An award-winning NYC blogazine, primarily about painting
Thursday, February 19, 2026
Contributed by Jason Andrew / Judith Linhares has a fascination with bad taste, the oh-too beautiful, and the color yellow. In her third solo exhibition at PPOW, she doesn’t hold back packing the gallery with paintings that feature strange figurative archetypes, gaudy décor, and kitschy bits all in an embrace of the subversive potential of visual excess.
Contributed by Jason Andrew / Daisy Sheff’s exhibition “Begun in the Dazzling Sunshine” at Parker Gallery’s new space on Melrose in Los Angeles, intertwines reality with the fantastical. Her paintings employ leaping animals, fussy architectures, and bright flora to explain narratives that tease the peculiar logic of fairy tales. Their uneven surfaces, cleverly devised characters, and woolly layered scenes are busy and unwieldy. To interpret them is like piecing together the plot of a really great dream.
Contributed by David Carrier / Giorgio Morandi was born in 1890 and died in 1964. After the 1910s, when his art had some affinities with that of Giorgio de Chirico, he painted only still lives – bottles or flowers – and landscapes. “Time Suspended, part II” at Mattia de Luca Gallery, part I having been staged earlier in Italy, is a blessedly large presentation of 45 paintings and fifteen works on paper that reveals how little other artists or current events – indeed, anything outside of his studio life – affected his work.
Contributed by David Carrier / Joan Brown’s retrospective at the Carnegie Museum of Art in Pittsburgh includes some 40 paintings, most of them large, and a couple of sculptures. The high, white-walled galleries on the top floor of the museum afford her paintings ample room to breathe.
