by David S. Rubin Michael Kohn Gallery, Los Angeles, California Continuing through April 25, 2026 Bruce Conner, “NEON NIGHT, WICHITA, KANSAS,” 1963, ink on paper, 26 1/8 x 20”. All images courtesy of Michael Kohn Gallery, Los Angeles. The Beat Generation is currently having a moment in Los Angeles. Although the timing is partly coincidental, Marc Selwyn Fine Arts is exhibiting works on paper by Jay DeFeo, Parker Gallery and The Box are presenting a major Wally Hedrick retro

by Liz Goldner Long Beach Museum of Art, Long Beach, California Continuing through May 31, 2026 Robert Williams, “Heralding the Entry of King Infinitus,” 2021, oil on canvas, 30 x 36”. All images courtesy of the artist. The obsessively creative Robert Williams, now age 83, has spent a lifetime exercising a sensibility that embraces the apocalyptic, the grotesque, and the caustic. Much of Williams’ imagery springs from his dreams and memories of a difficult childhood spent m

by Matthew Kangas Fountainhead Gallery, Seattle, Washington Continuing through March 28, 2026 Matthew Dennison, “Augrest Vestal,” 2025, oil on canvas, 48 x 48”. All images courtesy of Fountainhead Gallery, Seattle. Largely self-taught after a brief stint at the Portland Museum Art School, Matthew Dennison has carved out his own civilization of peculiar people. Set in hemmed-in indoor-outdoor spaces, Dennison’s scenes are deeply subjective conceptions free of anecdote, even as

by Matthew Kangas Portland Art Museum, Portland Continuing through February 28, 2027 Mark Rothko, “Woman Reading,” c.1933. The selection of paintings and works on paper assembled to commemorate the opening of the new Mark Rothko Pavilion at the newly expanded Portland Art Museum could also be titled “Rothko before Rothko.” It focuses on art made in Portland where his family, the Rothkowitzes, settled in a large Russian community after they fled Latvia in 1913. With loans from

by Jody Zellen MAK Center, Hollywood Continuing through May 24, 2026 Nancy Holt, “Sunlight in Sun Tunnels,” 1976, inkjet print on archival rag paper; composite made by the artist from original 35mm transparencies 50 1/8 x 61 1/2”. © Holt/Smithson Foundation / Licensed by Artists Rights Society, New York. Courtesy of Sprüth Magers Gallery. Nancy Holt (1938-2014) is best known for her “Sun Tunnels” (1973-78), an earthwork placed on a piece of land she purchased in Great Basin D

by Lynn Trimble Vision Gallery, Chandler, Arizona Continuing through March 21, 2026 Luke Watson, “A Vista,” 2025, oil on canvas. All images courtesy of Vision Gallery, Chandler, Arizona. Arizona-based Luke Watson draws us into his world immediately upon entering his exhibition, “Land Valuation,” with a large-scale concave painting that echoes the panoramic views often sought by tourists in national parks or other iconic settings. Soon enough it becomes apparent that Watson’s

by Andy Brumer We are posting Andy Brumer's final exhibition review for VAS with sadness. We take some pride in the relative handful of relationships that VAS, and for many years prior, ArtScene maintained with our contributors. Relationships and projects is such an important dynamic, more so for visual artists than most. It applies equally to writers. When Andy Brumer filed his review of Patrick Graham's current show nobody knew this would be his last. For many years he publ

by Matthew Kangas Adams and Ollman, Portland, Oregon Continuing through February 28, 2026 Lynne Woods Turner, “Untitled #9559,” 2025, oil and pencil on linen over panel, 10 x 8”. All images of Turner are courtesy of Adams and Ollman, Portland. In a tiny alcove near the back of the exhibition is a projection of a three-and-one-half minute videotape titled “Spanish Dance” (1973), choreographed by Trisha Brown for female dancers in her company. This proves to be the key to under

by George Melrod Official Welcome, Los Angeles Continuing through February 21, 2026 Beverly Semmes, “Body Shop,” installation view at Official Welcome, 2026. All images courtesy of Official Welcome, Los Angeles. Photo: Evan Bedford It’s now been over thirty-five years since Beverly Semmes first emerged in New York as a trailblazer in the use of clothing as a sculptural material — and as metaphor. And she did so in a memorably big way, presenting giant grey coats with their ar

by Matthew Kangas Harris/Harvey Gallery, Seattle, Washington Continuing through February 28, 2026 Gary Faigin, “Outpost,” 2025, oil on panel, 22 x 28”. All images courtesy of Harris/Harvey Gallery, Seattle. The Gary Faigin memorial retrospective is not a museum survey, but a highly selective scan of earlier works and his final series, “Colony.” It gives his considerable audience a chance to consider his evolution as a painter and ponder the cumulative effect of his peculiar v

by Liz Goldner UC Irvine Langson Orange County Museum of Art, Costa Mesa, California Continuing through May 24, 2026 Sophie Calle, “Room 43” from “The Hotel,” 1981. Courtesy of Siglio Press Commentaries about this exhibition barely prepare viewers for its depth, expansiveness and especially for its sheer fearlessness. The show by French conceptual artist Sophie Calle (b. 1953) presents projects that she calls “The Spy,” “The Sleepers,” “The Protagonist” and “True Stories,” am

by Jody Zellen Billis/Williams Gallery, Los Angeles Continuing through February 14, 2026 Josh Dorman, “Peardog,” 2025, ink, acrylic, antique paper on panel, 12 x 12”. All images courtesy of Billis/Williams Gallery, Los Angeles. Josh Dorman's idiosyncratic, encyclopedic paintings traverse time and space. They are intricate works that demand our undivided attention. Over the years, Dorman has collected a wide range of printed ephemera, culled from books, maps, magazines and tec

by Lynn Trimble ASU Art Museum, Tempe, Arizona Continuing through February 15, 2026 Michelangelo Lovelace, “No Justice No Peace,” 1993, mixed media on wood panel, 54 1/4 x 48 1/2”. Courtesy of the Michelangelo Lovelace Estate and Fort Gansevoort Gallery. The streets of Cleveland burst to life in paintings by Michelangelo Lovelace (1960-2021), a self-taught artist who professed that “art saved my life.” It was a keen observation, reflecting on the experiences he had growing up

by T.s. Flock ANTiPODE, Seattle, Washington Contact gallery for closing date Any artist who ventures to address the slippery subject of intimacy always risks succumbing to sentiment. The domestic, the everyday, the emotional: these are all subjects that naturally invite tenderness, and art history is littered with versions so saccharine that they no longer say anything about real life. But the artist who refuses such complacency understands that the domestic realm and the bod