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Domenico Gnoli’s “Striped Trousers,” 1969, part of the exhibition “The Adventures of Domenico Gnoli, on view at @levygorvydayan through May 23, 2026 #DomenicoGnoli

“Wardha Shabbir's work,” writes curator Jessica Cerasi, “revolves around gardens—memories of her mother's garden, and of the garden city Lahore, where ecologies and cultural density are strained by environmental degradation, political instability and social precarity. Trained in miniature painting, Shabbir probes and expands the genre's boundaries, asking how it might evolve to hold contemporary experience.”
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Wardha Shabbir’s “The Veil,” 2024, part of “In Minor Keys,” the central group exhibition of the 61st edition of @labiennale, curated by the late Koyo Kouoh, on view through November 22, 2026 #WardhaShabbir @wardhashabbir #KoyoKouoh @jessicacerasi

Sanya Kantarovsky’s “Mirror,” 2026, part of the artist’s solo exhibition “Basic Failure,” on view at the Istituto Veneto di Scienze, Lettere ed Arti, Palazzo Loredan, Venice, through November 22, 2026 #SanyaKantarovsky @skantily

“[Matthew] Wong’s interiors,” as Nancy Spector writes in her catalogue essay, “saturated as they are with rich, nonrepresentational color, are chambers of the
mind and, ultimately, the soul. While many include windows open onto receding landscapes, glimpses of the natural world, they inhabit a realm of pure invention. These paintings within paintings possess an ‘inner light which is not a reflection of a light from the outside world’.”
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Matthew Wong’s “End of the Day,” 2018, part of the exhibition “Matthew Wong: Interiors,” curated by @johncheim1, on view at Palazzo Tiepolo Passi, Venice, through November 1, 2026 #MatthewWong

Gozo Yoshimasu has been awarded the inaugural Serpentine x FLAG Art Foundation Prize!

Yoshimasu’s distinctive practice combines poetry with performance, audio recordings, photography and his own moving-image form known as ‘gozoCiné’. He emerged from Tokyo’s interdisciplinary avant-garde in the 1960s.

Written in his characteristic compact scrawl, Yoshimasu’s manuscripts often feature spontaneous applications of mark making, paint, collage elements and fragments from other texts, functioning as both records of an original performance and scores for future interpretation.

He will stage a solo exhibition that debuts at Serpentine North in autumn 2027, followed by a reimagined presentation for The FLAG Art Foundation in New York in spring 2028.

“Upon receiving this great news,” the artist said, “a line from one of my poems came to mind: ‘Although I am a shadow of a passenger on this planet, my soul is always absorbed in play.’”

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[1] Photo: Masashi Asada. Courtesy Take Ninagawa, Tokyo
[2-3] Gozo Yoshimasu, ‘新怪物君 (New Dear Monster)’, 2022. © Gozo Yoshimasu. Courtesy Take Ninagawa, Tokyo

Gozo Yoshimasu has been awarded the inaugural Serpentine x FLAG Art Foundation Prize!

Yoshimasu’s distinctive practice combines poetry with performance, audio recordings, photography and his own moving-image form known as ‘gozoCiné’. He emerged from Tokyo’s interdisciplinary avant-garde in the 1960s.

Written in his characteristic compact scrawl, Yoshimasu’s manuscripts often feature spontaneous applications of mark making, paint, collage elements and fragments from other texts, functioning as both records of an original performance and scores for future interpretation.

He will stage a solo exhibition that debuts at Serpentine North in autumn 2027, followed by a reimagined presentation for The FLAG Art Foundation in New York in spring 2028.

“Upon receiving this great news,” the artist said, “a line from one of my poems came to mind: ‘Although I am a shadow of a passenger on this planet, my soul is always absorbed in play.’”

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[1] Photo: Masashi Asada. Courtesy Take Ninagawa, Tokyo
[2-3] Gozo Yoshimasu, ‘新怪物君 (New Dear Monster)’, 2022. © Gozo Yoshimasu. Courtesy Take Ninagawa, Tokyo

Gozo Yoshimasu has been awarded the inaugural Serpentine x FLAG Art Foundation Prize!

Yoshimasu’s distinctive practice combines poetry with performance, audio recordings, photography and his own moving-image form known as ‘gozoCiné’. He emerged from Tokyo’s interdisciplinary avant-garde in the 1960s.

Written in his characteristic compact scrawl, Yoshimasu’s manuscripts often feature spontaneous applications of mark making, paint, collage elements and fragments from other texts, functioning as both records of an original performance and scores for future interpretation.

He will stage a solo exhibition that debuts at Serpentine North in autumn 2027, followed by a reimagined presentation for The FLAG Art Foundation in New York in spring 2028.

“Upon receiving this great news,” the artist said, “a line from one of my poems came to mind: ‘Although I am a shadow of a passenger on this planet, my soul is always absorbed in play.’”

-
[1] Photo: Masashi Asada. Courtesy Take Ninagawa, Tokyo
[2-3] Gozo Yoshimasu, ‘新怪物君 (New Dear Monster)’, 2022. © Gozo Yoshimasu. Courtesy Take Ninagawa, Tokyo

Lubaina Himid’s painting “Chefs,” 2025, part of “Predicting History: Testing Translation,” the artist’s presentation for the British Pavilion at @labiennale, complemented by a soundscape composed by @magda_stawarska, on view through November 22, 2026.

Himid was awarded the 2024 Suzanne Deal Booth / FLAG Art Foundation Prize, for which she staged related exhibitions at both the @contemporaryatx and the @flagartfoundation. FLAG congratulates Lubaina on a beautiful showing in Venice and a tremendous personal and professional achievement!
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#LubainaHimid @lubainapics #VeniceBiennale2026

The @flagartfoundation’s seventh salon dinner took place last week at @425restaurant. Thank you to our 16 guests, each of whom applied to be part of an evening of great food and conversation! Cheers 🥂

The @flagartfoundation’s seventh salon dinner took place last week at @425restaurant. Thank you to our 16 guests, each of whom applied to be part of an evening of great food and conversation! Cheers 🥂

Who’s in your musical treehouse? 🌳🎧 For @hozier, it’s always been Simon & Garfunkel. Check out our full conversation now on YouTube!

Thanks to our founding sponsor @flagartfoundation, which supports artists and makes contemporary art accessible to all.

#hozier #alchemy #creativity

From left: Jenny Saville’s “Red Stare Head IV,” 2006-11, and “Stare,” 2004-05, both part of the artist’s solo exhibition at @museocapesaro and her first comprehensive solo presentation in Venice, curated by @elisabettabarisoni, on view through November 22, 2026 #JennySaville @jennysavilleofficial

Lorna Simpson’s “Woman on Snowball,” 2018, part of the artist’s solo exhibition “Third Person,” curated by @emmalavigne_, organized in partnership with the @metmuseum, on view at @palazzo_grassi through November 22, 2026 #LornaSimpson @lornasimpson

🧡💜Helen Frankenthaler’s “Gamut,” 1968, part of the exhibition “Helen Frankenthaler: The Moment and the Distance,” organized in collaboration with the @helenfrankenthalerfoundation, on view at @gagosian through July 2, 2026 #HelenFrankenthaler

One (taste) of five paintings comprising Michaelina Wautier’s series “The Five Senses,” 1650, part of the once-forgotten seventeenth-century artist’s retrospective at the @royalacademyarts, organized in collaboration with the @kunsthistorischesmuseumvienna, curated by @jdomercq, on view through June 21, 2026 #MichaelinaWautier