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GALLERIES

â–¼ Jugnet + Clairet: D.A.A.A., Pie Projects Contemporary Art, opens February 8

French-born, New Mexico-based multimedia artistic duo Anne Marie Jugnet and Alain Clairet explore through their work the unnoticed periphery and background of images or artworks that they’ve encountered during numerous trips.

Jugnet + Clairet: D.A.A.A., an upcoming exhibition at Pie Projects, is inspired by a moment in art history the duo learned about in Dawson City: Frozen Time, a 2016 documentary by Bill Morrison about a gold rush town where a trove of forgotten silent films was discovered buried in permafrost. In this exhibit, a series of five large acrylic paintings and seven watercolor works depict the remainder of a 1919 newsreel reporting on an anarchist-caused explosion, which visitors will see in a looped video.

The artists constructed compositions of the destroyed original material to provide an intimate look at a moment in art history and explore what is to be found in the fringes where little visual information exists and a deeper gaze is required. Pie Projects Contemporary Art, 924 Shoofly Street, Suite B, 505-372-7681;

â–¼ Voices of the Land: Contemporary Native Expressions, Blue Rain Gallery, opens February 28

Blue Rain Gallery’s Voices of the Land will showcase the work of three Native artists — Gabriel Mozart Abeyta (Diné and Taos Pueblo), Helen K. Tindel (·è¿ÍÖ±²¥ Clara Pueblo), and Jesse Littlebird (Laguna and Kewa Pueblos) — each of whom come from families filled with art trailblazers.

The show’s 30 or so paintings will reflect the unique voice and vision of the three artists, who aim to invite community in and spark conversations around the creative interplay between tradition and innovation in emerging Native art. Blue Rain Gallery, 544 S. Guadalupe Street, 505-954-9902;

â–¼ The New City of Ladies, Turner Carroll Gallery, opens March 1

Turner Carroll Gallery, in collaboration with the New Mexico Committee of the National Museum of Women in the Arts, will host a fascinating show this March with works by 33 women artists from across New Mexico.

In this inaugural juried The New City of Ladies exhibition, the artists were selected from a pool of 172 women artists who live in New Mexico, are registered NMC members, and submitted their work to be reviewed by three jurors: Turner Carroll Gallery co-owner Tonya Turner-Carroll, New Mexico State University Art Museum Director Marisa Sage of Las Cruces, and independent writer, curator, and speaker Barbara Stafford. Turner Carroll Gallery, 725 Canyon Road, 505-986-9800; turnercarroll

â–¼ Luis González Palma: ²Ñö²ú¾±³Ü²õ, Obscura Gallery, opens May 9

Luis González Palma is a Guatemalan photographer whose work spans three decades and is part of public and private collections around the world. He approaches photographs as a sculpture he shapes through intentional and diverse use of materials.

His early pieces capture the cultural and political connotations of Latin America along with the gazes of the Mayan people in Guatemala. His recent work experiments with marking old photographs with embroidery, acrylic paint, beads, gold leaf, book pages, and sheet music. Of late, the photographer has stopped shooting new photographs and exclusively interacts with past work to make new compositions and conversations.

²Ñö²ú¾±³Ü²õ, an ongoing series that González Palma started in 2013 and shows at Obscura Gallery this May, features some of the photographer’s portraits from the 1980s and early 1990s reconfigured with abstract images painted on them.

Obscura Gallery owner Jennifer Schlesinger says the photographer’s work “is unique due to its deep exploration of identity, memory, and cultural heritage” and that his “focus on Latin American cultural themes, in combination with his innovative use of technique and inquisitive subject matter, have significantly impacted the medium by pushing the boundaries of traditional photography.” Obscura Gallery, 225 Delgado Street, 505-577-6708; — Kylie Garcia

MUSEUMS

â–¼ Eugenie Shonnard: Breaking the Mold, New Mexico Museum of Art (Plaza Building), opens March 8

Eugenie Shonnard (1886-1978) was an American sculptor who studied art in Paris with French sculptors Auguste Rodin and Antoine Bourdelle, moved back to the United States, and soon after to ·è¿ÍÖ±²¥ Fe, where she established a studio.

Eugenie Shonnard: Breaking the Mold is a first posthumous major show of the sculptor who influenced sculpture in the Southwest in the first half of the 20th century, but whose name has since been somewhat forgotten. New Mexico Museum of Art, Plaza Building, 107 W. Palace Avenue, 505-476-5063;

â–¼ Charles Ross: Mansions of the Zodiac, Harwood Museum of Art (Taos), opens March 15

Charles Ross’ deep interest in sculpture and mathematics led him to build a creative career based on the study of time, planetary motions, and natural light, in parallel with the use of prisms, installations, and architecture.

In 1971, he began work on his colossal project Star Axis, on which he’s been working to this day in eastern New Mexico; in 1996, he also created, alongside architect Laban Wingert and art patron Virginia Dwan, the Dwan Light Sanctuary on the grounds of the United World College in Montezuma, northeast of Las Vegas.

His works are in permanent collections at art institutions like the Centre Georges Pompidou in Paris, the National Gallery of Art in Washington, D.C., and the Whitney Museum of American Art in New York. He’s also created 25 permanent solar spectrum installations and artworks across the world.

Mansions of the Zodiac, which showcases works by Ross never yet exhibited, opens at the Harwood Museum of Art in mid-March. Harwood Museum of Art, 238 Ledoux Street, Taos, 575-758-9826; 

▼ Kite and Wíhaŋble S’a Lab: Dreaming with AI, Museum of Contemporary Native Art, opens March 21

Suzanne Kite (aka Kite) (Oglála Lakȟóta), Ph.D., is an award-winning musician, composer, performance and visual artist, and academic whose work explores through machine learning and AI Lakȟóta ontology (or beinghood) and “cosmology scapes� derived from Lakȟóta philosophy and ethic. Kite has concluded that the act of listening to nonhuman beings here on earth — nonhumans from the spirit world — leads to knowing how nonhumans create new knowledge and helps establish more ethical future building.

Kite’s newest show, Dreaming with AI at IAIA’s Museum of Contemporary Native Art, will bring a combination of installation, videos, and performance in which the artist will mix the use of AI, machine learning, and Native knowledge. IAIA Museum of Contemporary Native Arts, 108 Cathedral Place, 505-428-5912;

â–¼ Marsden Hartley: Adventurer in the Arts, New Mexico Museum of Art (Plaza Building), opens April 5

Marsden Hartley (1977-1943) was an American Modernist painter and geographic flaneur who spent most of his adult life away from his native Maine. He favored Paris — where he befriended the likes of Gertrude Stein and Cubist artists — Berlin, and New Mexico, where he found inspiration in our monumental and mountainous landscapes. Hartley experimented with ideas of modern art, moved on to abstract painting, and returned to more realistic landscapes, portraits, and still lifes.

Adventurer in the Arts at the New Mexico Museum of Art will include more than 40 paintings and drawings by Hartley that span nearly four decades of his artistic exploration. The exhibition was developed through a collaboration between the Vilcek Foundation and the Bates College Museum of Art in Maine, and includes three major paintings by Hartley that are part of the New Mexico Museum of Art permanent collection. New Mexico Museum of Art, Plaza Building, 107 W. Palace Avenue, 505-476-5063;

â–¼ Light, Space, and the Shape of Time, Albuquerque Museum, opens April 5

The Light and Space movement — or California Minimalism — began in the early 1960s in California in parallel to the Minimalist movement in New York. One of its innovations was the use of alternative materials (plastic, glass, polyester resin, neon and argon lights, and cast acrylic).

The Light, Space, and the Shape of Time exhibition at the Albuquerque Museum brings the audience’s attention back to such legendary Light and Movement artists as Robert Irwin (1928-2023), Peter Alexander (1939-2020), Larry Bell (from Taos and Los Angeles), and Dan Flavin (1933-1996), and introduces the continuation of their movement’s ideas in younger artists such as Neil Ambrose-Smith (Confederated Salish and Kootenai Nation of Montana); the avatar, artist, and curator LaTurbo Avedon; Jenny Holzer, August Muth, Michael Namingha (Hopi), Soo Sunny Park, Leo Villareal (whose work can be seen in the walkway at Vladem Contemporary), and Kumi Yashamita. Albuquerque Museum, 2000 Mountain Road NW, Albuquerque, 505-243-7255;

WORTH THE TRIP

â–¼ Kent Monkman: History is Painted by the Victors, Denver Art Museum, opens April 20

Kent Monkman (Fisher River Cree Nation, Canada), who was a speaker at a SWAIA Indian Market Native Fashion event last August, is a noted contemporary painter and performance artist. His work is celebrated across Canada and Europe but has yet to become widely known outside arts circles in the U.S.

The Denver Art Museum partnered with the Montreal Museum of Fine Arts to open Monkman’s first major survey of his work in the U.S. with 41 of his large paintings, many of which include Monkman’s alter ego, Miss Chief Eagle Testickle. The exhibition History is Painted by the Victors shows Monkman’s work at its most iconic: a provocative intervention into North American and Western European art history in which Indigenous people take central stage and rewrite events in historical paintings. Denver Art Museum, 100 W. 14th Avenue Parkway, Denver, 720-865-5000; — Ania Hull ◀