The late Gerald (“Gerry") Dalton (1935-2019), an Irish-born jack of many trades who, among other jobs, worked for the British railway service, embarked on a remarkable creative adventure after he retired, when he was 60 years old. In a garden space of the apartment building in which he lived in West London, he began making sculptures honoring a deeply personal selection of historical figures, a collection of site-specific, mixed-media works that became a total art environment known as “Gerry’s Pompeii.” Now, after Dalton’s death, efforts are being made to preserve the self-taught art-maker’s distinctive creation — and to celebrate its spirit for the benefit of a broad community. From London, the psychologist and independent curator Victoria Tischler reports.

As someone who lived and worked in Jamaica in the 1980s and has been based in southern Florida for many decades, the painter Lisa Remeny long ago chose to focus her art on an investigation — and celebration — of the vibrant tropical flora of the broader Caribbean region. In her own ways, perhaps unwittingly, she has developed a kind of Tropical Pop; at the same time, some of her images evoke the passion for nature’s fecundity one finds in, say, the works of the 19th-century American painter Martin Johnson Heade. Here, we focus on one of Remeny’s most recent, new paintings, “Boom Shakalaka,” which takes her ideas about her subject matter and her way of handling it in a new direction.

In New York, the 2026 Outsider Art Fair is now in full swing. This international gathering of passionate admirers of art made by self-taught creators whose life experiences have compelled them to produce paintings, drawings, sculptures, and other concoctions that, often, are hard to classify with familiar labels, is the art world’s liveliest, annual fiesta in art-fair form. Here, we share some of our favorite discoveries at this year’s bash. Come join the party!

The 2026 Outsider Art Fair is up and running. Among the many colorful, unusual paintings, drawings, sculptures, and other hard-to-classify artworks on view at this inescapably festive fair, one big, bold, new artwork stands out: “Them! Us!,” a large-scale, mixed-media work by Della Wells and Anne Marie Grgich. This thematically ambitious, timely creation made by two artists who are known for their complex, vibrant collages on paper offers a knock-out spectacle of meticulous needlework and fabric-based collage-making. It’s a bold work that takes the measure of the current political moment with compassion and sass.

The Crypt Gallery in the small, coastal town of St. Ives, in Cornwall, in the southwesternmost corner of England, is the setting for the second and most recent presentation of “Tranceducers: Art of Visionaries, Mediums and Automatists,” a 23-artist group exhibition organized by the independent curator Vivienne Roberts, which was first shown in London last year.