Through his practice, Amoako Boafo (b. 1984) reconsiders the genre of portraiture as a device for affirming identity and presence by manipulating pigment directly with his fingers rather than a brush. Drawing inspiration from the Renaissance atmosphere of Museo di Palazzo Grimani, It Doesn’t Have to Always Make Sense — the artist’s first solo exhibition in Italy — features a series of new and recent works, many of which directly reference the unique architecture and historical context of the site. Installed on the second floor of the palazzo, the works sit in quiet conversation with the Venetian portrait tradition — a tradition that, until now, had little room for figures like Boafo's. It is an encounter that feels both inevitable and long overdue.

Few artists have mapped the digital condition as persistently as Cao Fei (b. 1978). For over two decades she has been making art — from video installations and digital simulations to virtual-reality environments — that grapples with the human cost of societal and technological transformation. For Testimonies to the Near Future, her first solo exhibition in Switzerland, the Chinese artist transforms the Kunstmuseum Basel into an immersive city: an accumulation of imposing installations and video works spanning twenty years of practice. Moving between the utopian promises and quiet anxieties of the digital age, the exhibition offers a rare opportunity to encounter the full scope of her vision in a single space.

Since 2008, a listed former WWII bunker has served as the exhibition space of the Boros Collection, one of the most distinctive private collections of contemporary art in Europe. Opening as part of Gallery Weekend Berlin, a new, fifth selection from the collection goes on show: 27 contemporary artworks across painting, sculpture, installation, and sound by artists like Klara Lidén, Jeremy Shaw and Adriano Costa, the majority of which were recently acquired. Despite their differences, the works share a common sensibility: a preoccupation with transitional states, unresolved conditions, and the turn from external realities toward inner ones. The exhibition is accessible by 90-minute guided tours only. 

The career and worldview of Francis Picabia (1879–1953) were marked by ceaseless experimentation and a stubborn refusal to be categorised, making him one of the most restless and deliberately elusive figures in modern art history. Organised in collaboration with the Comité Picabia, Expanding Horizons covers five decades of the French-Cuban artist’s practice: from early landscapes and Dada provocations to the Transparencies, wartime realist works, radical nudes and the textured abstractions of his final years. Taken together, they confirm his reputation as one of the most ingenious shapeshifters of his generation — an artist for whom reinvention was not a strategy but a compulsion.

For over two decades, Pierre Huyghe (b. 1962) has been combining cinematic, biological and digital elements into living, dynamic scenarios shaped by time and unpredictability. At the Fondation Beyeler, he transforms the exhibition space into a living, breathing organism — newly created works alongside key pieces from recent years, all bound together by a single pulse. At the heart of the presentation stands Apnea (2026): an artificial respiratory organ, coiled underwater, that breathes in time with the human rhythm, its membrane vibrating with each beat. Air, sounds and subtle vibrations circulate through the walls until they fall out of sync or are interrupted, forming a shared field of breath that permeates the entire exhibition.

In 2026, coinciding with her 80th birthday, Marina Abramović becomes the first living woman artist to be honoured with a major exhibition at the Gallerie dell'Accademia in Venice. Unfolding across both the museum's permanent collection galleries and its temporary exhibition spaces, Transforming Energy embeds Abramović's pioneering performance practice within the very heart of Venetian patrimony, and in direct dialogue with the Renaissance masterpieces that have shaped the cultural identity of the city. By placing the visitor's own body at the centre, the exhibition invites a durational form of looking: one that is less about passive observation and more about presence, participation, and the possibility of inner change.

Charlotte Perriand (1903–1999) never designed objects — she designed ways of living. Furniture, architecture and photography were not separate disciplines in her practice but instruments of a single, holistic vision: the creation of environments in which modern life could unfold with dignity and ease. With Living Modernism: Design, Photography, Architecture, the Museum der Moderne Salzburg dedicates the first major retrospective in Austria to the French architect and designer, tracing her practice across five decades and affirming her place as one of the most influential figures in the history of twentieth-century design.

Hilma af Klint (1862–1944) led a double artistic life: a figurative practice that conformed to the expectations of her time and, kept entirely secret, a radically avant-garde body of work nourished by theosophy and spiritualism. From 1906, long before Kandinsky or Malevich, she was producing bold compositions in which vivid colours, geometric shapes and organic motifs anticipated the major currents of modern art — work she stipulated should not be shown until twenty years after her death. Paintings for the Temple, af Klint’s first monographic exhibition in France, tells the extraordinary story of an artist who chose to speak to the future rather than her own time.