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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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

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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Rirkrit Tiravanija in 'Show & Tell: An Exhibition for Kids'

Rirkrit Tiravanija
November 20, 2025 – April 5, 2026 | Walker Art Center, Minneapolis

Harold with Rirkrit Tiravanija’s “Untitled 2006 pavilion table and puzzle representing the famous painting by Delacroix La Liberté Guidant le Peuple 1830.” Photo Credit: Sheila Regan of the Minneapolis Post

Show & Tell is an exuberant, hands-on exhibition designed just for kids!

Built around five exploratory zones—Play, Make, Find, Read, and Watch—Show & Tell encourages young people to approach contemporary art with creativity and imagination. Where Cas Holman’s Critter Party (2024) offers a sculpture to touch, climb on, and modify, Caroline Kent’s colorful abstractions inspire kids to create their own collages to project in the gallery. A porthole wall reveals a trove of hidden surprises, from a miniature Spoonbridge and Cherry to a family of funky creatures. And in the comfy “Watch” zone, a varied selection of short films prompts curiosity and conversation.

With vibrant graphics and thoughtful spatial design, Show & Tell is an exhibition full of tiny worlds, tall tales, and endless stories.

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Stolon Press in Gateway 2025: 'Seeds of Memory - Migration as Ceremony, Survival, and Renewal'

Stolon Press (Simryn Gill)
November 19-23, 2025 | Manarat Al Saadiyat, Abu Dhabi

Stolon Press
Mixed Business No. 1, 2025
cardboard boxes (Missile Apples, South Australia; Durra Sunflower Oil, Malaysia; Tahineh, Kalaajieh, Lebanon; Moloky Thyme, Zaidan al Ammouri and Sons, Jordon; Royal Fields Stuffed Vine Leaves, Turkey; Wagh Bakri, Special International Blend Tea, Ahmedabad, India; Best Taste Pickled Cucumber, Iran; Duru Fine Bulgur, Turkey), etching ink, jute thread
110.24 x 62.99 inches

Gateway is an art exhibition held each November at Manarat Al Saadiyat during the Abu Dhabi Art Fair. Curated by Brook Andrew, the exhibition presents local and international artists through a distinctive curatorial lens. The exhibition is sponsored by Abu Dhabi Art’s Global Partner, HSBC.

The 2025 edition, titled Seeds of Memory - Migration as Ceremony, Survival, and Renewal features Betty Muffler, Issam Kourbaj, Leila Shirazi, Mohamed Majeed Almubarak, Natalia Papaeva and BANG ON Collective, Nomasmetaforas, Stolon Press, Sa Tahanan Co., & Vincent Namatjira 

Migration is a powerful term that encompasses a vast array of experiences across life and the universe. It includes the movement of water, seeds, animals, cultures, people, and their intertwined histories. These migrations—whether visible or invisible, physical or symbolic—are often deeply personal, evoking complex emotions and connections. They serve as profound metaphors for change, survival, and transformation. For Abu Dhabi Art 2025, curator and artist Brook Andrew delves into migration not only as a physical action but also as a poetic and political force. He explores it as a means to inspire and reminisce, to reflect on our place in the world, and to engage with others through performance, storytelling, and diverse cultural expressions. His curatorial vision invites audiences to participate in migration as an evolving and collective memory, one that can be celebratory, challenging, and healing—all at once. Through this lens, migration becomes a universal and shared human experience. 

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Ana Prvački in 'Phallus :: Fascinum :: Fascism'

Ana Prvački
November 15, 2025 – January 17, 2026 | The Box, Los Angeles

Ana Prvacki, Penis bonus pax in domus, 2017
Bronze, gold patina
8.8 x 5.5 x 3.1 inches
Ed. of 5

The Greek root φαλλός (phallos) is likely related to the Proto-Indo-European root bhel-, meaning “to blow up” or “swell,” which connects it to concepts of inflation or enlargement. This same root appears in other words related to swelling or fullness, such as balloon, bellows, or belly.

A fascinum was an ancient Roman style of an amulet of a phallus, designed to draw away the evil eye from the user towards the amulet (because it was an object of desire). The English word "fascinate" ultimately derives from Latin fascinum and the related verb fascinare, "to use the power of the fascinus", that is, "to practice magic" and hence "to enchant, bewitch, or bind together”.

In ancient Rome, the fasces were a ceremonial symbol of authority carried before magistrates. They consisted of birch or elm rods bound together with a leather strap, often with an axe head protruding from the bundle. The fasces represented the magistrate’s power to punish (the rods for beating) and execute (the axe for beheading). 

Benito Mussolini adopted this terminology when he founded the “Fasci di Combattimento” (Combat Squads) in 1919. The name deliberately evoked both the ancient Roman symbol of state power and the more recent tradition of Italian political organizing.

Now, I would like to draw your attention—at length—to the history of Ancient Roman militarism and fucking, or the suppression of non-procreative sex, if you please:

The endless demands of Roman militarism created an inexorable pressure for population growth that fundamentally transformed sexual culture and law. What began as pragmatic concerns about maintaining adequate military recruitment gradually evolved into a comprehensive system of legal and social controls that systematically suppressed non-procreative sexual behaviors. This transformation reached its culmination not with the end of paganism, but with Christianity’s adoption and intensification of these existing regulatory frameworks. 

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Kirsten Everberg in INCOGNITO for Institute for Contemporary Art, Los Angeles

Kirsten Everberg
November 15, 6-11pm | Hauser & Wirth, Downtown Los Angeles

INCOGNITO is back for its 16th iteration in support of the Institute of Contemporary Art, Los Angeles.

Hosted by Hauser & Wirth Downtown Los Angeles, Kirsten Everberg joins over 300 artists—both established and emerging—have each contributed 12 x 12-inch works of art in any medium of their choosing. All works generously donated by the artists are sold for $750 each, regardless of their current market or whether they have been working for decades or recently graduated. To further underscore INCOGNITO’s foundation of equity and playfulness, all artists remain anonymous—or incognito—their identities only revealed after the purchase of their work. 

Whether you are an avid collector or a first-time buyer, INCOGNITO is a fantastic opportunity to add new and original works of art to your collection. Guests are encouraged to use their eyes, follow their hearts, and trust their instincts to make their selections! 

All proceeds from INCOGNITO support ICA LA’s roster of dynamic exhibitions and Learning & Engagement programs and allow us to keep them free to the public. 

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