January is now the most action-packed month of the year for Bay Area artists, galleries and museums, thanks in part to the international crowds that flock to Fort Mason for the opulent FOG Design+Art fair.
In 2026, by my count, we have three additional fairs popping up before and during FOG, along with a dense schedule of openings, events, talks and performances taking place in and around SF Art Week (Jan. 17–25). Compared to the rest of the year, January’s pace can feel a bit frantic. What are we, New York?
If you made a New Year’s resolution to get out more but don’t know where to start, we’ve put together an eclectic list of the month’s noteworthy art events for you. Gather your stamina:
Sahar Khoury, ‘Untitled (2023/2003),’ 2023; Dimensions variable, forged steel and found altered objects. (Robert Divers Herrick)
Manetti Shrem Museum, UC Davis
Jan. 7–June 20, 2026
After a star turn in the Asian Art Museum’s Rave Into the Future show (up through Jan. 26), Oakland artist Sahar Khoury is starting the year off strong with a solo museum exhibition. Khoury’s sculptures repurpose everyday objects (plastic toys, broken wicker chairs) and combine them into elegant assemblages with ceramics, cast iron and brass. Through her materials and their arrangements, Khoury pointedly asks who and what is worthy of preservation, referencing social spaces, family histories and architectural ruins.
Anthony McCall, ‘Line Describing a Cone,’ 1973; Installation view at the Whitney Museum of American Art, New York, 2001. (Photo by Hank Graber; Courtesy of the artist, Sean Kelly New York, and Sprüth Magers)
Fort Mason Center for Arts & Culture, San Francisco
Jan. 11–March 8, 2026
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The British artist Anthony McCall, now 79, developed a way to create artworks from “solid light” in the early ’70s. With the help of fog-machine-like haze, projected light beams sketch three-dimensional shapes in space that people can walk under, reach into and marvel at. (The immersive video installations of today wish they were this beautiful.) Thanks to a partnership with the Kramlich Art Foundation, the elegant Line Describing a Cone, Canonical Solid and Cone of Variable Volume are on display at Fort Mason for two whole months. And the price is right: free.
I once picked up a set of tarot-like cards at the flea market that looked a lot like Sally Scopa’s paintings and drawings: enigmatic, ethereal, speckled with airbrushed gradients. Scopa describes the dots covering her paintings as “tiny, condensed beads of moisture” that submerge or dissolve lines of sight. Recently emerged from our own atmospheric river, this blurred view of the world is a familiar one. Visit this show for a gentle reentry into the regular flow of work and life.
Ken Snodgrass, Municipal Railway Photographer, detail of ‘Cable Car with Passengers Passing Washington Mason Cable Car House, Photographed for Annual Report,’ Oct. 7, 1965. (SFMTA Photo Archive)
In a selection of photographs from the 200,000 images that make up the San Francisco Municipal Transportation Agency’s photo archive, Moving San Francisco charts the history of the city’s public transit system. Cable cars, buses and trains may be the ostensible focus of these images, but the story of San Francisco’s people and its physical growth is a welcome byproduct. The SFMTA needs all the good will (and riders) it can get right now, as the agency faces a budget deficit that could exceed $300 million annually. Long live MUNI!
Barbara Stauffacher Solomon, ‘This is not a ping pong table #8,’ 1990; Oil on canvas with removable net. (Courtesy of the Estate of Barbara Stauffacher Solomon and Anthony Meier, Mill Valley; Photo by Chris Grunder, San Francisco)
Anthony Meier Gallery, Mill Valley
Jan. 15–February 27, 2026
When Barbara Stauffacher Solomon passed away in 2024, she had a supergraphic painted across the San Francisco Museum of Modern Art lobby (still there), and an asphalt artwork planned for the Minna Street corridor (now under construction). But she didn’t have local gallery representation, and opportunities to see her smaller scale artwork in person were rare. Garden = Grid = City is the artist’s first exhibition at Anthony Meier Gallery, which now represents her estate. Included in this show of works on paper, paintings and a supergraphic are Solomon’s Ping-Pong table paintings, hung on the wall with a net attached, capturing the artist’s playful, devastatingly clever approach to making art.
Solée Darrell, ‘Garden of earthly delights,’ 2025; Dye on silk velvet. (Courtesy of the artist and Part 2 Gallery)
I can’t think of a better setting for Solée Darrell’s dreamy silk velvet paintings than Bolinas. The Oakland artist’s alchemical use of powdered and liquid dye continues in a solo exhibition just steps away from the crashing waves of the Pacific.
Established in 2024, SF Art Week enters its third year with over 100 participating institutions, some as far-flung as the Santa Cruz Museum of Art & History and the Sonoma winery/outdoor sculpture garden the Donum Estate. The week kicks off on Jan. 17 with a party hosted by the now-itinerant ICA San Francisco at the Transamerica Pyramid, followed by Marin Art Day on Jan. 18. The best news for us locals is that most of these shows will still be up after the whirlwind week comes to a close.
The FOG Design+Art fair takes place at Fort Mason Center for Arts & Culture. (FOG Design+Art)
The Fairs
FOG Design+Art
Fort Mason, San Francisco
Jan. 22–25, 2026
The big, carpeted daddy of San Francisco art fairs, FOG brings an international roster of art and design galleries to one of the city’s most picturesque spots. The addition of FOG FOCUS two years ago opened the door (a crack) to smaller galleries showing less blue-chip, more emerging artists, but this thing remains extremely high-end. A hidden gem in the midst of all the shiny surfaces is the series of talks put on by the fair, featuring local luminaries getting candid on stage.
For those seeking a slightly more affordable art experience, Minnesota Street Project has pulled together its own version of a fair, with booths set up within the atrium, and a curated program of off-kilter, artist-run projects showing upstairs in the former Rena Bransten space. Guests include Cambria’s Cruise Control Contemporary, San Francisco residency The Space Program, and Oakland’s Cone Shape Top. It’s a welcome experiment at a time when art fairs have become terrifyingly expensive for galleries to participate in. Best of all, admission is free.
Art.Fair.Mont
Fairmont Hotel, San Francisco
Jan. 19–20, 2026
Nine galleries, hailing from places as near as Oakland and as far away as Zimbabwe, are part of this “boutique” art fair in the hotel’s Pavilion Room. Admission is free with a $10 suggested donation, and the whole thing was organized by GCS Agency, recent host of Epicenter, an exhibition of Jacob Rosenberg’s photography of Embarcadero Center’s early ’90s skating scene.
An installation view of Open Invitational in Miami, Florida in 2024. (Oriol Tarridas)
Creativity Explored and progressive art studios from across the country will exhibit (and sell) work by artists with disabilities. This San Francisco event builds on fairs organized by Open Invitational in New York and Miami, alongside those cities’ major art weeks. As artists with disabilities increasingly enter museums exhibitions and collections, this fair is a testament to their place in every strata of the art world.
Theresa Hak Kyung Cha, still from ‘Permutations,’ 1976; 16mm film; black and white, silent, 10 min. (BAMPFA)
Berkeley Art Museum and Pacific Film Archive
Jan. 24–April 19, 2026
I couldn’t be more excited for this show. Cha, an interdisciplinary artist who studied art practice, comparative literature and film at UC Berkeley, has often been defined by what might have been — she died in 1982, at the age of 31. But more recently, her remarkable use of deconstructed language, her avant-garde approach and her influence on later generations of Asian American artists, notably Cathy Park Hong, who wrote about Cha in her 2020 book Minor Feelings, have made it clear just how prolific Cha was in her short career. This will be her first retrospective in 25 years.
dani lopez, detail of ‘Just know it won’t hurt so much forever (REPRISE),’ 2024; Handwoven cotton. (Richmond Art Center)
While you’re at it, why don’t you …
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Explore the foundations of Viola Frey’s practice at Walnut Creek’s Bedford Gallery (Jan. 10–April 5)? Fill in the blanks of Cybele Lyle and Carrie Hott’s Et al. solos by attending the openings on Jan. 16? Or see women become one with their environments in Anoushka Mirchandani’s ICA San José exhibition (Jan. 16–Aug. 23). Get a solid 8 Hours of Rest with artist SoiL Thornton at the Wattis Institute (Jan. 20–March 7)? Find out what happens when 3 Dykes Walk Into a Bar… at dani lopez’s Richmond Art Center textile show (Jan. 21–March 14)?
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"slug": "january-2026-art-guide-sf-berkeley-mill-valley-davis-fog-fair",
"title": "Your Guide to the Bay Area’s Biggest Art Month",
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"content": "\u003cp>January is now the most action-packed month of the year for Bay Area artists, galleries and museums, thanks in part to the international crowds that flock to Fort Mason for the opulent \u003ca href=\"https://www.fogfair.com/\">FOG Design+Art fair\u003c/a>.\u003c/p>\n\u003cp>In 2026, by my count, we have three \u003ci>additional\u003c/i> fairs popping up before and during FOG, along with a dense schedule of openings, events, talks and performances taking place in and around \u003ca href=\"https://sfartweek.com/\">SF Art Week\u003c/a> (Jan. 17–25). Compared to the rest of the year, January’s pace can feel a bit frantic. What are we, New York?\u003c/p>\n\u003cp>If you made a New Year’s resolution to get out more but don’t know where to start, we’ve put together an eclectic list of the month’s noteworthy art events for you. Gather your stamina:\u003c/p>\n\u003cfigure id=\"attachment_13985124\" class=\"wp-caption aligncenter\" style=\"max-width: 1800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13985124\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/Sahar_Khoury_Untitled-2023-2003-Wexner_Robert-Divers-Herrick-.jpg\" alt=\"sculptured made with discarded furniture and metal shaped like numbers\" width=\"1800\" height=\"1350\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/Sahar_Khoury_Untitled-2023-2003-Wexner_Robert-Divers-Herrick-.jpg 1800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/Sahar_Khoury_Untitled-2023-2003-Wexner_Robert-Divers-Herrick--160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/Sahar_Khoury_Untitled-2023-2003-Wexner_Robert-Divers-Herrick--768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/Sahar_Khoury_Untitled-2023-2003-Wexner_Robert-Divers-Herrick--1536x1152.jpg 1536w\" sizes=\"auto, (max-width: 1800px) 100vw, 1800px\">\u003cfigcaption class=\"wp-caption-text\">Sahar Khoury, ‘Untitled (2023/2003),’ 2023; Dimensions variable, forged steel and found altered objects. \u003ccite>(Robert Divers Herrick)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://manettishremmuseum.ucdavis.edu/upcoming-events\">Sahar Khoury: Weights & Measures\u003c/a>’\u003c/h2>\n\u003cp>\u003ci>Manetti Shrem Museum, UC Davis\u003cbr>\nJan. 7–June 20, 2026\u003c/i>\u003c/p>\n\u003cp>After a star turn in the Asian Art Museum’s \u003ci>\u003ca href=\"https://exhibitions.asianart.org/exhibitions/rave-into-the-future/\">Rave Into the Future\u003c/a>\u003c/i> show (up through Jan. 26), Oakland artist Sahar Khoury is starting the year off strong with a solo museum exhibition. Khoury’s sculptures repurpose everyday objects (plastic toys, broken wicker chairs) and combine them into elegant assemblages with ceramics, cast iron and brass. Through her materials and their arrangements, Khoury pointedly asks who and what is worthy of preservation, referencing social spaces, family histories and architectural ruins.\u003c/p>\n\u003cfigure id=\"attachment_13985175\" class=\"wp-caption aligncenter\" style=\"max-width: 1400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/FM_Art_anthony_mccall-2_bigslide.jpg\" alt=\"three people in beam of white light\" width=\"1400\" height=\"891\" class=\"size-full wp-image-13985175\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/FM_Art_anthony_mccall-2_bigslide.jpg 1400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/FM_Art_anthony_mccall-2_bigslide-160x102.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/FM_Art_anthony_mccall-2_bigslide-768x489.jpg 768w\" sizes=\"auto, (max-width: 1400px) 100vw, 1400px\">\u003cfigcaption class=\"wp-caption-text\">Anthony McCall, ‘Line Describing a Cone,’ 1973; Installation view at the Whitney Museum of American Art, New York, 2001. \u003ccite>(Photo by Hank Graber; Courtesy of the artist, Sean Kelly New York, and Sprüth Magers)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://fortmason.org/event/anthony-mccall/\">Anthony McCall: First Light\u003c/a>’\u003c/h2>\n\u003cp>\u003ci>Fort Mason Center for Arts & Culture, San Francisco\u003cbr>\nJan. 11–March 8, 2026\u003c/i>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The British artist Anthony McCall, now 79, developed a way to create artworks from “solid light” in the early ’70s. With the help of fog-machine-like haze, projected light beams sketch three-dimensional shapes in space that people can walk under, reach into and marvel at. (The \u003ca href=\"https://www.kqed.org/arts/13894558/immersive-van-gogh-review-san-francisco\">immersive video installations\u003c/a> of today wish they were this beautiful.) Thanks to a partnership with the Kramlich Art Foundation, the elegant \u003ci>Line Describing a Cone\u003c/i>, \u003ci>Canonical Solid\u003c/i> and \u003ci>Cone of Variable Volume\u003c/i> are on display at Fort Mason for two whole months. And the price is right: free.\u003c/p>\n\u003cfigure id=\"attachment_13985155\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13985155\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/ScopaBnR_2000.jpg\" alt=\"wide rectangular golden paper with delicate painted dots\" width=\"2000\" height=\"1297\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/ScopaBnR_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/ScopaBnR_2000-160x104.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/ScopaBnR_2000-768x498.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/ScopaBnR_2000-1536x996.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Sally Scopa, ‘Wilkinson Park,’ 2025; Acrylic on antique stereocard. \u003ccite>(Bass & Reiner)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Sally Scopa, ‘Atmospheric River’\u003c/h2>\n\u003cp>\u003ci>\u003ca href=\"https://www.bassandreiner.com/\">Bass & Reiner\u003c/a>, San Francisco\u003cbr>\nJan. 10–March 28, 2026\u003c/i>\u003c/p>\n\u003cp>I once picked up a set of tarot-like cards at the flea market that looked a lot like Sally Scopa’s paintings and drawings: enigmatic, ethereal, speckled with airbrushed gradients. Scopa describes the dots covering her paintings as “tiny, condensed beads of moisture” that submerge or dissolve lines of sight. Recently emerged from our own atmospheric river, this blurred view of the world is a familiar one. Visit this show for a gentle reentry into the regular flow of work and life.\u003c/p>\n\u003cfigure id=\"attachment_13985157\" class=\"wp-caption aligncenter\" style=\"max-width: 1600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13985157\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/MSF-webpage-image-2-1600-x-969.jpg\" alt=\"black-and-white image of small chid in front of cable car with passengers\" width=\"1600\" height=\"969\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/MSF-webpage-image-2-1600-x-969.jpg 1600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/MSF-webpage-image-2-1600-x-969-160x97.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/MSF-webpage-image-2-1600-x-969-768x465.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/MSF-webpage-image-2-1600-x-969-1536x930.jpg 1536w\" sizes=\"auto, (max-width: 1600px) 100vw, 1600px\">\u003cfigcaption class=\"wp-caption-text\">Ken Snodgrass, Municipal Railway Photographer, detail of ‘Cable Car with Passengers Passing Washington Mason Cable Car House, Photographed for Annual Report,’ Oct. 7, 1965. \u003ccite>(SFMTA Photo Archive)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://www.sfartscommission.org/experience-art/exhibitions/moving-san-francisco\">Moving San Francisco: Views from the SFMTA Photo Archive 1903–Now\u003c/a>’\u003c/h2>\n\u003cp>\u003ci>San Francisco City Hall\u003cbr>\nJan. 15–June 18, 2026\u003c/i>\u003c/p>\n\u003cp>In a selection of photographs from the 200,000 images that make up the San Francisco Municipal Transportation Agency’s photo archive, \u003ci>Moving San Francisco\u003c/i> charts the history of the city’s public transit system. Cable cars, buses and trains may be the ostensible focus of these images, but the story of San Francisco’s people and its physical growth is a welcome byproduct. The SFMTA needs all the good will (and riders) it can get right now, as the agency faces a budget deficit that could exceed $300 million annually. Long live MUNI!\u003c/p>\n\u003cfigure id=\"attachment_13985159\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13985159\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/SOLO058-image_2000.jpg\" alt=\"\" width=\"2000\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/SOLO058-image_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/SOLO058-image_2000-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/SOLO058-image_2000-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/SOLO058-image_2000-1536x1536.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Barbara Stauffacher Solomon, ‘This is not a ping pong table #8,’ 1990; Oil on canvas with removable net. \u003ccite>(Courtesy of the Estate of Barbara Stauffacher Solomon and Anthony Meier, Mill Valley; Photo by Chris Grunder, San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Barbara Stauffacher Solomon, ‘\u003ca href=\"https://www.anthonymeier.com/exhibitions/barbara-stauffacher-solomon\">Garden = Grid = City\u003c/a>’\u003c/h2>\n\u003cp>\u003ci>Anthony Meier Gallery, Mill Valley\u003cbr>\nJan. 15–February 27, 2026\u003c/i>\u003c/p>\n\u003cp>When Barbara Stauffacher Solomon passed away in 2024, she had a supergraphic painted across the San Francisco Museum of Modern Art lobby (\u003ca href=\"https://www.sfmoma.org/exhibition/barbara-stauffacher-solomon-strips-of-stripes/\">still there\u003c/a>), and an asphalt artwork planned for the Minna Street corridor (\u003ca href=\"https://www.kqed.org/arts/13904311/minna-natoma-art-corridor-sfac-sfmoma-public-works\">now under construction\u003c/a>). But she didn’t have local gallery representation, and opportunities to see her smaller scale artwork in person were rare. \u003ci>Garden = Grid = City\u003c/i> is the artist’s first exhibition at Anthony Meier Gallery, which now represents her estate. Included in this show of works on paper, paintings and a supergraphic are Solomon’s Ping-Pong table paintings, hung on the wall with a net attached, capturing the artist’s playful, devastatingly clever approach to making art.\u003c/p>\n\u003cfigure id=\"attachment_13985160\" class=\"wp-caption aligncenter\" style=\"max-width: 872px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13985160\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/Solee-Darrell_Garden-of-earthly-delights_2025_Dye-on-silk-velvet_38x32-inches.jpg\" alt=\"abstract painting, washy bright colors on dark background\" width=\"872\" height=\"584\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/Solee-Darrell_Garden-of-earthly-delights_2025_Dye-on-silk-velvet_38x32-inches.jpg 872w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/Solee-Darrell_Garden-of-earthly-delights_2025_Dye-on-silk-velvet_38x32-inches-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/Solee-Darrell_Garden-of-earthly-delights_2025_Dye-on-silk-velvet_38x32-inches-768x514.jpg 768w\" sizes=\"auto, (max-width: 872px) 100vw, 872px\">\u003cfigcaption class=\"wp-caption-text\">Solée Darrell, ‘Garden of earthly delights,’ 2025; Dye on silk velvet. \u003ccite>(Courtesy of the artist and Part 2 Gallery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://bolinasmuseum.org/exhibitions/pure-passage-solee-darrell/\">Pure Passage: Soleé Darrell\u003c/a>’\u003c/h2>\n\u003cp>\u003ci>Bolinas Museum\u003cbr>\nJan. 17–March 29, 2026\u003c/i>\u003c/p>\n\u003cp>I can’t think of a better setting for Solée Darrell’s dreamy silk velvet paintings than Bolinas. The Oakland artist’s alchemical use of powdered and liquid dye continues in a solo exhibition just steps away from the crashing waves of the Pacific.\u003c/p>\n\u003ch2>\u003ca href=\"https://sfartweek.com/\">SF Art Week\u003c/a>\u003c/h2>\n\u003cp>\u003ci>All over the Bay Area\u003cbr>\nJan. 17–25, 2026\u003c/i>\u003c/p>\n\u003cp>Established in 2024, SF Art Week enters its third year with over 100 participating institutions, some as far-flung as the \u003ca href=\"https://sfartweek.com/santa-cruz-museum-of-art-history\">Santa Cruz Museum of Art & History\u003c/a> and the Sonoma winery/outdoor sculpture garden the \u003ca href=\"https://sfartweek.com/donum-estate/\">Donum Estate\u003c/a>. The week kicks off on \u003ca href=\"https://www.eventbrite.com/e/sfaw-x-ica-sf-kickoff-party-at-transamerica-pyramid-center-tickets-1979263461293\">Jan. 17 with a party\u003c/a> hosted by the now-itinerant ICA San Francisco at the Transamerica Pyramid, followed by \u003ca href=\"https://sfartweek.com/marin-art-day/\">Marin Art Day\u003c/a> on Jan. 18. The best news for us locals is that most of these shows will still be up after the whirlwind week comes to a close.\u003c/p>\n\u003cfigure id=\"attachment_13985156\" class=\"wp-caption aligncenter\" style=\"max-width: 1002px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13985156\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/25_21.jpg\" alt=\"view of two long pier buildings with Marin Headlands and Golden Gate bridge in background\" width=\"1002\" height=\"668\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/25_21.jpg 1002w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/25_21-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/25_21-768x512.jpg 768w\" sizes=\"auto, (max-width: 1002px) 100vw, 1002px\">\u003cfigcaption class=\"wp-caption-text\">The FOG Design+Art fair takes place at Fort Mason Center for Arts & Culture. \u003ccite>(FOG Design+Art)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>The Fairs\u003c/h2>\n\u003cp>\u003ci>\u003cb>\u003ca href=\"https://www.fogfair.com\">FOG Design+Art\u003c/a>\u003c/b>\u003cbr>\nFort Mason, San Francisco\u003cbr>\nJan. 22–25, 2026\u003c/i>\u003c/p>\n\u003cp>The big, carpeted daddy of San Francisco art fairs, FOG brings an international roster of art and design galleries to one of the city’s most picturesque spots. The addition of FOG FOCUS two years ago opened the door (a crack) to smaller galleries showing less blue-chip, more emerging artists, but this thing remains extremely high-end. A hidden gem in the midst of all the shiny surfaces is the \u003ca href=\"https://www.fogfair.com/programming/\">series of talks\u003c/a> put on by the fair, featuring local luminaries getting candid on stage.\u003c/p>\n\u003cp>\u003ci>\u003cb>\u003ca href=\"https://www.atriumfair.com/\">Atrium & Skylight Above\u003c/a>\u003c/b>\u003cbr>\nMinnesota Street Project, San Francisco\u003cbr>\nJan. 22–25, 2026\u003c/i>\u003c/p>\n\u003cp>For those seeking a slightly more affordable art experience, Minnesota Street Project has pulled together its own version of a fair, with booths set up within the atrium, and a curated program of off-kilter, artist-run projects showing upstairs in the former Rena Bransten space. Guests include Cambria’s \u003ca href=\"https://www.cruisecontrolcambria.com/\">Cruise Control Contemporary\u003c/a>, San Francisco residency \u003ca href=\"https://www.spaceprogramsf.com/\">The Space Program\u003c/a>, and Oakland’s \u003ca href=\"https://coneshapetop.com/\">Cone Shape Top\u003c/a>. It’s a welcome experiment at a time when art fairs have become terrifyingly expensive for galleries to participate in. Best of all, admission is free.\u003c/p>\n\u003cp>\u003ci>\u003cb>\u003ca href=\"https://art-fair-mont.com/\">Art.Fair.Mont\u003c/a>\u003c/b>\u003cbr>\nFairmont Hotel, San Francisco\u003cbr>\nJan. 19–20, 2026\u003c/i>\u003c/p>\n\u003cp>Nine galleries, hailing from places as near as Oakland and as far away as Zimbabwe, are part of this “boutique” art fair in the hotel’s Pavilion Room. Admission is free with a $10 suggested donation, and the whole thing was organized by GCS Agency, recent host of \u003ci>\u003ca href=\"https://www.kqed.org/arts/13983681/epicenter-skateboarding-book-review-jacob-rosenberg-vaillancourt-fountain-preservation\">Epicenter\u003c/a>\u003c/i>, an exhibition of Jacob Rosenberg’s photography of Embarcadero Center’s early ’90s skating scene.\u003c/p>\n\u003cfigure id=\"attachment_13985161\" class=\"wp-caption aligncenter\" style=\"max-width: 1970px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13985161\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/OpenInvitational_2000.jpg\" alt=\"gallery view with many multicolored paintings, sculptures, t-shirts and rugs\" width=\"1970\" height=\"1402\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/OpenInvitational_2000.jpg 1970w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/OpenInvitational_2000-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/OpenInvitational_2000-768x547.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/OpenInvitational_2000-1536x1093.jpg 1536w\" sizes=\"auto, (max-width: 1970px) 100vw, 1970px\">\u003cfigcaption class=\"wp-caption-text\">An installation view of Open Invitational in Miami, Florida in 2024. \u003ccite>(Oriol Tarridas)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>\u003ci>\u003ca href=\"https://www.creativityexplored.org/events-exhibitions/ce-x-openinvitational\">Creativity Explored X Open Invitational\u003c/a>\u003c/i>\u003c/b>\u003cbr>\nEast Cut Pop-Up (215 Fremont St.), San Francisco\u003cbr>\nJan. 23–25, 2026\u003c/p>\n\u003cp>Creativity Explored and progressive art studios from across the country will exhibit (and sell) work by artists with disabilities. This San Francisco event builds on fairs organized by Open Invitational in New York and Miami, alongside those cities’ major art weeks. As artists with disabilities increasingly enter museums exhibitions and collections, this fair is a testament to their place in every strata of the art world.\u003c/p>\n\u003cfigure id=\"attachment_13985158\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13985158\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/03_Cha_Permutations-1976_2000.jpg\" alt=\"black-and-white image of Asian woman from neck up\" width=\"2000\" height=\"1440\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/03_Cha_Permutations-1976_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/03_Cha_Permutations-1976_2000-160x115.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/03_Cha_Permutations-1976_2000-768x553.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/03_Cha_Permutations-1976_2000-1536x1106.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Theresa Hak Kyung Cha, still from ‘Permutations,’ 1976; 16mm film; black and white, silent, 10 min. \u003ccite>(BAMPFA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://bampfa.org/program/theresa-hak-kyung-cha-multiple-offerings\">Theresa Hak Kyung Cha: Multiple Offerings\u003c/a>’\u003c/h2>\n\u003cp>\u003ci>Berkeley Art Museum and Pacific Film Archive\u003cbr>\nJan. 24–April 19, 2026\u003c/i>\u003c/p>\n\u003cp>I couldn’t be more excited for this show. Cha, an interdisciplinary artist who studied art practice, comparative literature and film at UC Berkeley, has often been defined by what might have been — she died in 1982, at the age of 31. But more recently, her remarkable use of deconstructed language, her avant-garde approach and her influence on later generations of Asian American artists, notably \u003ca href=\"https://www.kqed.org/forum/2010101878885/poet-cathy-park-hong-on-minor-feelings-and-anti-asian-racism-in-the-age-of-covid\">Cathy Park Hong\u003c/a>, who wrote about Cha in her 2020 book \u003ci>Minor Feelings\u003c/i>, have made it clear just how prolific Cha was in her short career. This will be her first retrospective in 25 years.\u003c/p>\n\u003cfigure id=\"attachment_13985154\" class=\"wp-caption aligncenter\" style=\"max-width: 1830px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13985154\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/dani-lopez-drink-me.jpg\" alt=\"textile in red, white, black and gray with text 'drink me'\" width=\"1830\" height=\"1220\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/dani-lopez-drink-me.jpg 1830w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/dani-lopez-drink-me-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/dani-lopez-drink-me-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/dani-lopez-drink-me-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1830px) 100vw, 1830px\">\u003cfigcaption class=\"wp-caption-text\">dani lopez, detail of ‘Just know it won’t hurt so much forever (REPRISE),’ 2024; Handwoven cotton. \u003ccite>(Richmond Art Center)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>While you’re at it, why don’t you …\u003c/h2>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Explore the foundations of Viola Frey’s practice at Walnut Creek’s \u003ca href=\"https://www.bedfordgallery.org/exhibitions/current-season/viola-frey-foundations\">Bedford Gallery\u003c/a> (Jan. 10–April 5)? Fill in the blanks of Cybele Lyle and Carrie Hott’s \u003ca href=\"https://etaletc.com/#/\">Et al. solos\u003c/a> by attending the openings on Jan. 16? Or see women become one with their environments in Anoushka Mirchandani’s \u003ca href=\"https://www.icasanjose.org/upcoming-exhibitions/mybodywasariveronce/\">ICA San José exhibition\u003c/a> (Jan. 16–Aug. 23). Get a solid \u003ci>\u003ca href=\"https://www.wattis.org/our-program/on-view/8-hours-of-rest\">8 Hours of Rest\u003c/a>\u003c/i> with artist SoiL Thornton at the Wattis Institute (Jan. 20–March 7)? Find out what happens when \u003ci>\u003ca href=\"https://richmondartcenter.org/exhibitions/dani-lopez/\">3 Dykes Walk Into a Bar…\u003c/a>\u003c/i> at dani lopez’s Richmond Art Center textile show (Jan. 21–March 14)?\u003c/p>\n\n",
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"excerpt": "January is packed with openings, events and art fairs. Let us help you make sense of the schedule.",
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"title": "Your Guide to the Bay Area’s Biggest Art Month | KQED",
"description": "January is packed with openings, events and art fairs. Let us help you make sense of the schedule.",
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"headline": "Your Guide to the Bay Area’s Biggest Art Month",
"datePublished": "2026-01-06T15:54:41-08:00",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>January is now the most action-packed month of the year for Bay Area artists, galleries and museums, thanks in part to the international crowds that flock to Fort Mason for the opulent \u003ca href=\"https://www.fogfair.com/\">FOG Design+Art fair\u003c/a>.\u003c/p>\n\u003cp>In 2026, by my count, we have three \u003ci>additional\u003c/i> fairs popping up before and during FOG, along with a dense schedule of openings, events, talks and performances taking place in and around \u003ca href=\"https://sfartweek.com/\">SF Art Week\u003c/a> (Jan. 17–25). Compared to the rest of the year, January’s pace can feel a bit frantic. What are we, New York?\u003c/p>\n\u003cp>If you made a New Year’s resolution to get out more but don’t know where to start, we’ve put together an eclectic list of the month’s noteworthy art events for you. Gather your stamina:\u003c/p>\n\u003cfigure id=\"attachment_13985124\" class=\"wp-caption aligncenter\" style=\"max-width: 1800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13985124\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/Sahar_Khoury_Untitled-2023-2003-Wexner_Robert-Divers-Herrick-.jpg\" alt=\"sculptured made with discarded furniture and metal shaped like numbers\" width=\"1800\" height=\"1350\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/Sahar_Khoury_Untitled-2023-2003-Wexner_Robert-Divers-Herrick-.jpg 1800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/Sahar_Khoury_Untitled-2023-2003-Wexner_Robert-Divers-Herrick--160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/Sahar_Khoury_Untitled-2023-2003-Wexner_Robert-Divers-Herrick--768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/Sahar_Khoury_Untitled-2023-2003-Wexner_Robert-Divers-Herrick--1536x1152.jpg 1536w\" sizes=\"auto, (max-width: 1800px) 100vw, 1800px\">\u003cfigcaption class=\"wp-caption-text\">Sahar Khoury, ‘Untitled (2023/2003),’ 2023; Dimensions variable, forged steel and found altered objects. \u003ccite>(Robert Divers Herrick)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://manettishremmuseum.ucdavis.edu/upcoming-events\">Sahar Khoury: Weights & Measures\u003c/a>’\u003c/h2>\n\u003cp>\u003ci>Manetti Shrem Museum, UC Davis\u003cbr>\nJan. 7–June 20, 2026\u003c/i>\u003c/p>\n\u003cp>After a star turn in the Asian Art Museum’s \u003ci>\u003ca href=\"https://exhibitions.asianart.org/exhibitions/rave-into-the-future/\">Rave Into the Future\u003c/a>\u003c/i> show (up through Jan. 26), Oakland artist Sahar Khoury is starting the year off strong with a solo museum exhibition. Khoury’s sculptures repurpose everyday objects (plastic toys, broken wicker chairs) and combine them into elegant assemblages with ceramics, cast iron and brass. Through her materials and their arrangements, Khoury pointedly asks who and what is worthy of preservation, referencing social spaces, family histories and architectural ruins.\u003c/p>\n\u003cfigure id=\"attachment_13985175\" class=\"wp-caption aligncenter\" style=\"max-width: 1400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/FM_Art_anthony_mccall-2_bigslide.jpg\" alt=\"three people in beam of white light\" width=\"1400\" height=\"891\" class=\"size-full wp-image-13985175\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/FM_Art_anthony_mccall-2_bigslide.jpg 1400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/FM_Art_anthony_mccall-2_bigslide-160x102.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/FM_Art_anthony_mccall-2_bigslide-768x489.jpg 768w\" sizes=\"auto, (max-width: 1400px) 100vw, 1400px\">\u003cfigcaption class=\"wp-caption-text\">Anthony McCall, ‘Line Describing a Cone,’ 1973; Installation view at the Whitney Museum of American Art, New York, 2001. \u003ccite>(Photo by Hank Graber; Courtesy of the artist, Sean Kelly New York, and Sprüth Magers)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://fortmason.org/event/anthony-mccall/\">Anthony McCall: First Light\u003c/a>’\u003c/h2>\n\u003cp>\u003ci>Fort Mason Center for Arts & Culture, San Francisco\u003cbr>\nJan. 11–March 8, 2026\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The British artist Anthony McCall, now 79, developed a way to create artworks from “solid light” in the early ’70s. With the help of fog-machine-like haze, projected light beams sketch three-dimensional shapes in space that people can walk under, reach into and marvel at. (The \u003ca href=\"https://www.kqed.org/arts/13894558/immersive-van-gogh-review-san-francisco\">immersive video installations\u003c/a> of today wish they were this beautiful.) Thanks to a partnership with the Kramlich Art Foundation, the elegant \u003ci>Line Describing a Cone\u003c/i>, \u003ci>Canonical Solid\u003c/i> and \u003ci>Cone of Variable Volume\u003c/i> are on display at Fort Mason for two whole months. And the price is right: free.\u003c/p>\n\u003cfigure id=\"attachment_13985155\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13985155\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/ScopaBnR_2000.jpg\" alt=\"wide rectangular golden paper with delicate painted dots\" width=\"2000\" height=\"1297\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/ScopaBnR_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/ScopaBnR_2000-160x104.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/ScopaBnR_2000-768x498.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/ScopaBnR_2000-1536x996.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Sally Scopa, ‘Wilkinson Park,’ 2025; Acrylic on antique stereocard. \u003ccite>(Bass & Reiner)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Sally Scopa, ‘Atmospheric River’\u003c/h2>\n\u003cp>\u003ci>\u003ca href=\"https://www.bassandreiner.com/\">Bass & Reiner\u003c/a>, San Francisco\u003cbr>\nJan. 10–March 28, 2026\u003c/i>\u003c/p>\n\u003cp>I once picked up a set of tarot-like cards at the flea market that looked a lot like Sally Scopa’s paintings and drawings: enigmatic, ethereal, speckled with airbrushed gradients. Scopa describes the dots covering her paintings as “tiny, condensed beads of moisture” that submerge or dissolve lines of sight. Recently emerged from our own atmospheric river, this blurred view of the world is a familiar one. Visit this show for a gentle reentry into the regular flow of work and life.\u003c/p>\n\u003cfigure id=\"attachment_13985157\" class=\"wp-caption aligncenter\" style=\"max-width: 1600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13985157\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/MSF-webpage-image-2-1600-x-969.jpg\" alt=\"black-and-white image of small chid in front of cable car with passengers\" width=\"1600\" height=\"969\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/MSF-webpage-image-2-1600-x-969.jpg 1600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/MSF-webpage-image-2-1600-x-969-160x97.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/MSF-webpage-image-2-1600-x-969-768x465.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/MSF-webpage-image-2-1600-x-969-1536x930.jpg 1536w\" sizes=\"auto, (max-width: 1600px) 100vw, 1600px\">\u003cfigcaption class=\"wp-caption-text\">Ken Snodgrass, Municipal Railway Photographer, detail of ‘Cable Car with Passengers Passing Washington Mason Cable Car House, Photographed for Annual Report,’ Oct. 7, 1965. \u003ccite>(SFMTA Photo Archive)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://www.sfartscommission.org/experience-art/exhibitions/moving-san-francisco\">Moving San Francisco: Views from the SFMTA Photo Archive 1903–Now\u003c/a>’\u003c/h2>\n\u003cp>\u003ci>San Francisco City Hall\u003cbr>\nJan. 15–June 18, 2026\u003c/i>\u003c/p>\n\u003cp>In a selection of photographs from the 200,000 images that make up the San Francisco Municipal Transportation Agency’s photo archive, \u003ci>Moving San Francisco\u003c/i> charts the history of the city’s public transit system. Cable cars, buses and trains may be the ostensible focus of these images, but the story of San Francisco’s people and its physical growth is a welcome byproduct. The SFMTA needs all the good will (and riders) it can get right now, as the agency faces a budget deficit that could exceed $300 million annually. Long live MUNI!\u003c/p>\n\u003cfigure id=\"attachment_13985159\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13985159\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/SOLO058-image_2000.jpg\" alt=\"\" width=\"2000\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/SOLO058-image_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/SOLO058-image_2000-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/SOLO058-image_2000-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/SOLO058-image_2000-1536x1536.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Barbara Stauffacher Solomon, ‘This is not a ping pong table #8,’ 1990; Oil on canvas with removable net. \u003ccite>(Courtesy of the Estate of Barbara Stauffacher Solomon and Anthony Meier, Mill Valley; Photo by Chris Grunder, San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Barbara Stauffacher Solomon, ‘\u003ca href=\"https://www.anthonymeier.com/exhibitions/barbara-stauffacher-solomon\">Garden = Grid = City\u003c/a>’\u003c/h2>\n\u003cp>\u003ci>Anthony Meier Gallery, Mill Valley\u003cbr>\nJan. 15–February 27, 2026\u003c/i>\u003c/p>\n\u003cp>When Barbara Stauffacher Solomon passed away in 2024, she had a supergraphic painted across the San Francisco Museum of Modern Art lobby (\u003ca href=\"https://www.sfmoma.org/exhibition/barbara-stauffacher-solomon-strips-of-stripes/\">still there\u003c/a>), and an asphalt artwork planned for the Minna Street corridor (\u003ca href=\"https://www.kqed.org/arts/13904311/minna-natoma-art-corridor-sfac-sfmoma-public-works\">now under construction\u003c/a>). But she didn’t have local gallery representation, and opportunities to see her smaller scale artwork in person were rare. \u003ci>Garden = Grid = City\u003c/i> is the artist’s first exhibition at Anthony Meier Gallery, which now represents her estate. Included in this show of works on paper, paintings and a supergraphic are Solomon’s Ping-Pong table paintings, hung on the wall with a net attached, capturing the artist’s playful, devastatingly clever approach to making art.\u003c/p>\n\u003cfigure id=\"attachment_13985160\" class=\"wp-caption aligncenter\" style=\"max-width: 872px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13985160\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/Solee-Darrell_Garden-of-earthly-delights_2025_Dye-on-silk-velvet_38x32-inches.jpg\" alt=\"abstract painting, washy bright colors on dark background\" width=\"872\" height=\"584\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/Solee-Darrell_Garden-of-earthly-delights_2025_Dye-on-silk-velvet_38x32-inches.jpg 872w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/Solee-Darrell_Garden-of-earthly-delights_2025_Dye-on-silk-velvet_38x32-inches-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/Solee-Darrell_Garden-of-earthly-delights_2025_Dye-on-silk-velvet_38x32-inches-768x514.jpg 768w\" sizes=\"auto, (max-width: 872px) 100vw, 872px\">\u003cfigcaption class=\"wp-caption-text\">Solée Darrell, ‘Garden of earthly delights,’ 2025; Dye on silk velvet. \u003ccite>(Courtesy of the artist and Part 2 Gallery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://bolinasmuseum.org/exhibitions/pure-passage-solee-darrell/\">Pure Passage: Soleé Darrell\u003c/a>’\u003c/h2>\n\u003cp>\u003ci>Bolinas Museum\u003cbr>\nJan. 17–March 29, 2026\u003c/i>\u003c/p>\n\u003cp>I can’t think of a better setting for Solée Darrell’s dreamy silk velvet paintings than Bolinas. The Oakland artist’s alchemical use of powdered and liquid dye continues in a solo exhibition just steps away from the crashing waves of the Pacific.\u003c/p>\n\u003ch2>\u003ca href=\"https://sfartweek.com/\">SF Art Week\u003c/a>\u003c/h2>\n\u003cp>\u003ci>All over the Bay Area\u003cbr>\nJan. 17–25, 2026\u003c/i>\u003c/p>\n\u003cp>Established in 2024, SF Art Week enters its third year with over 100 participating institutions, some as far-flung as the \u003ca href=\"https://sfartweek.com/santa-cruz-museum-of-art-history\">Santa Cruz Museum of Art & History\u003c/a> and the Sonoma winery/outdoor sculpture garden the \u003ca href=\"https://sfartweek.com/donum-estate/\">Donum Estate\u003c/a>. The week kicks off on \u003ca href=\"https://www.eventbrite.com/e/sfaw-x-ica-sf-kickoff-party-at-transamerica-pyramid-center-tickets-1979263461293\">Jan. 17 with a party\u003c/a> hosted by the now-itinerant ICA San Francisco at the Transamerica Pyramid, followed by \u003ca href=\"https://sfartweek.com/marin-art-day/\">Marin Art Day\u003c/a> on Jan. 18. The best news for us locals is that most of these shows will still be up after the whirlwind week comes to a close.\u003c/p>\n\u003cfigure id=\"attachment_13985156\" class=\"wp-caption aligncenter\" style=\"max-width: 1002px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13985156\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/25_21.jpg\" alt=\"view of two long pier buildings with Marin Headlands and Golden Gate bridge in background\" width=\"1002\" height=\"668\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/25_21.jpg 1002w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/25_21-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/25_21-768x512.jpg 768w\" sizes=\"auto, (max-width: 1002px) 100vw, 1002px\">\u003cfigcaption class=\"wp-caption-text\">The FOG Design+Art fair takes place at Fort Mason Center for Arts & Culture. \u003ccite>(FOG Design+Art)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>The Fairs\u003c/h2>\n\u003cp>\u003ci>\u003cb>\u003ca href=\"https://www.fogfair.com\">FOG Design+Art\u003c/a>\u003c/b>\u003cbr>\nFort Mason, San Francisco\u003cbr>\nJan. 22–25, 2026\u003c/i>\u003c/p>\n\u003cp>The big, carpeted daddy of San Francisco art fairs, FOG brings an international roster of art and design galleries to one of the city’s most picturesque spots. The addition of FOG FOCUS two years ago opened the door (a crack) to smaller galleries showing less blue-chip, more emerging artists, but this thing remains extremely high-end. A hidden gem in the midst of all the shiny surfaces is the \u003ca href=\"https://www.fogfair.com/programming/\">series of talks\u003c/a> put on by the fair, featuring local luminaries getting candid on stage.\u003c/p>\n\u003cp>\u003ci>\u003cb>\u003ca href=\"https://www.atriumfair.com/\">Atrium & Skylight Above\u003c/a>\u003c/b>\u003cbr>\nMinnesota Street Project, San Francisco\u003cbr>\nJan. 22–25, 2026\u003c/i>\u003c/p>\n\u003cp>For those seeking a slightly more affordable art experience, Minnesota Street Project has pulled together its own version of a fair, with booths set up within the atrium, and a curated program of off-kilter, artist-run projects showing upstairs in the former Rena Bransten space. Guests include Cambria’s \u003ca href=\"https://www.cruisecontrolcambria.com/\">Cruise Control Contemporary\u003c/a>, San Francisco residency \u003ca href=\"https://www.spaceprogramsf.com/\">The Space Program\u003c/a>, and Oakland’s \u003ca href=\"https://coneshapetop.com/\">Cone Shape Top\u003c/a>. It’s a welcome experiment at a time when art fairs have become terrifyingly expensive for galleries to participate in. Best of all, admission is free.\u003c/p>\n\u003cp>\u003ci>\u003cb>\u003ca href=\"https://art-fair-mont.com/\">Art.Fair.Mont\u003c/a>\u003c/b>\u003cbr>\nFairmont Hotel, San Francisco\u003cbr>\nJan. 19–20, 2026\u003c/i>\u003c/p>\n\u003cp>Nine galleries, hailing from places as near as Oakland and as far away as Zimbabwe, are part of this “boutique” art fair in the hotel’s Pavilion Room. Admission is free with a $10 suggested donation, and the whole thing was organized by GCS Agency, recent host of \u003ci>\u003ca href=\"https://www.kqed.org/arts/13983681/epicenter-skateboarding-book-review-jacob-rosenberg-vaillancourt-fountain-preservation\">Epicenter\u003c/a>\u003c/i>, an exhibition of Jacob Rosenberg’s photography of Embarcadero Center’s early ’90s skating scene.\u003c/p>\n\u003cfigure id=\"attachment_13985161\" class=\"wp-caption aligncenter\" style=\"max-width: 1970px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13985161\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/OpenInvitational_2000.jpg\" alt=\"gallery view with many multicolored paintings, sculptures, t-shirts and rugs\" width=\"1970\" height=\"1402\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/OpenInvitational_2000.jpg 1970w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/OpenInvitational_2000-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/OpenInvitational_2000-768x547.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/OpenInvitational_2000-1536x1093.jpg 1536w\" sizes=\"auto, (max-width: 1970px) 100vw, 1970px\">\u003cfigcaption class=\"wp-caption-text\">An installation view of Open Invitational in Miami, Florida in 2024. \u003ccite>(Oriol Tarridas)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>\u003ci>\u003ca href=\"https://www.creativityexplored.org/events-exhibitions/ce-x-openinvitational\">Creativity Explored X Open Invitational\u003c/a>\u003c/i>\u003c/b>\u003cbr>\nEast Cut Pop-Up (215 Fremont St.), San Francisco\u003cbr>\nJan. 23–25, 2026\u003c/p>\n\u003cp>Creativity Explored and progressive art studios from across the country will exhibit (and sell) work by artists with disabilities. This San Francisco event builds on fairs organized by Open Invitational in New York and Miami, alongside those cities’ major art weeks. As artists with disabilities increasingly enter museums exhibitions and collections, this fair is a testament to their place in every strata of the art world.\u003c/p>\n\u003cfigure id=\"attachment_13985158\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13985158\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/03_Cha_Permutations-1976_2000.jpg\" alt=\"black-and-white image of Asian woman from neck up\" width=\"2000\" height=\"1440\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/03_Cha_Permutations-1976_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/03_Cha_Permutations-1976_2000-160x115.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/03_Cha_Permutations-1976_2000-768x553.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/03_Cha_Permutations-1976_2000-1536x1106.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Theresa Hak Kyung Cha, still from ‘Permutations,’ 1976; 16mm film; black and white, silent, 10 min. \u003ccite>(BAMPFA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://bampfa.org/program/theresa-hak-kyung-cha-multiple-offerings\">Theresa Hak Kyung Cha: Multiple Offerings\u003c/a>’\u003c/h2>\n\u003cp>\u003ci>Berkeley Art Museum and Pacific Film Archive\u003cbr>\nJan. 24–April 19, 2026\u003c/i>\u003c/p>\n\u003cp>I couldn’t be more excited for this show. Cha, an interdisciplinary artist who studied art practice, comparative literature and film at UC Berkeley, has often been defined by what might have been — she died in 1982, at the age of 31. But more recently, her remarkable use of deconstructed language, her avant-garde approach and her influence on later generations of Asian American artists, notably \u003ca href=\"https://www.kqed.org/forum/2010101878885/poet-cathy-park-hong-on-minor-feelings-and-anti-asian-racism-in-the-age-of-covid\">Cathy Park Hong\u003c/a>, who wrote about Cha in her 2020 book \u003ci>Minor Feelings\u003c/i>, have made it clear just how prolific Cha was in her short career. This will be her first retrospective in 25 years.\u003c/p>\n\u003cfigure id=\"attachment_13985154\" class=\"wp-caption aligncenter\" style=\"max-width: 1830px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13985154\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/dani-lopez-drink-me.jpg\" alt=\"textile in red, white, black and gray with text 'drink me'\" width=\"1830\" height=\"1220\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/dani-lopez-drink-me.jpg 1830w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/dani-lopez-drink-me-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/dani-lopez-drink-me-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/dani-lopez-drink-me-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1830px) 100vw, 1830px\">\u003cfigcaption class=\"wp-caption-text\">dani lopez, detail of ‘Just know it won’t hurt so much forever (REPRISE),’ 2024; Handwoven cotton. \u003ccite>(Richmond Art Center)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>While you’re at it, why don’t you …\u003c/h2>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Explore the foundations of Viola Frey’s practice at Walnut Creek’s \u003ca href=\"https://www.bedfordgallery.org/exhibitions/current-season/viola-frey-foundations\">Bedford Gallery\u003c/a> (Jan. 10–April 5)? Fill in the blanks of Cybele Lyle and Carrie Hott’s \u003ca href=\"https://etaletc.com/#/\">Et al. solos\u003c/a> by attending the openings on Jan. 16? Or see women become one with their environments in Anoushka Mirchandani’s \u003ca href=\"https://www.icasanjose.org/upcoming-exhibitions/mybodywasariveronce/\">ICA San José exhibition\u003c/a> (Jan. 16–Aug. 23). Get a solid \u003ci>\u003ca href=\"https://www.wattis.org/our-program/on-view/8-hours-of-rest\">8 Hours of Rest\u003c/a>\u003c/i> with artist SoiL Thornton at the Wattis Institute (Jan. 20–March 7)? Find out what happens when \u003ci>\u003ca href=\"https://richmondartcenter.org/exhibitions/dani-lopez/\">3 Dykes Walk Into a Bar…\u003c/a>\u003c/i> at dani lopez’s Richmond Art Center textile show (Jan. 21–March 14)?\u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game and Brown has some lessons he'd like to share. ",
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"marketplace": {
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"mindshift": {
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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"politicalbreakdown": {
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"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"pri-the-world": {
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"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
"radiolab": {
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"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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"reveal": {
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"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
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"officialWebsiteLink": "https://www.revealnews.org/episodes/",
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},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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"order": 16
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},
"science-friday": {
"id": "science-friday",
"title": "Science Friday",
"info": "Science Friday is a weekly science talk show, broadcast live over public radio stations nationwide. Each week, the show focuses on science topics that are in the news and tries to bring an educated, balanced discussion to bear on the scientific issues at hand. Panels of expert guests join host Ira Flatow, a veteran science journalist, to discuss science and to take questions from listeners during the call-in portion of the program.",
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},
"snap-judgment": {
"id": "snap-judgment",
"title": "Snap Judgment",
"tagline": "Real stories with killer beats",
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