Jang Seungkeun’s paintings do not follow the familiar forms of objects. Instead, they capture fleeting impressions and sensations, unfolding them across the canvas. The shapes in his works gather and disperse, take form and then dissolve, softening the boundaries of the pictorial space. This process not only records traces of the artist’s gaze but also creates a dynamic, unfixed spatial experience.

GRIMM is pleased to announce The Holiday Park, a solo exhibition of new paintings and drawings by British artist Caroline Walker. The exhibition is on view at the New York gallery from March 28 to May 3, 2025.

A representational painter whose work is distinguished by sparseness, subtlety, and timelessness, Emily Pettigrew’s pictures emanate a quiet reverence for both history and nature. Pettigrew’s narrative paintings, which depict lone or small groups of figures, landscapes, and American architecture, had their inception in her formative years in Maine. Pettigrew explains: “My love for the starkness of the landscape of my childhood is reflected in a spartanism in my work. My foundational principle of painting is the removal of excess parts—a paring down to an image’s most beautiful elements.”

Gaa is delighted to present Tricksters, a solo exhibition of new works by Katja Farin. Composed of a kaleidoscopic combination of new paintings and ceramic objects, Tricksters further communicates Farin’s reflection upon and theorization of humanity and human connection, centering cleverly layered narratives which exist somewhere between tangible and intangible realities. Tricksters marks Farin’s inaugural solo exhibition with Gaa.  

Sebas Velasco’s paintings have an evocative power that’s akin to stumbling upon a hidden, nocturnal world—one that’s shadowed and raw, yet humming with a quiet vibrancy. There are the colors of the night and the echoes of youth culture, even in places that feel abandoned and empty. There is life here. There is movement and sound. Velasco has this way of capturing urban landscapes and portraits that almost breathe with life—there’s grit and romance, an authenticity that speaks to a world full of whispered stories and unspoken dreams.

For whom are the paintings of Amanda Rodriguez? A true story: In 2003, there was a bubble machine outside a coffee shop on Hennepin Avenue in Minneapolis. On one of the first fine days of spring after a typically brutal winter, a man in a gray business suit ripped down the sidewalk, head bowed into the wind. Encountering the cloud of iridescent soapy globes he startled, gnashed his teeth and mumbled, “GOD DAMN BUBBLES!”, swatting them away angrily with his arms.

Over in Copenhagen this weekend, James Ulmer is opening a new solo show, Situations, with the good people of V1 Gallery in their V1 Salon.

Hashimoto Contemporary is pleased to present House & Ghosts, the debut solo exhibition of Angela Fang Zirbes. Set within the backdrop of an old rural house, ghosts and their haunted objects appear within carefully decorated striped and wood paneled interiors. Executed in a monochromatic palette, the paintings are reminiscent of an old aging photograph, like calling upon a long forgotten memory. Inspired by common decor typically found within old country homes, faux wooden frames encase relics and imagined memories of a life once lived, serving as memories of the ghosts past ‘in life’. These domestic depictions illustrate the restrictions of life through the use of traditional compositions, smaller scale imagery,…

Mrs. is pleased to announce Clark, a presentation of new works by Mark Mulroney. This is the artist’s third solo exhibition with the gallery.

In a world where noise and commotion are increasingly prevalent, and where it seems out of fashion to not make one’s presence loudly felt, José Lerma gives a face to the bystanders and the silent witnesses in the back. But only in moderation—the faces he presents to us are, after all, stripped down to their most basic features. Highly stylized and rigid, they retain only the bare essentials of facial structure in what the artist calls “the summary of a portrait.” His paintings go beyond mere representation, teetering on the edge of abstraction.