In February 2026, SPARC (Social and Public Art Resource Center) will return to Jeffrey Deitch to exhibit the latest complete segment in the expansion of The Great Wall of Los Angeles mural, fifty years after its initial production.

Welcome to the latest edition of Nuart Aberdeen. As far as we can ascertain, this will be the first street art festival in the world with a focus primarily on poetry and text-based works. Over the years, for better or worse, the large scale colourful figurative mural has come to dominate the culture we work with, and although it’s an aspect of the culture we support, due to the resources required to produce murals, they’re perhaps also the least democratic form of art on the streets. As curators, researchers and producers working in “festival” culture, we have a responsibility to not only showcase and celebrate the most interesting and technically competent works of our time, but to also ensure the…

Lyles & King is pleased to present Time Bends for the Tender, a solo exhibition of Akea Brionne’s work on view through February 21, 2026. Drawing inspiration from bell hooks’ Sisters of the Yam, this series explores the interior landscape of black women cultivated in order to survive the psychic, social, and geographic pressures placed upon them.

Harman Projects, in conjunction with Spoke Art and Deadly Prey Gallery, is pleased to announce an exhibition of hand-painted movie posters from Ghana. The origin of this artistic movement has its roots in the 1980s with the rise of mobile cinemas across the country of Ghana. Promotional posters were created to support these traveling VHS screenings, and were painted on recycled flour sacks by local artists who freely reimagined films through bold colors, exaggerated action, and inventive (and sometimes made-up) visual storytelling.

Jack Shainman Gallery is pleased to announce Faith Ringgold, its inaugural exhibition dedicated to the trailblazing American artist, author, educator and activist. Spanning Ringgold’s extraordinary career, the exhibition foregrounds her groundbreaking and multifaceted practice in textiles—from her earliest ‘tankas’ to her iconic story quilt paintings—alongside pivotal early paintings, sculptures and rarely seen works on paper.

It’s been 150 years since Impressionism transformed our world and how we perceive it. On April 15, 1874, a collective of upstarts including Claude Monet, Pierre-Auguste Renoir, Edgar Degas, Berthe Morisot and Paul Cézanne converged on the Paris studio of photographer Félix Nadar for a group show that art critic Louis Leroy sardonically dubbed “The Exhibition of the Impressionists” — a jab at Monet’s “Impression: soleil levant,” the painter’s dreamlike depiction of the port city of Le Havre.

Years ago, in an interview with Erin M. Riley, she told us “For a long time, I tried to remain respectful, but finally realized that while my work is made on a loom, these pieces are not traditional by any means, and rather than call them tapestries, I have just started describing them by the materials they are made with. I do love talking with the students who are studying textiles currently. They are excited about the work I am making, and I am glad they can see a different way of using materials that have been untapped and underappreciated for so long.” Why this stood out to me, years later, as Riley opened Watering False Flowers in her debut in…

No doubt, there are a lot of mural festivals; in fact, too many, if you ask me. When the senior center starts taking field trips to see cool new graffiti on the walls of your town’s “old town,” the coolness factor of the mural festival has lost much of its… coolness. With the idea generally being to shine a light on your city via large scale art, once a few dozen walls are covered, what’s really left to do? Enter Blink Cincinnati. Instead of taking over a neighborhood and painting some Instagrammable photo-op backdrops, they decided that 40 continuous blocks and a city-wide visual, experiential showcase spanning two states well into the night is the way to make a statement.…

The Fabric Workshop and Museum (FWM) is pleased to present Soft/Cover, a major exhibition spanning three galleries that will be on view from now through  August 17, 2025. Soft/Cover surveys the many surprising ways artists have used fabric and screenprinting to create objects that relate to the body. Focusing on the connection between textiles, fashion, and architecture, the exhibition includes new and rarely-shown works from The Fabric Workshop and Museum’s collection—each created by Artists-in-Residence in collaboration with FWM’s Studio team.

One of the greatest contributions to the art lexicon is treating street art as an active tool in understanding how we use and view public space. It has always been insufficient to simply label it as “street art” or “graffiti” and neglect the broader context in which it can be appreciated on both micro and macro levels. Nuart and the Nuart Festival, alongside curator Martyn Reed from his home base in Stavanger, Norway, have long been interested in how public space is used, who has access to it, and how art can fit into our daily lives in ways that expand our experiences and understanding of the cities we inhabit. It becomes apparent to anyone who has organized a public…