For her second solo exhibition at Thomas Dane Gallery in London, Ella Kruglyanskaya's compositions signal the many possibilities of paint.

Through graphite and ink drawings, video, and a score of sound pieces, Nate Lewis' first exhibition at Fridman Gallery in New York presents 'ideas and symbols that stand for irreconcilable ideas', writes Fawz Kabra.

Having turned to sculpture relatively late, John Baldessari's work since 2006 was continuously versatile, proving how processes of cropping, alteration, and erasure had come to define his practice.

Over 2,000 artworks are being uploaded to Art Basel Hong Kong's Online Viewing Rooms, which open to VIPs from 18–19 March, and to the public from 20–25 March. In constant correspondence with galleries, Ocula's Art Advisory team selects the best works to seek out.

To Disturb Somnolent Birds presents a nebulous environment inspired by dreams and nightmares.

As part of Canberra's Enlighten Festival, Club Ate—a collective formed by artists Justin Shoulder and Bhenji Ra—projected a 'queer heterotopia' across the façade of the National Gallery of Australia, situated in Canberra's parliamentary triangle.

Since the beginning of his practice, Nigel Cooke has tried to bring figuration and abstraction into the same conversation. At Pace Gallery and Pace Prints in New York, two exhibitions demonstrate Cooke's shift towards total abstraction.

To Exalt the Ephemeral: Alina Szapocznikow, 1962–1972 at Hauser & Wirth in London (7 February–2 May 2020) is Alina Szapocznikow's first solo presentation in the U.K. since The Hepworth Wakefield's survey in 2017.

Members of Ocula Magazine's editorial team, Stephanie Bailey and Tessa Moldan, along with Ocula Art Advisory director Rory Mitchell, share their selection of stand-out works to view at the storied New York art fair, which returns to the banks of the Hudson River from 5–8 March.

Thirteen artists from China respond to the French term force majeure at Eli Klein Gallery in New York, which has two definitions: 'superior strength', and 'unforeseen circumstances that release parties from a contract'.

At the freshly opened Winsing Art Place in Taipei, works by Vietnamese-Danish artist Danh Vo are being presented in Taiwan for the first time. In this video, the founder of Winsing Arts Foundation, Jenny Yeh, introduces Vo's exhibition.

Guo Hongwei's recent watercolour paintings, showing at Chambers Fine Art in New York from 3 March, trigger pareidolia—the phenomenon of seeing random objects or patterns where they do not exist.

Ack Ro' , Jaki Irvine's reflection on the fragility of life at Kerlin Gallery, Dublin, is an 'ambitious, holistic installation' staged like a 'wild disarray of interconnected yet fragmented pieces'.

Centred on three video performance works by Tabita Rezaire, An Appropriate Reaction at Cement Fondu in Sydney responds to Audre Lorde's 1981 speech, 'The Uses of Anger: Women Responding to Racism' to 'cast doubt on the internet's misguided assumption of universality.'

Ho Sin Tung's Swampland at Hong Kong's Hanart TZ Gallery 'quietly alludes to the city's concrete-surfaced wetlands amidst references to the boggy political slough that recent social unrest has struggled against', writes Emily Verla Bovino.

Images from abroad , Lada Nakonechna's solo exhibition at Galerie EIGEN + ART in Berlin, considers the barriers that exist between depictions of conflict and their viewers.

Sarah Lucas' first major solo exhibition in Asia at Beijing 's Red Brick Art Museum (2 November 2019–16 February 2020) features sculptures, installations, and photographs created over the past three decades. In this Ocula video, Yan Shijie, founder and director of Red Brick Art Museum, reflects on what it means to introduce Lucas' feminist...

Holy Mosses , the title of an eight-artist exhibition curated by Nick Yu at Hong Kong 's Blindspot Gallery, is a playful misspelling of 'Holy Moses', the gospel-inflected exclamation from Elton John's 'Border Song' (1970) made famous by Aretha Franklin's cover from 1972. 'Holy Moses, I have been removed', the song's first verse pronounces. It...

It is a dull and grey November afternoon, typical of weather in Berlin at this time of year, and Maria Loboda 's exhibition, Woman observing the Alpha Persei Cluster , at Galerie Thomas Schulte (16 November 2019–11 January 2020) appears particularly striking in contrast to these dreary climactic conditions. Occupying the street-facing...

Modified mobility scooters steer viewers down a simulated highway in High-Speed Forms , Zhang Ding 's solo show at the new OCAT Shanghai in Sunken Garden, a short walk from its previous location north of Suzhou Creek (19 October 2019–8 March 2020). Sat in self-driving chairs, which make turns by reading reflective stickers on the ground...

Liliana Porter delights in dissonance, which she stages in assemblages that place a host of recognisable characters in unlikely companionship, from rubber ducks and plastic soldiers to porcelain figures of Chairman Mao and Elvis Presley. In some scenes, minuscule figures perform colossal tasks: painting a human-sized chair, for instance, or an...

The Making of Husbands: Christina Ramberg in Dialogue is an apt title for this exhibition at the KW Institute for Contemporary Art in Berlin (14 September 2019–5 January 2020), which revolves around the work of Chicago Imagist Christina Ramberg. Borrowed from a BBC documentary, the title implies that gender roles are constructs, which...

Hans Hartung and Art Informel at Mazzoleni London (1 October 2019-18 January 2020) presents key works by the French-German painter while highlighting his connection with artists active in Paris during the 50s and 60s. In this video, writer and historian Alan Montgomery discusses Hartung's practice and its legacy. Born in Leipzig in 1904, Hans...

At first glance, Gao Weigang's International Standard (2018) looks like a regular wooden frame—rectilinear, with a cross bisecting each of its four sides, almost resembling the generic windows from children's drawings—except that it has been coated in 24-karat gold leaf. International Standard belongs to 'The International...