This year marks the 150th anniversary of Impressionism, commemorating when, in 1874, a group of French artists deviating from the rigid academic style—including Paul Cézanne, Edgar Degas, Claude Monet, Berthe

Morisot, and Camille Pissarro—put on their own exhibition in Paris. Among the global commemorations of this pivotal cultural shift is the Dallas Museum of Art’s presentation of its own Impressionist holdings. The around ninety works range from pieces by the leading artists of the movement as well as Paul Gauguin, Vincent van Gogh, Henri Matisse, Piet Mondrian, and others who followed and were inspired by this moment of artistic change.

In her late 90s, Zilia Sánchez is finally getting museum recognition for her undulating canvases with biomorphic topographies evoking the female body and the landscape of the moon. This survey of around 30 works

dating between 1950 and 1996 chronicles how the artist expanded her practice, from using abstraction to resist conformity in Cuba to being inspired by the avant-garde community of 1960s New York. Now based in Puerto Rico, she is still experimenting with her distinctive art, which rises and falls from the walls like waves.

From a mosaic tile mural in a New York subway station that bursts with tropical flora to a colossal installation at ICA Boston that draped a replica of Haitian palace ruins in indigo, Firelei Báez has emerged as one of the

most ambitious and inventive contemporary artists, using lush painting and sculpture to engage with issues of borders, myth, and history. Now she returns to the ICA for a sprawling survey that delves into her influences, from her birth in the Dominican Republic to her upbringing in Florida, and all the vibrant complexities of a diaspora.

Women’s bodies are bound, fragmented, and obscured in Christina Ramberg’s paintings, which she began exhibiting in the late 1960s. There is a sense of some external force constantly pushing them into frames and

forms. Although these are her best-known works, this overdue major exhibition on the late Chicago-based artist—billed as the first in three decades—has around 100 pieces, which also display her interest in textiles and abstraction.

Colombian artist Delcy Morelos has described herself as a sorceress who channels the beauty and power of the Earth into her art, which most strikingly includes large-scale immersive environments shaped from natural materials like soil and clay. After presenting a labyrinthine installation at the 2022 Venice Biennale and her first American solo show at Dia Art Foundation in New York in 2023, she debuts another monumental work in St. Louis as part of an exhibition that explores an innovative career that has also involved painting and sculpture.

Showcasing the Shirley Family Calder Collection that was gifted to the Seattle Art Museum in the spring of 2023, this exhibition features more than fifty of Alexander Calder’s sculptures, prints, paintings, and kinetic mobiles that cover the breadth of the artist’s practice from the 1920s until his death in 1976. It kicks off a planned multi-year celebration of Calder and his artistic impact that will include workshops, performances, and more programming, offering insight into how he was captivated by movement and endlessly played with balance and motion.