The exhibition “Die Welt im Geld – Globale Ereignisse im Spiegel Frankfurter Finanzobjekte”, held at the Historisches Museum Frankfurt in Frankfurt, presents the history of globalization through coins, medals, shares, banknotes, and other financial objects connected to the city. The show features the participation of Brazilian artist Tiago Sant’Ana and addresses themes such as colonialism, power, memory, inequality, and the circulation of wealth.

The group exhibition “O horror, o humor e o absurdo” (“Horror, Humor and the Absurd”) is on view at Casa de Cultura do Parque in São Paulo. Curated by José Augusto Ribeiro, the show at Galeria do Parque brings together works by Felipe Rezende, Darks Miranda, Flávia Metzler, Ivan Cardoso, and Yuli Yamagata, exploring “terrir” — a blend of terror and laughter — and the absurd in contemporary art.

The exhibition “Padê – Sentinel at the Door of Memory”, held at the Museu Afro Brasil Emanoel Araujo in São Paulo, is curated by Rosa Couto and features the participation of Tiago Sant’Ana. The show runs from March 21 to July 26, 2026, with visiting hours from Tuesday to Sunday, 10 a.m. to 5 p.m., and visitors may remain until 6 p.m.

The exhibition “Morar na cor” is the tenth show presented by Flexa Galeria, inaugurated on April 18, 2026, and curated by Luisa Duarte and Daniela Avellar. The group exhibition, which runs until July 18, 2026, brings together major names in art, including Luiz Braga, Frank Stella, Tomie Ohtake, and Beatriz Milhazes, exploring color beyond its formal dimension.

The group exhibition “Que Beleza!”, held at Galeria Luisa Strina in São Paulo, Brazil, features the participation of artist Germana Monte-mor. The show runs from May 26 to July 25, 2026.

Sandra Gamarra Heshiki takes part in “Jangueando: Recent Acquisitions, 2021–2025”, on view at El Museo del Barrio, New York until 2026. Featuring nearly forty recently accessioned works, the exhibition reflects on spaces of gathering, kinship and collective resilience.

The first panoramic exhibition dedicated to Sandra Gamarra Heshiki brings together around 80 works produced over 25 years. Since the late 1990s, the artist has developed an institutional critique, exemplified by the creation of the fictional museum LiMac. Through the critical appropriation of paintings and sculptures—particularly from the colonial period—she employs the “replica” as a strategy to question established narratives and the supposed neutrality of museums. Organized in partnership with the Museu de Arte de Lima, the exhibition also challenges the traditional chronology adopted by Latin American museums.