Wangari Mathenge’s first solo exhibition with Lévy Gorvy Dayan expands her Re-membering series into sculpture, turning books, objects and domestic space into a layered inquiry into Kenyan cultural memory.

Dimitris Daskalopoulos has added 51 works to one of the most consequential museum-gifting programmes of the contemporary era. The real story is not generosity alone, but a collector’s unusually coherent answer to the problem of legacy.

Peter Simon’s collection is large enough to read as a survey of modern and contemporary art, but its more useful story for collectors is personal: how a commercial eye trained on textiles, colour and pattern became an art-collecting instinct — and why conviction still matters when markets move against you.

Rana Begum treats light as a material. Her first New York solo exhibition offers collectors a precise lesson in how architecture, daylight, colour and movement can keep changing an artwork after it enters the home.

Joseph Yaeger’s Agita begins with images we think we recognise and a text we cannot fully trust. We examine how memory, found imagery, watercolour and material accident turn contemporary image culture into psychologically unstable painting.

MoMA’s new photography exhibition begins with Marianne Wex’s radical archive of gendered body language and expands the question through seven contemporary artists. The result is a sharp study of bodies, space, archives and who controls representation.