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The New York Sari exhibition aims to shine a light on how the garment is woven into the complex histories of the Indian subcontinent and, in unexpected ways, New York City and the United States, and how it “might tell stories about migration and diaspora and struggle,” Salonee Bhaman, a historian and a curator of the exhibition, said while walking a gaggle of visitors through the show last week.

Then Margo thought of Betye Saar, whose work, like Cornell’s, is marked by a roving spirit of wonder. Although born a generation apart (Cornell in 1904, Saar in 1926), the two artists share a childlike quality that transforms itself in their work into an eerie wisdom. Then, almost by chance, we discovered a direct link between Cornell and Saar. In 1967, the 41-year-old Saar came upon an extensive exhibition of Cornell’s work at Pasadena’s Huntington Museum; it delighted and inspired her. Even now, in her late 90s, Saar still speaks about this exhibition as crucial to her artistic practice.

Suchitra Mattai is included in the 36th edition of the São Paulo Biennial. Entitled Not All Travellers Walk Roads – Of Humanity as Practice, the edition takes its cue from Afrobrazilian poet Conceição Evaristo’s enigmatic poem Da calma e do silêncio [Of calm and silence].

The Wooyang Art Museum presents I Have Been Here Before, the first institutional solo exhibition in Asia by artist Amoako Boafo. Through a selection of recent and iconic paintings across four thematic spaces, the exhibition invites viewers to explore the nuances of identity, visibility, and self-representation through a body of work that is both deeply personal and powerfully resonant. For this landmark occasion, Boafo unveils a series of new works presented within a site-specific structure designed by Glenn DeRoche of inspired by Korea’s traditional hanok courtyards.