Hauser & Wirth, New York
Harmony Korine has spent three decades refusing to stay in one lane, moving between film, painting, sculpture, and fashion on improvisation, humor, repetition, nostalgia, and poetry. Each body of work comes with its own language, and none of them are easy to file. UX LAM, a new set of paintings, marks his debut at Hauser & Wirth New York this November, following Perfect Nonsense, his first US museum survey, at ICA Miami. Worldbuilding, as usual.
12 Nov – 16 Jan 2027
David Kordansky Gallery, Los Angeles
Ivan Morley paints redwoods with a sewing machine. Trees, his new show at David Kordansky, starts as watercolor on unstretched canvas, made from the landscape around his Big Sur home, then gets embroidered section by section until the painting becomes an object. Every stitch stays, “problems” and all. One red-and-white figure was sewn by a repair technician testing his machine, and Morley simply worked around it. Most of the views face inland, away from the ocean, a quiet refusal of westward expansion.
Nov 13 – Dec 16, 2026
Gagosian, London
Cady Noland has spent four decades dissecting the material and symbolic architecture of American culture: its myths, its violence, its celebrity, its systems of control. Her new show at Gagosian Davies Street opened October 12. Alongside it, Gagosian relaunches The Clip-On Method, the two-volume, 600-page book she conceived, edited, and designed herself in 2021. It’s less a catalogue than an artwork, a nonlinear archive of sculptures, sociological texts, and her own writing, including her 1989 essay “Towards a Metalanguage of Evil.” Still uncomfortably timely.
Through Dec 19, 2026
Skarstedt, New York
Eric Fischl paints people who are together but not really connected. In Pursuit of Pleasure at Skarstedt Chelsea is thirteen new paintings of couples by the water, women heading to yoga, and neighbors drifting through yards, all in saturated dog-days color. The glass houses give nothing away. A dog, labeled a self-portrait, hesitates on a pink houseboat deck. It’s an unusually easy, joyful set for Fischl, and the question lingers: must we judge the surface, or can we just enjoy the summer light?
Nov 12 – Dec 19, 2026
Gagosian, Los Angeles
Richard Avedon once considered giving up photography to direct films. Instead he spent half a century photographing the people who made them. Hollywood at Gagosian Beverly Hills brings together more than 120 images, from Chaplin, Bogart, and Marilyn to Tilda Swinton and Philip Seymour Hoffman, alongside some rarely seen frames. It reads Hollywood as a very American invention, equal parts glamour and power. The seed was Funny Face, the 1957 musical loosely based on Avedon’s own improbable rise.
Nov 4–Dec 19, 2026
Matthew Marks Gallery, New York
Jasper Johns is still mining his own vocabulary. Recent Drawings at Matthew Marks brings together twelve works from the past two years. Eight of them start with tiny images lifted from a drawing he made on Shrinky Dinks fifteen years ago, then circle back to old favorites: the silhouette of a boy, a Rubin’s vase of facing self-portraits, the sign language alphabet, a Picasso-inspired figure. Elsewhere, the shadow from The Seasons gets a darker update. Johns swaps himself for a skeleton holding a skull.
Through Jan 24, 2027
Karma Gallery, New York
Ouattara Watts starts a painting with fabric. “It has got to talk to me,” he says of the textiles he collects from around the world. In New Paintings, Dutch wax cloth, black-and-gold florals, an orange drop cloth scuffed with his own footprints, and papier-mâché mixed with leaves become the ground for his symbols: eyes, numerals, African masks, spaceships. Music plays constantly in the studio, and no painting is ever finished. My Favorite Thing is his tribute to Coltrane, who would have turned a hundred this year.
Nov 5 – Dec 19, 2026
David Zwirner, Los Angeles
Thomas Ruff doesn’t care how a photograph gets made, only whether the result is worth talking about. “There’s not one way of making photographs,” he says, and this survey at David Zwirner proves it. It’s his first major Los Angeles presentation and first solo here in over a decade. Four decades of work, from 1979 to 2024, move from analogue to digital: interiors, portraits, houses, stars, nudes, jpegs, photograms, and his latest light experiments. One restless eye, a thousand methods.
Nov 13 — Feb 6, 2027
Hauser & Wirth, New York
Harmony Korine has spent three decades refusing to stay in one lane, moving between film, painting, sculpture, and fashion on improvisation, humor, repetition, nostalgia, and poetry. Each body of work comes with its own language, and none of them are easy to file. UX LAM, a new set of paintings, marks his debut at Hauser & Wirth New York this November, following Perfect Nonsense, his first US museum survey, at ICA Miami. Worldbuilding, as usual.
12 Nov – 16 Jan 2027
David Kordansky Gallery, Los Angeles
Ivan Morley paints redwoods with a sewing machine. Trees, his new show at David Kordansky, starts as watercolor on unstretched canvas, made from the landscape around his Big Sur home, then gets embroidered section by section until the painting becomes an object. Every stitch stays, “problems” and all. One red-and-white figure was sewn by a repair technician testing his machine, and Morley simply worked around it. Most of the views face inland, away from the ocean, a quiet refusal of westward expansion.
Nov 13 – Dec 16, 2026
Gagosian, London
Cady Noland has spent four decades dissecting the material and symbolic architecture of American culture: its myths, its violence, its celebrity, its systems of control. Her new show at Gagosian Davies Street opened October 12. Alongside it, Gagosian relaunches The Clip-On Method, the two-volume, 600-page book she conceived, edited, and designed herself in 2021. It’s less a catalogue than an artwork, a nonlinear archive of sculptures, sociological texts, and her own writing, including her 1989 essay “Towards a Metalanguage of Evil.” Still uncomfortably timely.
Through Dec 19, 2026
Skarstedt, New York
Eric Fischl paints people who are together but not really connected. In Pursuit of Pleasure at Skarstedt Chelsea is thirteen new paintings of couples by the water, women heading to yoga, and neighbors drifting through yards, all in saturated dog-days color. The glass houses give nothing away. A dog, labeled a self-portrait, hesitates on a pink houseboat deck. It’s an unusually easy, joyful set for Fischl, and the question lingers: must we judge the surface, or can we just enjoy the summer light?
Nov 12 – Dec 19, 2026
Gagosian, Los Angeles
Richard Avedon once considered giving up photography to direct films. Instead he spent half a century photographing the people who made them. Hollywood at Gagosian Beverly Hills brings together more than 120 images, from Chaplin, Bogart, and Marilyn to Tilda Swinton and Philip Seymour Hoffman, alongside some rarely seen frames. It reads Hollywood as a very American invention, equal parts glamour and power. The seed was Funny Face, the 1957 musical loosely based on Avedon’s own improbable rise.
Nov 4–Dec 19, 2026
Matthew Marks Gallery, New York
Jasper Johns is still mining his own vocabulary. Recent Drawings at Matthew Marks brings together twelve works from the past two years. Eight of them start with tiny images lifted from a drawing he made on Shrinky Dinks fifteen years ago, then circle back to old favorites: the silhouette of a boy, a Rubin’s vase of facing self-portraits, the sign language alphabet, a Picasso-inspired figure. Elsewhere, the shadow from The Seasons gets a darker update. Johns swaps himself for a skeleton holding a skull.
Through Jan 24, 2027
Karma Gallery, New York
Ouattara Watts starts a painting with fabric. “It has got to talk to me,” he says of the textiles he collects from around the world. In New Paintings, Dutch wax cloth, black-and-gold florals, an orange drop cloth scuffed with his own footprints, and papier-mâché mixed with leaves become the ground for his symbols: eyes, numerals, African masks, spaceships. Music plays constantly in the studio, and no painting is ever finished. My Favorite Thing is his tribute to Coltrane, who would have turned a hundred this year.
Nov 5 – Dec 19, 2026
David Zwirner, Los Angeles
Thomas Ruff doesn’t care how a photograph gets made, only whether the result is worth talking about. “There’s not one way of making photographs,” he says, and this survey at David Zwirner proves it. It’s his first major Los Angeles presentation and first solo here in over a decade. Four decades of work, from 1979 to 2024, move from analogue to digital: interiors, portraits, houses, stars, nudes, jpegs, photograms, and his latest light experiments. One restless eye, a thousand methods.
Nov 13 — Feb 6, 2027