A guide (with dates and addresses) to navigate the labyrinth of Milan Art Week, beyond the miart booths. From 20th-century masters to young artists, from superstar galleries to new openings in the city.
Continuum by Maria Kreyn / Robilant+Voena
On one side, Maria Kreyn, an American artist born in 1987. On the other, a watercolor by JMW Turner, The Splügen Pass, which John Ruskin described as “the best Swiss landscape ever painted by man.” Until May 8th, the Robilant+Voena gallery creates a dialogue across centuries—and across the sublime of Turner and Kreyn. “Many human minds before us have observed the same natural expanses and shared, over time, a similar emotion.” A Continuum, as the exhibition title suggests. At Via della Spiga, 1.
Io ti saluto, luce, ma con nervi offesi by Pietro Roccasalva / MASSIMODECARLO
Io ti saluto, luce, ma con nervi offesi. At MASSIMODECARLO, Pietro Roccasalva brings together subjects from a long iconographic repertoire: hot air balloons, private sunsets, dolls, fingernails like disproportionately grown claws. Alessandro Rabottini, in his critical text, speaks of “everyday life transfigured into the magical,” of “ruinous imagery,” of “gravitational aesthetics.” Cryptic, contaminating registers, between imagined landscapes and paradoxical still lifes. In the Casa Corbellini-Wassermann spaces designed by Portaluppi, at Viale Lombardia 17, until April 19th. Mark your calendars: the solo exhibition of Mimmo Paladino opens on April 22nd.
Project Room by Polina Barskaya / Monica De Cardenas
The moments of domestic life are captured in Polina Barskaya’s portraits, almost an acrylic translation of her photographs. Absorbed gazes, interrupted gestures, as light filters obliquely through the window, amidst disheveled beds and hair, tilting bodies and heads. The Ukrainian artist’s first exhibition in Milan avoids any self-indulgence. Only intimate scenes that represent, without rhetoric, the normality of daily life. Until May 30th at Monica De Cardenas, in Via Francesco Viganò 4.
Latin Fire by Ever Astudillo / Velo Project
Ever Astudillo grew up on the streets of Cali, Colombia. From a young age, in the 1970s, he discovered the night, filled with cinema, theaters, and dance halls. He recounts them: his photographs and drawings investigate the relationship between man and environment, between the individual and the urban scene, anonymous silhouettes that fill the space and animate it like a nocturnal choreography, like in a dream, in a film. Latin Fire, at Velo Project, showcases that suspended imagery and gives dramatic depth to the characters with an animated intervention by director Virgilio Villoresi. Until May 16th, at Piazza Bonomelli 5.
Un assoluto al posto di Dio by Alessandro Fogo / Cassina Projects
Timeless, spaceless, in a continuous change of scale: Alessandro Fogo’s second solo exhibition at Cassina Projects is Un assoluto al posto di Dio. Where the exhibited works come from different eras, places, and contexts, familiar and foreign, comforting and oppressive, ephemeral and monumental, all together. A new plurality of personal references, of icons, that echo existential uncertainty. At Via Mecenate, 76/45.
Festa! by Marinella Senatore / Mazzoleni
FESTA! is Marinella Senatore’s first solo exhibition in Mazzoleni’s new Milanese space. It presents a selection of new works, including a series of embroidered tapestries from the Chanakya School in Mumbai, as well as sketches and drawings. The common thread: the assertion of communitas in an increasingly fragmented world. “About light as a public gesture and celebration as a practice capable of still building community.” From April 16th to June 27th, at Via Senato 20.
Cielo, Fondale e Quinte by Marc Henry and Andrea Martinucci / L.U.P.O.
Cielo, Fondale e Quinte. L.U.P.O.’s new exhibition brings together the works of Marc Henry (Monaco, 1996) and Andrea Martinucci (Rome, 1991). With a theatrical scene where roles and characters merge, among disappearing actors and paradoxical dynamics. Bonus track, the installation pays homage to Carlo Scarpa’s 1954 intervention at Palazzo Abatellis. From April 18th, at Via Pietro Borsieri 29.
Dialogues are mostly fried snowballs by Marcel Duchamp and Sturtevant / Thaddaeus Ropac
In conjunction with the major retrospective at the Museum of Modern Art in New York, Marcel Duchamp (1887-1968) is the protagonist of Thaddaeus Ropac’s Milanese exhibition. At the Palazzo Belgioioso venue, the father of conceptual art engages in dialogue with Sturtevant (1924-2014), whose revolutionary practice questioned the very conceptual structure of art in the post-Duchampian world. “Not what Duchamp did, but what he didn’t do… defines the dynamic of his work. … The great paradox is that by renouncing creativity, he became the great creator.” The result: a journey that highlights the surprising relevance of their practices in the era of digital reproduction and artificial intelligence. Until July 23rd.
Dorme un canto in ogni cosa by Imi Knoebel / Dep Art Gallery
Schläft ein Lied in allen Dingen, a song sleeps in all things, wrote the Romantic poet Joseph von Eichendorff. Thus, through color, line, space, and materials, the German artist Imi Knoebel makes his abstract forms sing, giving them sound and voice, in the exhibition curated by Gianluca Ranzi. From the Portrait series of 1991-92 to Düsseldorf-Paris of 2001, from Tafel of 2016 to Etcetera of 2025 – different periods, never disconnected. All on display in Via Comelico, until May 30th.
Tout se tient by Gabriella Garcia and Léa Dumayet / Galleria Ipercubo-Galleria Orma
Tout se tient. Matter remembers. Gabriella Garcia (Rio de Janeiro, 1992) and Léa Dumayet (Paris, 1990) know this well, with distinct techniques and procedures, and so their works embrace life, strength, fragility, which transforms them, bound inescapably by the tactile intelligence of the world. The Spirit of the Matrix, We Are Not That Strong, Viridarium and This Dream Might Fade Away for Garcia; and Barbara, Andrea e Matteo, Cycle e Agili for Dumayet. On display and in dialogue at Galleria Ipercubo / Galleria Orma, in Via dei Bossi 2/A, until May 8th.
Man Ray: M for Dictionary / Gió Marconi
Photographer, painter, draftsman, creator of multiples and objects. A kind of visual writer. Fondazione Marconi and Gió Marconi present Man Ray: M for Dictionary, precisely coinciding with the 50th anniversary of the artist’s death. A retrospective focused entirely on Man Ray’s obsession with words, objects, images, and how they intertwine. With a section dedicated to the gallery’s contemporary artists—from Alex Da Corte to Allison Katz—perpetually traversed by language. At Via Tadino 15, from April 11th to July 24th.
Un secreto se apaga entre mis manos by Amparo Viau / ArtNoble Gallery
A single large-scale pastel drawing on paper. Approximately forty linear meters that take shape in space, transforming the drawing into a physical and narrative experience, with a beginning, transition, and expansion, which do not follow a linear progression. The new exhibition by Argentine artist Amparo Viau (Adrogué, Argentina, 1991), at ArtNoble Gallery, interweaves the human figure, gesture, and performative dimension. Un secreto se apaga entre mis manos, at Via Ponte di Legno 9, from April 9th to June 12th.
Ugo Mulas – Pietro Consagra – Arnaldo Pomodoro / Cortesi Gallery
A deep friendship and a shared vision, which translates into a unique narrative of Ugo Mulas’s photographs and the sculptures of Pietro Consagra and Arnaldo Pomodoro. This is happening at Cortesi Gallery in Milan, at Via Morigi 8, with an exhibition curated by Alberto Salvadori and in collaboration with the Ugo Mulas Archive. “There is an artist with whom I have worked more than any other: Arnaldo Pomodoro… and for twelve years I photographed all his sculptures,” said Mulas. “Every time he has something ready, he calls me, and I go.” Mulas met Consagra in Venice in 1960, during the Biennale—precisely when the sculptor was awarded the International Grand Prize for Sculpture. From then on, it was an intimate relationship, built on support, dialogue, and esteem. From April 10th to June 26th, right in the heart of the Cinque Vie district.
New Art Guild – Sofubi Ten (ソフビ展) Shigeru Arai Tribute Exhibition / N. 51
A bridge between underground toy design culture and contemporary art practice: that created by Shigeru Arai (known as NAGNAGNAG), that exhibited by NUMERO 51. The Milanese gallery’s new exhibition, at V.le Emilio Caldara 51, pays tribute to the revolutionary artist of the Sofubi world, of soft vinyl, with its tactile surfaces and the unmistakable chromatic depth of his rebellious monsters. A side note: no works are for sale. From April 8th to June 7th.
Bohie Kim – Pierpaolo Campanini – Simone Fattal / kaufmann repetto
A triple opening on April 15th for kaufmann repetto. There’s Towards, Bohie Kim’s first Italian solo exhibition, one of the most esteemed Korean landscape painters. There’s Un cuore semplice., Pierpaolo Campanini’s eighth solo exhibition with the gallery—the title is taken from Gustave Flaubert’s short story A Simple Heart—featuring parrots on cards and shoes on canvases. And closing is Simone Fattal, whose work interweaves archaeology, politics, religion, literature, and history (she will be the subject of a solo exhibition at the Musée d’art Moderne in Paris, from September 2026). At Via di Porta Tenaglia 7.
Whispers from the Red Room by Iain Andrews / Galleria Gaburro
The violence of the world interpreted and channeled through painting. Galleria Gaburro presents Whispers from the Red Room, with over thirty paintings by the English artist Iain Andrews, who translates his art therapy work and the suffering he knows into his works, transforming it into new life. Curated by Cesare Biasini Selvaggi, until May 30th, at Via Cerva 25.
Social Unrest / Matta
Nine international artists investigate contemporary revolts and insurrections, studying them as recurring phenomena, as corsi e ricorsi storici—not isolated episodes, unplanned explosions of violence to be considered in their full complexity. At Matta, curator Niccolò Gravina, with historical research by Zoé Samudzi, presents new productions by Tony Cokes, Ivan Cheng, Satoshi Fujiwara, Hannah Quinlan & Rosie Hastings, Tiffany Sia, and Sung Tieu, alongside recent works by Alessandro Di Pietro and Hannah Black. The result is Social Unrest, at Via Privata Giacomo Favretto 9, in the Solari district. From April 13th to September 12th.
Sutura by Matisse Mesnil / Romero Paprocki
Amidst exposed brickwork and troweled concrete surfaces, the Romero Paprocki gallery has just opened in Milan with an exhibition dedicated to Matisse Mesnil (Italy, 1989). It’s called Sutura, curated by Milovan Farronato and Chiara Spagnol, and it traces a narrative made of lines and metal—the artist’s preferred material—which imposes a rethinking of the gesture and the times of creation. Industrial process, artisanal wisdom, an almost sacred rendering, which directly confronts the viewer’s body. Until May 9th, at Via Lazzaro Palazzi 24.
In Abeyance by Harrison Pearce / Ribot Gallery
Harrison Pearce’s (London, 1986) second solo exhibition at Ribot Gallery tells of a suspended tension. That of the abstract representations in his canvases, where round forms appear held within mechanical structures, niches, cavities, voids. They are potential explosions, measured, observed in an almost human condition. In Abeyance, as the title suggests. At Via Enrico Nöe 23, until May 9th.
Cagli e il simbolo. Nella contemporaneità materica di ABI / Brun Fine Art
At Via Gesù 17, at Brun Fine Art, the work of Corrado Cagli (1910-1976) resonates with the granite objects of ABI (contemporary stone design brand, active between Cairo and Milan). In the exhibition, curated by Alberto Mazzacchera, the line emancipates itself in painting and interrogates invisible space (in Cagli), while matter becomes a silent symbol, an ordering principle in design (of ABI). An encounter between languages. Until May 15th.
Bearing by Gabrielle Goliath / Raffaella Cortese
Gabrielle Goliath (Kimberley, South Africa, 1983) presents a new series of works on paper and canvas. Titled Bearing, it subverts a Eurocentric visual grammar of the nude: it speaks of black feminist and queer erotics, doing so through her practice, which she defines as “life’s work” because it is lived, inhabited, embodied. She questions how “such bodies can bear, give birth to, and serve a world from which they remain excluded.” At Raffaella Cortese, in Via Stradella, from April 16th to September 3rd.
Saracinesche by Giuseppe Stampone / Prometeo Gallery Ida Pisani
Saracinesche. A closure, an imposed path, as in the eponymous story by Turkish writer Murat Özyaşar. A place that is both physical and existential, marked by inertia, where everything repeats, inconclusively, without a final outcome. But Saracinesche is also the name of Giuseppe Stampone’s new series of works—all drawn with a Bic pen and strictly superimposed on past masterpieces, from Antonello da Messina’s The Veiled Woman to Jan van Eyck’s The Arnolfini Portrait. They are presented by Prometeo Gallery Ida Pisani from April 9th, at Via Massimiano 27.
Correspondences by Alan Bee / ABC Arte
In a time that pushes individualism to the extreme, artist Alan Bee shifts his focus to the bee, to the collective organization of the hive, and adopts it as a paradigm. Like a bee, he measures reality with his hexagon, made of wax and honey. This is what happens at ABC Arte, in Via Santa Croce 2, from April 9th to May 9th, with a selection of 20 paintings that attempt to respond to the fragmentation of contemporaneity. “Today,” writes curator Cesare Biasini Selvaggi, “talking about bees means talking about survival.”
See You + Innamorato/Furioso / Tommaso Calabro
See you! Following the announcement of the gallery’s closure, Tommaso Calabro bids farewell with an exhibition that brings together years of research, encounters, and shared experiences. It does so through the theme of portraiture, one of the longest-standing genres in art history. Meanwhile, in the Project Room, it presents Innamorato/Furioso, a project by Italian artist Alessandro Miotti (Marostica, 1991), which explores the complexities of desire within contemporary patriarchal society. At Corso Italia 47, from April 14th to June 27th.
Tangible kinships by Rosa Barba / Vistamare
From Saturday, April 18th, Vistamare presents Tangible kinships, Rosa Barba’s second solo exhibition at the Milan gallery. The subject: the artist’s interest in cinema, understood not only as a medium for creating images but as a system involving light, projection, space, and performance. And so it translates into the new exhibition: Charge is at the center of the project, a 35mm film with optical sound, in dialogue with new sculptural works—in glass, transparent materials, film—that reflect and refract light in the space. An extended film throughout the gallery. Appointment at Via Spontini, 8.
I wish to die in autumn moonlight even in darkness not to be lost by Anselm Kiefer / Galleria Lia Rumma
While Le Alchimiste, the project conceived by Kiefer for the Sala delle Cariatidi, continues at Palazzo Reale, Galleria Lia Rumma inaugurates the German artist’s new solo exhibition. The title—I wish to die in autumn moonlight even in darkness not to be lost—refers to a poem by Ōtagaki Rengetsu, a Japanese poet, Buddhist nun, and ceramicist who lived in the 19th century. It is an attempt to give further space to the role of other female figures—like the Alchimistes at Palazzo Reale—long forgotten, to names and voices forgotten by History. From Friday, April 17th, at Via Stilicone 19.
Giovanni Campus – Elena El Asmar- Antonio Marras / Building Gallery
Three exhibitions are ongoing at number 23 Via Monte di Pietà. There’s GIOVANNI CAMPUS Tempo e passione at Building Gallery, until May 23rd: a tribute to the artist, a few months after his passing, but also “a way of doing sculpture,” specifies curator Marco Meneguzzo, “which in its ideal premises involves teamwork, a collective necessity that leads to an awareness of the action and constructive process even before the formal outcome.” On the third floor, until May 2nd, there is Le Fantasmagoriche, Elena El Asmar’s (Florence, 1978) solo exhibition, curated by Marina Dacci, which brings together a body of over forty works including sculptures and wall pieces on glass, board, and paper, all created between 2008 and 2026. Closing is Anime by Antonio Marras (Alghero, 1961), hosted by Building Box from April 10th to May 6th, featuring fabrics, ceramics, and papers on which Marras intervenes with embroidery, patches, cracks, tears, and stitching.
Act I: Penombra by Richard Zinon / Cadogan Gallery
Act I: Penombra. A measured color, to be waited for, not immediate, as if scrutinized in the darkness of the night. This is the color of Richard Zinon’s works, at his fourth solo exhibition at Cadogan Gallery. In a perpetual exchange between manifesto and concealment, his canvases reveal themselves calmly, beyond the fleeting evidence of the first glance. “An intuitive understanding,” says Zinon, “must precede the intellectual one.” At Via Bramante 5, from April 15th to June 6th.
Paso Doble by Maria Lai and Antonio Marras / M77 Gallery
A Paso Doble between Maria Lai and Antonio Marras, in a choreography of gestures, threads, and fragments, curated by Francesca Alfano Miglietti. A dance of two hundred works, which brings the two artists closer and pushes them apart, highlighting their peculiarities, counterpoints, and encounters. For both, art is an “elsewhere,” another place distinct from reality: “Man is always waiting for an elsewhere, and in the meantime, he invents it with art,” Lai used to say; “I believe art is a particular form of isolation, of concentration, a way to estrange myself from reality,” Marras echoes. At M77 Gallery, in Via Mecenate. Until May 16th.
The Staging of Human Tragedy: the Classicism of Jannis Kounellis and the Pop of Andy Warhol / Galleria Fumagalli
The classicism of Jannis Kounellis, the pop of Andy Warhol. On display together at Galleria Fumagalli. But “far from wanting to reduce the two masters of contemporary art to a single matrix and rejecting any overlap that might flatten their unique identity”—the gallery emphasizes—the exhibition at Via Bonaventura Cavalieri 6 analyzes their differences and common roots. With further exploration continuing at the Museo San Fedele in Milan, until May 29th.
Antologia Scelta 2026 / TornabuoniArt
An appointment that actually extends well beyond the ephemeral time of Art Week. With Antologia scelta 2026, TornabuoniArt (between its Milan and Florence locations) positions itself as a starting point for the analysis of some of the works proposed by the gallery. A true anthology, a journey through epochs and styles. From Carla Accardi to Lucio Fontana, from Alberto Burri to Hans Hartung. In Milan, it is located at Via Fatebenefratelli 34/36, until November.
Coming Soon by Josep Maynou and Bianca Millan / UNA Galleria + Castiglioni
Josep Maynou (Barcelona, 1980), presented by UNA, and Bianca Millan (Milan, 1992), presented by CASTIGLIONI, are the protagonists of the joint exhibition titled Coming Soon. A dreamlike journey that moves between Maynou’s film posters, linked to films never made, and Bianca Millan’s large installation, A Good Year / Musical Chairs, a constantly evolving organism that plays with presence and absence, eternally subject to new interpretations. At Via Lazzaro Palazzi 3, until May 9th.
The article 32 galleries to visit in Milan during miart comes from exibart.com.
