Eight Gallery Shows to Catch Before November

Seven solo shows and one group exhibition open this season at galleries and DIY spaces across New England, offering a mix of fresh perspectives and overdue debuts. Andrae Green’s layered canvases at the Mills Gallery weave past, present, and future, while YoAhn Han blurs beauty and intensity at Chase Young Gallery. Feda Eid’s self-portraits are shown alongside historical photographs at Abakus Projects, and Autumn Ahn transforms a Somerville space with site-responsive installations. From self-portraits to immersive mixed media, these eight gallery shows, selected by our editors, are all on view within the next thirty days. Ready, set, go.

---

 

“Paradise/Mash-Up,” August 16–November 8, 2025 Mills Gallery at Boston Center for the Arts 551 Tremont Street, Boston, MA Jamaica-born, Western Mass–based artist Andrae Green has likened his paintings to holograms. Past and present flicker back and forth on his canvases; he might show us an image twice or thrice, separating the incarnations by seconds or years. In his painting Icarus II: Flight (2025), drawn from his childhood memories of fearless kids diving from piers in Kingston, we see a boy in triplicate, running, leaping, and—for a moment—soaring like a superhero from the comic books that gave Green his first encounters with art, even as the title and a menacing hook underscore the boy’s vulnerability. In another painting, a contemporary container ship seems to slip on the sails of a different century’s vessel; an onlooker’s parasol and period attire may well date to a time when people were treated as cargo. But as this show makes clear, Green has his eye on the future, too, and hopes encoded in both speculative fiction and spiritual tradition find expression in his otherworldly palette. The blazing red sky above the father and son in Argonauts could be a warning or a delight, according to the rhyme my own father taught me as a child. Green makes me believe it’s the latter. —Jacqueline Houton

“Diaphanous,” August 29–October 11, 2025 Sidle House 20 Bartol Island Road, Freeport, ME Autumn is a time for reaping what you sow, for meeting clear eyed the decisions made thus far, and so it is a fitting moment for self-portraiture—even before we get into any Dorian Gray references that the spookiest season evokes. Sidle House, a century-old barn turned gallery in Freeport, Maine, is the perfect venue for such an exploration, and is exhibiting self-portraiture by  photographer Natalie Nelson, ceramicist Aidan Fraser, and painter Quinn Evans through October 11. It is a show steeped in ambiance, from the interiors of a coastal outbuilding to the interiors of three souls reflected across medium—a show worth an autumn drive. —Jessica Shearer

“YoAhn Han,” September 4–October 18, 2025 Chase Young Gallery 450 Harrison Avenue, #57, Boston, MA At Chase Young Gallery, Yo Ahn Han’s works breathe alive in their shifts between beauty and unease. His work doesn’t just sit on the wall; it pulls you into a space where fragility and intensity blur together. What excites me most is how unpredictable the images are—florals unravel into figures, color bleeds into emptiness, and nothing settles where you expect it. I love when art feels like it’s thinking alongside you, asking questions instead of giving answers. That sense of openness is what lingers long after. —Emmy Liu

“Feda Eid: Made in USA,” September 5–September 28, 2025 Abakus Projects 450 Harrison Avenue, #309A, Boston, MA Feda Eid brings her long-running self-portrait series Made in USA, صنع في أمريكا into a new context at Abakus Projects. Since 2019, Eid has staged herself in vivid red-white-and-blue tableaux built from thrifted textiles, heirloom jewelry, and household objects, reimagining orientalist photographic scenes from the Levant while grappling with her Arab and Muslim American identity. Eid is as much a photographer as she is a set designer, performer, activist, and historian. Her images are visually striking yet layered with histories of violence and resilience—the very forces that shape her practice. Coming of age in the US post-9/11, through the 2017 Muslim Ban, and now as a vocal advocate for Palestinian solidarity, Eid places her body or the bodies of other marginalized peoples in the center of the frame in bold resistance. Here, for the first time, Made in USA is shown alongside selections from the Mohammed B. Alwan collection, a forty-year archive of 4,500 photographs from across the Middle East, North Africa, and the Levant. The juxtaposition exposes photography’s entanglement in colonial gazes while underscoring its potential for reclamation, amplifying Eid’s diasporic lens on memory, inheritance, and belonging. —Jameson Johnson

“Fúnlọ́lá Coker: atukò (navigator),” September 13–October 25, 2025 Drive-by Projects 81 Spring Street, Watertown, MA Atukọ̀ is the Yorùbá word for navigator, and at Drive-by Projects’ storefront gallery, Fúnlọ́lá Coker’s drawings and sculptures are positioned as tools for wayfinding where lines are carved, stamped, and dotted into meandering paths. Some of the drawings are exercises from a 100-day practice with numbers in the top right corner (days 72, 74, 75, etc.). Bright green block print patterns evocative of indigo-dyed patterns of àdìrẹ eleko cloth anchor the composition while black dashes and dots move between the shapes with winding or geometric paths. Others feel more precious—a series of five drawings on handmade paper reveal tiny bits from the artists’ hair dancing across the weave of the page. Coker is a masterful sculptor with an expertise in metal casting (a spindly steel and alabaster sculpture resembling a delicate coatrack stands coyly in the window), but here, a different side of the artist is revealed where pen meets paper.  —Jameson Johnson

“Autumn Ahn,” September 23–November 22, 2025 Anthony Greaney 438 Somerville Avenue, Somerville, MA For conceptual artist Autumn Ahn, space is a source of inspiration, a determining factor, sometimes even an active participant. Together with time and, of course material, Ahn’s drawings and installations intervene with their surroundings to tease out the delicate specifics of human engagement. So I’m especially excited for the Massachusetts-based artist’s upcoming show at Anthony Greaney, a daringly intimate location (first in Boston, now in Somerville) named after its equally disruptive founder. Greaney has long been a supporter of artists who endeavor to transcend the audience’s expectations of the space. In this solo exhibition, Ahn will present her monumental installations made of Hanji—handmade Korean rice paper—in muted organic hues that both reflect and reject their spartan surroundings, challenging our relationship with what a view can be and how we can view it.  —Jessica Shearer

“Yolanda He Hang: After Progress,” October 10–November 8, 2025 The Distillery Gallery 516 E 2nd St, Boston, MA 02127 At the Distillery Gallery, “After Progress” feels like stepping into a sort of collective memory. Dust—as traces of demolition, of labor, of absence—is the main medium. Dust become marks that are left behind, that signal human effort, become ephemeral inscriptions of working-class toil. Yolanda He Yang’s installations make the invisible tangible, letting debris, sound, and light speak together. The show, which includes a twelve-minute performance video of a laborer in bright neon construction gear tracing a series of numbers into the dust, pulls us into a quiet insistence, into the rhythms of care and endurance that confront the invisible multitudes of labor, class, and commodity. —Emmy Liu

“Dominick Cocozza: Me acuerdo (I Remember),” October 16–November 6, 2025 Aunty’s House 25 Acorn Street, Building #35, Providence, RI I encountered Dominick Cocozza’s charming depictions of a Guatemalan worry doll in a small group show juried by Kate McNamara at Gallery 263 last spring. It was just one painting—a doll with a round face, a bright red “O” for a mouth, and wide, glowing eyes staring at a drawing of a figure with long braids—and I couldn’t get it out of my head. Cocozza is a 2024 RISD grad who moved to the US via adoption in 2002 and hadn’t returned to Guatemala until a trip in 2022 that allowed him to reconnect with his Latinx Indigeneity and Maya Tz’utujil heritage. It was a trip that shaped much of where his art practice is today. At Aunty’s House, Cocozza will present eleven recent paintings with dolls dressed in traditional Mayan textiles engaged in a variety of actions, domestic scenes, protests, play, and friendship—some as proxies or avatars for the artist himself. —Jameson Johnson