We are delighted to announce that Danielle Mckinney’s painting Haze, 2024, is now part of the permanent collection of The Metropolitan Museum of Art in New York. The work is currently on display. ​​​​​​

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We are delighted to announce that Danielle Mckinney’s painting Moth to a Flame, 2024, is now part of the permanent collection of The High Museum, Atlanta.  

Published on the occasion of the artist’s ​​solo exhibition Endless Summer, at Galerie Max Hetzler and Gagosian, Paris from 20 October – 20 December 2025.

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Work by Danielle Mckinney is featured in the travelling group exhibition, When We See Us: A Century of Black Figuration in Painting, at Liljevalchs, Stockholm. The presentation includes over 155 works, on loan from institutions and private collectors from 26 different countries. Created by Black artists from around the world over the past century, the artworks are placed in dialogue with contemporary Black thinkers, writers and poets.

Originally conceived by the Zeitz Museum of Contemporary Art Africa (Zeitz MOCA), When We See Us has been internationally recognised as one of the world’s most significant exhibitions focusing on Black representation and identity. With a primary focus on painting, the exhibition celebrates how artists from Africa and its diaspora have portrayed, positioned, preserved and highlighted the experiences of people of African descent.

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The Brown Collection, London, presents Hoi Polloi, a group exhibition curated by Glenn Brown. Derived from the Greek term ‘for the people’, most often used as an insult for the ‘great unwashed masses’, Hoi Polloi brings together a number of paintings, drawings, prints, and sculptures from the sixteenth century to the present, exploring how artists have represented, resisted, or reimagined the ordinary man through the lens of the spiritual.

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Paul McCarthy’s work Stainless Steel Butt Plug, 2007, is featured in the group show Sex Now, at the NRW Forum, Düsseldorf. Across ten themed rooms, the exhibition stages over 400 objects in an intimate dialogue about sexuality and society.

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Danielle McKinney’s first institutional solo exhibition in the United States, Danielle Mckinney: Tell Me More, is on view at the Rose Art Museum, Waltham. The presentation features thirteen intimate paintings, including two new works, that portray the interior lives of Black women. Drawing from art historical traditions of figurative painting while upending their colonial and patriarchal gazes, Mckinney reclaims and reframes the odalisque motif. The exhibition offers a tantalising entry point into the intimate world of an artist whose powerful vision of Black femininity is expansive, contemplative, and defiantly unhurried.

The landmark presentation is organised in conjunction with Mckinney’s 2025 Ruth Ann and Nathan Perlmutter Artist-in-Residence Award at the Rose. The exhibition is curated by Dr. Gannit Ankori, Henry and Lois Foster Director and Chief Curator, Rose Art Museum, and Professor of Fine Arts and Women’s, Gender, and Sexuality Studies, Brandeis University.

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Published on the occasion of the solo exhibition Schweinekubismus, at Galerie Max Hetzler, Berlin from 14 September – 2 November 2024.

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Published on the occasion of the solo exhibition In the Altogether, at Galerie Max Hetzler, Paris from 14 October – 18 December 2024. 

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For the ninth iteration of Dior’s Lady Art project, Danielle Mckinney has put her own spin on the fashion house’s iconic Lady Dior bag. Inspired by moments of quiet introspection, Mckinney’s design features a hand-embroidered silhouette of a woman. Cocooned in her coat, the subject is visited by a butterfly, which is used to convey the ‘flight of imagination.’ 

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In his paintings, sculptures and drawings, Glenn Brown confronts the history of art with a contemporary understanding of paint’s materiality and a barbed sense of colour. Numbered and signed by the artist, this Collector’s Edition treats the viewer to a close encounter with Brown’s eye-deceiving renderings of brushstrokes from sources between Sci-Fi and the Old Masters.

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Albert Oehlen’s work is included in Post-Atomic Abstraction, a collection presentation in room 203 at The Museum of Modern Art, New York. During the final years of the Cold War and in the decades that followed, artists in Germany and the United States faced a brave – and contradictory – new world. The presentation brings together artists’ responses to this period of transition, where the push and pull between the prewar and post-atomic worlds fostered novel paths toward abstraction.

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Urs Fischer’s site-specific ceiling painting Good Luck Peanuts, 2024, is on permanent view at Palazzo Diedo – Berggruen Arts & Culture, in Venice.  Fischer’s installation was created for the ceiling of the movie theatre using various painting techniques, ranging from acrylic to enamel on sand, and from fresco to lime plaster. Playing on the visual illusion offered by the perception of plasticity, the textured brushstrokes on the frame, and the deep perspective of a clear-sky, Fischer’s work offers – with characteristic humour – a contemporary trompe l’oeil.  

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Albert Oehlen’s monumental sculpture Ömega Man, 2023, is now on view to the public in Weidingen, where it emerges from the vast landscape of the Südeifel. Its simplified form and slightly raised steel bars, recessed into their concrete casting, evoke the lightness of a drawing. Here, the persistent importance of the line in Oehlen’s work becomes evident, appearing simultaneously curved and controlled. In this work, the artist uses elements which are both abstract and figurative to critically examine the history and conventions of contemporary art, all the while continuing to acknowledge the importance of classical models. Massive yet fragile in its isolation, Oehlen’s Ömega Man appears like a monument from the future. Omega, the last letter of the Greek alphabet, is here written with an umlaut, thereby referring to the artist’s own name. 

Stiftung zur Förderung Zeitgenössischer Kunst in Weidingen

Published on the occasion of the solo exhibition From Wounds and Starry Dreams, on view at Galerie Max Hetzler, Paris from 3 September to 22 October 2022, this new catalogue includes a passage from Georg Trakl’s ‘From A Golden Chalice: Mary Magdalene’, 1906 and is available for purchase now on the Galerie Max Hetzler publications website.

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The catalogue accompanying Glenn Brown’s double exhibition The Real Thing, currently on view at the Sprengel Museum and Landesmuseum Hannover until 18 June 2023, is now available for purchase. This publication condenses the key ideas of the exhibition, which presents Brown’s work alongside a selection of historical masterworks from the two collections. In this way, Brown brings continuities and contrasts from 500 years of painting into a contemporary dialogue. The publication contains new texts by Jurriaan Benschop, Katja Lembke, and Reinhard Spieler, as well as a conversation with the artist.

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Works by Albert Oehlen are now represented at the group exhibition Space for Imaginative Actions at Kunstmuseum Bonn. The exhibition celebrated the museum’s thirtieth anniversary and brings together monographic and thematic works from more than forty artists. 

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Urs Fischer’s monumental work L’Arc from 2016 has been installed at the forefront of STATION F, the world’s largest startup campus based in Paris. Made of 202 elements in aluminum alloy with sand casting, this huge arch reinforces the bridge between art and entrepreneurship. Standing 11 meters high, L’Arc is the largest private sculpture on the public space, at the heart of STATION F.

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Urs Fischer’s sculpture 8 from 2014 has been installed in the new Chipperfield Building at the Kunsthaus Zürich. The official inauguration of the new extension is scheduled to take place on 9 October 2021.

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