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On view in Berlin is Italian artist Maurizio Cattelan’s (b. 1960) survey - titled Night - at the Neue Nationalgalerie. Cattelan is one of contemporary art’s most well known provocateurs and pranksters, recognized for his hyperrealistic sculptures and site-specific installations, filled with wit, subversive humor, and irony. This major show was organized on the occasion of the artist winning the prestigious Preis der Nationalgalerie, and is curated by Lisa Botti and museum director Klaus Biesenbach, highlighting and transforming Ludwig Mies van der Rohe’s iconic modernist glass interior. Schwartzman& advisor Fernanda Arruda visited the exhibition, which is on view through March 7, 2027.

“The exhibition includes seminal pieces such as Him (2001), Novecento (1997), La Rivoluzione Siamo Noi (2000), and Untitled (2003), inspired by Günter Grass’s The Tin Drum, alongside new commissions. Together, these works trace recurring concerns within Cattelan’s practice: the tension between innocence and violence, the construction of identity, and the uneasy persistence of historical memory. At its centre is a new site-specific work conceived for the Neue Nationalgalerie. This commission initiates a far-reaching intervention into the museum’s spatial framework. Through a careful transformation, the exhibition reshapes how the building is used and experienced. Familiar modes of display give way to an environment defined by gathering, reflection, and attention. Within this setting, the relationship between viewer, work, and architecture shifts.”

#mauriziocattelan @neuenationalgalerie
@schwartzman.art 📷 @giampaolobianconi by @schwartzman.art

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a day ago

Diego Marcon: Arrivederci, Piggies! is up now at the New Museum, New York. The show is the Italian artist’s first solo show in NY, and features Marcon’s incisive, mysterious film and video works which investigate and explore cinematic tropes and archetypes; his work highlights our attitudes and perceptions of the moving image, questioning our understanding of how emotions and narration intertwine, and the audience’s attraction to sentimental attitudes and strategies. Through January 31, 2027.

“Marcon’s incisive work in moving image, sound, and film installation coopts familiar genres like horror movies, slapstick comedy, and cartoons to underscore and subvert cinematic archetypes and mechanical forms. While informed by the fantastical visions and narrative structures of fables, replete with families and children, his artworks also meditate on existential melancholy and frequently manifest themselves in disquieting events. Dissolving the edges between the ordinary and the uncanny, Marcon’s films stir our deep-rooted dreams and nightmares while awakening our childhood memories, both real and imagined, of tragedies, myths, and folktales.”

#diegomarcon @newmuseum by @schwartzman.art

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2 days ago

On view now, during Frieze week in London: Robert Ryman: The Real Thing at The Barbican Centre. The exhibition is the American artist’s first in the UK in over thirty years and celebrates his exploration of monochrome painting, as well as his role and impact on abstraction, minimalism, and conceptual art. This in depth survey includes over sixty works, and is on view through February 28, 2027.

“Robert Ryman believed that the best way to experience a painting is in person. His paintings, which mostly use white paint and a square format, reward close looking. He wanted you to notice everything: the texture of the paint, the brushstrokes, the material being painted on, how it’s displayed on the wall. The magic is in the feelings that arise as you attune yourself to the paintings’ similarities and differences, how they relate to each other and interact with the surrounding light and space.”

#robertryman @barbicancentre by @schwartzman.art

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3 days ago

Victor Man at Museo Novecento, Firenze.

Figures emerge from darkness, faces hover between presence and disappearance, and beauty becomes inseparable from a certain unease. Working in the space between intimacy and estrangement, the sacred and the profane, Man creates images that resist easy interpretation.

In Florence, where the past is never really past, this encounter with painting feels especially resonant. Not a return to tradition, but a way of making it strange again.

Victor Man
Museo Novecento, Firenze
Through March 7, 2027

Slides:

1. ‘Reclining Maiden (Prelude of Equinox)’ (2025-2026)
2. ‘Maternity with Legend’ (2024)
3. ‘Untitled (From Wounds and Starry Dreams’ (2022)
4. ‘Hope’ (2025-2026)
5. ‘Early Paradise’ (2015-2016)
6. ‘Noapte Transfigurata’ (2020-2025)
7. ‘Gypsy Girl with Tooth’ (2023)
8. ‘Maiden with Skull’ (2024)
9. ‘Red and Dark Haired Sister (2017)
10. ‘Untitled (After Sassetta) (2008)

@museonovecento

📸: @jules.her_ taken in Museo Novecento Firenze by @schwartzman.art

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5 days ago

“What? Why did you ask that? What do you know about my image duplicator?” Opening this weekend: The Whitney Museum’s survey of Roy Lichtenstein ‘Like New’ is brilliant and brilliantly installed, and the perfect show for now. Co-curated by Meg Onli and guest artist Alex Da Corte, the show explores a fascinating obsession with how images are copied, altered, disseminated and consumed. Lucid and tight, it gathers many of the artist’s most iconic images - crying girls, laughing cats, brushstrokes, and mirrors - including a complete rehang of Lichtenstein’s legendary 1962 solo debut at Leo Castelli Gallery. Matisse, Sturtevant, Louise Lawler, and Richard Pettibone make surprise guest appearances, among others. See it on repeat! 💥 💥 💥

#roylichtenstein @roylichtenstein
@whitneymuseum @schwartzman.art
#roylichtensteinlikenew @augustoarbizo taken in Whitney Museum of American Art by @schwartzman.art

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5 days ago

Currently on view in LES, New York - Ulrike Müller’s exhibition of new works, titled Walkthrough, at Hoffman Donahue, up until October 24, 2026. The artist’s use of enamel on steel and her expansive site-specific murals (as well as textiles and prints) subvert and redefine notions of painting and abstraction, and subtly explore themes about the body, identity, and social politics.

“Walkthrough extends an installation strategy that Müller developed at Ludwig Forum in Aachen,
Germany, where her enamel-on-steel paintings hung atop an extended frieze of vector line
drawings, wheat-pasted directly onto gallery walls. As curator Eva Birkenstock observed, “[this
format offers] insights into the development of motifs and color constellations, charting formations and repetitions in a visual chronology,” allowing viewers to encounter both the finished paintings and the guiding, iterative processes usually concealed by such works. At Hoffman Donahue, Müller adds another layer: large forms sponge-painted onto the gallery walls. Since 2012, murals have been increasingly central to the artist’s exhibitions, actively shaping how
paintings are experienced. “I work a lot with transfers from one format, context, or material to
another,” says Müller. “The starting point is always working with color and form, or, in compositional
terms, with figure, ground, and frame.”

#ulrikemüller @hoffman.donahue by @schwartzman.art

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7 days ago

Celebrating twenty years of Inhotim: a radical proposition in which contemporary art, architecture, and landscape exist in constant dialogue. ArtNews has written on the 20th anniversary of the establishment of Inhotim in Minas Gerais: “Brazil’s Inhotim Marks Twenty Years…” by Mercedes Ezquiaga. Founded by Bernardo Paz, Inhotim has become one of Brazil’s most distinctive cultural institutions - and a singular destination on the international art map. As curator and co-founder Allan Schwartzman described its vision, Inhotim was conceived as “a place of multicultural and multigenerational coexistence,” where art from the Americas, Europe, and Asia could live side by side. Two decades on, that ambition feels more vital than ever. A remarkable legacy for what an art institution can be.

“Among Inhotim’s best-known attractions are the pavilions dedicated to Yayoi Kusama, Adriana Varejão, Hélio Oiticica, Doug Aitken, and Tunga. They include immersive installations, monumental works, and site-specific projects made possible by the museum’s scale, many of which could not be presented in the same way in a conventional museum setting. Together, they reflect Inhotim’s defining idea: artworks conceived in close relationship with architecture and the surrounding landscape.”

@inhotim #institutoinhotim @schwartzman.art
@allan_schwartzman @bibaarruda by @schwartzman.art

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8 days ago

Currently on view in Chelsea, New York: Filipino artist Geraldine Javier’s solo exhibition - State of the Nations - up through October 24, 2026. The show features large scale works as well as more intimately scaled wall works. Javier’s complex and intricately created works - including ambitiously scaled installations - explore memory and identity through the lens of ecology, landscape, and nature.

“Geraldine Javier (b. 1970, Philippines) is one of the Philippines’ most important contemporary artists. She first earned a Nursing degree from the University of the Philippines, placing among the top scorers in the national licensure exams, before committing herself to an art practice. After two decades as an artist in Manila, she moved to an old farm in Batangas, building a home and studio there to reconnect with the land and the people around her. On this farm, where orchards of native trees and a garden growing vegetables to help sustain the surrounding community coexist, she has become what she calls an “artist-farmer.” Javier’s farm is a deliberate site of collaboration, generating employment and training for the embroiderers, gardeners, and assistants and the local community members whose hands help realize her work. Currently central to her practice is “eco-printing”, a laborious, hand-based technique of monoprinting by pressing the sap and pigment of leaves, roots, flowers, and bark directly into paper or fabric, which she and her collaborators then overlay with intricate embroidery. Her natural hand at growing and foraging combined with the painstaking handcraft put into each work embodies the intimate, sustaining relationship between artist and nature, and her community-rooted way of living and creating echoes the caregiving of her origins as a nurse.”

@silverlensgallery #geraldinejavier by @schwartzman.art

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10 days ago

Krasner and Pollock: Past Continuous opens today in New York. Bringing together over 120 paintings, this breathtaking, landmark exhibition at The Metropolitan Museum of Art is the first comprehensive NY presentation devoted to their work in more than two decades and is beautifully curated by David Breslin and Brinda Kumar. It proposes a complex and fascinating story of parallel practices and individual breakthroughs, and contextualizes their stories against the backdrop of 1940s Manhattan and later in the Springs, Long Island. After his death in 1956, Krasner outlived Pollock by 27 years, managing his legacy while advancing her own - fascinating to see evolve here, in paintings. Including many stupendous loans and groupings of works - the show is a stunner!

@pollockkrasnerfoundation #leekrasner
#jacksonpollock @metmuseum @davidcbreslin @brinda.k @schwartzman.art by @schwartzman.art

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12 days ago

Thank you to ARTnews and its team for naming Schwartzman& as one of the top art advisories in the field - alongside many esteemed professional colleagues, as listed in the magazine’s Top 200 Collectors issue, published this month. The magazine celebrated with a special event with gallerists, collectors, and industry professionals high above midtown earlier this week. Thank you to Sarah Douglas, Max Duron, Brian Boucher and ARTnews’ editorial team.

@schwartzman.art @artnews
@allan_schwartzman @simonprestonnyc
@bibaarruda @michaelrudokas @anemerov @paolaeulaliafendi @meredith.kirk @paigescanlan @tstarshak @elc3093 @jules.her_ @augustoarbizo #allanschwartzman by @schwartzman.art

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13 days ago

One of the highlights of the exhibition season in New York is Brice Marden: I am Plane Image at Gagosian 21st Street, on view through December 12, 2026. This survey presentation coincides with the publication of ‘Brice Marden: Catalogue Raisonné of Paintings, 1961–2023’, edited by scholar Tiffany Bell. Documenting nearly five hundred works, the book represents the most comprehensive study of his paintings to date; this show includes major works from all phases of Brice Marden’s career, beginning in the 1960s. It’s a must see!

“The exhibition emphasizes Marden’s lifelong exploration of the plane and the material presence of his work. “For me,” he stated, “the history of modern art is tightening the relationship of the image to the plane. . . . The whole history of twentieth-century art seems to be where you work up to the ultimate plane image. You try to keep the plane and the image locked together.” Marden’s distinct contribution to painting lies in his synthesis of a broad range of art historical influences, which anchor paintings that address the natural world.”

@planeimage #bricemarden @gagosian by @schwartzman.art

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14 days ago

Currently on view in Chelsea, shows that synthesize sculpture, installation and painting: Tomie Ohtake at Nara Roesler; Tauba Auerbach at Paula Cooper; Nate Lowman at David Zwirner; Erick N. Mack at Paula Cooper; and Ugo Rondinone at Gladstone. Go see them!

@nararoesler @paulacoopergallery @gladstone.gallery @davidzwirner by @schwartzman.art

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16 days ago