Galleries

Marli Matsumoto Arte Contemporânea featured artist Mayana Redin’s solo show Nenhum Mistério (No Mistery) at the gallery, with a presentation and critical text by José Augusto Ribeiro.

The Madrid-based Max Estrella exhibits in its Project Room space Escuchando la Lluvia (Listening to the Rain), by artist Glenda León (Havana, Cuba, 1976), which also serves as a letter of introduction of the Cuban artist as the gallery's new representative. This piece of enormous stylization is presented as a blown glass sculpture handcrafted by the Royal Glass Factory of La Granja in Segovia that collects a visual representation of a drop of water falling.

Galleria Continua presented in its Parisian space the Franco-Venezuelan artist Carlos Cruz-Diez’s first solo exhibition The Euphoria of Color (L’euphorie de la couleur).

TOMAS REDRADO ART Gallery presented in Miami the fifth movement of MONTES NO VISIBLES (Unseen mountains), curated by Natalia Sosa Molina and Victor López Zumelzu. This new movement features the work of Andrea Ferrero (Peru), Julia Retz (Brazil), and Henry Palacio Clavijo (Colombia).

As part of its participation in PhotoEspaña, the Fernando Pradilla Gallery presents the work of Marcos Lopez (Santa Fe, Argentina, 1958), one of the most outstanding Latin American photographers on the scene and a regular on the circuits with his peculiar and characteristic conception of life in South America, where everyday life is combined with exaggeration and color that give him an unmistakable trademark.

Juana Subercaseaux, a Chilean artist based in Mexico City, presents Esto es Eso, her first exhibition at OMR, showcasing her latest works that intertwine a feminine perspective with the intimate, the mystical, the ephemeral, and the spiritual aspects of nature.

Madrid's Casado Santapau presents a retrospective exhibition of the work of Waldo Balart (Banes, Cuba, 1931), which covers the minimalist and precise, almost mathematical proposal of the geometries and the concrete abstraction of his works.

PATRON presented Las raíces conversan por debajo de la tierra (Roots converse below the ground), the second exhibition with Mexico City based artista, Noé Martínez.

Soy mujer que habla con el viento is the proposal that, around the production of the famous photographer Maya Goded (Mexico City, Mexico, 1967), presents the Madrid gallery Memoria (at its Centro venue) within the PhotoEspaña program.

Zielinsky presented Vera Chaves Barcellos' second solo exhibition at the gallery, entitled Objects 1969-1970.

Kurimanzutto presented Making a Presence, Marta Minujin’s exhibition in New York.

Madrid's Galería Freijo presents a photographic exhibition that materializes two singular views of Mexico in the mid-20th century: that of Armando Salas Portugal (Monterrey, Mexico, 1916 - Mexico City, Mexico, 1995) and his photographic work on the buildings of architect Félix Candela (Madrid, Spain, 1910 - Durham, USA, 1997), and that of architect Roberto Fernández Balbuena (Madrid, Spain, 1890 - Mexico City, Mexico, 1966), and his almost botanical devotion to documenting the ahuehuetes.

Casa Triângulo presented Algaravia, the first solo exhibition by Andy Villela at the gallery, featuring critical texts by Carolina Lauriano, Clarissa Diniz, Lucas Albuquerque, Lorraine Mendes and Victor Gorgulho.

The Casa del Barrio gallery reopened its doors in Samborondón, Ecuador. The gallery presented the exhibition MOTO & AZIONE by visual artist Irving Ramó, curated by Rodolfo Kronfle.

The exhibition as far as we can see in la_cápsula gallery is an invitation to reflect and resonate collaboratively on the ways of interpreting the world/s.

The exhibition at Rolf Art REVUELTAS by Gabriela Golder - one of Argentina's most internationally recognized audiovisual artists - presents video works in dialogue with the historic lithographic works of master printmaker Guillermo Facio Hebequer.

JO-HS, a global gallery specializing in emerging contemporary art, debuts its inaugural exhibition in New York, titled Techne. A curated showcase of works by 10 emerging Latin American artists, Techne grapples with how technology shapes humanity.

Lehmann Maupin presents To Name the Light, the London debut of Miami-based, Venezuelan-born artist Loriel Beltrán. Featuring five new paintings, including the monumental work Total Collapse (Miami / Seoul), 2024, the exhibition foregrounds the artist’s engagement with time––geological, biological, historical, linguistic––as a conceptual framework to explore the phenomenological effects of light, color, and materiality.

Eight Decades of Cuban Figuration and Neo Figuration, the exhibition at Latin Art Core curated by Dennys Matos, reviews more than eight decades of Cuban figurative and neo-figurative works through a selection of emblematic paintings and sculptures by 18 artists from different generations.

Lehmann Maupin presents Soil Horizon, an exhibition of new work by New York based artist Teresita Fernández. Over the course of her decades-long career, Fernández’s practice has been characterized by an expansive reimagining of what constitutes a landscape: from the subterranean to the cosmic, to contentious borderlines and borderlands.

La Mancha Galería presented the first solo exhibition of Benjamín Aitala. Ritmos Visuales (Visual Rhythms) presents paintings produced in the last three years that provide the iconic subject matter and style of the Argentine artist.

Galería del Paseo presented Screen II, the solo exhibition of Uruguayan artist Guillermo García Cruz. It is curated by Max Hernández Calvo.

Alberto Baraya (Bogota, Colombia, 1968) lands through El Naturalista Artificial, his alter ego for the occasion, his working method to research and search, in an almost expeditionary way, the knowledge and exotic objects of the world in Fábulas Goyescas, recently inaugurated at Fernando Pradilla in Madrid.

_VIGILGONZALES presented Clase media (Middle Class), a solo exhibition in Cusco featuring the work of Argentine artist Alfredo Dufour, born in the city of San Juan and living in Buenos Aires. The exhibition is accompanied by a text by Argentine artist and critic Alberto Passolini.