Paris
David Zwirner
On now
- David Zwirner is pleased to present an exhibition by Scott Kahn at the gallery’s 537 West 20th Street location in New York. Focusing on the artist’s singular landscapes—a genre that is central to his practice—the exhibition will bring together a significant group of new and recent paintings alongside works spanning the previous twenty-five years that explore Kahn’s most enduring motifs. Over more than five decades, Kahn has maintained a commitment to a representational mode of expression, using a distinctive formal language to achieve a nuanced and poetic rendition of the simultaneous splendor and mundanity of the world around him. Rooted in his everyday life and experiences, Kahn’s enigmatic landscapes blend real and surreal elements. Many read as near facsimiles of lived experience shot through with electric color or ghostly shadows: billowing clouds that seem to come alive, ominous moonscapes, bare trees electrified by unexpected hues, and picture windows that open onto worlds both known and unknown. Seasons turn and day recedes into night, change often sweeping across a single canvas.Description
Scott Kahn Silent Night
Until 17 Oct 2026
- David Zwirner is pleased to present new work by Nate Lowman (b. 1979), opening at the gallery’s 519 West 19th Street location in New York. The exhibition debuts a body of shaped canvases that take the form of keys–objects freighted with associations of access, security, and exclusion–a new motif for the artist. Lowman has frequently employed universally recognizable shaped canvases including hearts, tree-shaped air fresheners, poppies, and maps, among others, each produced in iterations with distinct painted surfaces. His key paintings extend this vocabulary, ranging from tightly rendered replicas to more schematic, nearly abstract forms. Some reproduce dissonant photographic imagery taken by the artist; others appropriate the bright, patterned novelty finishes available at hardware stores to distinguish one key from another; whereas another work, a silkscreen diptych, represents two keys yet to be cut into their final shape. The paintings recall distinct art-historical registers—from hard-edged geometric abstraction to loose, gestural markmaking, to the flattened logic of the readymade—each employing a different painterly language on the same recurring form.Description
Nate Lowman Hanging Out
Until 24 Oct 2026
- David Zwirner is pleased to announce an exhibition of new paintings and works on paper by New Zealand–born and Los Angeles–based artist Emma McIntyre (b. 1990) at the gallery’s Tribeca location in New York. Thrumming with color and gestural energy, McIntyre’s abstractions explore the alchemical possibilities of the painted medium. The artist initiates a call and response between her hand and her materials, which include oils as well as unconventional substances such as oxidized iron. She pours and combines these pigments across the canvas, creating atmospheric and multilayered works that revel in a state of flux; slipping between order and chaos, spontaneity and deliberation, their surfaces constantly shift as the artist works, and as the viewer beholds them. Further broadening her experimentations with medium, scale, and hue, this will be McIntyre’s third solo show with the gallery, following An echo, a stain in New York in 2023 and Among my swan in Hong Kong in 2025.Description
Emma McIntyre This body holds / swamp stuff
Until 24 Oct 2026
- David Zwirner is pleased to present the gallery’s first solo exhibition with New York–based artist Louis Fratino (b. 1993) since the announcement of his representation earlier this year. Fratino creates paintings, drawings, and sculptures that depict intimate personal experiences, frequently centering contemporary queer life and the male body. In portraying all manner of subjects garnered from his immediate circles and through observation, he connects an exuberant palette of bold colors with an expressive figuration that cites his considered study of classical and modern Western art history and literature. For this exhibition, which features all new paintings, Fratino expands his thematic repertoire, approaching moments of public and private life with the propinquity that charges his views of the glorious and the everyday.Description
Louis Fratino Prose
Until 31 Oct 2026
- David Zwirner is pleased to announce an exhibition of photographs by Roy DeCarava (1919–2009) curated by Ebony L. Haynes at the gallery’s 606 N Western Avenue location in Los Angeles. On view will be the sound i saw, DeCarava’s unwavering exploration of the relationship between the visual and the aural created between the late 1940s and the 1960s. First assembled as a handmade artist’s book, it was later condensed and exhibited at the Studio Museum in Harlem in 1983. This body of work juxtaposes images of everyday life in New York City—elegiac street corners, deliverymen working, children playing, riders waiting for the train—with images of jazz musicians, glimpsed both mid-set and off-stage in moments of repose. Taken together, DeCarava’s tonally rich silver gelatin photographs redirect the viewer’s attention to the sounds of life, offering—as he noted—“images for the head and for the heart.” Presented in an adjacent gallery will be a listening room inspired by the artist’s personal playlists and favorite jazz albums. The exhibition at David Zwirner Los Angeles marks only the fourth solo presentation of DeCarava’s work in LA, following on the acclaimed 2019 exhibition Roy DeCarava: The Work of Art at The Underground Museum. In 1996, Roy DeCarava: A Retrospective was presented at the Los Angeles County Museum of Art, and prior to that the artist’s work was featured at the Los Angeles Center for Photographic Studies in 1982.Description
Roy DeCarava: the sound i saw
Until 31 Oct 2026
- David Zwirner is pleased to announce a presentation of paintings by Amadeo Luciano Lorenzato (1900–1995), on view at the gallery’s 606 N Western Avenue location in Los Angeles. Among the foremost Brazilian artists of his generation, Lorenzato developed a singular body of paintings centered on his fastidious observations of everyday subjects and scenes in his hometown of Belo Horizonte. His distinctive compositions, characterized by reduced geometric forms and densely textured surfaces, distill the vitality and natural beauty of his surroundings into deceptively simple images that are imbued with an assured freedom of expression. Marking Lorenzato’s fourth solo show with the gallery and the first exhibition of the artist’s work in Los Angeles, this presentation will feature color-blocked landscapes, vivid domestic scenes, and contemplative still lifes that exemplify the innovative modernism of his practice.Description
Amadeo Luciano Lorenzato
Until 31 Oct 2026
- David Zwirner is pleased to present a group exhibition organized and conceived by gallerist Matthew Brown. This exhibition, titled Nocturnal, will present works by Uri Aran, Patricia Ayres, Julie Beaufils, Sedrick Chisom, Carroll Dunham, Nat Faulkner, Sasha Gordon, Kenji Ide, Olivia van Kuiken, Heidi Lau, Jack O'Brien, Kent O'Connor, Trevor Shimizu and Michelle Uckotter.Description
Nocturnal
Until 14 Nov 2026
- Installation view, Michael Armitage: The Promise of Change, Palazzo Grassi – Pinault Collection, Venice, 2026–27. Photo by Francesco Allegretto. Courtesy of Palazzo Grassi, Pinault Collection Venezia [LINK text='Michael Armitage' href='https://www.davidzwirner.com/artists/michael-armitage'] will be the subject of a major solo exhibition at the Palazzo Grassi, with a selection of over one hundred and fifty works, including newly created pieces. The included works emphasize his dense and vibrant pictorial language, staging figures in rich compositions with remarkable chromatic intensity, at the crossroads of several aesthetic canons. His choice of subject matter and interpretive undertones share the same expressive power. The painter does not shy away from violent and harsh themes, believing that art cannot ignore reality but must instead grapple with it: the consequences of war, corruption and instability in equatorial regions, the migration crisis, the weight of societal judgment, and abuses of power form the backdrop of some of his poignant works. Based between Kenya and Indonesia, Armitage draws inspiration from a wide range of sources: historical and contemporary news, political demonstrations, literature, cinema, local rituals, colonial and modern architecture, flora and fauna, and global art history. At the heart of his iconography is East Africa, and Kenya in particular, which he explores with both critical, satirical insight and visionary depth. While some scenes are precisely located or situated in time, notably when the artist followed a team of journalists covering the opposition movements and their violent repression during the 2017 elections in Kenya, or when he depicts incidents related to the 2020-21 lockdown, others remain more elusive and universal. This ambiguity leads Armitage into fluid territories. The exhibition, spread across two levels of the Palazzo Grassi, gradually delves deeper into this exploration of inhabited landscapes and visions. Armitage’s scenes become denser, even blurred, leaving room for our own interpretation.When viewing a painting by Michael Armitage, the eye hesitates, skitters and darts away. Several narratives and lines of horizon cohabitate, real and fictional spaces are entangled, and different versions and viewpoints are superposed. Treated with a mix of violence and gentleness, the compositions retain their flamboyance despite theirDescription
Michael Armitage: The Promise of Change
Until 10 Jan 2027
Recent past exhibitions
- Museo Nacional Centro de Arte Reina Sofía presents Felix Gonzalez-Torres: Sweet Revenge. Co-curated by Alejandro Cesarco and Nancy Spector, the exhibition uses the paradox of ‘sweet revenge’ as a methodological lens through which to understand the powerful use of nuanced contradiction in the artist’s oeuvre. For [LINK text='Gonzalez-Torres' href='https://www.davidzwirner.com/artists/felix-gonzalez-torres'], the idea of ‘sweet revenge’ as an artistic strategy assumed the mode of beauty as a form of contestation in work that moves between resistance and celebration. Through it, the artist modeled a way of being in the world. ‘Sweet revenge’ is by no means harmful, but meant to repair harm by making visible those who are marginalized or silenced. The city of Madrid was an emotionally fraught site for Felix Gonzalez-Torres, one he contemplated in his early work and consistently referenced throughout his all-too-brief career. In 1971, he was sent to Spain with his sister as part of a program to transport children out of Cuba, staying in Madrid for a brief period of time before being relocated to Puerto Rico. He did not return until 1991 on the occasion of a group exhibition at the La Fundación Caja de Pensiones. For this show, he presented the sculpture ‘Untitled’ (Revenge), 1991, a spill of crystal blue confections. Reflecting on his first return to the city, he wrote, ‘went back to Madrid after almost twenty years—sweet revenge.’Description
Felix Gonzalez-Torres: Sweet Revenge
Ended 12 Oct 2026
- Opening at David Zwirner’s Paris location in September 2026, this group exhibition will celebrate the legacy of the gallery space at 108, rue Vieille du Temple, in Le Marais, and its history as the former site of Galerie Yvon Lambert. Marking forty years since the inauguration of Lambert’s gallery at the same address on September 20, 1986, the exhibition at David Zwirner will highlight the resonances and overlaps between the two gallery programs and will showcase the artist-centric approach that both gallerists have shared. Featuring works by a diverse range of international artists, the presentation will illustrate the critical cross-pollination and artistic exchanges that have occurred between Paris and New York—a transatlantic dialogue that formed the fabric of Lambert’s legendary program.Description
Au 108 rue Vieille du Temple
Ended 10 Oct 2026
- Explore All Works From 1963, when he conceived the diagonal of May 25, 1963 (to Constantin Brancusi), a single gold fluorescent lamp installed diagonally on a wall, until his death in 1996, Flavin produced a singularly consistent and prodigious body of work that utilized commercially available fluorescent lamps to create installations (or “situations,” as he preferred to call them) of light and color. Through these light constructions, Flavin was able to literally establish and redefine space. As curator Michael Govan observes, the grids count “among the most intense and concentrated of Flavin’s lights.” Constituting one of the artist’s most complex and nuanced chromatic investigations, these constructions are composed of an equal number of vertical fixtures facing backwards and horizontal fixtures facing forwards in varying color combinations. Situated in the corner of a room, they simultaneously project a blend of colors outward towards the viewer and inward into the corner, highlighting the architectural conditions of the space. More than almost any other format Flavin worked with, the grids—which grew out of his cornered squares of the late 1960s—simultaneously engage both the phenomenological and the rational concerns that were central to the artist’s practice. As he described in a 1978 letter to Thomas Armstrong, then the director of the Whitney Museum of American Art, New York, who was in the process of acquiring a grid for the museum’s collection: “[The grid has] a rich contrast, front over rear, and an optical interplay … all modified by reflected color mixes and shadows of the grid structure itself. As an ensemble, this intense fluorescent light use/abuse seems to me to be rare in my production. And I commend it all to you.” Featured in the exhibition are Flavin’s first grids, untitled (for Mary Ann and Hal with fondest regards) 1 and 2 (both 1976), two eight-foot square constructions each composed of five pink lamps facing one direction and five green lamps facing the other in inverse configurations. These works debuted in Flavin’s solo exhibition at Otis Art Institute Gallery, Los Angeles in 1976 where they were installed kitty-corner to one another in a single gallery—as they are here—and are dedicated to Hal Glicksman, who was at the time the gallery director, and his wife, Mary Ann. Installation view, Dan Flavin: Grids, David Zwirner, Hong Kong, 2026Description
Dan Flavin: Grids (Hong Kong)
Ended 8 Aug 2026
- David Zwirner is pleased to present French Painting, an exhibition of new paintings by Belgian artist Michaël Borremans. French Painting is the artist’s ninth solo presentation with David Zwirner and his first at the Paris gallery, marking his first solo show in France in twenty years, following The Good Ingredients at La Maison Rouge–Fondation Antoine de Galbert in 2006. Recent institutional presentations include a retrospective of twenty years of painting, titled A Confrontation at the Zoo, at the Museum Voorlinden, Wassenaar, Netherlands (2024–25) and The Promise at Prada Rong Zhai, Shanghai (2024). French Painting is a subtly unfolding, ironic homage to the French pictorial tradition that delicately unsettles its legacy. Across the paintings in this exhibition, beauty emerges as both seductive and disturbing, suspended between tenderness and nihilism.Description
Michael Borremans - French Painting
Ended 22 Jul 2026
- David Zwirner is pleased to present an exhibition of Gerhard Richter’s celebrated photorealist landscape paintings from the 1960s to the 2000s, which are displayed alongside a considered selection of works from his series of Abstrakte Bilder ( Abstract Paintings, 1976–2017). On view at the gallery’s 537 West 20th Street location in New York, Gerhard Richter: Landschaften is curated by David Zwirner and David Leiber, a partner at the gallery, in close collaboration with the artist. The exhibition features loans from significant private and museum collections, including paintings that were recently on view in the artist’s acclaimed retrospective at the Fondation Louis Vuitton, Paris, in 2025–2026, as well as works lent from Richter’s personal collection.Description
Gerhard Richter - Landschaften
Ended 10 Jul 2026
- The exhibition will debut a new series of etchings, Porte clé (2026), published by David Zwirner’s print publisher, Utopia Editions. The imagery in these new works takes as its departure paintings from Andersson’s 2023 exhibition in our Paris gallery, Adieu Maria Magdalena. The artist created the six etchings at the Atelier Tazé-Lipreau-Araï—an intaglio print studio walking distance from the gallery—returning to the city on several occasions over the past two years to refine the works. Andersson’s new etchings revisit enigmatic subjects that recur in her oeuvre, while introducing new motifs sourced from found imagery. Evoking private and personal associations, these works portray furniture, doll-like figurines, deer heads, and mysterious landscapes. They relate to the paintings that were exhibited in Adieu Maria Magdalena and pay homage to Chinese woodblock prints, the Danish painter Vilhelm Hammershøi (1864–1916), and Carl Fredrik Hill (1849–1911), a Swedish landscape artist who studied in France and whose oeuvre primarily comprised works on paper. Andersson’s interplay of surfaces and subject matter probe the nature of representation, with particular attention to interior settings that capture a senseDescription
Mamma Andersson - Œuvres sur papier
Ended 27 Jun 2026
- David Zwirner is pleased to present Statics of an Egg, an exhibition bringing together a selection of multimedia work by a group of Japanese-born artists, along with contributions from an earlier generation of pioneering artists whose practices have influenced and inspired these contemporary figures. Curated by Martin Germann, the exhibition features new and recent work by Ryoko Aoki, Masaya Chiba, Miho Dohi, Daisuke Fukunaga, Kenji Ide, Soshiro Matsubara, Yu Nishimura, Hikari Ono, Reina Sugihara, and Masanori Tomita. Interspersed throughout the presentation are works spanning the 1950s to the 1990s by Koji Enokura, Yutaka Matsuzawa, Natsuyuki Nakanishi, Fujiko Nakaya, and Isamu Wakabayashi. Statics of an Egg features a network of artistic peers—gathered by Nishimura and Ide in collaboration with Germann—who all share a deep-seated commitment to the exploration of material and formal realms where ideas condensate, structures unfold, and perception expands into liminal and uncharted territory. The concept of gravity surfaces as a central theme in the exhibition: as a universal physical force shaping the behavior of matter in space; as a particular psychological weight marking the pull of memory, opacity, and shadow; and as a cultural touchstone connecting artistic practices across time, from the rapid economic changes of postwar Japan to the nation’s sociopolitical realities today. Here, influence operates less as a linear narrative than as a form of attraction—a gravitational pull that engenders a shared attentiveness to how things fall, accumulate, resist, and decay, thus allowing for an open-ended exploration of balance, atmosphere, and materiality.Description
Statics of an Egg
Ended 27 Jun 2026
- David Zwirner is pleased to announce an exhibition of works by American artist Jasper Johns (b. 1930) at the gallery’s West 20th Street location in New York. Conceived by independent curator Jeffrey Weiss, the exhibition focuses on related approaches to process in the artist’s practice, together signified by the terms copy and trace. On view are drawings and prints spanning the 1960s through the 2010s that demonstrate the various ways Johns has deployed methods of copying and tracing as means of representation—by copying one of his own paintings, by leaving an imprint, or trace, of the body, or by tracing an existing image through a translucent support. Comprising important works borrowed from museums and private collections as well as a selection of loans from Johns’s personal collection, Jasper Johns: Copy/Trace illuminates a significant throughline in the artist’s practice and provides new insights into the relation of meaning to making in his work.Description
Jasper Johns - Copy/Trace
Ended 26 Jun 2026
- David Zwirner is pleased to present Set in Stone, an expansive group exhibition organized in collaboration with Galerie Kugel, the renowned Parisian gallery of pre-twentieth-century art. Curated by Emma Kronman, this presentation at David Zwirner’s East 69th Street location in New York places a considered group of paintings and sculpture by modern and contemporary artists from the gallery’s program in conversation with Galerie Kugel’s holdings of antique hardstone objects dating from classical antiquity through the nineteenth century. Set in Stone is organized around the premise that those who make art are connected—even when separated by continents and centuries—through a shared interest in the material world and in the pursuit of elevating that which is already found in nature through human intervention. Inspired by some of the qualities that have influenced artists over history to work with stone, the exhibition centers on four themes that speak to process and appearance— translucency, luminosity, assemblage, and colorlessness —and illustrates these complementary concerns through unexpected juxtapositions of medium and technique.Description
Set in Stone
Ended 26 Jun 2026
- David Zwirner is pleased to present an exhibition of works by American artist Lisa Yuskavage, on view at the gallery’s 533 West 19th Street location in New York. The exhibition features new and recent paintings and works on paper, and introduces a body of collages—a new medium for the artist. This is Yuskavage’s tenth solo exhibition with David Zwirner and marks twenty years since her first show with the gallery in 2006. A new monograph of Yuskavage’s work was just published as part of Phaidon’s Contemporary Artists Series, with texts by Barry Schwabsky, Ariel Levy, and Lena Dunham.Description
Lisa Yuskavage - New York: 19th Street
Ended 26 Jun 2026