Chiharu Shiota: The Soul Trembles is the largest solo exhibition to date of Berlin-based Japanese artist Chiharu Shiota. Since its premiere at the Mori Art Museum, Tokyo, in 2019, it has travelled to eight other venues around the world and will be coming to Montreal in the fall of 2026—mark your calendars!

In the past year alone, Chiharu Shiota has staged exhibitions in several countries around the world, including Austria, China, Hong Kong, Italy, and Turkey. But even as 2025 wraps up, the Japanese artist is showing no signs of slowing down. Now, Shiota’s innovative, web-like work has landed in New York for her second-ever solo show in the city.

The awarding of the Possehl-Prize for International Art 2025 to Shilpa Gupta is not merely an accolade, but the celebration of one of the most urgent and conceptually penetrating voices in the contemporary art scene. The Indian artist, born in 1976 and based in Mumbai, inaugurates her first significant solo museum exhibition in Germany on this occasion: “we last met in the mirror”, hosted at the Kunsthalle St. Annen in Lübeck.

A retrospective in Paris makes for a surprisingly personal journey through history with this purportedly impersonal artist

After its blockbuster David Hockney show, the Fondation Louis Vuitton turns to another great living artist: Gerhard Richter (17 October–2 March 2026). This exhibition is ordered chronologically, taking us from Table (1962) – which Richter considers his first painting – to drawings made as recently as last year.

Teenage Rosemarie Trockel sits in a room plastered with pictures of celebrities—as teenagers are wont to do. It is 1960s West Germany, and she’s in her older sister’s bedroom. Behind her, cutouts of Brigitte Bardot appear half a dozen times in a sea of attractive faces. This all makes up a black-and-white snapshot; the collage on the wall flattens the space such that Trockel’s own head comes close to blending into the crowd, though she is evidently more uncomfortable in front of the camera than the various starlets.

A deftly woven net of red string envelopes viewers at Chiharu Shiota’s first New York museum show, at the Japan Society. The site-specific installation, which is studded with sheets of loose papers replicating excerpts from the diaries of Japanese soldiers from World War II, is one of two pieces the institution commissioned for “Chiharu Shiota: Two Home Countries.”

Rosemarie Trockel’s outing this summer at Gladstone, “The Kiss,” one of two shows devoted to the artist in New York (the other at Sprüth Magers), “couches” itself quite literally in similar issues of virality, bemusement, broadcasting, and the tension between sex and politics—all perennial themes for the artist.