Vivien Zhang will be in conversation with Joseph Constable, Director of the Kunsthall Stavanger, in conjunction with the artist’s inaugural solo exhibition with Galerie Max Hetzler.

The event will take place at 3pm on Friday 1 May 2026, at the gallery’s location on Goethestraße 2-3, 10623 Berlin. Kindly note that due to limited capacity, rsvp is required to confirm attendance. Please rsvp at rsvp@maxhetzler.com. 

Beatriz Milhazes’ work is the subject of a major solo exhibition at Museu de Arte da Bahia, Salvador, curated by critic and art historian Tiago Mesquita. Presenting an installation alongside paintings and collages spanning thirty years, the exhibition highlights the breadth of Milhazes’ formal repertoire and reveals a dialogue with modern art, constructivism, design, Rio de Janeiro’s carnival culture, allegory, and baroque decoration.

Bridget Riley’s institutional solo exhibition, Learning to See, conceived in close collaboration with the artist, will open at Turner Contemporary, Margate, on 22 November 2025. Exploring Riley’s continued dialogue with the sensory experience of sight and her connection with the natural world, the exhibition presents works from the ’60s, as well as her most recent paintings and wall paintings from the last decade. It also brings together Riley’s early figurative work with line, tone and colour – alongside later preparatory works on paper, showing how drawing has underpinned the artist’s working life.

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Bridget Riley’s institutional solo exhibition, Starting Point, opens at the Musée d’Orsay, Paris, on 21 October. Looking back at Georges Seurat’s seminal influence on Riley’s artistic career, the exhibition highlights his legacy through the great British painter’s hypnotic works. As Riley states, ‘What I learned from Seurat comes back to me in different forms, again and again.’

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Work by Bridget Riley is featured in the group show Minimal at the Bourse de Commerce, Pinault Collection, Paris, until 19 January 2026. The exhibition is dedicated to the subject of minimalist art, presenting for the first time more than 100 works which trace the diverse history of the movement since the 1960s.

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Work by Vivien Zhang is featured in the group show The Roots Know More, at He Art Museum, Foshan, until 28 February 2026. The exhibition examines how global mapping conventions – such as the ‘North up’ orientation – reflect colonial legacies that have marginalised alternative knowledge systems, like the South-oriented maps of ancient China. By questioning who defines the ‘Global South’, The Roots Know More challenges rigid binaries and invites reflections on the authority behind global geographic and cultural frameworks.

Beatriz Milhazes’ solo exhibition, Pinturas Nômades, will be on view at Casa Roberto Marinho, Rio de Janeiro, from 25 September. The exhibition features 17 projects celebrating 21 years of Milhazes’ pictorial installations in architectural spaces. For the first time in Brazil, the public can see models, studies and panel reconstructions of projects carried out in institutions and public spaces across Europe, the Americas, and Asia. The exhibition also brings together large-scale paintings, including works presented at the most recent Venice Biennale.

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A selection of works by Bridget Riley are currently featured in a spotlight display at Tate Britain, London. The presentation includes Riley’s major work Concerto I, 2024, which has been gifted by the artist to the Tate collection. 

Three other paintings and two prints are also on view, including one of Riley's earliest paintings, made over 60 years ago. Highlighting the artist's career-long dialogue with the sensory experience of sight, the display explores Riley's engagement with space, movement and contrast through the pictorial elements of line, tone and colour.

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A major recent painting by Bridget Riley, Concerto I, 2024, has been gifted by the artist to Tate’s permanent collection. The work will be on view in a spotlight display at Tate Britain, until 7 June 2026. 

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Published on the occasion of the solo exhibition Wall Works 1983–2023, at Galerie Max Hetzler, Berlin from 9 June – 19 August 2023. Alongside texts by Michael Bracewell, Éric de Chassey, Robert Kudielka and Bridget Riley, this catalogue also contains two interviews with the artist, conducted by Sir John Leighton and Douglas Stephen.

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We are delighted to announce Bridget Riley’s monumental work, Ascent (Wall Painting), 2023, is now part of the Centre Pompidou Collection. This is the first work from Riley’s ‘Wall Painting’ series to be acquired by the museum, and the only version designed by the artist to unfold in a vertical format. With its quintessential pattern of dots, the work refers directly to the origins of Riley’s practice, as well as to her career-long dialogue with the palette and pointillism of Georges Seurat.

Works by Hans Hartung and Bridget Riley are presented in VERTIGO, a group exhibition curated by Matthieu Poirier, at Fondation Carmignac. Exploring the vertiginous sensations created by the exalted experience of nature – disorientation, floating, and wonder – the exhibition applies a brand-new lens to the connections between the perception of natural phenomena and abstract art post-1950.

Bringing together around fifty works from museums, institutions and private collections, as well as from the Carmignac Collection, together with works created specifically for the exhibition, VERTIGO features artists who transcend figuration to question our relationship with the perceptible world.

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For Turner Contemporary, Milhazes has created Bolha de Sabão [Soap Bubble], 2024, an exclusive handmade collaged edition in an edition of 40 works. Comprising 44 individual cut papers, the petal and leaf forms, together with the highly charged colour palette, resonate with the tropical fauna found in the botanical garden close to her studio.

Milhazes has long incorporated natural forms into her work, increasingly taking inspiration from her local environment in Rio. By layering and combining varied materials – from sweet wrappers to shiny packaging and decorative marbled papers, Bolha de Sabão [Soap Bubble], 2024 embodies a visual journal reflecting Milhazes’ travels and daily life.

Bridget Riley’s [Detail of] Bolt of Colour (Wall Painting) [Marfa], 2017, has been acquired by the Kunstsammlung Nordrhein-Westfalen and is now on view in a new presentation of the museum’s collection. Inspired by the radiant light of the desert and colour schemes used in ancient Egypt, the wall painting was originally part of a large work installed at the Chinati Foundation.

Bridget Riley’s first ceiling painting, Verve, 2023, was unveiled on 4 May 2023 at the British School at Rome. Covering four barrel vaults of the ceiling in the artist’s ‘Egyptian palette’, the large-scale work appears in the foyer of the BSR. Since 2016, Riley has endowed the Bridget Riley Fellowship, which provides an opportunity for a young painter to spend six months developing their work at the school. 

British School at Rome

Published on the occasion of Bridget Riley’s solo exhibition at the Art Institute Chicago, Bridget Riley Drawings: From the Artist Studio explores the importance of Riley’s works on paper as means of visual experimentation and works of art in their own right, illustrating the story of a career underpinned by drawing. 

The illustrated catalogue, by Modern Art Press, is available to preorder and will be published on 11 October 2022.

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Thames & Hudson has published Bridget Riley: Working Drawings, the first-ever book dedicated to the celebrated British artist’s working drawings. This volume richly illustrates the thinking that goes into Riley’s work through a selection of over 150 drawings, colour analyses, notations, scale studies and cartoons, most of which were exhibited at the artist’s recent seminal retrospective exhibitions in Edinburg and London from 2019 to 2020 organized by the National Galleries of Scotland. The selection spans most of Riley’s working life, tracing the origins and evolving nature of her remarkable body of work. Riley’s beginnings are also documented through selected childhood drawings, work made during and immediately following her studies at Goldsmiths’ College and the Royal College of Art, and her early explorations into abstraction.

The artist’s working method is brought into high relief in a newly commissioned conversation with Riley and Sir John Leighton, Director of the National Galleries of Scotland. The text explores the cardinal moments in the artist’s practice and the impulses that bring her work into existence. The volume also includes four previously published texts dedicated to Riley’s studies and practice written by the artist herself, art historians, curators and museum directors, which shed further light on the enduring role of drawing and the process of exploration central to her work.

Get your copy here.

We are pleased to announce that Bridget Riley's Intervals 1, 2019, is now part of the collection of the National Gallery of Ireland. 

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New artwork unveiled at Inujima 'Art House Project'

Yellow Flower Dream, a work by Beatriz Milhazes has opened in Japan on November 1st, 2018, at Inujima Island for the 'Art House Project - A-Art House', and also will be joining Setouchi Triennale 2019 starting from April 26th, 2019.  

Based on the artist's perception of the architecture of A-Art House as a 'sculpture uniting the surrounding community and nature', this work represents, through the use of colors overflowing with energy, a virtual landscape depicting the vitality of the geometry and daily life unfolding in Inujima's nature.

Inujima Art House Project was launched with the objective of inspiring the local community of Inujima, allowing them to experience the beautiful landscapes of everyday life and the familiar natural environments that extend beyond the artworks. This project was developed by artistic director Yuko Hasegawa and architect Kazuyo Sejima for the village on Inujima.

The Inujima 'Art House Project' is a part of art-related activities, Benesse Art Site Naoshima, conducted by Benesse Holdings, Inc. and Fukutake Foundation on the islands of Naoshima, Teshima and Inujima to create significant spaces in resonance with the pristine nature of the Seto Inland Sea region.

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