Kicking off the academic year with two uplifting shows about how we communicate, learn, and teach, the Philadelphia Art Alliance at UArts welcomes SKZ Monochrome Classrooms and L’école. Emily B. Schilling reviews.

Andrew Wyeth is not widely known as an abstract artist, but maybe he should be. A beautifully configured exhibition at the Brandywine Museum of Art looks closer. Gail Obenreder reviews.

Last month, writer Wendy Univer explored a cutting-edge cadre of artists whose work centers on inclusion from the ground up. Now, she speaks with institutional leaders about integrating and prioritizing disability inclusion.

At UPenn’s Arthur Ross Gallery, four artists consider what shared memory signifies for marginalized peoples, and how they preserve it. Pamela J. Forsythe reviews.

In its exhibition featuring sculptor William Edmondson, who blurred and subverted a lot of what institutions expect from great artists, the Barnes begins to grapple with ways of seeing the artist’s legacy. Hanae Mason reviews.

Disabled artists like Alice Sheppard, Natalie de Segonzac, and Carolyn Lazard prove that access is its own art form, defying a deficit mentality and centering inclusion from the start in exhilarating new art forms. Wendy Univer explores.

Brandywine Museum of Art presents the first major Joseph Stella exhibition in more than 30 years, proving this pioneering, imaginative modernist’s ongoing importance. Gail Obenreder reviews.

Textile artist Carolyn Harper’s Seeking Freedom: Portraits of Mass Incarceration at MUSE Gallery brings us into the lives of the human beings caught in the US prison-industrial complex. Emily B. Schilling reviews.

The Print Center presents Rodrigo Valenzuela: Workforce, a surreal mixed-media exhibition about work, industry, power, and people. Emily B. Schilling reviews.

This spring, Delaware Art Museum boasts a pair of striking but very different exhibitions: Our Red Planet: Anna Bogatin Ott and Estampas de la Raza: Contemporary Prints from the Romo Collection. Gail Obenreder reviews.