Starting this spring, the Baltimore Museum of Art is presenting a series of nine exhibitions highlighting contemporary Native American artists. The initiative coincides with an overall reexamination of how Indigenous people are represented in museum spaces that have been shaped by colonial perspectives. The series of shows includes solo presentations like Dyani White Hawk joining her art with Lakota objects from the collections and group exhibitions engaging with themes such as the buffalo and relationships with home.

Hauser & Wirth is devoting a year of rotating exhibitions in its downtown Los Angeles space to the late artist Jason Rhoades, for whom the city’s car culture. was a regular subject and muse. This included convincing a museum to go in with him on buying a car for a 1996 exhibition, a vehicle he later traded in for a Ferrari. This summer, Hauser & Wirth will showcase work related to racing life on the speedways, while in the fall, it will examine how he created thoughtful works on paper in addition to his large-scale provocative installations.

Twin street artists Gustavo and Otavio Pandolfo—known collectively as OSGEMEOS—have adorned walls around the world with distinctive long-limbed yellow figures, from their hometown of São Paulo to a piece spanning six industrial silos in Vancouver. Now they’re receiving their first major US museum survey with a sprawling assembly of around 1,000 works and objects. These will take visitors to their beginnings in Brazil, where they were influenced by 1980s hip-hop and local folklore, all the way to the present, where their painted characters are global sensations.

With work in this year's Whitney Biennial, an installation this summer in New York's Madison Square Park, and a survey of generations of her ceramicist Pueblo family at the Norton in Palm Beach, Rose B. Simpson is having an extraordinary year for her art made in a humble adobe studio in New Mexico. For the Cleveland Museum of Art, she reaches for even greater heights, filling the luminous atrium with two 25-foot-tall clay figures detailed with metalwork and with surfaces evoking eroded rock.

When Alvin Ailey established the Alvin Ailey American Dance Theater in 1958, Black culture and storytelling were largely marginalized in American ballet. Yet he uplifted this heritage that he described as “sometimes sorrowful, sometimes jubilant, but always hopeful” into high art. This first major museum show on the late dancer and choreographer joins a multimedia exhibition with a robust program of performances, featuring work from his modern dance company that continues to perform his thought-provoking work.