In her exhibition The Source Never Diminishes at the Marie Walsh Sharpe Gallery of Contemporary Art, Nina Elder mounts a punk-inflected rebellion against artistic conventions. She also delves into the inky blackness of Victorian mourning aesthetics and shows a deep reverence for nature shaped by memory in her mixed-media sculptures—her first works in this medium.

Black Cube Nomadic Art Museum rarely presents exhibitions at its headquarters—a warehouse repurposed into a haunting cavern, painted entirely black on the inside. You enter the structure through an old loading dock, nodding to its original purpose and lending resonance to this exhibition, which reflects on memory, preservation, and the passage of time. Mirroring the dark recesses of Black Cube’s institutional memory, the exhibition text describes the building as “a spatial form born to hold things, if only temporarily.” In this sense, the exhibition’s title, What We Hold On To, refers not only to what we possess, but also to what we have been denied, the forces preventing us from holding on, and the ways letting go can offer a form of release.

Drawing on Elizabethan style, Jesse Mathes’s body jewelry in Territorial Defense at Foothills Gallery’s Astor House explores themes of authority, protection, and gender that transform jewelry into a form of visual communication. Mathes’s adornments become conceptual and sculptural interventions, extending the body to amplify physical presence and assert spatial dominance, while establishing a dynamic interplay between viewer and object.

The current exhibitions at William Havu Gallery showcase a captivating trio of artists—Homare Ikeda, Naomi Scheck, and Cheryl Ann Thomas—each exploring the in-between spaces that are formed through distinct yet harmonious mediums.