Moses Hubbard

Frieze PublishingYes, email me reviews, offers, and opinions by artists, writers, and editors from Frieze Frieze EventsYes, email me Frieze Events Inc and Frieze Events Ltd’s global programme information including special offers and benefits If you wander for long enough into San Francisco’s Golden Gate Park, you’ll eventually round a bend and find yourself facing a 30-metre-long silvery serpent rising, ribbon-like, from a pool of water. Inexplicably, the dragon blows bubbles out of its nose.

At the end of a quiet residential street in northwest Mexico City, a splash of painted tiles springs from the ground to form the monumental gated entrance to Parque Quetzalcóatl. Beyond the gate and its rippling colours, a series of interlocking gardens descend the surrounding hillside in a sprawling complex of pathways, pools, bridges, natural amphitheatres and ornamental grottos. For most people, though, the gate is as far as they can go.

Lviv, the westernmost major city in Ukraine and a relative safe haven far from the eastern front, has become a sort of cultural fortress for a nation at war. Church windows are covered in thick plywood and the statues on the facade of Lviv National Opera are wrapped in black plastic; the image of a city wound down in a defensive crouch. Galleries like The Naked Room in Kyiv have transferred their permanent collections to the region for safekeeping.