Now available
Gagosian Quarterly Spring 2026
The Spring 2026 issue of Gagosian Quarterly is now available, featuring Marcel Duchamp’s L.H.O.O.Q. (1964) on the cover.
Now available
The House on Utopia Parkway: Joseph Cornell’s Studio Re-Created by Wes Anderson
The House on Utopia Parkway: Joseph Cornell’s Studio Re-Created by Wes Anderson is an exhibition conceived by curator Jasper Sharp and the acclaimed American filmmaker. The show brings Cornell’s New York studio to the heart of Paris, transforming Gagosian’s storefront gallery into a meticulously staged tableau—part time capsule, part life-size shadow box—for the first solo presentation of the artist’s work in Paris in more than four decades. In this video, Anderson discusses the genesis of the exhibition and the process by which it came together.
Titus Kaphar: The Fire This Time
On the occasion of his exhibition The Fire This Time at Gagosian, Paris, Titus Kaphar discusses themes of history, representation, and collective memory in his recent paintings and hand-carved wood sculptures.
Jasper Johns: Between the Clock and the Bed
On January 22, Gagosian, in partnership with Castelli Gallery, opened an exhibition of historic works by Jasper Johns at the 980 Madison Avenue gallery in New York. A survey of the crosshatch paintings and drawings that dominated his practice from 1973 to 1983, the presentation united works that have rarely been seen with loans from sources including distinguished American museums. The exhibition commemorates the fiftieth anniversary of this body of work’s debut at Castelli Gallery in 1976. Here, Larry Gagosian speaks with the Quarterly’s Alison McDonald about the impetus for this project, his memories of seeing the exhibition in 1976, and the enduring impact of these paintings on artists and collectors.
A Tremendous Generosity: Jeff Koons on Marcel Duchamp
Jeff Koons tells Alison McDonald about his appreciation for the pioneering artist and thinker Marcel Duchamp.
Nan Goldin: Another Word for Love
For the fortieth anniversary of Nan Goldin’s genre-defining photobook The Ballad of Sexual Dependency (Aperture, 1986), Gagosian, London, will be exhibiting all of its 126 photographs, the first time the entire body of work will be shown in the United Kingdom. To celebrate the occasion, David Velasco looks back to the series’ creation and evolution, considering the radical exploration of seeing and love at the core of The Ballad.
Michael Heizer: Negative Sculpture
Across his nearly six-decade career, Michael Heizer has continued to probe the possibilities of sculptural form defined by its absence. His exhibition Negative Sculpture features Convoluted Line A and Convoluted Line B, among the artist’s most complex negative sculptures. Here, we consider a selection of works that have preceded the new sculptures.
Jonas Wood: The Rules of the Game
Following a recent visit to Jonas Wood’s Los Angeles studio, Justin Beal thinks through the artist’s paintings of tennis courts—the subject of an exhibition at Gagosian, Beverly Hills—examining their relation to the game, color theory, and the rewards of practice.
Over the Guardrails, Into the Water
Mike Stinavage meets with actor—and now director—Kristen Stewart to talk about her debut feature-length film, The Chronology of Water.
Frank Gehry: Every Building, a Self-Portrait
Deborah McLeod, senior director at Gagosian, Beverly Hills, reflects on the generous and innovative vision of Frank Gehry. Having worked with the architect and artist for more than a decade, McLeod addresses his outsize impact on the city of Los Angeles and the world beyond.
Game Changer
Beatrice Wood
Salomé Gómez-Upegui honors Beatrice Wood, the “Mama of Dada,” an underappreciated trailblazer within the movement who went on to become a brilliant ceramist.
Berthe Weill
Valentina Castellani is the author of Trading Beauty: Art Market Histories from the Altar to the Gallery (2026), an expansive history of the art market and of the dealers who charted its course. Here—inspired by the recent exhibition Make Way for Berthe Weill: Art Dealer of the Parisian Avant-garde at the Musée de l’Orangerie, Paris—Castellani considers the impact of the French gallerist.
