Paul McCartney's Private View of Beatlemania

Beverly Hills, “Paul McCartney Rearview Mirror: Photographs, December 1963 to February 1964”

Paul McCartney was 21 when he photographed himself pulling a face in a London bedroom mirror. Within weeks, the view from his 35 mm Pentax had changed completely. Reporters surrounded the Beatles in Paris, fans chased their taxi through New York and the band improvised moments of privacy in hotel rooms. This selection of 36 photographs offers Beatlemania from the unusually calm position inside the storm. It complements the larger Eyes of the Storm touring exhibition while adding images not previously shown. On view at Gagosian through June 21, 2025.

Boston, “Stanley Whitney: How High the Moon”

Stanley Whitney starts each of his grid paintings in the upper-left corner and lets one block of color call for the next. The structure has remained recognizable for two decades, but the decisions inside it never settle into a formula. More than 100 paintings, drawings, prints and sketchbooks make up the first retrospective to follow the full five decades of Whitney's career. The surprise is not how consistent the grids look, but how differently each one moves. On view at the Institute of Contemporary Art through September 1, 2025.

Los Angeles, “Cataclysm: The 1972 Diane Arbus Retrospective Revisited”

When MoMA mounted a Diane Arbus retrospective in 1972, one year after the photographer's death, the response was enormous and sharply divided. It became the museum's most attended solo exhibition at the time, while critics argued over the intimacy, cruelty and compassion in her portraits. David Zwirner has reconstructed all 113 photographs from that show more than half a century later. The installation revisits both Arbus's work and the cultural shock of seeing it gathered for the first time. On view through June 21, 2025.

Miami, “Olga de Amaral”

Olga de Amaral helped give fiber art its international standing during the 1960s and 1970s, then spent the following decades making the medium increasingly difficult to classify. The Colombian artist weaves, knots, braids and knits works that can resemble sculpture, architecture or a wall of light. One 1976 tapestry climbed six stories; her later Estelas series covered fabric with acrylic and gold leaf. First presented at Fondation Cartier in Paris, this six-decade survey brings 50 works to Miami.

New York, “Rashid Johnson: A Poem for Deep Thinkers”

Rashid Johnson's Anxious Men began in 2015 as urgent faces worked in black soap and wax across tile. The figures later broke apart into mosaics of mirror and ceramic, while Johnson continued moving through painting, film, sculpture and installation. His largest exhibition to date gathers almost 90 works at the Guggenheim and turns the rotunda into a living environment filled with plants. The scale is grand, but the emotional territory remains personal: Black masculinity, fatherhood, anxiety and care.