Haegue Yang presents her solo exhibition Haegue Yang: Through at Dia Beacon. Staged across the museum’s two levels, the exhibition is Yang’s first solo presentation with Dia Beacon and marks the first time an artist has conceived of a new body of work spanning the entirety of the building’s stacked architectural volumes. Since its founding in 1974, Dia Art Foundation has served as a “conduit” for artists to realize pioneering and ambitious projects that would otherwise be difficult to achieve due to limitations of scale or scope, as embodied in its very name that derived from the Greek word dia (διά), meaning “through.” Closely tied to the institution’s identity and mission, the exhibition presents four new commissions by Yang. In particular, Haegue Yang: Through will remain on view for approximately twenty months, unlike museum and gallery exhibitions that typically run for several months, welcoming visitors from around the world.

The exhibition attends to the museum’s seemingly opposing architectural conditions, taking as its starting point the architecture’s distinct dualities—natural and artificial light, the elevated and the subterranean—while treating them not as fixed oppositions, but as relational, oscillating processes or states of being. Yang applies the East Asian Five Phases theory, which holds that distinct principles and elements form a single whole through interconnected, cyclical relationships, to the placement and colors of her works, revealing within the structure of the exhibition the transformations that arise between them. Central to the exhibition is the late composer Isang Yun (1917–1995). His quartet Images (1968) assigns to its individual instruments the cardinal directions and colors associated with the Four Guardian Deities in the Goguryeo-period tomb mural of the Great Tomb of Gangseo from the late 6th to the early 7th century. Further intertwined into all four works of Yang, Yun’s musical piece serves as a key point of departure for the conceptual and spatial framework of the exhibition.

Working across a broad range of media and scales, from paper collage, video, and sound works to performance, sculpture, and large-scale installations, Yang juxtaposes the affective distinctions between industrial fabrication and folk craftsmanship as a methodology to complicate the notion of modernity. Jessica Morgan, Dia’s Nathalie de Gunzburg Director, comments as follows: “Dia has long invited artists to respond to the scale, light conditions, and material presence of its distinctive spaces. In Through, Yang extends this history while reframing it through her singular lens.” Marking the opening of the exhibition, the string ensemble Sejong Soloists performed a chamber concert of Yun’s Images in the lower-level gallery of Dia Beacon on October 10. The exhibition will be on long-term view through June 12, 2028.
 

Anish Kapoor’s major solo exhibition Anish Kapoor is currently on view at the Hayward Gallery in London. Marking the 75th anniversary of Southbank Centre, the exhibition brings Kapoor back to the Hayward Gallery nearly three decades after his 1998 exhibition, which was the first time a British institution had staged such an extensive presentation of his practice. Gathering his early works alongside recent and newly commissioned works, the exhibition spans more than four decades of Kapoor’s practice and takes over the gallery’s entire indoor and outdoor spaces. Sculptures and paintings engage closely with the architecture, extending across walls, ceilings, and floors to create an immersive environment between the works and the spaces that contain them.

The exhibition opens with All of Nothing (2026), a monumental PVC sculpture measuring six meters in height. The work is the largest work ever presented at the Hayward Gallery and cannot be taken in from a single vantage point; instead, visitors are encouraged to move around its expansive form, which appears to push outward against the architecture, encountering it only in fragments. Its title, "All of Nothing," derives from the paradox of a seemingly monumental presence that is, in essence, an inflatable structure filled with air. The work thus encapsulates Kapoor’s sustained exploration of presence and absence, fullness and emptiness. In the interior galleries, Blinded by Eyes, Butchered by Birth (2014), also made from PVC, hangs upside down from the ceiling, overturning the conventional hierarchy of the exhibition space.

At the center of the exhibition, Mount Moriah at the Gate of the Ghetto (2022) descends inverted from the ceiling, creating a palpable sense of tension as its monumental form appears almost to touch the floor. The work evokes the sublime, a concept that has remained central to Kapoor’s practice throughout his career. Outside the gallery, the exhibition continues with the stainless steel sculpture Tsunami III (2025) and the new work Cloak (2026). Reflecting their surroundings like mirrors, these works disrupt the viewer’s perception and encourage the discovery of unfamiliar images within familiar landscapes.

Kapoor’s paintings and sculptures from the past decade are also showcased inside the gallery. Works incorporating Vantablack, a nanotechnology-based material that absorbs an extreme amount of light, create seemingly bottomless black spaces, blurring the boundaries between two-dimensional surfaces and three-dimensional forms. Alongside these are recent works made from materials including silicone, resin, and red pigments. Their intensely visceral materiality evokes the body and its internal organs, heightening the viewer’s instinctive physical response to the works.

Bringing together key works from Kapoor’s early career with recent and newly created works, the exhibition traces the evolution and expansion of Kapoor's investigation into materiality and immateriality, presence and absence, and interior and exterior over four decades of his practice. Monumental PVC structures, mirrored sculptures, unfathomably deep black surfaces, and visceral bodily forms each unsettle perception in different ways, redefining the relationship between the artwork, the space it inhabits, and the body of the viewer experiencing it. Returning to the Hayward Gallery after nearly 30 years, Kapoor highlights his artistic practice by demonstrating how sculpture can extend beyond the autonomous object to transform architecture, space, and the viewer’s perception itself.
 

Michael Joo's solo exhibition Sweat Models 1991–2026 closed this past April at Space ZeroOne in Tribeca, New York. Centered on works from the 1990s that constitute the artist's early practice, the exhibition highlighted the context in which Joo formed a multidisciplinary practice drawing from technology, science, architecture, environmental studies, and other systems of knowledge.

Joo's early works, many of which had not been exhibited for many years or were realized for the first time in this exhibition, refer back to his undergraduate studies in biology. The works from this period attend to the social and technological aspects of creative spaces such as the laboratory and the kitchen. Joo sees these spaces as similar to the artist's studio: places where knowledge can be questioned, gained, and shared. His early works are built around modes of measurement and consumption to produce a sense of abstraction and distance through specific materials.

The works presented in the exhibition are closely tied to the social context of the 1990s, including the AIDS crisis and the mass adoption of information technology, and concern the human body and its vulnerabilities without explicitly depicting the body. Translating the knowledge systems of creative spaces such as the laboratory and the kitchen into a sculptural language, Joo persistently explores the fragility of the body and the artifice of identity construction through everyday and industrial materials such as synthetic sweat, urinal cakes, salt blocks, and bags of MSG. The principal works in the exhibition, including the large-scale installation Concatenations, presented anew more than three decades later, dismantle the contradictions of racial stigma and systems of classification, presenting the body and society as a multilayered state of "shimmer."
 

Na Kim's solo exhibition Oblique Time is on view at the KAIST Museum in Daejeon, Korea. Kim explores personal experience and the layers of time through objects, images, and texts. In particular, crossing the boundary between design and art, she collects objects, events, phrases, and images from everyday life and realizes the dissonance and order embedded within them in a range of forms, including installation, publication, and documentation.

For the first exhibition held in the rooftop space since the museum opened, Kim presents three site-specific installations. Vertical Drift (2026) is a flag structure on the lower terrace that visualizes the flow and traces of the wind. Disassembled tote bags are installed in the form of a flag on each of thirty-six steel columns, holding memories of the past while serving as indicators of the wind in the present, and functioning as a visual language that cuts across time. Split Horizon (2026), a set of inclined staircase structures on the upper terrace, is derived from the existing stairs of the site. Paint traces flowing along the sides and objects placed on the steps reveal stratified layers of time. Placed alongside is Between Platforms (2026), a circular mirror structure designed to be moved, reflecting the sky, the surrounding structures of the space, and the viewer, and prompting an awareness of a constantly shifting gaze rather than fixing a single viewpoint. In this way, premised on the movement of the viewer, Kim leads visitors to engage their senses actively within the space.

In the open setting of the rooftop, the artist guides visitors to perceive both surroundings and themselves anew through a sequence of walking, climbing, and pausing. At the same time, she transforms the space, beyond its physical structure, into a site that mediates time and experience. Revisiting senses easily passed over in daily life, she proposes a time for each visitor to gaze inward.
 

Lee Ufan’s major solo exhibition, Relatum: Lee Ufan, is currently on view at the Palais des Papes in Avignon, the historic city in Provence, southern France. Presented at the invitation of the Avignon Council, the exhibition brings together the artist’s signature paintings and installations against the backdrop of the UNESCO World Heritage site, once the residence of the 14th-century popes and the world’s largest Gothic palace. The exhibition takes on added significance as it coincides with the 140th anniversary of diplomatic relations between Korea and France, as well as the 80th Festival d’Avignon, which has selected Korean as its guest language.

Lee Ufan was born in Korea, moved to Japan at the age of twenty, and has since worked between Japan, France, and the United States. Since establishing his atelier in Montmartre, Paris, in the 1980s, Lee has maintained a close connection with France. Over the years, Lee held the solo exhibition Dissonance in Arles in 2013, followed by solo exhibitions at the Palace of Versailles in 2014, the Centre Pompidou-Metz in 2019, and Les Alyscamps in 2021. In 2022, the artist opened Lee Ufan Arles in southern France, presenting permanent installations that encompass his artistic practice along with two other museums in Naoshima in Japan and Busan in Korea, while reflecting the long and deep connection Lee has with Provence.

The concept of Relatum, which the exhibition is named after, captures the artistic philosophy Lee has developed in exploring the relationship between people and objects, and between an artwork and its space. The artist mediates the poetic encounter between natural materials such as stone and man-made materials such as steel and aluminum, drawing out the invisible dialogue between a work and the surrounding space and environment. Visitors come face to face with a large-scale installation of over sixty tons of expertly placed slate upon entering the Grande Chapelle, the largest hall in the Palais. The piece has previously been exhibited in spiritual settings such as the Couvent de la Tourette by Le Corbusier and Les Alyscamps, and here it resonates with the Gothic architecture, taking on another architectural narrative and sacred dimension. As the artist has said, "I always start from the space. And from that space, I look for a dialogue."

Lee Ufan has also designed three pieces especially for the exhibition, conceived for specific settings in the Cloître Benoît XII, the Cuisine Haute, and the Chapelle Saint-Martial. The work standing in the Cloître Benoît XII is composed of steel and a line forming a perfect circle, creating tension in contrast with the angular Gothic architecture. The Grand Tinel hosts several paintings, including works from the Response series. Having continued to present major solo exhibitions this year at leading institutions including SMAC Venice (San Marco Art Centre) and Dia Beacon, New York, Lee has said of the Avignon exhibition that he seeks "to create a moment in which we feel the breath of the infinite."
 

Alexander Calder’s major retrospective Calder. Rêver en Équilibre is on view at the Fondation Louis Vuitton in Paris. Celebrating the centenary of Calder’s arrival in France and fifty years since his passing, the exhibition spans half a century of creation, from the late 1920s and the first staging of the artist’s Cirque Calder (1926–31) performances that captivated the Parisian avant-garde, to the monumental sculptures that redefined public art in the 1960s and 1970s. Conceived in close collaboration with the Calder Foundation and featuring loans from international institutions and leading private collectors, the exhibition brings together nearly 300 works, including mobiles, stabiles, wire sculptures, paintings, drawings, and jewelry.

Presented as a chronological journey across more than 3,000 square meters, the exhibition highlights Calder’s fundamental artistic concerns, placing movement at the center, alongside light, reflection, gravity, sound, performance, and space. Calder’s mobiles, floating within Frank Gehry’s architecture, add an organic sense of movement and rhythm throughout the space while revealing a dynamic relationship between sculpture and architecture. Also on view is Cirque Calder, returning to Paris for the first time in fifteen years through an exceptional loan from the Whitney Museum of American Art, offering a rare opportunity to experience the work once seen by Le Corbusier, Jean Arp, Joan Miró, and Fernand Léger. The exhibition highlights how Calder expanded movement and temporality into essential elements of sculpture, showing how his experimental sculptural language reshaped the concept of modern sculpture.

Calder’s visit to Piet Mondrian’s studio in 1930 marked a decisive shift toward abstraction, after which he expanded the definition of sculpture through his kinetic abstract compositions, known as “mobiles,” and his static sculptures, known as “stabiles.” Working between the United States and France, Calder developed works across a wide range of scales, from delicate metal constructions to monumental sculptures, opening new possibilities for modern sculpture. For this exhibition, the Fondation Louis Vuitton dedicates all of its exhibition spaces, and for the first time its adjoining lawn, to Calder’s work, proposing new spatial relationships between sculpture and architecture. The exhibition remains on view through August 16.
 

Lee Ufan, a foundational figure of Dansaekhwa and the Mono-ha movements, presents two major concurrent solo exhibitions titled Lee Ufan at Dia Beacon, New York, and SMAC Venice (San Marco Art Centre). Organized and curated by Dia Art Foundation in celebration of the artist’s 90th birthday, this landmark project honors his extraordinary artistic contributions that span across disciplines and geographies. Notably, the presentation at SMAC Venice has been selected as an official Collateral Event of the 61st International Art Exhibition of La Biennale di Venezia, further underscoring its global significance.

The exhibition at Dia Beacon is curated by Matilde Guidelli-Guidi, Curator and Co-Department Head, with Min Sun Jeon, Assistant Curator. The presentation is centered around eight significant paintings realized between the 1970s and early 1990s, which were gifted last year by the artist to the foundation. The highlights of the exhibition are the From Line and From Point series, which visualize the passage of time through the repeated application of brushstrokes and dots that gradually dissipate. These are paired with the With Winds series, featuring dynamic brushstrokes that evoke the movement of air across expansive white space. Three Relatum sculptures resonate with his works on canvas, creating a conceptual dialogue between painting and sculpture that conveys the quiet energy generated by material, space, and time—sensibilities Lee has explored for decades.

Concurrently, SMAC Venice hosts a major presentation curated by Jessica Morgan, Dia’s Nathalie de Gunzburg Director. Staged across eight galleries at the Procuratie in Piazza San Marco, this exhibition marks the most significant survey of Lee’s work in Italy to date, holistically tracing his practice across over seven decades. Bringing together a selection of early works and recent paintings—including the vibrant Response series—alongside large-scale installations and new site-specific commissions such as Relatum — Infinity (2026), the exhibition unfolds in close dialogue with the architectural space to prompt reflection and a heightened awareness in the viewer. 

On opening the exhibitions, Jessica Morgan stated as follows “I am delighted to present two ambitious projects across two continents in celebration of the artist’s 90th birthday. These exhibitions illuminate the philosophical and material through lines—gesture, interval, balance, and spatial tension—that have defined his practice.”