Tacita Dean and Analia Saban's editions at Gemini, SUPERFLEX loose in the Schindler House, and Zhang Enli's washes at Hauser & Wirth. Printmaking, sculpture and one very good house.
Gemini G.E.L., LA
In Data Center, Analia Saban turns to woodcut, one of printmaking’s oldest processes, to render the invisible infrastructure of our digital world tangible and material.
May 9 - Sep 4
In April 2024, Tacita Dean traveled to Eagle Pass, Texas to photograph a total solar eclipse—aiming her camera at the sun without looking through the viewfinder, twisting and snapping with little calculation. What emerged were not photographs but drawings made with sunlight itself: loops and arcs of luminous energy seared onto black. Now translated into twelve screenprints by Gemini G.E.L., the Eclipse Drawings (2026) suspend glowing lines between celestial documentation and pure abstraction.
MAK Center for Art and Architecture at the Schindler House
Danish collective SUPERFLEX presents a focused survey spanning three decades at the MAK Center's Schindler House (June 12–September 13, 2026). Works include The Spoons (1994), an early photographic lightbox; Hunga Tonga Rainbow (2016), mirrored rainbow photographs; Proposal for the World's Second-Tallest Building, a ceramic-sponge sculpture; and Two Flies Staring at Each Other (on a Glass of Water) (2025), probing infrastructure, ecology, and collective perception with humor.
Jun 12 - Sep 13
Hauser & Wirth
Zhang Enli presents new abstract portraits by the Shanghai-based artist in his West Coast debut. Anchored in figuration and paired with descriptive titles, the works pursue essence through evocation rather than depiction — a looser visual language drawing on both Eastern and Western traditions to reveal abstraction's capacity to communicate the human condition. A catalogue with an essay by curator Sook-Kyung Lee surveys Zhang's artistic evolution over the past two decades.
May 29 - Aug 22
The Journal Gallery
Duncan Hannah presents late paintings that revisit the female nude through a contemporary lens. In contrast to much recent figurative painting, where clothing often defines identity, Hannah’s figures remain strikingly exposed, balancing familiarity with ambiguity. Poised between subject and object, intimacy and performance, his paintings draw on art history, popular culture, and pinup imagery while questioning how desire, representation, and the gaze operate in the present.
Jul 9 - Jul 31
