The Serpentine presents a major survey of British-Ghanaian photographer James Barnor, whose career spans six decades, two continents and numerous photographic genres through his work with studio portraiture, photojournalism, editorial commissions and wider social commentary.

This will be the artist’s eleventh solo exhibition at David Zwirner since joining the gallery in 1998, and his first solo presentation in New York since 2014. The exhibition coincides with the opening of a major survey of the artist’s work at the Sara Hildén Art Museum, Tampere, Finland. Dzama created this new group of drawings in the midst of the COVID-19 pandemic, a time in which the artist and much of the rest of the world were social distancing and in quarantine. A sense of hope pervades these new works.

On view at David Zwirner's space on 533 West 19th Street, this will be the artist’s seventh solo show with the gallery. In this exhibition, Lisa Yuskavage continues her long-standing exploration of what constitutes a model, exceptionally summoning the history of her own work as part of that process. Its two rooms are defined by contrasting moods that the artist has often intertwined within individual paintings, and which both engage with aspects of art making. 

Curated by Simon Wu, Ching Ho Cheng will be on view at David Zwirner's 525 West 19th Street location in New York beginning September 14, 2021. Throughout his career, Ching Ho Cheng (1946–1989) produced a rich and varied body of work that ranged from colorfully psychedelic canvases to subdued, abstract explorations of light, tone, and texture in gouaches, torn paper, and experiments in iron oxide. Art-making, for Cheng, was rooted in process, alchemy, and transcendence, that invite contemplative close looking.

David Zwirner is pleased to present an exhibition of work by the artist and activist Frank Moore (1953–2002), organized by the Pulitzer Prize–winning author, critic, and curator Hilton Als, at the gallery’s 537 West 20th Street location in New York. This show will provide an overview of Moore’s practice as a painter during the years he was most active, from the 1980s through the late 1990s. An essayist with a brush, Moore connected complex ideas in his works and illustrated a polymathic desire to elucidate the wonder and anguish of the world around him.