NEW YORK, NY.- Pace will present KNOTTING, TYING, FOLDING, an exhibition of sculptures by Lynda Benglis, at its 540 West 25th Street gallery from September 11 through October 24. Alongside glazed ceramic, bronze, pleated, and paper works created by Benglis between 1972 and 2024, the presentation will also spotlight rarely exhibited glass sculptures from 1985.
This presentation follows the recent exhibition Encounters: Giacometti x Lynda Benglis at the Barbican Centre in London—organized as part of a series pairing contemporary artists’ work with Alberto Giacometti’s sculptures. Next year, Benglis will be the subject of a major retrospective at Kunstmuseum Basel (March 13 – August 1, 2027), which will then travel to Tate Modern (September 30, 2027 – March 5, 2028) and Louisiana Museum of Modern Art, Denmark (dates to be announced), as well as a solo presentation, Lynda Benglis: Elemental, at the Newcomb Art Museum of Tulane University (January 20 – May 20, 2027), which will examine the formative role of Louisiana’s Gulf Coast on her artistic development. Her work will also feature in the group exhibition Frozen Gestures at NSU Art Museum Fort Lauderdale (November 13, 2026 – April 11, 2027).
Pace will present Seeing in Blue, an exhibition of new paintings by Torkwase Dyson, at its 540 West 25th Street gallery from September 11 through October 24. Offering personal reflections on what the artist calls the “boundless state change of water,” the works on view strive toward the mindful presence needed to witness its beauty and devastation.
Seeing in Blue spotlights a new series of paintings inspired by Dyson’s expeditions and sensory experiences as a deep-sea diver, exploring questions of distance, light, perception, symbiosis, and planetary transformation. The distilled works are informed by a culmination of haptic memories, diagrammatic drawings, engineering notes, photo journal entries, and process poems written by the artist during these explorations. Dyson brings her ongoing interest in the transhistorical implications of ecology, black geography, and built environments to an intimate scale, offering detailed expressions from her embodied research practices of oceanic infrastructure. Water is a central force of ancestral knowledge and global politics for the artist, and she offers a poetic look into the liminal space between its atmospheric phenomena and the complex infrastructures humanity has built that traverse above and below sea level.
Dyson’s work remains on view at the Carnegie Museum of Art in Pittsburgh, Pennsylvania, through January 3, 2027. Tougaloo(2026)—her large-scale multimedia installation created for In Minor Keys, the 61st International Art Exhibition of La Biennale di Venezia—is on view in the Arsenale through November 22, 2026, while Akua (2025)—her open pavilion with an immersive multichannel soundscape first exhibited in 2025 with Public Art Fund in Brooklyn Bridge Park—will be installed later this year in San Francisco’s Civic Center Plaza. Dyson will have solo exhibitions at The Joan and Martin Goldfarb Gallery of York University in Toronto from September 10, 2026, through March 20, 2027, and at Kunsthaus Bregenz in Bregenz, Austria, from October 17, 2026, through January 24, 2027. Her work will also feature in the group exhibition Hard Art at MoMA PS1 in New York, opening November 5, 2026.
Pace will present Arlene Shechet: She Said She Said, an exhibition of new monumental sculptures in metal alongside intimately scaled, yet equally mighty, ceramic works at its 508 and 510 West 25th Street spaces, on view September 11 through October 24. This marks the artist’s first show with Pace in New York since February 2020 and follows her critically acclaimed 2024 presentation Girl Group at Storm King Art Center.
In She Said She Said, Shechet brings her inventive spirit and relentless process of discovery to aluminum, Cor-Ten steel, and clay—materials that feel familiar but become wholly renewed through her touch. With what she refers to as “drawing through sculpture,” the artist expands her inquiries into ideas of lightness, precarity, color, and construction in a new body of work that breathes space into traditionally “solid” mediums.
Three monumental sculptures exhibit a dynamic assembly of forms in which planes of metal are rendered in organic and biomorphic curves across shifting volumes, creating apertures of open space and allowing the marks of their making to shine through. Similarly, the openness in the Touching Ground series in clay invites a dance between viewer, object, and space through movement—looking around, peering through, and gazing upward are actions masterfully activated by Shechet’s installation methods, which underscore the dynamic between sculpture and the body.
Pace will present an exhibition of photographs by David Lynch at its Los Angeles gallery from September 18 through October 24, the first presentation of his work in his home city since his passing in 2025. David Lynch: LA places five of Lynch’s photographic series together in dialogue for the first time, spotlighting his distinctive artistic sensibility in a medium that bridges his significant contributions to painting and film.
For more than fifty years, David Lynch called Los Angeles home. He arrived in the night in 1972 and awoke to the scent of jasmine and the Southern California light. The city went on to become his inspiration and the locus of his most creative work. David Lynch: LAhighlights Lynch’s photo-based works within the myth and mystery of Los Angeles and its emotional landscape. In these images, Lynch holds close to the dream of the city and its archetypes: the ingenue, the shapeshifter, the beauty and darkness. For Lynch, the city’s defining characteristics are atmospheric—physically and psychologically. It is a feeling as much as it is a place.
125 Newbury presents Asher Liftin: Recent Work, an exhibition of new paintings and drawings by the Brooklyn-based artist on view from September 18 through October 31 at 395 Broadway in Tribeca. Following Liftin’s Summer 2026 Artist Residency at The Watermill Center in Watermill, New York, the exhibition is curated by Arne Glimcher and accompanied by a written introduction by Glimcher in the gallery’s 125 Free Press publication.
Asher Liftin’s work investigates fundamental conditions of vision and visibility. Using his own photography as source material, he translates mechanical images refracted in a glass eye into meticulously hand-crafted renderings on canvas and paper. The resulting images both evoke and extend histories of pointillism and divisionism, summoning the tradition of painters from Paul Signac to Chuck Close. As in the art of Close, Liftin decomposes photographs into their constituent colors, dividing them into four hues—cyan, yellow, magenta, and black—in much the same way a modern color printer produces the full spectrum of visible chroma.
