Rosé and Apricots, 2025
Larica Schnell
Chrissy Moore Art Advisory
Mother to Us All, 2024
Charlotte Evans
Marrow Gallery
This Women’s History Month, Artsy launched Women-Led Galleries Now. The new showcase features more than 300 galleries presenting works by emerging and mid-career women artists from around the world.
To mark the moment, Artsy’s content team went browsing—not as editors, but as would-be collectors—and shared the works we couldn’t stop thinking about. The result is this list. From a painting that captures the bittersweet feeling of a season turning to a tablescape that makes you want to immediately throw a dinner party, these are the works at the top of our wish list.
Charlotte Evans, If Winter Comes, Can Spring Be Far Behind?, 2026
Presented by Marrow Gallery
If Winter Comes, Can Spring Be Far Behind?, 2026
Charlotte Evans
Marrow Gallery
Here in Berlin, the sun has just come out and changed the entire mood of the city. Even if it’s still a “fool’s spring,” it’s a reminder of weather’s enormous influence on one’s outlook. This painting by Charlotte Evans portrays a dark scene: undefined shapes in burgundy, chestnut, and olive that might represent the darkness of a tough winter. Meanwhile, in the foreground, bright yellow and turquoise flowers poke through the murky background. With their creamy shades and graphic outlines, these blooms create a surprising sense of harmony: The signs of new growth appear brighter as the cold season eases off. Evans’s title If Winter Comes, Can Spring Be Far Behind? has this in mind. As the cycle inevitably shifts again, this painting’s hopeful mantra is invaluable sustenance.
—Josie Thaddeus-Johns, lead editor, Berlin
Melissa Joseph, Aunties Inside (Hand-Embellished, Edition 10 of 10), 2021
Presented by ART FOR CHANGE
Aunties Inside (Hand-Embellished, Edition 10 of 10), 2021
Melissa Joseph
ART FOR CHANGE
I love this work by The Artsy Vanguard alum Melissa Joseph because it reminds me of something very familiar: the quiet power of aunties. Growing up in an Indian family, aunties are everywhere—in the kitchen, on the sofa gossiping, giving life advice, and holding the whole family together in ways that often go unnoticed.
Seeing Joseph center them like this feels incredibly resonant. The way the women hold court perfectly captures the subtle authority and warmth aunties have in family spaces.
The piece is based on a photo of the artist’s own aunts, and the original work the print is based on includes fabric and embroidery mirrors that they gave her. That kind of intimacy is familiar to anyone from the diaspora, where family memories and objects carry deep meaning. Living with this print would feel like home, in particular, like walking into a room at a family gathering where the aunties are already there and the stories are about to start.
—Arun Kakar, senior art market editor, London
Jongsuk Yoon, Bom, 2026
Presented by Marian Goodman Gallery
Bom, 2026
Jongsuk Yoon
Marian Goodman Gallery
I first saw Jongsuk Yoon’s paintings at her U.S. solo debut, “Yellow May,” at Marian Goodman Gallery Los Angeles in 2024. I was instantly taken with her large-scale, abstracted landscapes, in which bright and pastel color fields suggest mountains, water, earth, and sky. A sense of harmony prevails across her dreamy, brushy compositions, even when they depict sites of conflict: The Korean German painter has previously referenced North Korea’s Kumgangsan, or “Diamant Mountain,” as a symbol of the country’s traumatic division.
The title of this buoyant oil painting, however, translates to “spring.” It features pink and yellow triangles that just kiss at their bottoms, the yellow form floating ever so lightly above that streak of green. As the bright orange backdrop comes at the viewer, the blue curve along the bottom, and its white lip, offer a sense of grounding. I’d love to live with this painting and study its individual brushstrokes, layers, textures, and color collisions, which will reveal themselves only gradually, day by day.
—Alina Cohen, editor, New York
Larica Schnell, A Feast for Dames, 2025
Presented by Chrissy Moore Art Advisory
A Feast for Dames, 2025
Larica Schnell
Chrissy Moore Art Advisory
As spring approaches and my focus shifts toward hosting at home, this contemporary still life by Larica Schnell feels like an image from my 2026 Pinterest board. With its tapered candles, champagne saucers, and coquette-style ribbons, the lavish tablescape is the epitome of the hyper-feminine dinner party aesthetic. Schnell’s vibrant acrylic brushstrokes capture the ambience of an evening with friends.
The carefully curated table is both celebratory and aspirational, mirroring the tone of its title, A Feast for Dames. Within this scene, Schnell nods to a culture of overconsumption, depicting McDonald’s fries and glasses of Pinot Noir; she juxtaposes the elegance of a formal dinner with the mundanity of fast food. The central imagery of a cake, adorned with red cherries and playful ribbons, feels very symbolic. It serves as a critique of excess, bringing to mind the famous quote, “let them eat cake.”
—Adeola Gay, senior curatorial manager, London
Anna Freeman Bentley, Study for illusion never changed, 2023
Presented by Canopy Collections
Study for illusion never changed , 2023
Anna Freeman Bentley
Canopy Collections
Nothing is alive in Study for illusion never changed (2023) except, perhaps, the room itself. In Anna Freeman Bentley’s oil-on-paper work, the scene is devoid of people, but not of motion and warmth. The room itself becomes the protagonist: pink, fleshy, and inscrutable.
The title adds to the sense of mystery—is the room the eponymous illusion? Who left the door ajar? I never get tired of looking at art that raises more questions than it answers, and this plush, rosy room is both a sweet accent piece (I would put it above my couch) and the type of work I could inspect for ages, trying to pick up on clues that explain the title and the tension of this interior scene.
—Sydney Gelman, copywriter, New York
Nicolina Morra, reverie in blue (pink flamingos), 2025
Presented by Harsh Collective
reverie in blue (pink flamingos), 2025
Nicolina Morra
Harsh Collective
I have a soft spot for small works. I love their intimacy, the way they demand you look closely. Nicolina Morra’s reverie in blue (pink flamingos) (2025) hooked me first with its verticality: the canvas is so narrow that the eye at its center seems squeezed into the frame, distorted by the pressure of its own constraints. The title suggests that the image is drawn from John Waters’s 1972 film Pink Flamingos, likely a close-up on its star, Divine. This adds layers of camp, audacity, and transgressive glamour to the painting. Even taken out of context, Divine’s eye is pretty and unsettling in equal measure—bedecked in glittery pale blue eyeshadow, almost Cinderella-like, with a dramatically arched brow that reads as both a cosmetic choice and a kind of defiance. There’s something here about beauty and conformity, about performance and control. The palette is dreamy; the cropping is severe. I could look at this painting 10 different times and always find something new to say about it.
—Casey Lesser, senior director of content, New York
