Forthcoming Exhibitions in Europe

Mika Rottenberg and Garlan Miles construct the bar, sculptures and lamps that adorn Manuela restaurant in SoHo, NYC. Photo: Oresti Tsonopoulos © Mika RottenbergMika Rottenberg, Lampshare (chandelier #5), 2024, Milled reclaimed household plastic and bittersweet vines, Lighting component: resin and electric hardware, 114.3 x 30.5 x 30.5 cm / 45 x 12 x 12 in © Mika Rottenberg. Courtesy the artist and Hauser & Wirth. Photo: Sarah Muehlbauer

Mika Rottenberg. Vibrant Matter
​Hauser & Wirth Menorca
​10 May – 26 October 2025

For decades Mika Rottenberg has addressed our relationship with capitalist systems of production and labor, realising a labyrinth of disparate worlds through seductive multidimensional works. She draws attention to the absurdity of our global situation; harnessing imagery that’s simultaneously pleasurable and troubling, blurring facts with fiction, the natural from the artificial.

Rottenberg’s first solo exhibition in Spain will feature celebrated video installations, ‘Cosmic Generator’ (2017) and ‘Spaghetti Blockchain’ (2019), alongside her latest ‘Lampshares’ (2024 – 2025) carved from bittersweet vines and reclaimed plastic. ‘Cosmic Generator’ blurs the distinction between fantasy architecture and real space by collapsing the distance between seemingly disconnected locations – filmed on-site at a market for plastic goods in Yiwu, China and at the border between Mexico and California, alongside elements shot in studio and objects displaced within the installation itself. Similarly, in ‘Spaghetti Blockchain’ the viewer travels through a universe of incongruous scenarios that evoke a range of sensory reactions: footage of vibrant ASMR performances, Siberian Tuvan throat singers, the CERN antimatter factory and a mechanical harvester on a potato farm coalesce and meld.

In her exploration of humanity’s paradoxical attraction to toxicity, Rottenberg has reframed the artist studio as an incubator for the regenerative production of her ‘Lampshares’, beginning in 2023. Working alongside Inner City Green Team and Gary Dusek in New York, Rottenberg combines bittersweet vines that choke forests in Upstate New York with plastic that has been collected, mined and extracted as natural resources or ‘urban gemstones.’ Imbued with new meaning through regenerative systems of creation, the functional sculptures transform otherwise toxic and invasive materials. Interconnected themes of appropriation, distortion and reinvention run through Rottenberg’s playful oeuvre, highlighting our endless difference but at the same time the network of commodities and actions that bind us.

The exhibition will be accompanied by an Education Lab that will take its starting point from the work of both Mika Rottenberg and Cindy Sherman, exploring a shared idea that identity is not static but evolves over time. The Education Lab will encompass a range of events, performances and activities in collaboration with the Higher School of Dramatic Art of the Balearic Islands (ESADIB) and Trobades & Premis Mediterranis Albert Camus.

^{Press contact: Laura Cook, lauracook@hauserwirth.com, +44 7920 414 876}

Cindy Sherman, Untitled #566, 2016, Dye sublimation metal print, 121.9 x 128.3 cm / 48 x 50 1/2 in © Cindy Sherman. Courtesy the artist and Hauser & WirthCindy Sherman, Untitled Film Still #6, 1977, Gelatin silver print, 25.4 x 20.3 cm / 10 x 8 in © Cindy Sherman. Courtesy the artist and Hauser & Wirth

Cindy Sherman. The Women
​Hauser & Wirth Menorca ​
​23 June – 26 October 2025

Cindy Sherman is globally renowned for her exploration of identity and gender through the performance of meticulously observed personas for the camera. For her first solo exhibition in Spain in over two decades, ‘Cindy Sherman. The Women’ will feature a selection of the artist’s most iconic bodies of work, dating from the 1970s to 2010s, and emphasising how Sherman revolutionized the role of the camera in artistic practice.

The exhibition will include the groundbreaking ‘Untitled Films Stills’ (1977 – 1980), through which Sherman came to widespread attention as one of the ‘Pictures Generation’, artists whose work responded to the age of mass media and celebrity. This pivotal series will be juxtaposed with Sherman’s large-format portrayals of film stars, starlets, society women and fashionistas, from various series made over subsequent decades, addressing the layered presentation and public perception of femininity.

The exhibition takes its title from the 1936 all-female hit play by Clare Boothe Luce, a merciless ensemble piece about women’s interactions with women, of their own and different classes, and of appearances. As the 20th century cult of fame and celebrity has transitioned into the 21st century context of influencers and social media stars, Sherman’s deconstructions of gender, wealth and privilege remain of acute relevance. This exhibition offers a rare presentation of Sherman’s enduring concern with the interaction between female roles and images, with the diversity of womanhood, and the gaze(s) to which women are relentlessly subjected.

^{Press contact: Laura Cook, lauracook@hauserwirth.com, +44 7920 414 876}

Jean Tinguely and Niki de Saint Phalle back from the Cyclop © 2025 NIKI CHARITABLE ART FOUNDATION. All rights reserved, Courtesy Niki Charitable Art Foundation and Hauser & Wirth. Photo: Laurent CondominasNiki de Saint Phalle and Jean Tinguely, La Grande Tête, 1988, Painted polyester, electrical system, 225 x 225 x 140 cm / 88 5/8 x 88 5/8 x 55 1/8 in © 2025 NIKI CHARITABLE ART FOUNDATION. All rights reserved. Photo: Laurent Condominas

Niki de Saint Phalle & Jean Tinguely. Myths & Machines
​Hauser & Wirth Somerset
​17 May 2025 – 1 February 2026

‘We couldn’t sit down together without creating something new, conjuring up dreams.’
​—Niki de Saint Phalle, ‘A little of my story with you Jean’ (1996)

Niki de Saint Phalle (1930 – 2002) and Jean Tinguely (1925 – 1991) are reunited in a major site-wide takeover at Hauser & Wirth Somerset, in collaboration with the Niki Charitable Art Foundation. The first exhibition dedicated to both artists in the UK will illustrate Saint Phalle and Tinguely’s visionary artistic output and enduring creative collaboration over three decades.

Two emblematic figures of contemporary art, Saint Phalle and Tinguely defied conventional artmaking and were fuelled with rebellion, in both life and art. The exhibition will feature unseen works on paper and art decor by Saint Phalle, alongside shooting paintings and monumental open-air sculptures. Iconic kinetic machines by Tinguely range from the 1950s to the final year of his life, in addition to multifaceted collaborative works made by the duo throughout the 1980s.

Tinguely and Saint Phalle met and started working together in Paris, France in the late 1950s and were married in 1971. The pair forged an extraordinary personal and artistic relationship that continued to renew itself across multiple projects until Tinguely’s death in 1991, when Saint Phalle took over stewardship of his works until she died a decade later.

The exhibition takes place as part of Jean Tinguely’s centenary celebrations. To mark this occasion, his innovative and playful oeuvre will be honored internationally with a range of exhibitions and events.

The exhibition will be accompanied by an Education Lab co-produced in collaboration with Bruton Primary School, Ditcheat Primary School and Upton Noble C of E Primary School. Taking Niki de Saint Phalle’s philosophy that creativity can server as both a mental antidote and a therapeutic outlet, the Education Lab will provide an interactive space realized by young people as an exploration of their emotions, experiences and stories.

^{Press contact: Laura Cook, lauracook@hauserwirth.com, +44 7920 414 876}

Meret Oppenheim in the 1980s in Paris, wearing a paper coat designed in 1967 and a pair of glasses designed in 1976. Photo: Claude Lê-Anh, ParisMeret Oppenheim, Das Auge der Mona Lisa, 1967, Oil on canvas. 23 x 32.1 cm / 9 x 12 5/8 in © 2025, ProLitteris, Zurich

Meret Oppenheim
​Hauser & Wirth Basel
​5 June – 19 July 2025

An artist of powerful originality and singular vision, German-born, Swiss artist Meret Oppenheim (1913–1985) remains one of the most dynamic figures of 20th Century art. In an upcoming exhibition at Hauser & Wirth in Basel, works from the 1930s until the 1970s will be on view, showcasing Oppenheim’s wide-ranging and boundary-breaking practice across painting, drawing, sculpture and design. Despite being affiliated with some of the most influential art movements of the 20th Century, including Surrealism and Dada, Oppenheim defied categorization. Infused with humor and an attitude of profound intellectual independence, her works critically explored themes of identity and sexuality which still hold relevance today. Curated in close collaboration with Josef Helfenstein, curator and art historian, the exhibition features rarely exhibited works from the artist’s oeuvre.

^{Press contact: Maddy Martin, maddymartin@hauserwirth.com, +44 7585 979 564}

Ed Clark. Paint is the Subject
​Hauser & Wirth Zurich, Limmatstrasse
​13 June – 13 September 2025

This June, Hauser & Wirth Zurich, Limmatstrasse presents ‘Ed Clark. Paint is the Subject,’ the first solo exhibition in Switzerland dedicated to this pioneering American abstractionist. Curated by Tanya Barson in close collaboration with the artist’s estate, the exhibition brings together key works spanning seven decades, offering a comprehensive overview of Clark’s groundbreaking practice. The exhibition will feature a broad selection of his signature dynamic large-scale paintings and works on paper, as well as early works and an example of his use of the shaped canvas. The presentation will be complemented by archival photographs and documents that provide biographical and historical context, tracing the evolution of his innovative approach and lasting impact on modern painting.

Clark remained under-acknowledged for much of his career, but he received late recognition in his lifetime, a recognition that continues to grow. A member of the New York School, Ed Clark contributed towards redefining abstraction in the 1950s with two characteristic features—the deployment of the shaped canvas, and his unconventional use of a household broom to create sweeping, gestural compositions – the show’s title coming from a quote by the artist indicatinga the centrality of his medium to his work. Stylistically, his work bridges the dynamic spontaneity of Abstract Expressionism with the structured clarity of hard-edged abstraction, cementing his significance in postwar painting. Born in New Orleans in 1926 and educated in Chicago and Paris, he travelled widely throughout his career, each location, its light and palette, impacting his work. Nevertheless, Clark maintained close ties to Europe, living between New York and Paris from the 1960s onward. His aesthetic was shaped by the influence of European artists such as Nicolas de Staël and Pierre Soulages, while his artistic and intellectual circles included Joan Mitchell, Barbara Chase-Riboud, Beauford Delaney, Jack Whitten and James Baldwin, among others. The Zurich exhibition provides a rare opportunity to experience the full scope of Clark’s practice, placing him within diverse histories of abstraction and highlighting the enduring relevance of his work.

^{Press contact: Kristin Brüggemann, kristinbrueggemann@hauserwirth.com, +41 79 269 34 48}

Paintings in progress in Pat Steir‘s New York Studio, 2025 © Pat Steir. Courtesy the artist and Hauser & Wirth. Photo: Elisabeth Bernstein© Pat Steir. Courtesy the artist and Hauser & Wirth. Photo by: Grace Roselli

Pat Steir
​Hauser & Wirth Zurich, Limmatstrasse
​13 June – 13 September 2025

Renowned for a pioneering approach to painting that synthesizes conceptual art, figuration and abstraction, celebrated New York-based artist Pat Steir unveils a suite of new paintings for her upcoming exhibition at Hauser & Wirth in Zurich, her first solo exhibition with the gallery in Europe. Opening during Zurich Art Weekend, the exhibition precedes a historic solo presentation of Steir’s drawings at Hauser & Wirth’s location on Wooster Street in New York, on view from July.

Among the great innovators of contemporary painting, Steir first came to prominence in the late 1970s and early 1980s for her iconographic canvases and immersive wall drawings. By the late 1980s, her inventive approach to painting—the rigorous pouring technique seen in her Waterfall works—attracted substantial critical acclaim. The new works in Zurich extend and expand upon Steir’s ongoing Waterfall series, wherein she intentionally cedes control and allows paint to create its own image via the artist’s signature technique of streaming and layering upon a background of gridded chalk lines. The resulting expressive quality of the paintings, which range in scale and vivid hues, underline Steir’s position as one of the most enduringly original contemporary painters whose conceptual practice transcends the divide between figuration and abstraction.

The exhibition anticipates the release of a new artist monograph from Hauser & Wirth Publishers, ‘Pat Steir: Paintings,’ charting the artist’s work from 2018 to the present. A newly commissioned text by award-winning writer Colm Tóibín further illuminates the artist’s work.

^{Press contact: Maddy Martin, maddymartin@hauserwirth.com, +44 7585 979 564}

Mark Rothko, No. 14, 1963, Oil on canvas, 175.3 x 127 cm / 69 x 50 in © 1998 Kate Rothko Prizel & Christopher Rothko / 2025, ProLitteris, Zurich. Sammlung Siegfried und Jutta WeishauptRobert Ryman, Untitled, 1959, Oil on stretched cotton canvas, 88.3 x 112 cm / 34 3/4 x 44 1/8 in © 2025, ProLitteris, Zurich. Photo: Jon Etter

‘Just There’
​Rothko Ryman
​Curated by Dieter Schwarz
​Hauser & Wirth Zurich, Bahnhofstrasse
​12 June – 13 September 2025

For the first time, works by Mark Rothko (1903 – 1970) and Robert Ryman (1930 – 2019) meet directly in a two-person exhibition, opening up new perspectives on the artistic interaction between two American greats of 20th-century painting. On view at Hauser & Wirth’s gallery on Bahnhofstrasse in Zurich, this exhibition brings together important works by Rothko from the 1950s and 1960s and by Ryman from the late 1950s to the 1990s. Rothko and Ryman represent two generations of American abstract painters that briefly coincided around 1960; Rothko was then at the height of his fame, Ryman an aspiring painter. Beyond this brief overlap in time, they are deeply connected by the great visual quality of their paintings, a concise selection of which can be seen in the exhibition. ​

^{Press contact: Maddy Martin, maddymartin@hauserwirth.com, +44 7585 979 564}

Paul McCarthy ‘A&E Drawing Session, Santa Anita’, performance still, 2021 © Paul McCarthy. Courtesy the artist and Hauser & Wirth© Paul McCarthy. Courtesy the artist and Hauser & Wirth. Photo: Mara McCarthy, 2001

Paul McCarthy
​Hauser & Wirth London ​
​5 June – 2 August 2025

One of the leading contemporary American artists of his generation, Paul McCarthy has developed a distinct and subversive artistic practice throughout his long career, which now spans more than five decades. In this exhibition at Hauser & Wirth London, McCarthy will construct an installation within the North Gallery, utilizing a disused theater set as a location for drawing, digital recording and AI interaction. This format is part of a trajectory in McCarthy’s work going back to the 1960s of drawing and painting as action or performance.

The exhibition will display a continuation of themes explored in improvised performances between artist Paul McCarthy and German actor Lilith Stangenberg entitled ‘Adolf & Eva, Adam & Eve,’ a satirically uncompromising oeuvre. This project reflects McCarthy’s lifelong exploration of bodily abjection, human entanglement, power, Hollywood and the underbelly of the 20th- and 21st-Century’s cultural and political climate. The works on view will serve as documentation of both McCarthy’s incisive critical lens and his practice of synthesizing performance, film, painting, drawing, sculpture and sound.

A unique artist’s book documenting artist Paul McCarthy and Lilith Stangenberg’s acclaimed performance piece, ‘Paul McCarthy: A&E, ADOLF & EVA, ADAM & EVE, DEAD END HOLE, PICNIC,’ will be released by Hauser & Wirth Publishers on 15 April 2025.

^{Press contact: Alice Haguenauer, Hauser & Wirth London / Paris, alicehaguenauer@hauserwirth.com}

Michaela Yearwood-Dan in her studio, 2024. Courtesy the artist and Hauser & Wirth. Photo: Ollie AdegboyeMichaela Yearwood-Dan, We’ll be free (someday), 2025, Oil, acrylic, paper and glass beads on plastic and canvas, 240 x 200 cm / 94 1/2 x 78 3/4 in © Michaela Yearwood-Dan. Courtesy the artist, Hauser & Wirth and Marianne Boesky Gallery. Photo: Deniz Guzel

Michaela Yearwood-Dan. No Time for Despair
​Hauser & Wirth London
​13 May – 2 August 2025

‘Looking at Michaela’s work, you are left with a sense of boundless possibility.’
​—Curator Ekow Eshun

Through paintings, sculpture, site-specific murals and installations, Michaela Yearwood-Dan endeavors to build spaces of community, abundance and joy. Yearwood-Dan’s debut exhibition with Hauser & Wirth will take place in London, featuring new paintings ranging from monumental to intimate in scale, including an expansive 11 meter-long panelled landscape painting, alongside richly adorned, ceramic sculptures and benches. The lyrical quality of the paintings will be complemented by a new sound piece made in collaboration with the composer Alex Gruz. ​

Yearwood-Dan’s unique visual language draws on a diverse range of influences, including Blackness, queerness, femininity and healing rituals. Moving freely between media and resisting any singular definition of identity, the artist explores the possibilities of creating spaces—physical, pastoral, metaphorical—that allow for unlimited and unbounded ways of being.

Lush and brightly hued, Yearwood-Dan’s work is at once personal and political. She often engages colors and materials for their symbolic associations, such as ceramic petals collaged into her recent paintings that evoke the queer histories of carnations and pansies. The surfaces of her canvases are dense with generous swathes of lavish pigments and textures, with intricate embellishments using subversive and non-traditional materials such as gold leaf, Swarovski crystals, sequins and glitter. Language intertwines with botanical motifs throughout the work, where abstract habitats teem with painted plant life, alongside inscribed lines of text pulled from song lyrics, poetry or her own diaristic writings. Her words beckon the viewer into a vivid, welcoming world of paradox, play and contemplation formed within an atmosphere of swirling forms and brilliant chromaticity.

^{Press contact: Alice Haguenauer, alicehaguenauer@hauserwirth.com, +44 7880 421 823}

Rita Ackermann. Doubles
​Hauser & Wirth Paris
​11 June – 4 October 2025

In her first exhibition at Hauser & Wirth’s Paris gallery, Rita Ackermann presents a new series of paintings and large, related works on paper that take up the theme of the double. In the works on view, Ackermann does not just evoke the presence of a dual entity but unveils its structure. Innovative in their unexpected combinations of materials and defined by a sharp conceptual tension, these works draw inspiration from two giants of French culture – Jean-Luc Godard and Paul Virilio. The results are as unsettling as they are exacting.

^{Press contact: Alice Haguenauer, alicehaguenauer@hauserwirth.com, +44 7880 421 823}

Annie Leibovitz
​Hauser & Wirth Monaco
​July – September 2025

Travelling from Hauser & Wirth New York, 22nd Street, this exhibition presents a group of works—landscapes, still lifes and portraits—made by the distinguished American artist over the last two decades. Forgoing a linear timeline and conventional thematic constraints, the exhibition reveals Leibovitz’s associative thought processes and the fluid visual dialogue created among photographs that call attention to significant cultural markers of our time.

This is Leibovitz’s first exhibition in Monaco and follows her induction into the prestigious Académie des Beaux-Arts in Paris in 2024, the most recent achievement for the highly decorated artist, who was made a Commandeur in the Ordre des Arts et des Lettres by the French government in 2006.

^{Press contact: Manisha Bhogal, manishabhogal@hauserwirth.com, +44 7917 075313}

Press Contacts:

Laura Cook ​
​Hauser & Wirth Somerset / Menorca
​lauracook@hauserwirth.com

Maddy Martin ​
​Hauser & Wirth Zurich / Basel
​maddymartin@hauserwirth.com

Kristin Brüggemann
​Hauser & Wirth Zurich
​kristinbrueggemann@hauserwirth.com

Alice Haguenauer
​Hauser & Wirth London / Paris
​alicehaguenauer@hauserwirth.com

Manisha Bhogal
​​
​Hauser & Wirth Monaco
​​
​manishabhogal@hauserwirth.com

^{Copyright and Courtesy Credits}

^{Mika Rottenberg and Garlan Miles construct the bar, sculptures and lamps that adorn Manuela restaurant in SoHo, NYC. Photo: Oresti Tsonopoulos © Mika Rottenberg}

^{Mika Rottenberg, Lampshare (chandelier #5), 2024, Milled reclaimed household plastic and bittersweet vines, Lighting component: resin and electric hardware, 114.3 x 30.5 x 30.5 cm / 45 x 12 x 12 in © Mika Rottenberg. Courtesy the artist and Hauser & Wirth. Photo: Sarah Muehlbauer}

^{Cindy Sherman, Untitled #566, 2016, Dye sublimation metal print, 121.9 x 128.3 cm / 48 x 50 1/2 in © Cindy Sherman. Courtesy the artist and Hauser & Wirth}

^{Cindy Sherman, Untitled Film Still #6, 1977, Gelatin silver print, 25.4 x 20.3 cm / 10 x 8 in © Cindy Sherman. Courtesy the artist and Hauser & Wirth}

^{Jean Tinguely and Niki de Saint Phalle back from the Cyclop © 2025 NIKI CHARITABLE ART FOUNDATION. All rights reserved, Courtesy Niki Charitable Art Foundation and Hauser & Wirth. Photo: Laurent Condominas}

^{Niki de Saint Phalle and Jean Tinguely, La Grande Tête, 1988, Painted polyester, electrical system, 225 x 225 x 140 cm / 88 5/8 x 88 5/8 x 55 1/8 in © 2025 NIKI CHARITABLE ART FOUNDATION. All rights reserved. Photo: Laurent Condominas}

^{Ed Clark, Untitled , ca 1990s, Acrylic on canvas, 139.1 x 179.1 cm / 54 3/4 x 70 1/2 in, © The Estate of Ed Clark. Courtesy the Estate and Hauser & Wirth. Photo: Sarah Muehlbauer}

^{Paintings in progress in Pat Steir‘s New York Studio, 2025 © Pat Steir. Courtesy the artist and Hauser & Wirth. Photo: Elisabeth Bernstein}

^{© Pat Steir. Courtesy the artist and Hauser & Wirth. Photo by: Grace Roselli}

^{Mark Rothko, No. 14, 1963, Oil on canvas, 175.3 x 127 cm / 69 x 50 in © 1998 Kate Rothko Prizel & Christopher Rothko / 2025, ProLitteris, Zurich. Sammlung Siegfried und Jutta Weishaupt}

^{Robert Ryman, Untitled, 1959, Oil on stretched cotton canvas, 88.3 x 112 cm / 34 3/4 x 44 1/8 in © 2025, ProLitteris, Zurich. Photo: Jon Etter}

^{Meret Oppenheim in the 1980s in Paris, wearing a paper coat designed in 1967 and a pair of glasses designed in 1976. Photo: Claude Lê-Anh, Paris}

^{Meret Oppenheim, Das Auge der Mona Lisa, 1967, Oil on canvas. 23 x 32.1 cm / 9 x 12 5/8 in ​ © 2025, ProLitteris, Zurich}

^{Paul McCarthy ‘A&E Drawing Session, Santa Anita’, performance still, 2021 © Paul McCarthy. Courtesy the artist and Hauser & Wirth}

^{© Paul McCarthy. Courtesy the artist and Hauser & Wirth. Photo: Mara McCarthy, 2001}

^{Michaela Yearwood-Dan in her studio, 2024. Courtesy the artist and Hauser & Wirth. Photo: Ollie Adegboye}

^{Michaela Yearwood-Dan, We’ll be free (someday), 2025, Oil, acrylic, paper and glass beads on plastic and canvas, 240 x 200 cm / 94 1/2 x 78 3/4 in © Michaela Yearwood-Dan. Courtesy the artist, Hauser & Wirth and Marianne Boesky Gallery. Photo: Deniz Guzel}

^{Rita Ackermann, Double I, 2024, Acrylic, oil, crayon and silkscreen on canvas, 190.5 x 213.4 cm / 75 x 84 in © Rita Ackermann. Courtesy the artist and Hauser & Wirth. Photo: Dario Lasagni}

^{Rita Ackermann, Doubles 1, 2025, Acrylic, oil and silkscreen print on canvas, 188 x 213.4 cm / 74 x 84 in © Rita Ackermann. Courtesy the artist and Hauser & Wirth. Photo: Dario Lasagni}

^{Annie Leibovitz, Upstate New York, 2024, Archival pigment print, 50.8 x 66 cm / 20 x 26 in © Annie Leibovitz. Courtesy the artist and Hauser & Wirth}

^{Annie Leibovitz, Patti Smith, MacDougal Street, 2024, Archival pigment print, 50.8 x 73.7 cm / 20 x 29 in © Annie Leibovitz. Courtesy the artist and Hauser & Wirth}

^{Annie Leibovitz, Edward Hopper’s childhood home, Nyack, 2024, Archival pigment print, 50.8 x 72.4 cm / 20 x 28 1/2 in © Annie Leibovitz. Courtesy the artist and Hauser & Wirth}

^{Annie Leibovitz, Georgia O’Keeffe’s rattlesnake, Abiquiu, New Mexico, 2024, Archival pigment print, 50.8 x 66 cm / 20 x 26 in © Annie Leibovitz. Courtesy the artist and Hauser & Wirth}

^{Annie Leibovitz, James Turrell’s Roden Crater, Arizona, 2024, Archival pigment print, 50.8 x 66 cm / 20 x 26 in © Annie Leibovitz. Courtesy the artist and Hauser & Wirth}