for him to have as much distance to the work as possible and to minimize personal artistic style.

Whether sculpture, film, sound, or painting, Goldstein’s art revolves around transience, invisibility, and the mechanisms of reproduction through the media. He cleverly achieves a balance between spectacle and vacuousness. His suicide in 2003 marked the end of an oeuvre that had a considerable influence on an entire generation of younger artists—however, in Switzerland it was largely overlooked. Together with MAMCO Geneva (Musée d’Art Moderne et Contemporain), private lenders, and thanks to a permanent loan from the Jochen Kienzle Foundation, the Kunst Museum Winterthur presents a representative selection of paintings, films, and records for the first time.

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Uta Barth in 'MoCP at 50: Collecting Through the Decades' →

Uta Barth
January 22 – May 16, 2026 | The Museum of Contemporary Photography at Columbia College, Chicago

Uta Barth, Field #3, 1995

This year, the Museum of Contemporary Photography turns 50 years old. Since opening in 1976 and initiating collecting in 1979, the MoCP has acquired over 18,000 objects by more than 2,000 artists, representing a broad scope of aesthetics, technologies, and processes. The variety of work collected has allowed the museum to engage in conversations across political, social, and cultural landscapes.

To celebrate this milestone, MoCP at 50 examines the evolving practice of building a dynamic collection, presenting a range of rarely exhibited and newly acquired works. Together, these selections question and reflect on the role of cultural institutions in shaping the photographic canon.

MoCP at 50 honors the museum’s ongoing dedication to collecting as a deliberate, mercurial, and educational process that contributes to keeping photography’s many narratives alive and in dialogue with the present.

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Angela Bulloch, Ann Veronica Janssens & Philippe Parreno in 'Winter 2026' →

Angela Bulloch, Ann Veronica Janssens, & Philippe Parreno
January 20 – February 28, 2026 | Esther Schipper, Berlin

Philippe Parreno
The Crawler, 2024
Concrete tiles and base, steel track, glass shell, sensors, motors, lights, cables, computer
Steel pole: 300 x 91 x 103 cm
Glass shell: 68 x 37 x 28 cm

Over four decades ago, Gil Scott-Heron observed that – “politically, and philosophically, and psychologically” – there was only one prevailing season, “the season of ice”; words that, without doubt, mirror the current atmosphere. While the winter solstice promises the gradual return of light, days remain swayed in darkness for weeks on end. Though tiresome, this long night opens a space for introspection, even spurs the fire in one’s belly. Winter, for Scott-Heron, signified a state of frozen aspiration and inspiration. Yet this bitter condition provoked a moody, by now iconic, song that he liked to perform seasoned with a grain of salt. In this vein, and uncovering the creative underbelly of such chilled times, the works on view navigate the uncanny and the cosmic across decades, centuries, even millennials. They draw on a fossilized, charred, or blurred past and envision smart, weird, or weirdly rosy nurseries of the future; their aesthetics converge at a dense point of thick materiality and precise formal execution. Light fractures the exhibition space, transforming it into a chiaroscuro landscape suffused by shadow and spotlight. 

Winter 2026 brings together works by Saâdane Afif, Rosa Barba, Angela Bulloch, Julius von Bismarck, Martin Boyce, Etienne Chambaud, Thomas Demand, Ryan Gander, Dominique Gonzalez-Foerster, Pierre Huyghe, Ann Veronica Janssens, Lee Bae, Sojourner Truth Parsons, Philippe Parreno, Anri Sala, and Anicka Yi. 

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Diana Thater in 'Returning To Wonder' →

Diana Thater
January 16 – May 3, 2026 | Kimball Art Center, Park City

Diana Thater
Natural History One Redux (2024)
Five monitors, media player, and two LED light fixtures
9 minutes, 18 seconds
Courtesy of the artist and David Zwirner

From the immense expanse of a star-filled sky to the discovery of a fossil emerging from stone, holding millions of years in its imprint, the natural world holds countless awe-inspiring ​encounters that can stop us in our tracks. These fleeting ​moments reorient us, widening our sense of scale and possibility. They cultivate a ​feeling of humility, reminding us that the world is alive with rhythms, intelligences, histories, and energies that extend far beyond everyday perception, waiting to be noticed when we slow down and look with care.

Returning to Wonder brings together works by Erika Blumenfeld, Kellie Bornhoft, Alexandra Fuller, Lia Halloran, Nina Katchadourian, Josiah McElheny, Pipilotti Rist, Katie Paterson, Diana Thater, and Reuben Wu. The artists are all driven by an intense curiosity about these natural phenomena and our relationship to the more-than-human world. Blending scientific inquiry with poetic imagination, their works act as portals into the spectacular dimensions of our environment. Drawing from diverse fields—including astronomy, geology, mathematics, and ecology—each artist translates complex ideas, such as the enormity of time and space, into forms we can begin to feel, contemplate, and carry with us.

Together, the​ir works ask us to rekindle our capacity for wonder, encouraging renewed curiosity and attentiveness. ​In doing so, Returning to Wonder proposes awe as an essential practice, one that fosters empathy, care, and a deeper awareness of our place within a vast, dynamic universe.

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Pae White in Dib Bangkok's inaugural exhibition '(In)visible Presence' →

Pae White
December 21, 2025 – August 3, 2026 | Dib Bangkok

Drawing from a collection shaped over three decades and expanded through new collaborations,(In)visible Presence is the inaugural exhibition for the new Thai Museum. The exhibition brings together 81 works by 40 contemporary artists, many showing in Thailand for the first time. Through sound, scent, light, and unconventional materials, the artworks enable us to sense what cannot be seen.

In Pae White’s Module#1390 NCS-Color S0530-G20Y (sea foam green) (2014), on view in the show, illumination is not simply projected but embodied. Constructed from copper, epoxy filler, glass, wire, and a halogen illuminant, the work emits a muted, almost aquatic glow that resists spectacle. The color: precise, coded, industrial, nevertheless feels atmospheric, as if light itself were being held in suspension. Rather than directing attention outward, the piece draws the viewer into a heightened awareness of perception itself, a reminder that light is both information and sensation, something that registers in the body before it resolves in thought.

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Fiona Banner: Kicking the Weight of Language →

Fiona Banner AKA The Vanity Press | Rosanna Albertini’s The Kite

by Rosanna Albertini

Dis-like, dis-quiet, dis-member, dis-traction, D I S, the 3 (greek) letters that have lived hundreds years and found a place in many languages of today, give the words a strange uncertainty: DIS ARM for instance, it’s an arm and it is not. Fiona Banner decided it is the arm of a clock. Time is gently held inside the hand, it’s human time. As the arm moves around invisible hours the human touch replaces certainty. Time is not written. Movement, inner timing, the unpredictable, surprising clock in our body hosts an infinite shrinking, or enlarging time, the son of emotions. Silent and invisible. Not a hero. 

We all are, including the artist, prisoners of languages that we love and dislike. 

They are a constant challenge. Words are the most tricky. On paper they slip away fast. If we stop on them more than a few seconds each word becomes a deep hole, understanding goes to hell. Paul Valéry showed me that. But placed on the floor cast in industrial fonts — using melted aluminum that was once the wing of a jet attack aircraft originally used by the British Royal Air Force and the French Air Force — the surviving word, V U L V A, becomes heaviness, sculpted mixture of meanings; an object, an absurd object in our face. 

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Jessica Stockholder acquisition by Sheldon Museum of Art →

Jessica Stockholder
December 16, 2025 – June 21, 2026 | Sheldon Museum of Art at the University of Nebraska, Lincoln

Sheldon Museum of Art celebrates the acquisition of a monumental work by Jessica Stockholder by displaying it in the Great Hall. The untitled work exemplifies the artist’s signature approach to artmaking, one that defies tradition by combining painting, sculpture, and freestanding assemblages of found objects. 

Here, Stockholder has used a bathtub, sofa, accent lamps, and other household objects not because of their symbolic or expressive meanings, but because of their material qualities—color, weight, texture—or their potential as surfaces for paint. The effect is both idiosyncratic in its seeming randomness and formally stunning in its careful consideration. By refusing more traditional fine-art techniques, Stockholder directly engages with the material world in which we all live.

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Ann Veronica Janssens in 'Louisiana's New Works' →

Ann Veronica Janssens
December 2, 2025 – June 4, 2026 | Louisiana Museum of Modern Art, Denmark

Photo credit: Camilla Stephan / Louisiana Museum of Modern Art, Humlebaek, Denmark

From 2022 and onwards, Louisiana has once again been able to add a broad and important variety of works to the museum collection. Great surprises therefore await with works in the entire South Wing as well as several rooms in the North Wing.

The exhibition presents more than 130 works by some 80 artists – half of whom are new to the collection. In time they span from a 1945 self-portrait by Diane Arbus to works created this year by Gauri Gill and Issy Wood.

The presentation spans painting, photography, sculpture, video works and installations. And here you come across both classics and artists who have been exhibited at the museum in recent years - such as Diane Arbus, Firelei Báez, Ann Veronica Janssens, Dana Schutz, Alex Da Corte and Richard Prince.

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Jorge Méndez Blake in 'Fragments of Displacement' →

Jorge Méndez Blake
December 2, 2025 - March 1, 2026 | FF Projects, Miami

Curated by Omar Lopez-Chahoud, Fragments of Displacement features works by Mario Garcia Torres, Brian Eno, John Giorno, Andrea Geyer, Jose Davila, Gonzalo Lebrija, Chantal Peñalosa Fong, Stefan Bruggemann, Ian Waelder, Malibu, Linnea Goransson, Andre Komatsu, Jorge Mendez Blake, Matteo Callegari, Alessandro Moroder, Julia Rometti, Abigail Reyes, & Richie Culver.

The exhibition features site specific installations throughout the Miami Produce Distribution Center in Allapatah.

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On Responding: Stolon Press →

Simryn Gill | Art+Australia

by Amy May Stuart

Across two recent exhibitions, Stolon Press: Flat earth (Monash University Museum of Art (MUMA), Melbourne) and Live feed (1301SW, Sydney), the experimental publishing collective Stolon Press (Simryn Gill and Tom Melick) and their interdisciplinary collaborators work with what is close at hand. Discarded cardboard boxes, coffee grounds, one’s own voice, paper, vegetables, typewritten notes, and unframed photographs and prints form the material vocabulary of these two shows. There is a responsiveness too, in their way of working. This became clear in Flat earth—an exhibition put together by Stolon Press, to which they invited long-time collaborators Khaled Sabsabi and Elisa Taber—when the exhibition’s beleaguered completion significantly altered its planned form.

[…]

Instead of Stolon Press’ proposed discursive works, they contributed the ‘residual’ elements of the piece they had planned to show, Mixed business (2025)—direct prints taken from cardboard produce boxes collected in the vicinity of their Sydney studio. Placed across the floor in three of the gallery’s four spaces were ‘carpets’ of stitched-together cardboard from the flattened boxes, with each bearing the left-over ink from its use as a printmaking plate. While Mixed business did contain text, partially obscured labelling on the boxes detailing country of origin and contents, Stolon Press again move away from directly authored writing and towards minimalist abstraction. The gesture generated an ambiguity of meaning—which like Sabsabi’s Aajyna, prompts questions around demands for legibility from both viewers and institutions.

If Flat earth was characterised by minimalism and residuality, Live feed, a subsequent exhibition put together by Stolon Press, enacted an abundance of expression by the collective and their collaborator, chef Chui Lee Luk—not least through the communal dinners organised by Luk to bracket the exhibition period. Here, Stolon Press continued their long-term project of disciplinary disobedience, producing works that sat at the interstices of publishing, art and facilitating. Hosting Luk’s experiments with cooking and the fraught nature of food service they collectively asked questions of globalised flows of foodstuffs alongside the relationality of eating together.

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Gonzalo Lebrija & Jorge Méndez Blake: FINISTERRE at Travesia Cuatro →

Jorge Méndez Blake
November 22, 2025 - February 15, 2026 | Travesia Cuatro, Madrid

Gonzalo Lebrija and Jorge Méndez Blake went to the Costa da Morte and brought back something they did not know they were looking for: lighthouses. Or rather: one imaginary lighthouse, made up of little bits of all the lighthouses—like a synthesis of all of them into one. They could have gone to Cornwall or Brittany or Cork, even to Tierra del Fuego or Nova Scotia, without bringing back the lantern of Lariño, or the sirens of Finisterre, or the light of Silleiro, and instead bringing back other lanterns, other sirens, and other light beams, and the result would have been much the same. Is what we feel when we look out onto the sea from any of the lighthouses mentioned really different from what we feel at any other lighthouse? Thinking that the answer is “yes” would turn us into mere stamp collectors. It is not the case. 

 Jorge Méndez Blake and Gonzalo Lebrija have traveled to the Costa da Morte at night precisely for that reason: daytime infatuation gone, mysteries reveal themselves in their full indecipherability. The candle that once gave light before it was snuffed out, the incandescent silhouette of a boat crossing the horizon, the luminous crown of a tower in the middle of the Atlantic, the imagined conversations between sailors and lighthouse keepers… without their cold presence, without their Beckett-like solitude, without their words—or our own—to point out what transcends us, Finisterre would not even have a name. As stated in one of the dialogues of the exhibition: lighthouses, fractions of hope, flickering over the horizon. “The fog surrounds us,” says one sailor in the same dialogue. “And our light traps us in it,” answers another. 

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Ann Veronica Janssens in 'To Vincent: A Winter's Tale' →

Ann Veronica Janssens
November 30, 2025 – April 26, 2026 | Fondation Vincent van Gogh, Arles

Ann Veronica Janssens is featured in To Vincent: A Winter's Tale curated by Jean de Loisy and Margaux Bonopera at Fondation Vincent van Gogh, Arles.

Inspired by Vincent van Gogh’s written correspondence, 21 modern and contemporary artists take up the themes he addressed and present their works to him as if they were letters.

In doing so, they fulfill Van Gogh’s wish to be “a link in the chain of artists.”

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Ann Veronica Janssens and Philippe Parreno in 'Highlights from the Permanent Collection' →

Ann Veronica Janssens, Philippe Parreno
November 22, 2025 – June 25, 2026 | The PoMo Collection, Trondheim

The newly established PoMo Collection is growing rapidly. The collection is constantly evolving, with new works that contribute to its relevance, distinctiveness and high international quality. We are also committed to ensuring that the collection represents a wide diversity of artists, across gender, generations, backgrounds and artistic expressions. In this way, the works reflect the cultural and political shifts of our time, while maintaining a timeless relevance.

The presentation also offers a first encounter with new acquisitions, including the installation Amber, Pink and Wisteria (2025) by Ann Veronica Janssens, one of the artist’s iconic fog rooms. Here, you are invited to step inside the artwork itself and experience how time and space dissolve in a symphony of colour. The piece has been site specifically developed for PoMo in collaboration with the artist, who is already represented in the collection with her luminous glass works Sunset B, CL2E354 and CL2 (2020).

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