Westrup and Prosser each approach basketry as a living language rather than a fixed form. Westrup’s woven structures draw on the material cultures of the Rio Grande Valley to reflect on border, belonging, and transformation, while Prosser’s practice engages British craft traditions through sculptural form and performance, emphasizing ritual, humour, and social exchange. Seen together, their works frame weaving as a knowledge system that carries history while remaining open to reinvention, positioning craft as a means of connection across geography and time.

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Alongside these in-situ interventions, Grosse continues to develop studio paintings that compress this sense of movement onto the canvas. In her recent works, loops of vivid color hover against white ground, creating the impression of suspended motion and layered depth. Balancing chance with control, these paintings explore density, velocity, and the instability of form, remaining resistant to narrative interpretation while sustaining a heightened, immersive visual experience.

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From his early use of a single fluorescent tube in the diagonal of May 25th, 1963 (to Constantin Brancusi) to the complex installations developed over the following decades, Flavin pursued a rigorous exploration of light as structure. Working exclusively with commercially available fluorescent lamps, he conceived his installations as spatial situations, using color and illumination to define, measure, and transform architectural space.

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Spanning the past fifteen years of the artist’s practice, the exhibition brings together works in materials ranging from marble and bronze to aluminum, including several shown for the first time. Seen collectively, they articulate a sculptural language attuned to the abstract and intangible, reflecting Wurm’s ongoing rethinking of scale, form, and the conventions of sculpture.

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Developed in collaboration with scientist Tommaso Calarco through LAS and the Hartwig Art Foundation, the project treats the logic of quantum systems as raw material rather than metaphor. Data and experimental processes inform sound, moving images, and stills, allowing indeterminacy to guide both form and production. The installation translates quantum principles into sensory terms, creating an experience shaped by fluctuation, overlap, and continual transformation.

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From her first large installations in the late 1950s, Nevelson conceived sculpture as a total space assembled from salvaged wood, unified through monochrome surfaces and shaped by light and shadow. The Centre Pompidou-Metz exhibition reconstructs these environments alongside works from across her career, presenting them as interconnected atmospheres rather than isolated objects. Together, they reflect her sustained interest in theatricality, movement, and the viewer’s physical presence within space.

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Bringing together around 80 oil paintings and watercolors, the exhibition traces Cézanne’s sustained investigation of form, light, and color. Seen together, these works articulate the structural rigor and perceptual intensity that positioned Cézanne as a foundational figure of modern art and continue to shape artistic practice today.

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These drawings move between structure and dissolution, ranging from skull-like forms to stylised faces whose eyes and mouths suggest interior spaces charged with emotional intensity. Largely absent of the text and symbols that define much of Basquiat’s practice, the heads stand as autonomous works rather than studies, revealing a quieter, more introspective dimension of his process.

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Bringing together around 180 works, from early black-and-white photographs to recent color series, the exhibition unfolds through thematic sections that reflect Parr’s recurring concerns. His images examine mass tourism, car culture, technological dependence, consumer excess, and shifting relationships with the natural world, often with an offbeat visual language that blends humor with critique. Over time, the apparent lightness of these scenes gives way to a more pointed reading, situating Parr’s practice within a tradition of British irony.

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The exhibition moves from practices of self-representation and DIY publishing to adaptive technologies and speculative forms of living. Works range from hacked prosthetics and landmark tools such as the Xbox Adaptive Controller to photographs, protest-led design, and environments conceived for rest and sensory regulation. Together, these objects foreground inventiveness, resistance to ableist norms, and collective imagination.

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