ARSHAM STILL THINKING TEN IMAGES NO TITLE JUNE 2026

Daniel Arsham posted ten images on June 24, 2026. The caption is three words: "Still thinking on it." No title. No exhibition announcement. No price. For an artist who has a retrospective at Perrotin London running through August, a published autobiography on shelves since March, and a Malbon Golf collab chapter three in motion, the post is not an absence of information. It is an excess of it. ## June 24. Ten Images. No Name for Any of It. There is no work title, no exhibition announcement, no price, and no attribution beyond the post itself. This is how Arsham signals a body of work before it has a name. The practice goes back to his early output at Perrotin, where new pieces appeared in his feed months before press releases arrived. Two days earlier, Finally Offline covered [Arsham's TV drawings](/quick/daniel-arsham-television-drawings-no-archaeology-a7x3k9qz), a side project he described as sitting entirely outside his fictional archaeology practice. Those drawings were titled. These images are not. The distance between the two posts is 48 hours and a significant cognitive shift in how he is choosing to frame what the studio is making. ## Two Decades at Perrotin and the Studio Is Still Running at Full Speed Galerie Perrotin has represented Arsham since 2005, a twenty year partnership that remains the primary institutional anchor for his work. [Time Fold runs at Perrotin London through August 8, 2026](/quick/daniel-arsham-time-fold-perrotin-london-2026-da9k4mx), a survey exhibition centering five archival drawings from 2007 to 2010 shown publicly for the first time, alongside major sculptural works: cast volcanic ash and selenite pieces that crystallize 20th century consumer objects as if excavated from the future. Running a retrospective survey and building new untitled work simultaneously is not unusual for Arsham. His practice is not retrospective by temperament; it is chronological in construction and archaeological in logic. The survey at Perrotin London asks where the practice came from. The June 24 post suggests the studio has already moved past the question. His material vocabulary has expanded in recent years: hydrostone casting bases layered with volcanic ash, selenite, and rose quartz, producing objects that look older than they are by design. Whatever ten images of new work signal, they signal it in that register. Arsham does not post studio process for casual reasons. ## Future Relic Was Published in March. The Studio Did Not Take March Off. Future Relic, Arsham's autobiography, was published in March 2026 by Simon and Schuster. The book traces his path from after Hurricane Andrew in Miami, through Cooper Union in New York, to his early collaborations with choreographer Merce Cunningham, and into the fictional archaeology practice that placed his work in the Centre Pompidou, the ICA Miami, and the Blanton Museum. Writing an autobiography is a retrospective act. Most artists slow down to do it. Arsham's June record suggests he did not. He launched a third chapter of the Malbon Golf collaboration in June, bringing weather resistant outerwear and technical bottoms informed by his fractured aesthetic into a sports and design crossover that extends his reach well past the gallery system. He showed TV drawings at Perrotin. He is now posting ten untitled studio images. The autobiography may have been the thing that cleared his head, not the thing that occupied it. The scale of output matters. An artist this deep in simultaneous production streams, retrospective exhibition, book publication, commercial collaboration, and new untitled studio work does not post "Still thinking on it." as a signal of indecision. It is a signal that the next thing is close but not yet named. ## HK$2.3 Million at Phillips in 2019. The Perrotin Run Since Then Suggests That Floor Has Moved. Phillips sold an Arsham work for HK$2.3 million in 2019. The years since have included the Perrotin London survey, a permanent installation at City of Dreams Macau where [two hollow sculptural heads form walkable interior spaces](/quick/daniel-arsham-turned-two-hollow-heads-into-a-walkable-architecture-mokcbjg8), a published autobiography, and three chapters of a commercial collaboration that built institutional weight rather than diluting it. Each of these placements adds to the argument that his market floor has moved. An untitled body of new work at this stage of his career is not a side project. It is probably a show. Perrotin, his gallery for twenty years, has not yet announced what comes after Time Fold. The ten images posted June 24 may be the earliest signal of what comes after August 8, when the London survey closes. The artist who posted three words and ten images on a Tuesday in June 2026 is 45, has a retrospective running, a book on shelves, and a studio that will not stop. The work does not need a name yet. It will have one.