Frieze New York

Seven glass spheres lined up on a shelf present a progression of colors that extends from red to green. As viewers move in relation to the work, the colors shift and change. The vivid colors, which seem to emanate from within the spheres, were created by applying layers of translucent paint and reflective chrome to the back third of each sphere. When viewed from the front, the spheres are permeated by the bright color of the painted layer. The hues change in response to viewers’ movements because the paint is applied to the spheres as a segmented gradient that fades from one color to the next, with each sphere displaying a slightly different range of tones.

The concave reflective surfaces also produce inverted images of the viewers and their surroundings within the spheres – images that disappear when the work is approached from an angle and the clarity of the glass re-emerges.

The rough shelf is made from a log of driftwood that has been quartered and planed on one side. In 2008, Eliasson began collecting driftwood from Iceland, where forests are scarce and the logs were long an important building material. The untreated underside testifies to the long voyage that the driftwood took across the sea, where it was exposed to the beating of the waves and the bleaching of the sun.

Eliasson considers his glass sphere works, which he has been developing since 2013, to be optical devices that conjure new ways of seeing and inspire viewers to move about the space in reaction to the changing colors and reflections.

Analia Saban explores the sculptural quality of paint, transforming two dimensional brushstrokes into three dimensional forms. A walnut frame acts as a loom and a framing device, whereby linen threads are woven around the frame’s vertical and horizontal axes creating a loose “canvas” in which dried acrylic impasto is embedded. In doing so, Saban challenges the traditions of the medium, separating canvas from paint to create a sculptural-painting hybrid.

Analia Saban will have a major solo exhibition at the Mildred Lane Kemper Art Museum in September 2027, which will open at the Los Angeles County Museum of Art (LACMA) in April 2027.

Foam SB 110/15m is comprised of a complex geometric structure of translucent iridescent plexiglas that suggests the cell-like membranes of bubbles that emerge when oil is shaken with water. As in an organic system, this work is composed of many parts all similar but all different from one another, whose interconnected elements capture the iconic and intricate complexity of Saraceno's oeuvre.

Tomás Saraceno’s work is on view now at the New Taipei City Art Museum, New Taipei, Taiwan through September 13, 2026 and at the Kunstsammlungen Chemnitz, Germany, through August 16, 2026. Saraceno also has an upcoming presentation at the Haus der Kunst, Germany opening July 2026.

With drawing as the foundation of her artistic practice, Sandra Vásquez de la Horra’s multidisciplinary work depicts the interconnectedness of the human body and the natural world. Taking inspiration from spiritual mythologies, folklore, religious iconographies, and Latin American popular imagery, she explores themes of the body, landscape, motherhood, gender, sexuality, and migration. Often dipping her works in beeswax or creating accordion-like paper sculptures, Vásquez de la Horra transforms them into three-dimensional objects, challenging the limits and possibilities of drawing.

Born in Chile, Vásquez de la Horra lived through Augusto Pinochet’s repressive military regime, prompting her to emigrate in the 1990s to study art in Germany, where she lives and works today. Her work transgresses the taboos of her conservative upbringing, often through surreal, erotic, or maternal female forms, creating a fantastical visual language that is seeped in myth and mystery. Perceiving the body as a geography, her figures contain hybrid plant, animal, human, and terrestrial features, emphasizing our physical connection to the environment around us.

Sandra Vásquez de la Horra’s work is on view now at the Haus der Kunst, Germany though May 17, 2026.

In Yuko Mohri’s Decomposition series, she inserts electrodes into fruit to measure their internal moisture levels and converts changes in resistance into light.

Decomposition translates minuscule changes occurring inside fruit, conveying the life of fruit that continues to emerge and evolve even after its connection to the soil or tree trunk has been severed. Hinting at the history of still-life painting, Mohri’s work questions the relation between stillness and liveliness, revealing that what might seem without life is actually full of it.

Yuko Mohri is on view now at Kunstmuseum Bochum, Germany through May 31, 2026 and at the Fundación Botín, Santander, Spain through September 6, 2026. The artist also has upcoming presentations at The Bass, Miami and the Barbican Centre, London later this year.

For more than three decades, Mark Manders has developed an endless self-portrait in the form of sculpture, still life, and architectural plans. Described by the artist as his ongoing “self-portrait as a building,” Manders’ works present mysterious and evocative tableaux that allow viewers to construct their own narrative conclusions and meanings. Produced through an intimate logic that has now become signature to Manders' practice. Rendered in cast bronze, the work depicts a figure in what deceptively appears to be a soft clay. In doing so, the artist blurs the line between reality and illusion, and freezes a moment in time, highlighting the fragility of each passing moment. The manipulation of material and scale generates a sense of puzzlement and awe, masterfully creating a sense of timelessness— while the sculpture.

Mark Manders is on view now at Tanya Bonakdar Gallery, New York through July 31, 2026 and at the London Mithraeum, Bloomberg SPACE through July 4, 2026.

This body of work, entitled ...and to draw a bright, white line with light, was produced for a major solo exhibition at the Art Institute of Chicago. The title is a play on the literal translation of the word photography which is "to draw with light," and the old phrase about photography being "the pencil of nature," as well as the activity of drawing a curtain. While photography is always about light and exposure, this work is a beautiful example of Barth's new engagement with light, where she uses it in an almost sculptural or performative way.

Among the most important artists of her generation, Monica Bonvicini’s evocative and thought-provoking sculptures explore the relationship between architecture, gender and power. For the past three decades, Bonvicini’s multifaceted practice has confronted issues of institutional critique and the politics of space. While the idea of the built environment is central to Bonvicini’s research so is the concept of destruction. Her work aims to expose and destabilize outdated social and political structures in ironic and playful ways. Dry-humored and direct, Bonvicini’s art never refrains from establishing a critical connection with the sites where it is exhibited, the materials that comprise it, and the roles of spectator and creator.

Drawing on the legacy of modernism, Turner-prize winner, Martin Boyce imbues familiar forms with new meaning and context as part of his exploration of form and function, architecture and sculpture, history and memory. In this hanging sculpture, chains and unlit lanterns drip from above like the branches of a weeping willow, collapsing the industrial and natural.

Since the early 1990s, Sandra Cinto has explored the potential of drawing to create intricate images and immersive environments, often using the line as gesture to deconstruct physical and spiritual boundaries. In Night with Stars III, Cinto renders a mesmerizing seascape that evokes a sense of weightlessness like that of the sea and the sky. In all her work, Cinto conjures great tensions and contradictions: formally, between surface and depth, abstraction and representation, but also thematically, between joy and sadness, fear and comfort, utopia and reality.

Nathalie Djurberg & Hans Berg’s series of sculptural flowers offer a fragile beauty and an untamable, organic logic of their own. Constructed from mixed media – modeling clay, paint, fabric and resin – the sculptures recall native lilies or orchids, as well as fantastical floral arrangements in other-worldly colors and forms. Flowers are a recurring motif in Djurberg & Berg’s practice, for their abiding interest in the fleeting nature of human emotions and their respective symbolism for emotions like love, joy, desire, sadness and vulnerability, and ultimately, the circle of life. In 2009, the artists created their first major work inspired by flora and fauna, a subversively surreal and immersive Garden of Eden, entitled The Experiment, for the 53rd Venice Biennial, for which they were awarded the Silver Lion for best emerging artists.

In Laura Lima's Communal Nest #4, offers a habitat for a variety of bird species. Deconstructing straw hats and reweaving them together, the artist creates a community for the imagined birds, adorned with perches and ornamental architecture. Awaiting their dwellers, these objects linger in a moment of transition before nature takes hold. A subtle critique of the ideal nuclear family, these nests encourage utopian communities of birds that can participate in multiple family constructions.

Sarah Sze challenges the static nature of sculpture, creating constellations of objects, activities and cataclysmic moments that convey the essence of a new world overwhelmed by fragments of information. In this sculpture, Sze combines studio and art materials alongside natural elements and everyday objects to create a deceivingly simple composition blurring the lines between sculpture and painting. Intricately painted branches are swirled into a nest, propped by two clamps.

Me as Madame and Monsieur Duchamp is a punning double self-portrait of the progenitor of conceptualism, French artist Marcel Duchamp (1887-1968). In this piece Wearing transforms herself into both halves of a married couple: one image shows Wearing as Duchamp dressed in suit and tie; the other, Wearing as Duchamp in drag as his famous alter ego and brand spokeswoman, Rrose Sélavy, whose name is a play on the French phrase, 'Eros, c'est la vie', or 'Eros, such is life.' Madame's and monsieur's photographs are set in a giant locket, a nod to Duchamp's readymade artworks, which he created by transforming everyday objects into nonfunctional conceptual art through simple re-contextualization. In the oversize trinket, Mr and Mrs Duchamp mirror each other, casting masculinity and femininity as two sides of the same coin.

Gillian Wearing's work is currently on view at The Isabella Stewart Gardner Museum, Boston through May 10, 2026 and at the National Portrait Gallery, London through January 10, 2027.