| | Bea Bonafini, Summer’s Teeth, 2026. Image courtesy of Vangar. |
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| From Buenos Aires and Helsinki to New York, Palma, and Houston, our May edition of Untitled Circle follows the artists and exhibitors in the fair’s growing network through a selection of exhibitions not to be missed this month. The presentations reflect the breadth of our community, offering a survey of the exhibitions, ideas, and artistic voices shaping the season. |
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| Anna Fasshauer: Sculpturology Galerie Forsblom, Helsinki
Opened Thursday, May 7
For its second solo exhibition of the work of artist Anna Fasshauer, Galerie Forsblom presents aluminum sculptures manipulated through bending, hammering, and rolling. Foregrounding embodiment, the intensely physical nature of her process is central to her practice: through sheer strength, her body reshapes the material, producing bumps and dents that transfigure its form. The sculptures come together to convey a vivid sense of movement, inviting viewers to circle around them, transforming an industrial material into something human. |
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| | Brad Phillips, Untitled, 2025. Image courtesy of Alyssa Davis Gallery. |
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| N24B Alyssa Davis Gallery, New York
Opening Thursday, May 14
Featuring works by 15 New York City-based artists, the group presentation spans across the Renzo Piano-designed unit, curated by Alyssa Davis Gallery. Located on Manhattan’s west side, the presentation exists as a speculative biography of an unknown inhabitant. Marking Davis’s first collaboration with a high-end residential development, the exhibition brings contemporary works into a staged interior, a setting typically defined by neutrality and display. The works acquire the provenance of a gallery exhibition while existing in an alien context – not quite incognito art in the public, it is art constructing an imagined private life. |
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| | Reeha Lim, The Witness, 2026. Image courtesy of Chilli. |
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| Skrud Chilli, London
Through Thursday, May 14
Chilli presents Skrud, featuring Dustin Emory, Naresh Kumar, Elise LaFontaine, and Reeha Lim, each exploring the intersection of material and personal history, as well as fictional and dreamt realities. The exhibition takes its name from the root of the word shroud, originally meaning to cut or shred, a duality which is reflected in the works. Surfaces are cut, layered, and veiled in a constant rhythm of revealing and concealing. Reflecting both personal and political histories, these richly layered works disrupt the idea of linear narrative with a slipperiness that rewards prolonged viewing. |
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| Bea Bonafini: Intangible Vangar, Valencia
Opening Friday, May 22
For her first solo presentation in Spain, Vangar presents works by Bonafini, working across painting, textile, sculpture, and collage. Through these layered surfaces and tactile assemblages, matter itself appears animated—constantly reorganizing, combining, and evolving. Her figures emerge from an ancient movement of particles and atoms, recalling the shared material origins of all life. Inspired in part by the writings of Emanuele Coccia, Bonafini’s exhibition imagines existence as relational, porous, and shared. |
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| | Carla Arocha and StĂ©phane Schraenen, Ghost fuzz big white. Image courtesy of GalerĂa Fermay. |
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| Carla Arocha and StĂ©phane Schraenen: Spinng Rumours Ă“palo GalerĂa Fermay, Palma
Through Friday, May 22
Referencing a common expression used to point out the act of spreading misinformation with the intention of shaping public opinion, the artist duo mounts an exhibition at the Palma-based GalerĂa Fermay. The artists take as a starting point the opal stone, a quartz-like mineral characterized by its internal refractive light, and place the viewer’s experience at the core of their artistic concerns, thus bringing in notions such as fragility, memory, or absence. By disrupting spaces, suspending meaning, and provoking a degree of confusion, the works ask the beholder to question the reality surrounding them. |
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| Carlos Cima: Sombra permanente CONSTITUCIĂ“N, Buenos Aires
Through Saturday, May 23
CONSTITUCIĂ“N’s solo exhibition of Carlos Cima spans a selection of paintings and drawings. The latter is the first time the artist has explored the medium. The work avoids visual spectacle, focusing instead on its own constructive process, creating an atmosphere of almost ecstatic estrangement. With no direct human presence, figuration is only subtly suggested through symbolically charged objects, while the revisiting of the past is displaced to the margins, revealing an experience of disjunction and distance from one’s own existence.
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Jannick Deslauriers and Camille Charbonneau: Épaves Stems, Brussels
Through Saturday, May 30
After years of collaboration, artists Jannick Deslauriers and Camille Charbonneau present their first collective exhibition, Épaves at Stems. Their practices intertwine in an immersive experience where familiar forms emerge yet resist definition. Fragments hover throughout the gallery, and the ruins of institutions and power structures remain recognizable, though displaced and adrift. United by a fascination with the strange and the uncanny, the works create a sense of community in a divisive era, holding together what endures. |
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| | Terran Last Gun, Ancient Futurism Is Now, 2026. Image Courtesy of Diane Rosenstein. |
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| Terran Last Gun Diane Rosenstein, Los Angeles
Opening Saturday, May 30
For its first exhibition in its new Hollywood location, Diane Rosenstein presents its second solo exhibition of new antique ledger drawings by Terran Last Gun. Continuing Last Gun’s exploration of color, geometry, and Indigenous abstraction through a visual language rooted in land, cosmos, cultural narratives, and recollection, the works are assembled into triptychs and quadriptychs. Drawings feature vibrant circular forms and recurring motifs of lunar phases, creating rhythmic compositions that bridge historical forms of ledger art with contemporary abstraction. |
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| The Surreal Body Seven Sisters, Houston
Opening Saturday, May 30
In The Surreal Body, Seven Sisters brings together Dorothy Hood, Julia Kunin, Joel Parsons, and Katarzyna PrzezwaÅ„ska in a presentation that positions the body as a site of transformation, sensation, and psychic charge. Across drawing, ceramics, painting, and sculpture, the exhibition considers the body not as a fixed form, but as an unstable and imaginative force shaped by memory, desire, performance, nature, and the subconscious. Through fragmented forms and references to surrealist and prehistoric visual languages, the works trace the body’s capacity to exceed itself, becoming mystical, erotic, symbolic, and atmospheric. |
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| | Danielle Frazier, 2026. Image Courtesy of SEPTEMBER. |
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| Danielle Frazier: Night Writing SEPTEMBER, Kinderhook
Through Saturday, May 30
Debuting three new bodies of photographic work, SEPTEMBER exhibits Frazier’s solo. Working in total darkness to record everyday phenomena, Frazier bypasses the lens to create vibrant, camera-less photograms. Guided by tactile intuition and her Color-Grapheme Synesthesia, she reactivates expired chemicals and discontinued papers to bridge the gap between scientific specimen and sensory provocation. This collection is a reclamation of degraded materials, transforming a practice into a vivid public record of fragile life and a subversion of photographic tradition. |
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