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  • Memory, Matter and Minimalism: Inside Dia Art Foundation’s 2025 Fall Night

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    The Dia Art Foundation’s annual Fall Night was a celebration of Melvin Edwards and Meg Webster. Madison McGaw/BFA.com

    For more than half a century, Dia Art Foundation has redefined how art can be supported, exhibited and preserved—particularly when it comes to large-scale, long-term, or site-specific works that fall outside the confines of traditional museums and commercial galleries. On Monday (Nov. 3), its annual Fall Night once again celebrated that mission with an elegant dinner that drew a remarkable number of artists—far more than most New York institutions can claim—reminding everyone that artists remain firmly at the center of Dia’s vision.

    Observer spotted an impressive roster of artists shaping the language of contemporary art today, including a particularly smiling and socially engaged Marina Abramović (currently preparing for a major exhibition at the upcoming Venice Biennale), alongside Doug AItken, Tony Cokes, Mary Corman, Jung Hee Choi, N. Dash, Torkwase Dyson, Miles Greenberg, Rachel Harrison, Tehching Hsieh, EJ Hill, Anne Imhof, Suzanne Jackson, Vera Lutter, Nate Lowman, Jill Magid, Tyler Mitchell, Tiona Nekkia McClodden, Kent Monkman, Camille Norment, Precious Okoyomon, Nicolas Party, Howardena Pindell, Alan Ruiz, Martha Rosler, Gedi Sibony, Haim Steinbach, Amy Sillman, Pat Steir, Richard Tuttle, Cheyney Thompson and William T. Williams.

    The evening began with a cocktail reception and exhibition viewing at Dia Chelsea, where guests admired 12 + 2Duane Linklater’s first major U.S. commission. His monumental clay animal forms inhabited the space, evoking a primal connection to matter. These gigantic creatures seemed to emerge from an elemental prehistory, before and beyond civilization’s structural and rational constraints. In one of the rooms, a circular wall relief of swirling clay channeled a sense of cosmic gesture—an improvised cosmology unfolding in earthy motion, connecting the microcosm of human making with the broader entropic order that regulates all forces between energy and matter.

    The galleries at Dia Chelsea, 537 West 22nd Street, were also open for guests for a special viewing of an exhibition of work by Duane Linklater.The galleries at Dia Chelsea, 537 West 22nd Street, were also open for guests for a special viewing of an exhibition of work by Duane Linklater.
    The galleries at Dia Chelsea, 537 West 22nd Street, were open to guests for a special viewing of an exhibition of work by Duane Linklater. Madison McGaw/BFA.com

    Guests then moved to 547 West 26th Street, where long, white linen-decked tables awaited. Dinner began with welcoming remarks from Nathalie de Gunzburg, chair of Dia’s board. Next, a radiant Jessica Morgan, Dia’s director, then took the dais. “Paris was a blast,” she said, beginning her speech with genuine enthusiasm following her just-concluded art week abroad, where she opened “Minimal” at La Bourse de Commerce in Paris. The show, a collaboration between the Pinault Collection and Dia, brought part of Dia’s holdings to Europe for the first time, pairing them with a rarely seen selection of works from the French magnate’s collection. The show celebrated the aesthetics and philosophy of Minimalism while tracing its global evolution and enduring influence.

    The night’s honorees, Melvin Edwards and Meg Webster, both hold deep significance for Dia. Their concurrent presentations Upstate spotlight how each pioneering practice anticipated many of today’s most urgent artistic concerns. Artist Sanford Biggers delivered a heartfelt tribute to Edwards, reflecting on their shared Houston roots and the profound emotional and artistic bond between them. His remarks captured how Edwards has imbued the rigorous formalism of his welded metal assemblage—steel, chain, barbed wire, machine parts—with a uniquely human and political charge: abstract forms that pulse with the weight of history and memory, between oppression and liberation.

    Next, architect Steven Holl paid homage to Webster, tracing how her practice infused Land Art and process-based sculpture with a prescient ecological consciousness. Merging nature and culture, matter and energy, her works embrace the entropic principle of impermanence and transformation while prompting reflection on sustainability and humanity’s relationship with the earth. Webster’s art—poised between the elemental and the formal, the human-shaped and the naturally evolving—feels particularly timely today, as she enjoys a long-overdue moment in the international spotlight, from Dia’s Beacon presentation to her installations currently on view in the frescoed rotunda of La Bourse de Commerce.

    De Gunzburg (with her husband, Charles de Gunzburg) and Morgan were joined by trustees Sandra J. Brant, J. Patrick Collins, Carol Finley, Jahanaz Jaffer, Dana Su Lee, Sara Morishige and Cordy Ryman. The crowd also included collectors, philanthropists and cultural figures such as Amy Astley, Stewart Butterfield and Jen Rubio, Lynne Cooke, Lisa Dennison, Fairfax Dorn, Michael Fisch, Molly Gochman, Steven Holl, Stephanie Ingrassia, Hiroyuki Maki, Courtney J. Martin, Sukey Novogratz, Monique Péan, Loring Randolph, Scott Rothkopf, Axel Rüger, Salman Rushdie, Bernard and Almine Ruiz-Picasso, Olivier Sarkozy, Ivy Shapiro, Allan Schwartzman, Akio Tagawa, Ann Temkin, Helen and Peter Warwick and Sara Zewde.

    And of course, no Dia gathering would be complete without members of the gallery world who have long supported the foundation’s mission: Paula Cooper, Lucas Cooper, Arne Glimcher, Alexander Gray, Carol Greene, Jeanne Greenberg Rohatyn, José Kuri, Dominique Lévy, Alex Logsdail, Siniša Mačković, Ales Ortuzar, Sukanya Rajaratnam, Thaddaeus Ropac, Almine Rech-Picasso and Kara Vander Weg were all among the evening’s guests. Below, we offer a glimpse into the night’s most memorable moments.

    Precious Okoyomon, Vidar Logi, Miles Greenberg and Marina Abramović

    Precious Okoyomon, Vidar Logi, Miles Greenberg, Marina Abramović.Precious Okoyomon, Vidar Logi, Miles Greenberg, Marina Abramović.
    Precious Okoyomon, Vidar Logi, Miles Greenberg and Marina Abramović. Madison McGaw/BFA.com

    Dominique Lévy and Sanford Biggers

    Dominique Lévy and Sanford Biggers. Bre Johnson/BFA.com

    Steven Holl

    Steven Holl paid his tribute to Meg Webster.Steven Holl paid his tribute to Meg Webster.
    Steven Holl. Madison McGaw/BFA.com

    Meg Webster

    Meg Webster.Meg Webster.
    Meg Webster. Bre Johnson/BFA.com

    Howardena Pindell and Ann Temkin

    Howardena Pindell and Ann Temkin. Bre Johnson/BFA.com

    Amy Astley

    A blonde woman in a dinner.A blonde woman in a dinner.
    Amy Astley. Madison McGaw/BFA.com

    Molly Epstein and Hugh Hayden

    Molly Epstein, Hugh Hayden.Molly Epstein, Hugh Hayden.
    Molly Epstein and Hugh Hayden. Madison McGaw/BFA.com

    Nicolas Party

    Nicolas Party.Nicolas Party.
    Nicolas Party. Madison McGaw/BFA.com

    Maynard Monrow, Julie Hillman and Lucas Cooper

    Maynard Monrow, Julie Hillman, Lucas Cooper.Maynard Monrow, Julie Hillman, Lucas Cooper.
    Maynard Monrow, Julie Hillman and Lucas Cooper. Madison McGaw/BFA.com

    Axel Rüger, Cathy Ho Lee and Scott Rothkopf

    Axel Rüger, Cathy Ho Lee and Scott Rothkopf. Madison McGaw/BFA.com

    Arne Glimcher, Milly Glimcher and Bernard Ruiz-Picasso

    Arne Glimcher, Milly Glimcher, Bernard Ruiz-Picasso.Arne Glimcher, Milly Glimcher, Bernard Ruiz-Picasso.
    Arne Glimcher, Milly Glimcher and Bernard Ruiz-Picasso. Madison McGaw/BFA.com

    Scott Rothkopf and Shelley Fox Aarons

    Scott Rothkopf, Shelley Fox Aarons.Scott Rothkopf, Shelley Fox Aarons.
    Scott Rothkopf and Shelley Fox Aarons. Madison McGaw/BFA.com

    Olivier Sarkozy, Eva Lorenzotti and Charles de Gunzburg

    Olivier Sarkozy, Eva Lorenzotti, Charles de Gunzburg.Olivier Sarkozy, Eva Lorenzotti, Charles de Gunzburg.
    Olivier Sarkozy, Eva Lorenzotti and Charles de Gunzburg. Madison McGaw/BFA.com

    Eliza Ravelle-Chapuis, Michael Fisch, Brooke Lampley and Sukanya Rajaratnam

    Eliza Ravelle-Chapuis, Michael Fisch, Brooke Lampley, Sukanya Rajaratnam.Eliza Ravelle-Chapuis, Michael Fisch, Brooke Lampley, Sukanya Rajaratnam.
    Eliza Ravelle-Chapuis, Michael Fisch, Brooke Lampley and Sukanya Rajaratnam. Madison McGaw/BFA.com

    Li Xin and Thaddaeus Ropac

    Li Xin, Thaddaeus RopacLi Xin, Thaddaeus Ropac
    Li Xin and Thaddaeus Ropac. Madison McGaw/BFA.com

    Marisa Murillo, Azikiwe Mohammed and Tiona Nekkia McClodden

    Marisa Murillo, Azikiwe Mohammed, Tiona Nekkia McClodden.Marisa Murillo, Azikiwe Mohammed, Tiona Nekkia McClodden.
    Marisa Murillo, Azikiwe Mohammed and Tiona Nekkia McClodden. Madison McGaw/BFA.com

    Akio Tagawa and Karen LaGatta

    Two asian looking people in a dinner.Two asian looking people in a dinner.
    Akio Tagawa and Karen LaGatta. Madison McGaw/BFA.com

    Sarah Gavlak

    Sarah Gavlak.Sarah Gavlak.
    Sarah Gavlak. Madison McGaw/BFA.com

    David Israel, Maynard Monrow and Julie Hillman

    David Israel, Maynard Monrow, Julie Hillman.David Israel, Maynard Monrow, Julie Hillman.
    David Israel, Maynard Monrow and Julie Hillman. Madison McGaw/BFA.com

    Joost Elffers and Pat Steir

    Pat Steir, Joost Elffers.Pat Steir, Joost Elffers.
    Joost Elffers and Pat Steir. Madison McGaw/BFA.com

    William T. Williams and Alexander Gray

    Alexander Gray, William T. Williams.Alexander Gray, William T. Williams.
    William T. Williams and Alexander Gray. Bre Johnson/BFA.com

    Paul Richert-Garcia, David Lewis and Barry X Ball

    Paul Richert-Garcia, David Lewis and Barry X Ball. Bre Johnson/BFA.com

    Dana Lee and Heather Harmon

    Dana Lee, Heather Harmon in front of a clay animal sculptureDana Lee, Heather Harmon in front of a clay animal sculpture
    Dana Lee and Heather Harmon. Madison McGaw/BFA.com

    Vanessa Yoa and Brandon Chen

    Vanessa Yoa, Brandon Chen in front of a clay sculpture.Vanessa Yoa, Brandon Chen in front of a clay sculpture.
    Vanessa Yoa and Brandon Chen. Madison McGaw/BFA.com

    Maynard Monrow and Stephanie Ingrassia

    Maynard Monrow and Stephanie Ingrassia. Madison McGaw/BFA.com

    Alex Magnuson, Jacob Proctor and Jillian Brodie

    Alex Magnuson, Jacob Proctor, Jillian Brodie.Alex Magnuson, Jacob Proctor, Jillian Brodie.
    Alex Magnuson, Jacob Proctor and Jillian Brodie. Madison McGaw/BFA.com

    Tehching Hsieh and Hiroyuki Maki

    Tehching Hsieh, Hiroyuki Maki.Tehching Hsieh, Hiroyuki Maki.
    Tehching Hsieh and Hiroyuki Maki. Madison McGaw/BFA.com

    Jessica Morgan

    Jessica Morgan. Madison McGaw/BFA.com

    Memory, Matter and Minimalism: Inside Dia Art Foundation’s 2025 Fall Night

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    Elisa Carollo

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  • The 36th Bienal de São Paulo Foregrounds the Necessity of Mutual Obligation

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    Moffat Takadiwa, Portals to Submerged Worlds, 2025. © Levi Fanan, courtesy Fundação Bienal de São Paulo

    In a world marked by financial crises, geopolitical instability and ecological disasters, the 36th Bienal de São Paulo—the second oldest art biennial in the world—clings to the idea that it is too late to be pessimistic. On view through January 11, 2026, at the Ciccillo Matarazzo Pavilion in Ibirapuera Park, it brings together works by more than 120 artists under the title “Nem todo viandante anda estradas / Da humanidade como prática” (“Not All Travellers Walk Roads / Of Humanity as Practice”).

    Curated by Cameroonian Bonaventure Soh Bejeng Ndikung, with a conceptual team that included Alya Sebti, Anna Roberta Goetz, Thiago de Paula Souza, Keyna Eleison and Henriette Gallus, the exhibition is structured in six thematic chapters inspired by a verse by Afro-Brazilian poet Conceição Evaristo. The reference is no coincidence, given the numerous artists who recover the ties between Brazil and the Afro-Atlantic diaspora, although the proposal extends to all participants, blurring geographical and political divisions.

    For this edition, the curatorial group set out to abandon the logic of traditional categories such as the nation-state and instead conceive the selection of artists as migratory bird routes. From the red-tailed hawk crossing the Americas to the Arctic tern connecting the poles, birds serve as metaphors for cultural movements that overflow borders. “Like them, we carry memories, languages and experiences,” Ndikung explained at the press conference, describing the methodology.

    An installation view shows two large photographs—one of a desert landscape with dark river-like lines and one of dense white plants—mounted on a plain gallery wall with a bench in front.An installation view shows two large photographs—one of a desert landscape with dark river-like lines and one of dense white plants—mounted on a plain gallery wall with a bench in front.
    Photographs by Wolfgang Tillmans. © Levi Fanan, courtesy Fundação Bienal de São Paulo

    The pavilion’s façade welcomes visitors with a monumental installation by Theresah Ankomah (Accra, Ghana), made of braided strips of different sizes and colors. Like a community curtain, it completely covers the modernist building designed by Oscar Niemeyer. Inside, the curatorial decision was to build as little as possible, privileging natural light and Niemeyer’s original structures. “The migratory routes of birds freed us from thinking in terms of countries and invited us to explore unexpected connections,” co-curator Anna Roberta Goetz told Observer.

    That gesture is also reflected in the materials chosen by many of the artists: plastic bottle caps, computer keyboards, matchboxes, handkerchiefs or scrunchies. “Objects reveal trade routes, ecologies and new forms of colonialism,” Goetz emphasized. An example is the work of Brazilian artist Moisés Patrício, a practitioner of Candomblé, who wraps liturgical objects in hundreds of colorful hair ties. In his Brasilidades series, the piece denounces the symbolic erasure of Black culture from public space and proposes reparation through ancestral knowledge.

    An installation view shows a sloping indoor landscape of soil, rocks, and flowering trees bathed in natural light from surrounding floor-to-ceiling windows.An installation view shows a sloping indoor landscape of soil, rocks, and flowering trees bathed in natural light from surrounding floor-to-ceiling windows.
    Precious Okoyomon, Sun of Consciousness. God Blow Thru Me – Love Break Me, 2025. © Levi Fanan, courtesy Fundação Bienal de São Paulo

    On the ground floor, the tour opens with the disturbing garden by Precious Okoyomon (a queer artist of Nigerian origin). Sun of Consciousness. God Blow Thru Me – Love Break Me (2025) is a living landscape of medicinal plants, sugarcane, aromas, sounds and uneven paths, forcing a slower pace and an openness to other rhythms of life. Nearby, Brazilian artist Nádia Taquary presents “Ìrókó: A árvore cósmica,” dedicated to the orisha Ìrókó, who embodies time and ancestry. Bronze female figures stand beside a sacred tree crowned with a white flag, evoking the terreiros of Afro-Brazilian religions.

    Wolfgang Tillmans, one of the most celebrated names in this edition, presents a new video installation weaving together fragments of the everyday—mud clinging to a boot, folders in a cabinet, fallen leaves—with a layered soundscape of urban noise, birdsong and electronic beats. The work builds an architecture of images and sounds that unsettles how we consume and share the visual in the digital age.

    From Zimbabwe, Moffat Takadiwa transforms post-consumer waste into sculptural textiles critiquing consumerism, racism and environmental collapse. For São Paulo, he created a monumental “textile ark” of discarded plastics and metals, enveloping viewers in a portal to a future rooted in Ubuntu, the African philosophy of redistribution, cooperation and interdependence. Totemic, microorganism-like forms reclaim cast-off materials as symbols of resistance and renewal.

    Conceived as a horizontal network of times and geographies, the Bienal insists that the practice of humanity is indispensable in a world marked by migration and inequality. “To be human is to embrace compassion, generosity, resilience and the hospitality of the guest house,” Ndikung said, quoting the Persian poet Rumi.

    As visitors leave the Bienal, Chinese artist Song Dong’s Borrow Light (2025) becomes the inevitable selfie spot: a mirrored room, inspired by fairground attractions, that multiplies reflections into infinity. Yet beyond the spectacle, the work gestures toward limitless human connections, reminding us that every encounter is also an act of community. In this playful gesture, visitors find themselves woven into the network of relationships that the Bienal de São Paulo unfolds from beginning to end.

    An installation view shows a mirrored room filled with hundreds of hanging lamps and chandeliers of different shapes and sizes, creating endless reflections of light.An installation view shows a mirrored room filled with hundreds of hanging lamps and chandeliers of different shapes and sizes, creating endless reflections of light.
    Song Dong, Borrow Light, 2025. © Levi Fanan, courtesy Fundação Bienal de São Paulo

    More in art fairs, biennials and triennials

    The 36th Bienal de São Paulo Foregrounds the Necessity of Mutual Obligation

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    Mercedes Ezquiaga

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