Juxtapoz

One of the highlights of Daniela García Hamilton: Amanecer / Atardecer (Sunrise / Sunset )

Almine Rech Brussels is pleased to present Six Trees, Zio Ziegler’s third solo exhibition with the gallery, on view through February 1, 2026. Expressed through a rich vocabulary of form and color, Zio Ziegler's paintings offer a non-linear, transhistorical vision of knowledge and representation. “Painting is my attempt at processing and synthesizing the stories and information I’ve become curious about,” Ziegler explains. “Human beings advance by looking at things from different perspectives and by changing the way in which they look at themselves.”

David Zwirner is pleased to announce The Last Dyes, an exhibition of new dye-transfer prints by William Eggleston opening at the gallery’s 533 West 19th Street location in New York, which follows its 2024–2025 presentation at the 606 N Western Avenue location in Los Angeles. Eggleston pioneered the use of dye-transfer printing for art photography in the 1970s, and—as the title suggests—these photographs are the final prints ever made of Eggleston’s images using this analog process. The presentation itself constitutes the last major group of photographs ever to be produced using this printing method, making it a unique opportunity to see a number of works by Eggleston in the format in which he originally presented them.

YUSTO / GINER presents in its Madrid space Un poco distraído, a solo exhibition by the artist Imon Boy. In this new show, Imon Boy translates into artistic form the essence of the “last page of the notebook”, that escape zone where the spontaneous and the everyday take shape. With a trajectory that begins in graffiti and expands into the studio, his work functions as a self-referential diary that distills his personal concerns, from video games and the internet to cinema and travel. Through a curious and honest gaze, the artist connects the energy of the street with a contemporary narrative, transforming his private universe into a visual stage where humor and identity intertwine inseparably.

On view in downtown Los Angeles at Corey Helford Gallery in Chloe Early's new body of work, Futures. Early’s paintings unfurl like fragments of an unwritten film—half-lit figures caught in a hush of nostalgia, their surfaces alive with a delicate interplay of glaze and abrasion. The effect is at once theatrical and intimate, a lyricism that makes memory visible without resolving it.