A floating zeppelin, mother-of-pearl surfaces and futuristic ruins make Lee Bul’s first Hauser & Wirth New York exhibition one of September’s strongest shows — and a timely moment to reassess a four-decade practice.

On 200 acres at Snowmass, Jorge M. Pérez is approaching one hundred outdoor sculptures. The deeper story is how landscape, public access, philanthropy and weather change what a private collection can become.

White Cube presents the first UK solo exhibition of Emma Reyes, bringing six decades of intensely patterned painting into a market that is only beginning to catch up with her work. The real story is scholarship, not hype.

With a new Boesky exhibition and their first mid-career museum survey arriving almost in tandem, the Haas Brothers reveal the systems, material intelligence and serious sculptural ambition beneath their famous exuberance.

Three months after opening week, Koyo Kouoh’s In Minor Keys is easier to hear. A reassessment of the 2026 Venice Biennale asks whether slow looking can survive inside the world’s loudest art event.

Our collector’s edit of London Design Festival 2026 prioritises sculptural furniture, studio glass, design history and emerging makers — the work most likely to matter after festival week ends.