Lisbon
DOCUMENT LISBON
On now
- DOCUMENT is delighted to present The Awnings, Alexandra Barth’s second solo exhibition with the gallery and the artist’s first in Chicago. Alexandra Barth is a Slovakian artist based in a small town near Verona, in Northern Italy. Her painting practice is grounded in the observation of quietly evocative interiors and furnishings, rendered through precisely layered applications of airbrushed paint. For the past two years, she has turned this attention toward the retractable awning, a common feature of commercial and residential buildings across Italy and Southern Europe. Painting from unstaged photographs sourced on the web, Barth focuses on the awning in every form except its fully functional state—emphasizing instead its everyday, technical, and non-aesthetic aspects, and the tension between its familiar Italian character and its purely mechanical qualities. The exhibition treats the awning less as a functional object than as a symbol, tracing the hidden lifecycle it typically undergoes unseen: manufacture, retail display, and eventual resale. Barth’s source images are drawn from online marketplaces such as Facebook Marketplace and Subito, where sellers of secondhand units post close-up photographs of pattern and condition alongside pictures of shuttered awnings removed from the storefronts and entryways they once shaded. In The Showroom, a formation of small-scale models in various awning shapes curiously adorns an interior wall, echoing the display logic of the retail settings found throughout the exhibition. Red, orange, pink, blue, beige, and gray tones—drawn from the retail displays and online listings that inspire the work—dominate the paintings’ palette. By foregrounding the awning’s ‘behind-the-scenes’ existence, Barth invites viewers to reconsider the quiet, overlooked architecture that structures public space. Alexandra Barth (b. 1989, Malacky, Slovakia) lives and works in Sanguinetto, Italy. She received her degree from the Academy of Fine Arts and Design in Bratislava, Slovakia in 2013. Recent solo exhibitions include DOCUMENT, Lisbon, Portugal (2025); LOOM Gallery, Milan, Italy (2024); Mrs., Maspeth, NY (2023); Photoport, Bratislava, Slovakia (2023); A SUD, Pescara, Italy (2022); Stone Projects, Prague, Czech Republic (2022); Chris Sharp, Los Angeles, CA (2021). Group exhibitions include Photoport, The Elevator, Temporary Parapet, MDŽ, and White&Weiss, in Bratislava, Slovakia. In 2024 she was awarded the TCP Art Finance Prize at The Armory Show, and her work is in the collections of the Zahorie Gallery of Jan Mudroch in Senica, Slovakia and the Morgan Stanley Collection, New York, NY.Description
CHICAGO | The Awnings
Until 7 Nov 2026
- DOCUMENT is pleased to present Nossa Estrela, a solo exhibition of new work by John Opera. This is the artist’s second solo exhibition at DOCUMENT Lisbon and fifth with the gallery. The exhibition brings together selections from Opera’s Sun/Sky series (2014–2026), including cyanotypes first shown in the recent group exhibition Palomar (Parts 1 and 2) at the Renaissance Society in Chicago, alongside new gum bichromate works developed through printing experiments conducted over the past five years. Working with early photographic processes, Opera puts historical techniques in dialogue with contemporary questions of perception and materiality. The images are made using a handmade cardboard pinhole lens and captured with a digital camera, treating the sun as both subject and conceptual catalyst. Together, the works extend Opera’s long-term interest in the material possibilities of the photographic image, explored through surface, color, and time scales that reach beyond human experience.Description
LISBON | Nossa Estrela
Until 8 Nov 2026
Coming soon
- DOCUMENT is delighted to present Things change quickly, Luísa Jacinto’s first solo exhibition in the US, opening on November 7, 2025. Jacinto’s artistic practice engages with the protocols of the image, narrative fragmentation, and the tension between excess evidence and obscuration. Working with materials such as rubber membrane, thread, fabric, metal, spray, watercolor, loose pigments, she creates works that establish an increasingly fluid boundary between painting, sculpture and installation. For her inaugural exhibition at DOCUMENT Chicago, Luísa Jacinto modifies the viewer’s perception of light and space through an installation of works from two recent series, Strangers and Work in Space. Together, these bodies of work imbue the gallery with layers of colors, bleeding into one another and influencing their surroundings. Suspended from the ceiling, taking over the middle of the space and set against the surrounding walls, several works from the Strangers series—made up of synthetic rubber membranes, folded and draped over suspended LED tubes that act as both support and light source—sway as visitors approach and walk between them. Work in Space is a series that bridges the gaps between drawing, sculpture and installation: colored threads, arranged in a grid-like composition, run across the gallery wall, as if tracing lines with colored pencils. In Things change quickly, Jacinto’s works form a polychromatic cloud where transparency, layering, and spatial relationships are interdependent of the viewer’s trajectory and attention, constantly shifting. Luísa Jacinto (b. 1984, Lisbon, Portugal) lives and works in Lisbon. Solo exhibitions include My shadow is yours, Parra & Romero, Madrid, Spain (2025); Shining Indifference, MAAT Museum, Lisbon, Portugal (2024); The idea of returning, Galeria Quadrado Azul, Lisbon, Portugal (2022); Stone-Veil, Artworks, Lisbon, Portugal (2019); We had the experience but missed the meaning, galería silvestre, Madrid, Spain (2018); A single day is enough, Museu Carlos Machado, Açores, Portugal (2012). Jacinto’s works have been shown in group exhibitions including: Exhibit C, DOCUMENT, Lisbon, Portugal (2025); It’s the scenery that moves (joint exhibition with Isa Melsheimer), Brotéria, Lisbon, Portugal (2022); Painting, Observation Field, Cristina Guerra Contemporary Art, Lisbon, Portugal (2021); PADA, ASC Gallery, London, United Kingdom (2019); Saudade – Unmemorable Place in Time, Fosun Foundation, Shanghai, China and Museu Coleção Berardo, Lisbon, Portugal (2018). Her works are in the collections of Fundação Calouste Gulbenkian, Lisbon, Portugal; Fundação EDP, Lisbon, Portugal; Colecção Figueiredo Ribeiro, Portugal; Coleção Arte Contemporanea do Estado, Portugal; Núcleo de Arte Contemporânea da Câmara Municipal de Lisboa, Lisbon, Portugal, among others.Description
Luísa Jacinto - Things change quickly
7 Nov 2026 – 20 Dec 2026
Recent past exhibitions
- DOCUMENT is please to announce Anneke Eussen’s third solo exhibition with the gallery and the artist’s first solo exhibition in Portugal, opening on Friday, May 29. Anneke Eussen (b. 1978, Kerkrade, The Netherlands) lives and works in Vaals, The Netherlands. She utilizes the formal principles of Minimalism evoking geometric seriality, yet quietly deploys hidden narratives and secret histories in her work. Her practice revolves around cultivating and repurposing found materials into meticulously detailed and ghostly wall sculptures. Through layering, arrangement, and assembly interventions, Eussen is never manipulating the original shape of the objects and insists on using their original framework. She had a solo exhibition at Kunstverein Schwerin, Germany (2023) and has participated in group exhibitions at Fondation Villa Datris, L’Isle-sur-la-Sorgue, France; GIST Triënnale in de Zennevallei, Belgium; HISK, Antwerp, Belgium; Horizonverticaal, Haarlem, The Netherlands; Lage Egal, Berlin, Germany; Park Platform for Visual Arts, Tilburg, The Netherlands among many others. She was awarded the Legacy Purchase Program at Art Basel Miami Beach 2023 and subsequently her work entered the collection of the City of Miami Beach.Description
LISBON | Anneke Eussen
Ended 15 Aug 2026
- Trophic celebrates a growing network of emerging and established artists based in Chicago. For many in the group, this is their first showing in Portugal. The display reflects on artistic ecosystems, and the steady nutrition they require, specifically the nourishment necessary to thrive. A number of the involved artists support, advocate for, or live with each other’s work, offering an antidote to competition in the field. The grouped opportunity demonstrates an ethos which recognizes that achievement often depends on others.Description
LISBON | Trophic
Ended 15 Aug 2026
- In Picture(s), Tanaka continues his exploration of the convergence of painting and photography across over a dozen mixed media works: equally formed by abstract paintings and collages made of torn chromogenic photographs, the works in the exhibition suggest a series of dialogues from their two distinct materialities. On a first level and despite the differences in media, both portions of the plane are arranged through layering, variations of size and color, as well as flat and bulky applications. At this level, an initial conversation on resemblance/difference, followed by color, is established. Beyond material properties, the juxtaposition of two media with densely packed histories maintains a dialogue that is relevant to this day, yet it does so free of its characteristic tensions. Additionally, each work offers a commentary on the latency of an image, on its potential to reveal itself to viewers through different registers of opacity. Are the vivid photographic effects of chromogenic prints the inspiration behind the paintings? Or, quite the contrary, are the collages attempting to follow and mimic the paintings’ unique rhythm? In this relationship of equals, the answer could simply be “both.”Description
CHICAGO | Picture(s)
Ended 15 Aug 2026
- DOCUMENT is delighted to present Nocturne, Dabin Ahn’s first solo exhibition with the gallery, opening on Friday, March 27. Ahn creates paintings that occupy the space between image and object. Working from a vocabulary of ceramic vessels, stones, candles, and personal effects—subjects he understands as stand-ins for the self—he builds meticulously rendered scenes that draw on 20th-century painting history and Joseon dynasty porcelain traditions. He constructs his own frames and panels, shaping and painting over the canvas edge to extend each composition into physical space. The Four Seasons introduces video into Ahn’s practice for the first time. This painting incorporates a functioning screen, showing fragments of videos recorded by the artist over three years of travel and daily life: cityscapes, birds in flight, fireworks, the moon. The footage plays forward then loops backward in an infinite cycle. Made in a period of personal loss, the work turns on the question of what it means to hold time, to move through it in both directions at once, to find in its passage something other than finality. The motif of time is also present in the freestanding wood work Ephemeral (Sculpture), which presents a pair of butterflies and a candle painted on small, fractured stones that rest on brass rods, recalling museum displays of archeological fragments and small artifacts. Night is the dominant atmosphere of the exhibition: crescent moons, darkened treelines, lone lit windows, sky caught between last light and full dark. Mother of pearl inlay recurs throughout as a material gesture, moons that glow from within the painted surface. Torso (Nocturne) takes the silhouette of an armless, headless ancient sculpture of Venus, filling it with red sky giving way to a deep blue, starry night, and shows a small house with lit windows just visible through the trees. In Homesick, a diagonal slash of charred wood bark divides the picture plane: a crescent moon on one side, a dark apartment building with a single glowing window on the other. Small paintings like Nocturne and Nocturne II also share this quality of suspended time, landscapes caught at the precise moment between one condition and the next. Against this nocturnal backdrop, the candle, threaded through broken stone fragments on brass rods, its flame bisected yet burning, becomes the exhibition’s central figure. Dabin Ahn (b. 1988, Seoul, Korea) lives and works in Chicago, IL. Ahn received a BFA and MFA in Painting from the School of the Art Institute of Chicago. Recent solo exhibitions include Golden Days, François Ghebaly, Los Angeles (2026); Good Things Take Time, Harper’s, New York (2024); Silent Whisper, 1969 Gallery, New York (2024); Staged, OCHI, Los Angeles (2023); and One-Off, Shatto Gallery, Los Angeles (2022). Selected group exhibitions include I Go To Seek A Great Perhaps, Make Room, Los Angeles (2024); 36 Paintings, Harper’s, East Hampton (2024) and Storage Wars, The Hole, Los Angeles (2023). His work is held in the permanent collections of the High Museum of Art, Atlanta, GA and X Museum, Beijing, China.Description
Dabin Ahn
Ended 6 Jun 2026
- DOCUMENT is delighted to present Nocturne, Dabin Ahn’s first solo exhibition with the gallery, opening on Friday, March 27. Ahn creates paintings that occupy the space between image and object. Working from a vocabulary of ceramic vessels, stones, candles, and personal effects—subjects he understands as stand-ins for the self—he builds meticulously rendered scenes that draw on 20th-century painting history and Joseon dynasty porcelain traditions. He constructs his own frames and panels, shaping and painting over the canvas edge to extend each composition into physical space. The Four Seasons introduces video into Ahn’s practice for the first time. This painting incorporates a functioning screen, showing fragments of videos recorded by the artist over three years of travel and daily life: cityscapes, birds in flight, fireworks, the moon. The footage plays forward then loops backward in an infinite cycle. Made in a period of personal loss, the work turns on the question of what it means to hold time, to move through it in both directions at once, to find in its passage something other than finality. The motif of time is also present in the freestanding wood work Ephemeral (Sculpture), which presents a pair of butterflies and a candle painted on small, fractured stones that rest on brass rods, recalling museum displays of archeological fragments and small artifacts. Night is the dominant atmosphere of the exhibition: crescent moons, darkened treelines, lone lit windows, sky caught between last light and full dark. Mother of pearl inlay recurs throughout as a material gesture, moons that glow from within the painted surface. Torso (Nocturne) takes the silhouette of an armless, headless ancient sculpture of Venus, filling it with red sky giving way to a deep blue, starry night, and shows a small house with lit windows just visible through the trees. In Homesick, a diagonal slash of charred wood bark divides the picture plane: a crescent moon on one side, a dark apartment building with a single glowing window on the other. Small paintings like Nocturne and Nocturne II also share this quality of suspended time, landscapes caught at the precise moment between one condition and the next. Against this nocturnal backdrop, the candle, threaded through broken stone fragments on brass rods, its flame bisected yet burning, becomes the exhibition’s central figure. Dabin Ahn (b. 1988, Seoul, Korea) lives and works in Chicago, IL. Ahn received a BFA and MFA in Painting from the School of the Art Institute of Chicago. Recent solo exhibitions include Golden Days, François Ghebaly, Los Angeles (2026); Good Things Take Time, Harper’s, New York (2024); Silent Whisper, 1969 Gallery, New York (2024); Staged, OCHI, Los Angeles (2023); and One-Off, Shatto Gallery, Los Angeles (2022). Selected group exhibitions include I Go To Seek A Great Perhaps, Make Room, Los Angeles (2024); 36 Paintings, Harper’s, East Hampton (2024) and Storage Wars, The Hole, Los Angeles (2023). His work is held in the permanent collections of the High Museum of Art, Atlanta, GA and X Museum, Beijing, China.Description
CHICAGO | Nocturne
Ended 6 Jun 2026
- DOCUMENT is delighted to present Pieces, Sara Greenberger Rafferty’s fifth solo exhibition with the gallery and the artist’s first solo show in Portugal. Opening on Friday, February 6, the exhibition will remain on view through May 23, 2026. Over the past two decades, Rafferty has created a vast body of wall works, sculptures, and installations that humorously and aggressively grapple with images and iconography in contemporary culture. While some of the works in her exhibition at DOCUMENT Lisbon were made or initiated as early as 2019, Pieces marks a change in Rafferty’s approach to making and exhibiting artwork. After a year of writing and revising a forthcoming book on imagery, Pieces comprises bodies of work entirely devoid of photographic image. Produced in a small kiln in her Brooklyn studio, the glass pieces in the exhibition are color studies, compositions made from scraps, and other studio experiments made during a time of challenge and change. Themes that emerge in the work include reflection, as in the suite of black glass collages with broken, mirror-like, bubbly surfaces; a possible return to portraiture, as in the translucent, polychrome, rounded, head-sized forms; or, finally, play, as in the assemblages of multicellular, bubble-like shapes. Mainstays of her work, such as formal invention, elliptical logic, specific and culture-bound color, and the breaking of the rectangle on the wall, remain present. Continuing her work in the opaque, translucent, and reflective medium of glass, these collected pieces can be seen individually as humble sketches—often pieced together from slivers, powders, and shards—or taken together as a statement.Description
LISBON | Pieces
Ended 23 May 2026
- DOCUMENT is delighted to present Pieces, Sara Greenberger Rafferty’s fifth solo exhibition with the gallery and the artist’s first solo show in Portugal. Opening on Friday, February 6, the exhibition will remain on view through May 23, 2026. Over the past two decades, Rafferty has created a vast body of wall works, sculptures, and installations that humorously and aggressively grapple with images and iconography in contemporary culture. While some of the works in her exhibition at DOCUMENT Lisbon were made or initiated as early as 2019, Pieces marks a change in Rafferty’s approach to making and exhibiting artwork. After a year of writing and revising a forthcoming book on imagery, Pieces comprises bodies of work entirely devoid of photographic image. Produced in a small kiln in her Brooklyn studio, the glass pieces in the exhibition are color studies, compositions made from scraps, and other studio experiments made during a time of challenge and change. Themes that emerge in the work include reflection, as in the suite of black glass collages with broken, mirror-like, bubbly surfaces; a possible return to portraiture, as in the translucent, polychrome, rounded, head-sized forms; or, finally, play, as in the assemblages of multicellular, bubble-like shapes. Mainstays of her work, such as formal invention, elliptical logic, specific and culture-bound color, and the breaking of the rectangle on the wall, remain present. Continuing her work in the opaque, translucent, and reflective medium of glass, these collected pieces can be seen individually as humble sketches—often pieced together from slivers, powders, and shards—or taken together as a statement.Description
Sara Greenberger Rafferty - Pieces
Ended 23 May 2026
- DOCUMENT Chicago is delighted to present a two-person exhibition of photographs by Jimmy DeSana and Paul Mpagi Sepuya. Opening on January 9, the exhibition will remain on view through March 21, 2026. This intergenerational dialogue between the work of Jimmy DeSana and Paul Mpagi Sepuya unfolds as a set of carefully matched pairings. Both artists use photography to engage with queer bodies and the politics of representation, implicating the viewer as much as any figure who appears in the frame. Closely associated with New York City’s No Wave and downtown art scenes in the late 1970s and employing a rich array of photographic processes, DeSana drew on Surrealism in presenting bodies in confusing entanglement with everyday objects as well as one another. Anticipating the sexual anxieties of the imminent AIDS crisis, he infused queer erotics with equal parts absurdity and dread. Beginning his career in the mid-2000s, Sepuya’s work comes from his intimate involvement and collaboration with queer communities on both U.S. coasts. The desiring gaze can only take in Sepuya’s bodies via fragmentation, mirroring or the clever reproduction of his previous photographs; effects meticulously produced by Sepuya in the studio rather than by any digital manipulation. Side by side, DeSana and Sepuya remind us that queer aesthetics—much like queer liberation—is a continual process, never far from the lived, corporeal world.Description
CHICAGO | Jimmy DeSana, Paul Mpagi Sepuya
Ended 21 Mar 2026