Bal Harbour

© D E R E K FO R D J O U R , P H OTO BY DA N I E L G R E E R , C O U R T E S Y DAV I D KO R DA N S K Y G A L L E R Y; P H OTO BY Z E N I T H R I C H A R D S / M E T O P E R A ; P H OTO BY DA N B R A D I C A , © C A R O L B OV E S T U D I O L LC ; T H E M E N I L C O L L EC T I O N , H O U S TO N , © C Y T W O M B LY FO U N DAT I O N CY TWOMBLY'S NEXT CHAPTER Cy Twombly, the enigmatic American painter known for his scribbles, myth-laden imagery, and poetic gestures, carved out a singular place in 20th century art. Larry Gagosian's longtime favoritism cemented a cult following for the work that has only grown. Now the Cy Twombly Foundation is ready to expand Twombly's lore, making bold moves with major gifts and a rumored New York outpost. One standout gesture—a bequeath of 121 drawings—has inspired "The Gift of Drawing: Cy Twombly" (March 27 through August 9) at The Menil Drawing Institute this spring, revealing works that have never been exhibited in the US. PL AY HER GAME Artist Carol Bove's space in Brooklyn's Red Hook neighborhood has become a place of legend—if only as the birthplace of her most recent sculptures, which arrive so immaculately fabricated it can feel almost impossible that human hands were involved in their creation. Her powder-coated ribbons of steel defy our preconceptions of the material as unforgiving, translating the fluid shapes of digital renderings into heavy, resolutely physical bodies. A welcome reversal, but then, Bove has always been ahead of the zeitgeist. In the early aughts, Bove first gained recognition for her sculptural shelves—carefully arranged groupings of objects presented as discrete works—that responded to our impulse to organize, collect, and continually rearrange what we own, while subtly poking fun at the preciousness of earlier minimalist displays. These concerns return at a new scale this March at the Guggenheim's "Carol Bove," the artist's first museum survey and the largest presentation of her work to date. It is rumored to include interactive elements; be prepared to play along. THE ART WORLD JOINS THE TEAM Rarely does the art world play ball, but with the 2026 FIFA World Cup landing in the US, museums are stepping onto the field. At LACMA in Los Angeles, "Fútbol Is Life: Animated Sportraits" (February 15 through July 12) by artist Lyndon J. Barrois, Sr., transforms iconic soccer moments into handcrafted mini sculptures and stop-motion animations that become almost like devotional objects. Meanwhile, the Pérez Art Museum Miami presents "Get in the Game: Sports, Art, Culture" (March 19 through August 23), an ambitious group exhibition exploring athletic performance, from neighborhood basketball to historic World Cup moments, through the eyes of contemporary artists like Philippe Parreno and Hank Willis Thomas. Both exhibitions tap into the soft cultural power of sport: the way it unites people from different places and backgrounds, even in these fractured times. FRIDA AND DIEGO DO NEW YORK Frida Kahlo and Diego Rivera live in the cultural imagination as lovers and collaborators, but their story is far messier than legend sometimes suggests. This spring, to more deeply explore Kahlo and Rivera's artistic partnership, the Museum of Modern Art and the Metropolitan Opera will stage a cross-medium conversation. At the latter, El Último Sueño de Frida y Diego reimagines the iconic couple's bond through music, myth, and magical realism. In turn, MoMA's "Frida and Diego: The Last Dream" assembles works by both artists in an immersive installation shaped by the opera's themes. Together, they reveal a couple constantly in dialogue— artists who challenged, inspired, and reinvented each other in life, and continue to do so today. FROM ABOVE Open Swim, by Derek Fordjour, 2021, on view at the Pérez Art Museum Miami; opera singers Carlos Álvarez as Diego Rivera and Isabel Leonard as Frida Kahlo in El Último Sueño de Frida y Diego at the Met; an installation view of 2016's "Carol Bove: Polka Dots," at David Zwirner, New York—a nod to what's to come at the Guggenheim this spring; and Cy Twombly's Untitled, 1986, at The Menil Drawing Institute BALHAR B O U RSH O P S .CO M

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