Juxtapoz Magazine

GR gallery is pleased to present My Screen Tests, the first New York City solo exhibition by Kohei Yamada. The exhibition examines the enduring value of the authentic relationship between artist and artwork, engaging in themes of irony, introspection, and visual metaphor, which draw inspiration from contemporary practice and Yamada’s nuanced admiration for American Pop art.

We are so excited to share our interview with Surreal Salon 18 winner, River Reishi, selected by guest juror, Swoon. On the occasion of the win, we spoke with Reishi about the work in the show, the history of Surreal Salon, and her upcoming travels. Juxtapoz: Congrats on the big win! Talk about the winning work, what the story behind it is, the process, and even the process of submitting it to the Surreal Salon? River Reishi: The piece is called Surface Tension.

Galerie Max Hetzler, Berlin, is pleased to announce X-Rated (1972–1974), a solo exhibition of paintings and works on paper by William N. Copley. This is the fourth presentation of the artist’s work at the gallery, and the show will be on view through April 22, 2026. Copley came to painting from an unusual position.

Lyles & King presents new paintings by Kate Meissner in our project space, on view through April 4. Kate Meissner writes: "These works are an exploration of the human body's elasticity and capacity to metamorphose. Informed by my own experience of pregnancy and the birth of my first child last year, these paintings are a meditation on physiological transformation and the body's underlying animalistic and mammalian nature." Kate Meissner (b. 1995, Sacramento, CA) lives and works in Los Angeles, CA.

are pleased to present Orchid Rain on the Underground, Chris “Daze” Ellis’s third solo exhibition with the gallery. The show is on view through April 25, 2026. Featuring a new series of paintings, multimedia installation, and a site-specific mural, the exhibition harnesses the passion and spontaneity of the graffiti movement of the 1970s and 80s while demonstrating a thoughtful and meticulous practice honed over the past five decades.

HESSE FLATOW is pleased to announce the opening of Franklin, an exhibition of paintings and works on paper by Nat Meade, marking his third solo presentation with the gallery. The show is on view through April 18, 2026. The emotional arc of life’s struggles and triumphs take shape within Meade’s figurative works, reflecting the artist’s everyday experiences as he navigates being a father, son, partner, and academic.

Mrs. is pleased to present The Light That Loses, The Night That Wins, Molly Bounds’ New York debut solo exhibition, on view at the gallery’s 6040 56th Drive location. This exhibition marks the Los Angeles-based artist’s second presentation with the gallery following The Armory Show in September 2025. The show will be on view through May 2, 2026.

Harper’s is pleased to announce Prussian Blue, New York–based artist Sophia Huitema’s first solo exhibition with the gallery. The presentation features new works by Huitema and will be on view through April 25, 2026. Across the seven oil paintings on view, the visual and chemical properties of the pigment Prussian Blue function as a metaphorical anchor, tying together a cast of watchful female figures within Huitema’s hazy, dreamlike worlds.

South African artist Cinga Samson’s exhibition of new paintings is titled ‘Ukuphuthelwa’, an isiXhosa word in the artist’s native language that translates as ‘unable to sleep’. Unlike the English word ‘insomnia’, the isiXhosa term carries no negative connotation and accordingly, for Samson, sleeplessness is not a condition to be cured but a state of spiritual alertness, a sensitivity that deepens in the dark.

Welcome to the latest edition of Nuart Aberdeen. As far as we can ascertain, this will be the first street art festival in the world with a focus primarily on poetry and text-based works. Over the years, for better or worse, the large scale colourful figurative mural has come to dominate the culture we work with, and although it’s an aspect of the culture we support, due to the resources required to produce murals, they’re perhaps also the least democratic form of art on the streets.