In 2026, curators aren’t just responding to aesthetic trends – they’re shaping how art is seen, understood, and connected to the wider cultural moment. From community engagement to deeper thematic frameworks, what curators prioritize reveals not only what gets shown in galleries and museums, but what gets remembered. Below, we unpack what curators are prioritizing […]
Cathleen Clarke has always been drawn to the spaces where memory begins to thin out. Not the sharp, documentary version of the past, but the gaps that form over time. The voids. The moments that cannot be fully retrieved. She is interested in what happens next, when imagination steps in to fill what is missing.
Auxier Kline Gallery, New YorkOpening reception: January 16, 2026On view: January 16 – February 13, 2026Location: Auxier Kline, 19 Monroe St, New York, NY, 10002More information: Auxier Kline | Aidan Lapp Auxier Kline presents Hold Still, a solo exhibition by Aidan Lapp that deepens the artist’s ongoing investigation into portraiture as a durational, relational practice.
Some cities don’t just host art — they actively condition it. Artists travel to these places not only to see work, but to understand how context, pressure, and community shape practice. Below are cities that consistently emerge in interviews as formative, followed by key institutions and galleries that anchor their scenes. New York City New
For Ruben Tönnis, art is not just a practice but a way of structuring life itself. Living and working in Berlin, painting gives him a sense of purpose and aliveness. A day spent making art, he says, is always better than one without it. What began as a hobby eventually became the center of his
Marie Amélie Chéreau return to art came after a life that had been deliberately built away from it, shaped by discipline, expectation, and success in a world where becoming an artist was never considered a viable path. What makes her story resonate is not only the transformation itself, but the depth of time that passed
Caroline Absher describes painting with oils as “the most enjoyable thing in the world,” it’s a way of living inside the material rather than controlling it. For her, oil paint is not something to be mastered through precision or restraint. It is something that wants to move, to change, to figure itself out. Control enters
Ádám Dóra is a Hungarian visual artist working between Budapest and Barcelona, whose practice bridges sculpture, installation, drawing, and conceptual research. His work is rooted in the subtle exchanges between the body and its environment, how gestures become form, how memory settles into material, and how attention transforms the ordinary into something quietly transcendent. Through
Julie Stoppel never planned to become an art teacher, or a gallery owner for that matter. But in her life, the most meaningful turns have often come from spontaneous moments, from saying yes before she had time to think. As a child, she was always drawing. “I was the kid who sat next to the
Logan T. Sibrel’s journey as an artist began in the quiet town of Santa Claus, Indiana, where the natural rhythms of rural life shaped his earliest interactions with the world. “I was always drawing and painting just kind of as a pastime,” he explains. “Because of where I grew up, which was quite rural and,
