At Frieze New York White Cube presents works by artists including Tracey Emin, Sara Flores, Louise Giovanelli, Klára Hosnedlová, Danica Lundy, Beatriz Milhazes, Marina Rheingantz and Doris Salcedo, among others.
Booth highlights include:
Sara Flores’ Untitled (Maya Kené, 2021) (2021). Flores is the first Indigenous artist to represent Peru at this year’s Venice Biennale. Her exhibition at White Cube New York opens from 25 June until 14 August 2026. Recognised locally and internationally for her masterful Kené, an ancient medium central to the artistic expression and cultural heritage of the Shipibo-Konibo people, Flores’ works are created with materials sourced from the Amazon and produced with her daughters, as part of a tradition passed down matriarchally through generations.
Doris Salcedo’s sculpture Camisas (c.1989-90). This November, White Cube New York will unveil a major new installation by Doris Salcedo, marking over 10 years since her celebrated US retrospective, which opened at the Guggenheim Museum New York in 2015.
Tracey Emin’s It’s the way we Think (2004), an appliquéd blanket work of two parts. In the lower section, a black Eiffel Tower on red ground is surrounded by single letters in pink patchwork squares, whilst in the upper section, a pattern is encircled with green text. The display of this work coincides with the artist’s critically acclaimed survey featuring several textile works at Tate Modern, London, until 31 August 2026.
Coinciding with her monumental site-specific installation Shelter, currently on view at New Museum, New York, Klára Hosnedlová’s wall-mounted relief Untitled (from the series embrace) (2025) is part of a group of works shown last year in her White Cube Bermondsey and Hamburger Bahnhof exhibitions. Drawing inspiration from science fiction, technological advancements and the natural world, Hosnedlová’s organic and meticulously crafted forms are enhanced by the enigmatic human appearances featured in the needlework nestled at their centre.
Remedy (2026), a new painting by New York-based Danica Lundy. Exploring structures of power and how these inform and determine the fabric of the everyday – their influence over our bodies, our relationships and how they permeate our industries and social strata – Lundy’s detail-laden, panoptical compositions draw on daily events, subjecting them to the scrutiny of an augmented lens.
Beatriz Milhazes’s The Botanical Mind I (2025), a painting that coheres around a central animating presence that appears to set the surrounding hues and geometries in motion, advancing the artist’s evolving negotiation of colour, pattern and form. The display of this work coincides with the artist’s current collaborative installation, Aquarium (2010), at Cartier, Boston, USA, until 17 May 2026.
Salvador (2026) by Marina Rheingantz. Drawing from her childhood on her grandmother’s farm in Araraquara, Brazil, the artist’s relationship to the land and earth transpires in this work, embodying the dichotomies inherent within Latin America’s social relations, industrialisation and the sublime natural world.
Louise Giovanelli’s painting Lux (2025) presents a luminous close-cropped face. Drawing on art-historical, cinematographic, and religious imagery, the work centres on a tightly cropped face derived from a 1990s film still. This close framing removes the image from its original context, heightening its ambiguity while reinforcing its relationship to cinema through the sense of a suspended, dramatic instant.
