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Pace Gallery presents An Abstraction, the solo exhibition of American artist Adam Pendleton (b. 1984), on view from May 3–August 16, 2024. The twenty-five-work show, composed of twelve large-scale paintings and thirteen drawings, is a subtle departure from the artist’s earlier output, yet it continues to reflect how one might experience the world on a sensorial level—investigating Blackness as not only a color, but also an identity and an overarching method.

Stepping off the elevator onto the seventh floor of Pace’s West 25th Street headquarters, viewers stand at the edge of a field of sculptures that are a mix of formal/classical and exotic/non-Western forms and surfaces that gently pulsate, oscillate and, from certain perspectives, dematerialize. This is Tara Donovan: Stratagems, the artist’s current show of eleven discrete sculptures (all 2024) ranging in height from 8–10 feet made entirely from CD-ROMs.

The artist’s survey at the Aldrich Contemporary Art Museum tracks the formal language she developed to depict an essential process in life—one that, historically, has been rarely depicted

Loie Hollowell has been painting sex and pregnancy for the past decade. Over that time, her artistic approach to these subjects has transformed in ways that rely on her own felt experience of embodiment, and two exhibitions now on view, one at Pace Gallery and one at the Aldrich Contemporary Art Museum in Ridgefield, Connecticut, provide ample evidence of this fact.

In paint, recognition always butts up against necessity, creating the temptation to name something where there is just some thing. I remember standing in front of a Thomas Nozkowski painting six years ago, staring into its central green mass, which was like moss floating in the canvas’s fleshy pink.