\u00a0<\/p>\n
In Milan, Alchimia. The Revolution of Italian Design revisits a radical era of experimentation, while Histories of Ecology at MASP in S\u00e3o Paulo redefines our relationship with the natural world. Janet Echelman\u2019s Radical Softness reveals the quiet power of form and light, and Jeff Koons\u2019s Porcelain Series transforms myth into modern art.<\/p>\n
\u00a0<\/p>\n
Some of the exhibitions highlighted in\u00a0earlier radars<\/a>\u00a0and our\u00a0dedicated event guide<\/a>\u00a0remain on view, giving designboom readers more time to encounter them in their travels. On the whole, the broad list of exhibitions shows the range of themes taken by both designers and galleries across the world.\u00a0<\/p>\n \u00a0<\/p>\n kaws Family<\/p>\n \u00a0<\/p>\n KAWS: FAMILY invites visitors into the artist\u2019s vibrant and emotionally charged world. Presented as the artist\u2019s first major museum exhibition on the West Coast, the show spans three decades of work, tracing his ability to tap into shared feelings and collective culture.<\/p>\n \u00a0<\/p>\n Paintings, drawings, sculptures, and interventions, from ad takeovers to collaborations and toys, show the breadth of KAWS\u2019s evolving visual language, built around recurring figures and reimagined pop imagery.<\/p>\n \u00a0<\/p>\n At its center stands FAMILY (2021), a monumental bronze sculpture that gathers KAWS\u2019s well-known characters together. Their gestures of tenderness and fragility mirror our own experiences of care and connection. By reframing familiar animated icons through his own lens, KAWS turns nostalgia into reflection, creating space for empathy and shared cultural memory.<\/p>\n \u00a0<\/p>\n name: KAWS Family<\/a> \u00a0<\/p>\n \u00a0<\/p>\n Meriem Bennani: sole crushing<\/p>\n \u00a0<\/p>\n For her solo exhibition at Lafayette Anticipations, Meriem Bennani transforms the Fondation into a vast resonant instrument with Sole Crushing, a multi-floor sound installation where more than two hundred flip-flops perform a composition blending orchestral harmony with the energy of collective noise.<\/p>\n \u00a0<\/p>\n As they strike surrounding surfaces, the flip-flops evoke the pulse of crowds \u2014 protests, stadiums, or dakka marrakchia gatherings \u2014 turning a simple, familiar sound into a meditation on community and individuality.<\/p>\n \u00a0<\/p>\n Reimagined from its 2024\u201325 presentation at Fondazione Prada, this version features a new soundtrack by Reda Senhaji (Cheb Runner) and a site-specific design attuned to Lafayette Anticipations\u2019 architecture.<\/p>\n \u00a0<\/p>\n name: Meriem Bennani: Sole Crushing<\/a> \u00a0<\/p>\n \u00a0<\/p>\n shigeru ban: architecture and social contributions<\/p>\n \u00a0<\/p>\n Opening at the Manggha Museum of Japanese Art and Technology in Krak\u00f3w, the exhibition devoted to Pritzker Prize-winning architect Shigeru Ban will span two floors of the Europe-Far East Gallery and remain on view for six months.<\/p>\n \u00a0<\/p>\n Showcasing Ban\u2019s inventive use of materials \u2014 especially wood and cardboard \u2014 the exhibition traces his work across diverse contexts, from private residences and corporate buildings to public institutions and humanitarian projects responding to crises such as earthquakes and wars.<\/p>\n \u00a0<\/p>\n Original models arriving from Japan, France, and Ukraine, along with reconstructions, drawings, photographs, and diagrams, will illuminate Ban\u2019s balance of structural experimentation, spatial clarity, and social purpose.<\/p>\n \u00a0<\/p>\n name: Shigeru Ban: Architecture and Social Contributions<\/a> \u00a0<\/p>\n \u00a0<\/p>\n paola pivi: I Don\u2019t Like It, I Love It<\/p>\n \u00a0<\/p>\n At the Art Gallery of Western Australia, Paola Pivi \u2014 I Don\u2019t Like It, I Love It transforms AGWA\u2019s Brutalist spaces into a vivid, imaginative world where humor and gravity meet. Known for her surreal scenarios \u2014 feathered polar bears, inverted airplanes, zebras in snow \u2014 Pivi explores coexistence, empathy, and environmental fragility.<\/p>\n \u00a0<\/p>\n The exhibition features new commissions, including a giant inflatable comic cell made with Big Nate creator Lincoln Peirce, three new polar bears, and a rooftop installation of suspended trays filled with colored liquid that play with light and space. Pivi blends joy with reflection, and invites viewers to experience art as a space of connection and wonder.<\/p>\n \u00a0<\/p>\n name: Paola Pivi: I don\u2019t like it, I love it<\/a> \u00a0<\/p>\n \u00a0<\/p>\n strates<\/p>\n \u00a0<\/p>\n To mark its tenth anniversary, Philia presents STRATES, a major exhibition staged across two brutalist icons in Noisy-le-Grand \u2014 Jacques Kalisz\u2019s iconic Mont d\u2019Est parking structure and Ricardo Bofill<\/a>\u2019s Espaces Abraxas. Bringing together one emblematic work from each Philia artist, the exhibition retraces a decade of dialogue between art, design, and architecture.<\/p>\n \u00a0<\/p>\n Set within the sculptural concrete spirals of Kalisz and the theatrical facades of Bofill, STRATES explores how memory and projection shape both objects and place. Extending Philia\u2019s commitment to architecture as context and community as medium, the project activates Mont d\u2019Est\u2019s evolving public realm through installations and workshops with artists.\u00a0See designboom\u2019s coverage here<\/a>!<\/p>\n \u00a0<\/p>\n name: Strates<\/a> \u00a0<\/p>\n \u00a0<\/p>\n wes anderson: The Archives<\/p>\n \u00a0<\/p>\n The Design Museum presents a landmark exhibition offering rare access to Wes Anderson\u2019s personal archives, revealing over thirty years of the filmmaker\u2019s creative world. For the first time in Britain, more than 600 objects \u2014 from storyboards and polaroids to puppets, costumes, and miniature sets \u2014 trace the evolution of Anderson\u2019s craft and collaborations.<\/p>\n \u00a0<\/p>\n Visitors can explore highlights like the pink model of The Grand Budapest Hotel, vending machines from Asteroid City, Margot Tenenbaum\u2019s FENDI fur coat, and the stop-motion puppets from Fantastic Mr. Fox and The Life Aquatic with Steve Zissou. These artifacts all together illuminate Anderson\u2019s devotion to detail and design, and show how his handmade sensibility and visual precision have shaped a whimsical and deeply human cinematic universe. See designboom\u2019s coverage here<\/a>!<\/p>\n \u00a0<\/p>\n name: Wes Anderson: The Archives<\/a> \u00a0<\/p>\n \u00a0<\/p>\n juergen teller: you are invited<\/p>\n \u00a0<\/p>\n The inaugural exhibition at the Onassis Foundation\u2019s new Athens space, \u2018you are invited,\u2019 offers a wide-ranging view of Juergen Teller\u2019s evolving practice. Bringing together photographs, videos, and new, previously unseen images from the 1990s to today, the exhibition traces Teller\u2019s distinctive blend of intimacy and irony across portraits, still lifes, and personal scenes.<\/p>\n \u00a0<\/p>\n Alongside his iconic images of figures like Iggy Pop, Kate Moss, and Charlotte Rampling, the show reflects a deepened emotional register shaped by recent experiences \u2014 photographing Pope Francis at a women\u2019s prison during the Venice Biennale, documenting Auschwitz\u2019s 80th liberation anniversary, and ongoing collaborations with his wife, Dovile Drizyte. Balancing humor and gravity, Teller\u2019s work here takes on a renewed sense of purpose, exploring faith and fragility with an openness that\u2019s at once personal and universal.<\/p>\n \u00a0<\/p>\n name: Juergen Teller: you are invited<\/a> \u00a0<\/p>\n \u00a0<\/p>\n Learning from design Maestros<\/p>\n \u00a0<\/p>\n 21_21 DESIGN SIGHT<\/a> presents Learning from Design Maestros, an exhibition directed by Noriko Kawakami and Kaoru Tashiro that reflects on six visionary figures whose ideas continue to shape the way we think about design and life: Bruno Munari, Max Bill, Achille Castiglioni, Otl Aicher, Enzo Mari, and Dieter Rams.<\/p>\n \u00a0<\/p>\n Through films, archival materials, and key works, the exhibition reveals how these designers fused creativity, teaching, and social awareness to redefine their disciplines. It also highlights the perspective of Shutaro Mukai, whose friendships with Bill and Aicher helped establish Japan\u2019s Science of Design.<\/p>\n \u00a0<\/p>\n By revisiting these masters\u2019 lessons in an era of rapid change, the exhibition invites visitors to consider how design remains a vital means of understanding and shaping the world.<\/p>\n \u00a0<\/p>\n name: Learning From Design Maestros<\/a> location: Tokyo, Japan \u00a0<\/p>\n \u00a0<\/p>\n Jeff Koons: Porcelain Series<\/p>\n \u00a0<\/p>\n Gagosian presents Porcelain Series, an exhibition of new sculptures and paintings by Jeff Koons<\/a>, marking the first show devoted entirely to this body of work. Drawing on imagery that ranges from the everyday to the mythological, Koons transforms familiar forms into radiant, reflective icons that explore beauty, desire, and cultural memory.<\/p>\n \u00a0<\/p>\n His mirror-polished stainless-steel sculptures, crafted through advanced digital and mechanical processes, invite viewers into their gleaming surfaces, blurring the line between object and observer.<\/p>\n \u00a0<\/p>\n The accompanying paintings layer natural landscapes, gestural brushwork, and metallic leafing with motifs from art history, creating luminous compositions that bridge centuries of visual tradition. Across both mediums, the artist reflects on humanity\u2019s enduring pursuit of transcendence through art.<\/p>\n \u00a0<\/p>\n name: Jeff Koons: Porcelain Series<\/a> \u00a0<\/p>\n \u00a0<\/p>\n petersen automotive<\/p>\n \u00a0<\/p>\n The\u00a0Petersen Automotive Museum<\/a>\u00a0in Los Angeles opens a new\u00a0exhibition, Performance and Prestige: A History of\u00a0Aston Martin<\/a>, tracing the British company\u2019s evolution from its 1913 origins. Installed in the Meyers Gallery, the presentation gathers more than a dozen\u00a0vehicles<\/a>\u00a0that embody the changing language of speed and craftsmanship that has defined Aston Martin for over a century.<\/p>\n \u00a0<\/p>\n The Aston Martin exhibition is the first in the museum\u2019s history. The collection of models is organized to convey the shifting priorities of automotive design, which evolved from the pragmatic, streamlined sculpting of post-war racing prototypes to the expressive surfaces of contemporary hypercars. See designboom\u2019s coverage here<\/a>!<\/p>\n \u00a0<\/p>\n name: Performance and Prestige: A History of Aston Martin location: Los Angeles, California \u00a0<\/p>\n \u00a0<\/p>\n Gerhard richter<\/p>\n \u00a0<\/p>\n Fondation Louis Vuitton<\/a> presents a sweeping retrospective dedicated to Gerhard Richter, one of the most influential artists of the past century. Bringing together 275 works spanning more than six decades, the exhibition offers an unparalleled view of Richter\u2019s practice \u2014 from early photo-based paintings to his final abstractions, as well as glass and steel sculptures, works on paper, and overpainted photographs.<\/p>\n \u00a0<\/p>\n Tracing his lifelong engagement with both image and material, the exhibition reveals how Richter continually redefined painting\u2019s possibilities, filtering reality through photography, memory, and abstraction. Organized chronologically, it highlights the artist\u2019s restless experimentation and his enduring fascination with perception, history, and the act of making.<\/p>\n \u00a0<\/p>\n Continuing the Fondation\u2019s tradition of major monographic exhibitions, this presentation stands as the most comprehensive exploration to date of Richter\u2019s vision, and demonstrate his deep impact on contemporary art.<\/p>\n \u00a0<\/p>\n name: Gerhard Richter<\/a> \u00a0<\/p>\n \u00a0<\/p>\n fungi: Anarchist Designers<\/p>\n \u00a0<\/p>\n FUNGI: Anarchist Designers reimagines mushrooms not as materials for human use but as autonomous collaborators in shaping the world. Curated by anthropologist Anna Tsing and architect-artist Feifei Zhou, the exhibition at Rotterdam\u2019s Nieuwe Instituut<\/a> challenges the human-centered narratives of \u2018sustainable design,\u2019 and positions fungi as unruly co-designers that flourish in the margins and ruins of capitalism.<\/p>\n \u00a0<\/p>\n Through installations, sculptures, sound, and multimedia works \u2014 many created in collaboration with scientists \u2014 the exhibition explores how fungi connect species, environments, and economies, from decaying forests to nuclear fallout zones.<\/p>\n \u00a0<\/p>\n Rejecting polished notions of eco-innovation, FUNGI embraces decay and unpredictability as creative forces, inviting visitors to reconsider design as a shared, anarchic process among humans and other living beings.<\/p>\n \u00a0<\/p>\n name: FUNGI: Anarchist Designers<\/a> \u00a0<\/p>\n \u00a0<\/p>\n ruth asawa: A retrospective<\/p>\n \u00a0<\/p>\n \u2018I\u2019m not so interested in the expression of something. I\u2019m more interested in what the material can do,\u2019 said Ruth Asawa<\/a>, whose six-decade career is celebrated in Ruth Asawa: A Retrospective at MoMA<\/a>. Gathering nearly 300 works across mediums \u2014 wire and bronze sculptures, drawings, prints, and public commissions \u2014 the exhibition traces the artist\u2019s lifelong fascination with material transformation and spatial tension.<\/p>\n \u00a0<\/p>\n From her early studies at Black Mountain College to her San Francisco studio, Asawa pursued the possibilities of humble materials like paper and wire, creating forms that merge abstraction and representation.<\/p>\n \u00a0<\/p>\n Deeply committed to community and arts education, she approached making as an extension of living, seeing creativity in every act. This retrospective honors that vision, inviting viewers to experience the quiet radicalism of an artist who found infinite variation in the simplest of means.<\/p>\n \u00a0<\/p>\n name: Ruth Asawa: A Retrospective<\/a> \u00a0<\/p>\n \u00a0<\/p>\n alchimia<\/p>\n \u00a0<\/p>\n Alchimia. The Revolution of Italian Design is the first comprehensive retrospective devoted to the Milanese collective founded by Alessandro and Adriana Guerriero in 1976. Following its debut in Berlin, the exhibition returns to Milan in an expanded form with a new display conceived by Alessandro Guerriero himself \u2014 a poetic \u2018carpet-raft\u2019 that invites visitors into the group\u2019s imaginative, utopian world.<\/p>\n \u00a0<\/p>\n Active until 1992, Alchimia emerged during a time of social transformation, fusing design, architecture, art, fashion, and performance into a free-spirited laboratory of experimentation. Rejecting the constraints of functionalism through their concept of \u2018banal design,\u2019 the collective reasserted design\u2019s emotional and symbolic potential.<\/p>\n \u00a0<\/p>\n Featuring over 150 works, from furniture and objects to paintings and films, the exhibition traces Alchimia\u2019s radical redefinition of design as a space for irony, storytelling, and visionary thought.<\/p>\n \u00a0<\/p>\n name: Alchimia: The Revolution of Italian Design \u00a0<\/p>\n \u00a0<\/p>\n cerith wyn Evans: forms in Space\u2026 Through light (in time)<\/p>\n \u00a0<\/p>\n Forms in Space\u2026 by Light (in Time) presents a monumental installation by Cerith Wyn Evans<\/a>, composed of an intricate network of white neon suspended in the Oval Gallery. The work unfolds as both sculpture and choreography of light, tracing rhythm and motion through space.<\/p>\n \u00a0<\/p>\n Joined by sound pieces, installations, and videos, the exhibition reveals the conceptual depth and sensory precision that define Wyn Evans\u2019s practice. The Welsh artist\u2019s work originated with experimental cinema, and has since expanded with influences from music, literature, and philosophy to create experiences that are cerebral and atmospheric.<\/p>\n \u00a0<\/p>\n name: Cerith Wyn Evans \u2014 Forms in Space\u2026 through Light (in Time)<\/a> \u00a0<\/p>\n \u00a0<\/p>\n adam pendleton: Who owns Geometry Anyway?<\/p>\n \u00a0<\/p>\n Friedman Benda<\/a> presents Who Owns Geometry Anyway?, an exhibition by Adam Pendleton marking the artist\u2019s first collaboration with the gallery and his debut exploration of furniture as form. Known for weaving together expressionism, minimalism, and conceptual rigor, Pendleton reimagines geometry as both language and structure.<\/p>\n \u00a0<\/p>\n Circles, squares, and triangles \u2014 recurring motifs in his paintings and sculptures \u2014 reappear here in wood, onyx, and granite, transformed into functional objects that merge precision with poetics. The works engage the surrounding architecture through painted geometric interventions, creating a total environment that blurs the line between art and design.<\/p>\n \u00a0<\/p>\n Evoking Isamu Noguchi\u2019s belief that art should be inseparable from its setting, Pendleton\u2019s installation reflects on form, tension, and openness\u2014suggesting that geometry, like meaning, is always contingent, shifting, and shared.<\/p>\n \u00a0<\/p>\n name: Adam Pendleton: Who Owns Geometry Anyway?<\/a> \u00a0<\/p>\n \u00a0<\/p>\n Histories of Ecology<\/p>\n \u00a0<\/p>\n In the year Brazil hosts COP30 in Bel\u00e9m, MASP presents Histories of Ecology, an exhibition that broadens the idea of ecology beyond the climate crisis to encompass the intertwined relationships between human and more-than-human worlds.<\/p>\n \u00a0<\/p>\n Bringing together works by 116 artists \u2014 many from the Global South \u2014 the exhibition examines how colonialism, environmental racism, and capitalism have shaped contemporary ecological realities while foregrounding resilience, solidarity, and interconnectedness. Rejecting the notion of \u2018nature\u2019 as something separate from society, it instead proposes ecology as a living network of forces \u2014 fluid, relational, and constantly transforming.<\/p>\n \u00a0<\/p>\n Organized into five thematic sections, Histories of Ecology traverses spiritual, territorial, and planetary dimensions, inviting viewers to imagine more inclusive ways of inhabiting the world and to see the future as a shared, collective endeavor.<\/p>\n \u00a0<\/p>\n name: Histories of Ecology<\/a> \u00a0<\/p>\n \u00a0<\/p>\n janet echelman: Radical Softness<\/p>\n \u00a0<\/p>\n Radical Softness offers an intimate view of Janet Echelman<\/a>\u2019s remarkable career, tracing her evolution from early experiments in drawing, painting, and textiles to the monumental net sculptures that have transformed cityscapes worldwide.<\/p>\n \u00a0<\/p>\n Known for using ancient fishing-net techniques together with advanced engineering, Echelman creates vast, floating forms that render wind, light, and motion visible \u2014 poetic expressions of humanity\u2019s connection to the natural world.<\/p>\n \u00a0<\/p>\n The exhibition explores her use of softness as both material and philosophy, revealing how pliancy, transparency, and suspension become acts of strength and empathy. Featuring works from across four decades, alongside new cyanotypes, Radical Softness reflects on the power of art to unite people and invite stillness within the rhythms of contemporary life.<\/p>\n \u00a0<\/p>\n name: Janet Echelman: Radical Softness<\/a>
artist: KAWS<\/a>
museum: SFMOMA<\/a>
location: San Francisco, USA
dates: November 15th, 2025 \u2014 May 3rd, 2026<\/p>\n![\"designboom](\"https:\/\/www.newsbeep.com\/us\/wp-content\/uploads\/2025\/11\/november-radar-exhibitions-2025-designboom-01.jpg\")
KAWS Family, 2021, courtesy the artist \u00a9\u00a0KAWS<\/p>\n
artist: Meriem Bennani<\/a>
gallery:\u00a0Lafayette Anticipations<\/a>
location: Paris, France
dates:\u00a0until February 8th, 2026<\/p>\n![\"designboom](\"https:\/\/www.newsbeep.com\/us\/wp-content\/uploads\/2025\/11\/november-radar-exhibitions-2025-designboom-02.jpg\")
view of Meriem Bennani\u2019s exhibition Sole Crushing at Lafayette Anticipations, Paris, courtesy the artist and Fran\u00e7ois Ghebaly Gallery (LA), Lodovico Corsini Gallery (Brussels), and Sadie Coles Gallery (London) \u00a9 Aur\u00e9lien Mole<\/p>\n
architect: Shigeru Ban<\/a>
museum: Manggha Museum of Japanese Art and Technology<\/a>
location: Krak\u00f3w, Poland
dates:\u00a0until May 3rd, 2026<\/p>\n![\"designboom](\"https:\/\/www.newsbeep.com\/us\/wp-content\/uploads\/2025\/11\/november-radar-exhibitions-2025-designboom-03.jpg\")
Mount Fuji World Heritage Centre, Japan, 2017, image by Hiroyuki Hirai, \u00a9 Shigeru Ban<\/p>\n
artist: Paola Pivi<\/a>
gallery:\u00a0AGWA<\/a>
location: Perth, Australia
dates:\u00a0November 8th, 2025 \u2014 April 26th, 2026<\/p>\n![\"designboom](\"https:\/\/www.newsbeep.com\/us\/wp-content\/uploads\/2025\/11\/november-radar-exhibitions-2025-designboom-04.jpg\")
\u2018Paola Pivi: I don\u2019t like it, I love it,\u2019 image courtesy AGWA<\/p>\n
gallery:\u00a0Galerie Philia<\/a>
location: Paris, France
dates:\u00a0until November 30th, 2025<\/p>\n![\"designboom](\"https:\/\/www.newsbeep.com\/us\/wp-content\/uploads\/2025\/11\/november-radar-exhibitions-2025-designboom-05.jpg\")
Espaces Abraxas by Ricardo Bofill, image \u00a9 Studio Brinth, courtesy Galerie Philia<\/p>\n
artist: Wes Anderson
museum: Design Museum<\/a>
location: London, UK
dates:\u00a0November 21st, 2025 \u2014 July 26th, 2026<\/p>\n![\"designboom](\"https:\/\/www.newsbeep.com\/us\/wp-content\/uploads\/2025\/11\/november-radar-exhibitions-2025-designboom-06.jpg\")
Wes Anderson \u00a9 Searchlight Pictures, image by Charlie Gray<\/p>\n
artist: Juergen Teller
gallery:\u00a0Onassis<\/a>
location: Athens, Greece
dates:\u00a0until December 30th, 2025<\/p>\n![\"designboom](\"https:\/\/www.newsbeep.com\/us\/wp-content\/uploads\/2025\/11\/november-radar-exhibitions-2025-designboom-07.jpg\")
Leg, Snails And Peaches No.43, London, 2017, image courtesy Juergen Teller<\/p>\n
gallery: 21_21 Design Sight<\/a><\/p>\n
dates:\u00a0November 21st, 2025 \u2014 March 8th, 2026<\/p>\n![\"designboom](\"https:\/\/www.newsbeep.com\/us\/wp-content\/uploads\/2025\/11\/november-radar-exhibitions-2025-designboom-08.jpg\")
Enzo Mari, Timor, 1967, image courtesy Danese Milano<\/p>\n
artist:\u00a0Jeff Koons<\/a>
gallery:\u00a0Gagosian<\/a>
location: New York, USA
dates:\u00a0November 13th, 2025 \u2014 February 28th, 2026<\/p>\n![\"designboom](\"https:\/\/www.newsbeep.com\/us\/wp-content\/uploads\/2025\/11\/november-radar-exhibitions-2025-designboom-09.jpg\")
Jeff Koons, Three Graces, 2016-22 (detail), image courtesy Gagosian<\/p>\n
museum:\u00a0Petersen Museum<\/a>\u00a0|\u00a0@petersenmuseum<\/a><\/p>\n
dates:\u00a0October 30th, 2025 \u2014 October 2026<\/p>\n![\"designboom](\"https:\/\/www.newsbeep.com\/us\/wp-content\/uploads\/2025\/11\/november-radar-exhibitions-2025-designboom-010.jpg\")
1979 Aston Martin Bulldog, image courtesy Petersen Automotive Museum<\/p>\n
artist: Gerhard Richter<\/a>
museum: Fondation Louis Vuitton<\/a>
location: Paris, France
dates:\u00a0until March 2nd, 2026<\/p>\n![\"designboom](\"https:\/\/www.newsbeep.com\/us\/wp-content\/uploads\/2025\/11\/november-radar-exhibitions-2025-designboom-011.jpg\")
Gerhard Richter, 4900 Farben, 2007. laquer on Alu Dibond, 196 panels, Fondation Louis Vuitton, Paris \u00a9\u00a0Gerhard Richter 2025, image \u00a9\u00a0Primae \/ Louis Bourjac<\/p>\n
museum: Nieuwe Instituut<\/a>
location: Rotterdam, Netherlands
dates:\u00a0November 21st, 2025 \u2014 August 9th, 2026<\/p>\n![\"designboom](\"https:\/\/www.newsbeep.com\/us\/wp-content\/uploads\/2025\/11\/november-radar-exhibitions-2025-designboom-012.jpg\")
Anna Lowenhaupt Tsing, Fungi Anarchist Designers, n.d. digital photograph. courtesy the artist. from the 2025 grant to Nieuwe Instituut for the exhibition FUNGI: Anarchist Designers. image courtesy Graham Foundation<\/p>\n
artist: Ruth Asawa<\/a>
museum:\u00a0Museum of Modern Art (MoMA)<\/a>
location: New York, USA
dates:\u00a0until February 7th, 2026<\/p>\n![\"designboom](\"https:\/\/www.newsbeep.com\/us\/wp-content\/uploads\/2025\/11\/november-radar-exhibitions-2025-designboom-013.jpg\")
Ruth Asawa: A Retrospective, installation view, The Museum of Modern Art, New York. digital image \u00a9 2025 The Museum of Modern Art, photo by Jonathan Dorado<\/p>\n
gallery: ADI Design Museum<\/a>
location: Milan, Italy
dates:\u00a0November 11th, 2025 \u2014 January 22nd, 2026<\/p>\n![\"designboom](\"https:\/\/www.newsbeep.com\/us\/wp-content\/uploads\/2025\/11\/november-radar-exhibitions-2025-designboom-014.jpg\")
image courtesy ADI Design Museum<\/p>\n
artist: Cerith Wyn Evans
museum:\u00a0MAAT: Museum of Art, Architecture and Technology<\/a>
location: Lisbon, Portugal
dates:\u00a0until February 16th, 2026<\/p>\n![\"designboom](\"https:\/\/www.newsbeep.com\/us\/wp-content\/uploads\/2025\/11\/november-radar-exhibitions-2025-designboom-015.jpg\")
image by Bruno Lopes, courtesy MAAT<\/p>\n
designer: Adam Pendleton<\/a>
gallery:\u00a0Friedman Benda<\/a>
location: New York, USA
dates:\u00a0November 7th \u2014 December 19th, 2025<\/p>\n![\"designboom](\"https:\/\/www.newsbeep.com\/us\/wp-content\/uploads\/2025\/11\/november-radar-exhibitions-2025-designboom-016.jpg\")
Adam Pendleton, EXTENDED FORM ONE, 2025, image courtesy Friedman Benda<\/p>\n
museum: MASP<\/a>
location: S\u00e3o Paulo, Brazil
dates:\u00a0until February 1st, 2026<\/p>\n![\"designboom](\"https:\/\/www.newsbeep.com\/us\/wp-content\/uploads\/2025\/11\/november-radar-exhibitions-2025-designboom-017.jpg\")
Aycoobo Wilson Rodr\u00edguez, Calend\u00e1rio, 2024, image courtesy MASP<\/p>\n
artist: Janet Echelman<\/a>
gallery: Sarasota Art Museum<\/a>
location: Sarasota, Florida, USA
dates: November 16th, 2025 \u2014 April 26th, 2026<\/p>\n![\"designboom](\"https:\/\/www.newsbeep.com\/us\/wp-content\/uploads\/2025\/11\/november-radar-exhibitions-2025-designboom-018.jpg\")
Janet Echelman (American), Enfold, Hill House Montecito, CA, 2022, image by Joe Fletcher, courtesy the artist<\/p>\n