Paris has long been synonymous with art. For more than a century, the art world has kept its gaze fixed on the City of Light, drawn to its ever-evolving roster of artists, galleries, and movements. Art Basel Paris may have just wrapped, but the city’s art scene is still shining brightly. This fall and winter, Whitewaller spotlights the must-see exhibitions across Paris, from Jeffrey Gibson to Precious Okoyomon.
Jeffrey Gibson: “This is dedicated to the one I love”
Hauser & Wirth
8th Arrondissement
Jeffrey Gibson in the studio, 2025. © Jeffrey Gibson, courtesy the artist and Hauser & Wirth, photo by Emiliano Granado.
Jeffrey Gibson, “Transboundary Universe,” 2025, acrylic on canvas, 40.6 x 30.5 cm / 16 x 12 in, courtesy of artist and Hauser & Wirth.
Hauser & Wirth Paris presents “This is dedicated to the one I love,” the first solo exhibition in France by Jeffrey Gibson.. Spanning three decades of practice, Gibson (b. 1972) merges American, Indigenous, and queer histories with references to popular culture, music, and literature, forging a vibrant language of pattern, abstraction, and collage. On view are new paintings of varying scales, his iconic punching bags, cloaks, and beaded panels, as well as a new body of ceramic head sculptures. Boldly chromatic and deeply layered, the works invite reflection on empathy, resilience, and the radical potential of seeing—and being—through multiple perspectives.
What we love: Through his mastery of color and geometry, Gibson invites viewers into an almost trance-like engagement with his work.
Jeffrey Gibson at Hauser & Wirth
October 20–December 20, 2025
Meriem Bennani: “Sole Crushing”
Lafayette Anticipations
4th Arrondissement
View of Meriem Bennani’s exhibition Sole crushing at Lafayette Anticipations, Paris, 22 October 2025–8 February 2026. Courtesy of the artist and François Ghebaly Gallery (Los Angeles), Lodovico Corsini Gallery (Brussels) and Sadie Coles Gallery (London) © Aurélien Mole
View of Meriem Bennani’s exhibition Sole crushing at Lafayette Anticipations, Paris, 22 October 2025–8 February 2026. Courtesy of the artist and François Ghebaly Gallery (Los Angeles), Lodovico Corsini Gallery (Brussels) and Sadie Coles Gallery (London) © Aurélien Mole
For her first solo exhibition at Lafayette Anticipations, Meriem Bennani transforms the foundation into a vast sound chamber with “Sole Crushing.” Spanning the height of the building, the installation animates more than one hundred flip-flops and slides that strike different surfaces, producing a pulsating composition somewhere between a symphony and a collective uprising. At once playful and political, the work explores notions of togetherness and individuality, evoking crowds in protest, celebration, or ritual. This reimagined version of the piece—originally shown at Fondazione Prada—features a new soundtrack by Reda Senhaji (Cheb Runner).
What we love: The space transforms into a vast sound chamber delivers a singular, immersive experience, one that merges playfulness and politics in a rhythm of shared energy.
Meriem Bennani at Lafayette Anticipations
October 22, 2025–February 8, 2026
Steffani Jemison: “ciel clair / eaux troubles”
Lafayette Anticipations
4th Arrondissement
Research still, video work-in-progress (2025) © Steffani Jemison
In “ciel clair / eaux troubles,” Steffani Jemison considers how forces both physical and political shape our capacity to move or remain still. Developed during her residency at Lafayette Anticipations, the exhibition features a new sculpture and video installation that probe gravity, orientation, and liberation. By weaving together multiple temporalities, Jemison maps intersections between geographies of violence and practices of resistance. The atmosphere here becomes an active medium—charged with history, memory, and invisible currents—that presses on bodies and guides trajectories. Within this charged environment, each gesture and displacement becomes an act of improvisation, reorientation, and reimagined presence.
What we love: The exhibition invites us to reflect on all possible paths and journeys—especially those we might have overlooked—instead of simply following what’s laid out before us.
Steffani Jemison at Lafayette Anticipations
October 22, 2025–February 8, 2026
Paul Sietsema
Marian Goodman Gallery
3rd Arrondissement
Paul Sietsema, “At the hour of tea,” 2013, 16mm film, color, no sound, Approx. 17 minutes, looping, copyright: Paul Sietsema, courtesy the artist and Marian Goodman Gallery.
Marian Goodman Gallery Paris presents the second solo exhibition in the city by Los Angeles–based artist Paul Sietsema (b. 1968). Known for his rigorous engagement with image-making, Sietsema employs both analog and digital processes to transform borrowed imagery and found objects into layered pictorial compositions. The exhibition debuts a new series of paintings alongside two 16mm films, continuing his exploration of the intersections between representation, materiality, and socio-economic systems. Through this interplay, Sietsema reveals the cultural weight embedded in visual forms and questions how images shape perception across historical and contemporary contexts.
What we love: The dialogue between Sietsema’s meticulously crafted paintings and his short films.
Paul Sietsema at Marian Goodman Gallery
October 18–December 20, 2025
Zohra Opoku, Michi Meko, Nick Cave, George Clinton and More: “Door to the Cosmos”
Mariane Ibrahim
8th Arrondissement
Zohra Opoku, “Hail To You Great God,” 2022, courtesy of the artist and Mariane Ibrahim.
Mariane Ibrahim presents “Door to the Cosmos”, an exhibition that transcends earthly realities shaped by colonial legacies, contemporary struggles, and the construction of diasporic identity. Bringing together Zohra Opoku, Michi Meko, Nick Cave and George Clinton, among others, the show invites viewers on a journey across time, from antiquity to speculative futures and cosmic dimensions. A highlight is the first European presentation of George Clinton’s visual art, extending his Parliament-Funkadelic vision into exuberant, fantastical works rooted in cultural memory. Together, the artists create a constellation of practices that expand perceptions of history and imagination.
What we love: In Hail To You Great God (2022), Opoku’s command of indigo weaves a spectrum of shifting hues, creating a work that converses with the ancient Egyptian Book of the Dead.
Zohra Opoku, Michi Meko, Nick Cave, George Clinton and More at Mariane Ibrahim
October 18 – December 13, 2025
Precious Okoyomon: “it’s important to have ur fangs out at the end of the world”
Mendes Wood DM
4th Arrondissement
Precious Okoyomon, “the world requires something of me and I’m looking for a place to lie down,” installation view at Kunsthaus Bregenz, Bregenz, Austria, 2025, © Precious Okoyomon, Kunsthaus Bregenz, courtesy of the artist, photo by Markus Tretter.
Mendes Wood DM presents “it’s important to have ur fangs out at the end of the world,” the first Paris solo exhibition by Precious Okoyomon (b. 1993, London). Known for their immersive sculptural topographies, Okoyomon confronts the entanglements of race, history, and the natural world, where rot, decay, and rebirth form central motifs. Working with organic matter, their installations function as both warning and celebration, exposing violent legacies while embracing nature’s capacity for resilience. Drawing on poetry and performance, Okoyomon creates environments that are alive and transforming, blurring boundaries between ruin and renewal. The exhibition unfolds as a meditation on decomposition, survival, and radical growth.
What we love: Okoyomon’s installations draw viewers in, entwining multiple facets of the human experience as they unfold, revealing moments of growth.
Precious Okoyomon at Mendes Wood DM
October 20–December 6, 2025
Mickalene Thomas: “je t’adore deux”
Galerie Nathalie Obadia
8th Arrondissement
Mickalene Thomas, “NUS Exotiques #13,” 2025, rhinestones on dye sublimation prints on dibond, 29 x 25 x 2 inches, ©Mickalene Thomas, courtesy of the artist, Galerie Nathalie Obadia, Paris/Brussels, and Artist Rights Society (ARS), New York.
Mickalene Thomas, “NUS Exotiques #10,” 2025, rhinestones on dye sublimation prints on dibond, 34 x 30 x 2 3/4 inches, ©Mickalene Thomas, courtesy of the artist, Galerie Nathalie Obadia, Paris/Brussels, and Artist Rights Society (ARS), New York.
Galerie Nathalie Obadia presents “je t’adore deux,” a new exhibition by acclaimed American artist Mickalene Thomas, following her celebrated European institutional shows. The presentation unveils eleven previously unseen works, drawing on archival imagery from JET magazine and Nus Exotiques to reframe representations of Black beauty and female subjectivity. Through dazzling collages of retro wallpaper, rhinestones, and textiles, Thomas subverts historic tropes, transforming fragmented bodies into powerful icons of complexity and autonomy. Expanding her feminist and political practice, the exhibition situates her work as both critique and celebration, a manifesto for metamorphosis as freedom and self-determination.
What we love: The exhibition reveals Mickalene Thomas’s creative process, showing how she experiments with colors, backgrounds, and contours.
Mickalene Thomas at Galerie Nathalie Obadia
October 19, 2025–January 3, 2026
Fiona Rae: “Ensemble”
Galerie Nathalie Obadia
4th Arrondissement
Fiona Rae, “Preacher II,” 1998, oil and acrylic on canvas, 1998, 96 x 84 in © Antony Makinson at Prudence Cuming Associates Ltd, courtesy of the artist and Galerie Nathalie Obadia Paris/Brussels.
Fiona Rae, “Sportsman Size,” 2004, oil, acrylic and gouache on canvas, 91 x 75 in, © Fiona Rae, courtesy of the artist and Galerie Nathalie Obadia Paris/Brussels.
Galerie Nathalie Obadia presents “Ensemble”, Fiona Rae’s ninth solo exhibition with the gallery since 1993. Featuring thirteen works spanning from 1997 to the present, the exhibition traces key moments in Rae’s evolution as one of the most significant abstract painters of her generation. Emerging with the Young British Artists, Rae reimagined abstraction by integrating influences from art history, comics, digital culture, and Japanese aesthetics. The works on view highlight her playful yet rigorous approach to form, language, and imagery—where motifs dissolve into gestures, identities fragment, and meaning constantly shifts—underscoring her dynamic reactivation of painting as a vital, unpredictable medium.
What we love: Spanning almost three decades, the works map Fiona Rae’s evolution, highlighting pivotal moments in her practice as an abstract painter.
Fiona Rae at Galerie Nathalie Obadia
September 6–October 25, 2025
“Echo Delay Reverb: American Art and Francophone Thought”
Palais de Tokyo
16th Arrondissement
Tiona Nekkia McCloden, “A MERCY V,” 2024, steel, rubber and black Rust-Oleum paint, 77 15/16 x 46 7/8 x 14 3/16 inches, collection Fundación Calparsoro.
Mark Dion, “Between Voltaire and Poe,” 2016, wooden furniture, cigar boxes, figurines, plastic, jars and trinkets, 208 × 147 × 25 cm, photography by Rafaele Fanelli, courtesy Mark Dion & Galerie In Situ-fabienne leclerc (Grand Paris).
The Palais de Tokyo presents “Echo Delay Reverb: American Art, Francophone Thought,” a landmark group exhibition tracing the transatlantic circulation of forms and ideas. Featuring works by over sixty artists, it highlights how U.S. art from the 1970s to today absorbed revolutionary energies from Francophone thinkers, poets, and activists such as Frantz Fanon, Édouard Glissant, and Simone de Beauvoir. Historic figures like Dan Graham, Hans Haacke, Cindy Sherman, and Glenn Ligon appear alongside younger artists including Tiona Nekkia McClodden and Kameelah Janan Rasheed. With new commissions, archival material, and a scholarly publication, the exhibition maps how theory reshaped artistic practices and challenged social structures.
What we love: Exploring how artists across generations have engaged with Francophone influences, each in dialogue with the pop culture of their era.
“Echo Delay Reverb: American Art and Francophone Thought” at Palais de Tokyo
October 22, 2025–February 15, 2026
Bharti Kher: “The Sun Splitting Stones”
Perrotin
3rd Arrondissement
Bharti Kher, “Weather painting: Mother’s Fury,” 2023, oil and oil pastel on board, 186.5 x 308.5 cm, ©Bharti Kher / ADAGP, Paris, 2025, courtesy of the artist and Perrotin.
Perrotin Paris presents “The Sun Splitting Stones,” a solo exhibition by Bharti Kher that explores transformation, resilience, and the forces shaping human and natural experience. Known for her inventive use of materials and layered symbolism, Kher unveils a new series of large-scale “Weather Paintings” (2023–2024) that merge oil, pastel, and linen into immersive visual fields. Works such as Mother’s Fury and The Sun Splitting Stones channel elemental power, mapping states of upheaval and renewal. Through these tactile, charged surfaces, Kher continues her inquiry into myth, memory, and the thresholds between destruction and creation.
What we love: In person, Kher’s paintings reveal the rich, layered textures of oil paint and pastels.
Bharti Kher at Perrotin
October 18–December 20, 2025
Cristina BanBan: “Lorquianas”
Perrotin
3rd Arrondissement
Cristina BanBan, “Multitud,” 2025, oil on linen, 243.8 x 213.4 cm, photo by John Berens, courtesy of the artist and Perrotin.
Cristina BanBan, “Yerma,” 2025, oil on linen, 243.8 × 213.4 cm | 96 × 84 inches, courtesy of the artist and Perrotin.
Perrotin Paris presents “Lorquianas,” a new solo exhibition by Cristina BanBan, the Spanish-born, New York–based painter celebrated for her monumental depictions of the female form. In this body of work, BanBan draws inspiration from the poetry and imagery of Federico García Lorca, channeling his themes of passion, vitality, and tragedy into canvases alive with dramatic scale and gesture. Works such as Multitud and Venus intertwine intimacy with collective experience, evoking mythic archetypes and everyday encounters. Through oil paintings and works on paper, BanBan extends her exploration of corporeality, emotion, and the enduring power of representation.
What we love: BanBan’s work reframes the female form as resilient and powerful—seen through a female lens and celebrated for its own strength and presence.
Cristina BanBan at Perrotin
October 18–December 20, 2025
Jean-Michel Othoniel: “New Works”
Perrotin
3rd Arrondissement
Views of Jean-Michel Othoniel’s exhibition “New Works” at Perrotin Paris, 2025. Photo: Claire Dorn. © Jean-Michel Othoniel/ADAGP, Paris, 2025. Courtesy of the artist and Perrotin.
Perrotin Paris presents a new exhibition by Jean-Michel Othoniel, the renowned French artist celebrated for his luminous glass sculptures that fuse fragility, resilience, and sensuality. Continuing his exploration of material transformation, Othoniel unveils works such as Precious Stonewall (2025), crafted from champagne-hued Indian mirrored glass and wood, which refract light into shifting constellations. Known for creating environments that oscillate between intimacy and monumentality, Othoniel engages viewers in an experience of wonder, reflection, and emotional resonance. This exhibition deepens his decades-long investigation into beauty, vulnerability, and the alchemical possibilities of glass.
What we love: The light passing through Othoniel’s glass sculptures transforms throughout the day, shifting with time and weather.
Jean-Michel Othoniel at Perrotin
October 18–December 20, 2025
Ronan Bouroullec: “Clair-obscur”
Galerie kreo
6th Arrondissement
Galerie kreo x Ronan Bouroullec © Morgane Le Gall.
Galerie kreo x Ronan Bouroullec © Morgane Le Gall.
Galerie kreo presents “Clair-obscur,” a new series of luminous works by Ronan Bouroullec. Composed of opaline globes encased in clear, smoke, and amber glass corollas and linked by anodized aluminum rods, the pieces form constellations that transform their surrounding space. Drawing from the formal language of Minimal Art, Bouroullec explores repetition, variation, and perception in endlessly adaptable configurations. These works engage states of light—diffused, reflected, and projected—producing shifting visual experiences that oscillate between abstraction and evocation. With “Clair-obscur,” Bouroullec reinvests Minimalism with delicacy, subtlety, and sensitivity, crafting environments where awareness and perception become the true subjects of the work.
What we love: The lighting fills the gallery with calm, offering a rare sense of peace within the city’s rush.
Ronan Bouroullec at Galerie kreo
September 4–November 15, 2025
Hans Op de Beeck: “On Vanishing”
Templon
3rd Arrondissement
Hans Op De Beek, “Zhai-Liza ( mother’s shoes),” 2024, polyester, polyamide, coating, 114 × 72 × 72 cm, courtesy of the artist and Templon, Paris – Brussels New York, photo © Dominique Provost.
Hans Op De Beek, “Zhai-Liza ( mother’s shoes),” 2024, polyester, polyamide, coating, 114 × 72 × 72 cm, courtesy of the artist and Templon, Paris – Brussels New York, photo © Dominique Provost.
Templon inaugurates its fall season with “On Vanishing,” a double exhibition by Belgian artist Hans Op de Beeck, spanning both its Grenier-Saint-Lazare and historic Beaubourg spaces. Following his acclaimed institutional show in Antwerp, Op de Beeck presents new sculptures, watercolors, and an animated film exploring the elusive notion of disappearance—whether linguistic, mathematical, or existential. His velvety monochrome works evoke suspended moments where time dissolves, embracing melancholy and mystery. Designed as a cabinet of curiosities, the exhibition invites viewers into dreamlike scenes of contemplation, strangeness, and wonder, where fleeting human presence meets timeless universality.
What we love: Hans Op de Beeck’s sculptures captivate with their breathtaking detail and precision, blurring the line between reality and the otherworldly.
Hans Op de Beeck at Templon
September 13–October 31, 2025
Robert Rauschenberg: “Gluts”
Thaddaeus Ropac
3rd Arrondissement
Robert Rauschenberg, “Summer Glut Fence,” 1987, assemblage de pièces métalliques et plastiques, 114.3 × 219.7 × 27.9 cm (45 × 86.5 × 11 in), courtesy of Thaddaeus Ropac.
Thaddaeus Ropac Paris Marais presents the first exhibition in France devoted to Robert Rauschenberg’s Gluts (1986–94), a sculptural series created from salvaged metal and industrial detritus. Conceived after witnessing the oil recession in Texas, the works transform discarded road signs, gas station relics, and automotive fragments into lyrical assemblages that blur abstraction, function, and anthropomorphism. Marking the centenary of Rauschenberg’s birth, the show reunites rare works, including the Neapolitan Gluts born from his collaboration with choreographer Trisha Brown. Engaging with recycling and reclamation, the exhibition underscores Rauschenberg’s enduring legacy of innovation, interdisciplinarity, and art’s dialogue with life.
What we love: By centering on Robert Rauschenberg’s Gluts series, the exhibition reveals a different side of the artist, his sculptural explorations beyond the canvas.
Robert Rauschenberg at Thaddaeus Ropac
October 20–November 22, 2025
Yan Pei-Ming: “Eye to Eye”
Thaddaeus Ropac
19th Arrondissement
Yan Pei-Ming, “Autoportrait en trois personnes,” 2020, oil on canvas, 600 × 250 cm ; 600 × 400 cm ; 600 × 250 cm, photo by Clérin-Morin, © Yan Pei-Ming, ADAGP, Paris, 2025.
Thaddaeus Ropac Paris Pantin presents “Eye to Eye,” Yan Pei-Ming’s first solo exhibition at the Pantin gallery. Spanning monumental canvases to intimate portrait miniatures, the French-Chinese artist bridges the human and animal, mythical and personal, with works depicting lions, monkeys, Picasso, and himself as Pope. Rooted in both European art history and Chinese tradition, the exhibition highlights Ming’s distinctive brushwork—expressive yet deliberate—while reflecting on universality and self-representation. Anchored by his monumental triptych Autoportrait en trois personnes (2020), the show unfolds as a meditation on portraiture’s power to mirror humanity across cultures and time.
What we love: Yan Pei-Ming’s painterly approach and use of a monochromatic palette give each work a sense of completeness and quiet power.
Yan Pei-Ming at Thaddaeus Ropac
September 13–December 20, 2025
