uzomah ugwu 5/29/26 uzomah ugwu 5/29/26

Marina Adams: Works on Paper- A Survey

Peter Blum Gallery presented the exhibition Works on Paper: A Survey by New York and Italy-based artist Marina Adams. Spanning over three decades from 1994 to 2025, this marks the first exhibition dedicated to surveying the artist’s works on paper practice. It was on view from April 9, 2026, with an artist reception from 6 – 8 pm, through May 29, 2026 at 176 Grand Street, New York, NY. An artist’s conversation with curators Raymond Foye and Claire Gilman on May 19, 2026, coincides with a new 108-page hardcover publication entitled Marina Adams–Works on Paper: A Survey.

Marina Adams has developed a dynamic practice of clear and powerful abstract language that explores the possibilities of form and movement through the structural power of color. Understanding abstraction not as theory but as a "synthesis of body and mind," Adams’s work embraces what John Keats termed "negative capability"—the ability to exist within uncertainties and mysteries without reaching after fact or reason. Drawing inspiration from the natural world, textiles, and the rhythmic cadences of poetry and music, Adams engages in a timeless dialogue with Modernist artists—including Henri Matisse, Joan Mitchell, and Willem de Kooning—while maintaining a singular and contemporary voice.

As curator Raymond Foye notes: “In Marina Adams’s work, content and form continually swap places. Her shapes often suggest vessels—the urn, the body, the cello, things that are both full and empty, resonant and still. Masterful drawing and brushwork trace the contours of a personal space, an experience of self, where forms move freely but forcefully, sometimes pushing, sometimes yielding. This drama is most keenly played out in the bounding lines, where Adams takes the work to the edge and leaves it there. Energy continues off the page in every direction. To understand these works, imagine mass communication, and then imagine its opposite.”

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Installation view, Marina Adams: Works on Paper: A Survey, April 9, 2026 – May 29, 2026, Peter Blum Gallery, New York. Photo: Courtesy of the artist and Peter Blum Gallery

Spanning from 1994 to 2025, the exhibition traces a "full circle" evolution of form in Adams’s visual vocabulary, beginning with her time in Italy during the 1990s. Inspired by the essential structures of umbrella pines, her Roma series (1994) articulates the relationship between line and shape, where the edge of a tree becomes the edge of a leaf, opening up space. Reflecting a much later relocation to Long Island in 2021, the newest works in the exhibition from 2025 display a return to nature in these "tree forms" that have evolved into a rhythmic architecture where the organic and the geometric become indistinguishable.

Marina Adams *1996_135x119*, 1996 India ink, gouache, and enamel on paper Overall: 135 x 119 inches (342.9 x 302.3 cm) Three sheets: 45 x 119 inches (114.3 x 302.3 cm)

A cornerstone of the presentation is the large-scale work entitled 1996_135x119. This abutting three-sheet composition from a series first shown in Heide Fasnacht’s TriBeCa loft in 1996, showcases her gestural energy and the enduring influence of natural forms. Similarly, several examples from the Erotics series of the 2000s provide a link to her more distilled abstractions. By utilizing collage and appropriating images from Japanese Shunga and the Kama Sutra, Adams used found fabric to "reveal and conceal" sexual forms. This initial impulse to layer and cover has since transformed into an exploration of how color and form occupy space as a singular, resonant presence.

Marina Adams *New Alphabet*, 2010 Gouache on handmade Indian Khadi paper Overall (variable): 78 x 100 inches (198.1 x 254 cm) Twenty sheets: 12 x 12 inches (30.5 x 30.5 cm)

The collective experience is explored in major groupings such as the twenty-sheet work New Alphabet (2010). Adams’s shapes take on the weight of a lexicon of color saturated symbols that feel ancient yet new, suggesting a way of communicating beyond speech. Body and Soul (2017) pushes this further, channeling the improvisational spirit of Black classical music and the fluidity of the human form. Here, vessel shapes become more apparent—curving, organic lines that suggest the hollow of a cello or the arch of a torso in saturated colors. Italia Tre (2019) reflects a return to the light and palette of the Mediterranean, where the balance between "the struggle and the ease" is played out in vibrant, interlocking planes of color. The emphasis on the organic and the immediate is found in a newer work, La Danse (2024). Comprised of nine sheets, this lively grouping functions as a rhythmic architecture where the distinction between the tree forms of her formative years and her later geometry becomes intertwined.

Central to the works is Adams’s technical range and commitment to transparency and directness as exemplified by a selection of later individual works. By working primarily with gouache, acrylic, Flashe, and crayon, she avoids the reflective sheen of oil, favoring matte surfaces that pull the viewer into the "physicality of drawing." These media allow for a quickness of hand, capturing the energy of the initial gesture before it can be overthought. Yet in works from such series as Magic Square (2017) and A Series of Dreams (2022), Adams also employs watercolor to achieve a unique translucency that departs from her more opaque works. With more fluid washes, her forms soften, capturing a dreamlike state anchored by her characteristically dynamic and rhythmic brushwork.

Marina Adams (b. 1960, Orange, NJ) is based in New York, NY, Bridgehampton, NY, and the hills outside of Parma, Italy. She earned degrees from Tyler School of Art at Temple University (Philadelphia) and Columbia University (New York). She is the recipient of the John Simon Guggenheim Memorial Fellowship (2016) and the Award of Merit Medal for Painting from the American Academy of Arts and Letters (2018). Her work is in the collections of the Museum of Modern Art (New York), Metropolitan Museum of Art (New York), Modern Art Museum of Fort Worth (Fort Worth, TX), Buffalo AKG Art Museum (Buffalo, NY), Longlati Foundation (Shanghai), Colby College Museum of Art (Waterville, ME), K11 Art Foundation (Hong Kong, China), and The Rennie Collection (Vancouver, Canada) among others.

The exhibition opened on April 9 and closed today, May 29, 2026. There was an Artist Reception: April 9, 6 – 8 pm, and an Artist Conversation + Book Launch: May 19, 6 – 8 pm. For more information about this exhibition and others at the Peter Blum Gallery, please visit the Gallery’s site here. The magazine also did a review of the show, which can be found here.

uzomah ugwu 5/25/26 uzomah ugwu 5/25/26

ROBERT RAUSCHENBERG: Important Early Works from the Cy Twombly Foundation

Cy Twombly and Robert Rauschenberg at the Stable Gallery, New York, 1953 Courtesy Fondazione Nicola Del Roscio

NEW YORK,—Gagosian is pleased to announce an exhibition of six important early works by Robert Rauschenberg from the Cy Twombly Foundation. Organized during the centennial of Rauschenberg’s birth, this presentation accompanies the exhibition of works by Marcel Duchamp that will inaugurate the gallery’s new ground-floor space in the historic building at 980 Madison Avenue, with both opening on April 25.

From left to right: Robert Rauschenberg Untitled (Elemental Sculpture), 1953 Wood, nails, rope, and stone Variable dimensions © 2026 Robert Rauschenberg Foundation/Artists Rights Society (ARS), NY Photo: Owen Conway Courtesy Gagosian Robert Rauschenberg Untitled, 1961 Metal, wire, tin can, electric cord, and light bulb with stool 27 × 34 × 15 inches (68.6 × 86.4 × 38.1 cm) © 2026 Robert Rauschenberg Foundation/Artists Rights Society (ARS), NY Photo: Owen Conway Courtesy Gagosian

Rauschenberg and Twombly met in 1951 at the Art Students League of New York and subsequently attended Black Mountain College near Asheville, North Carolina, before traveling together throughout Italy, Morocco, and Spain in 1952 and 1953. Key milestones of Rauschenberg’s early development, the works from Twombly’s collection on view are especially significant given the close friendship and substantial exchanges of ideas that took place between the two artists.

The exhibition features one of Rauschenberg’s earliest known surviving sculptures, an assemblage he made in 1950. Whereas much of his production of 1950–51 was lost, destroyed, or incorporated into new works, this sculpture was kept and preserved by Twombly. Also included is Untitled (1950), a life-size photogram that is among the most recognized of the blueprint works that Rauschenberg and Susan Weil made in collaboration shortly before they were married.

Additional pieces include key examples from the Black Painting, Elemental Sculpture, and Combine series. Together, they chart Rauschenberg’s engagement with Duchamp’s radical reconception of art making and his commitment to acting in the gap between art and life, while anticipating the incorporation of technology and performance into his practice. In conjunction with the gallery’s Duchamp exhibition, this presentation confirms the contemporary relevance of this branch of the twentieth-century avant-garde.

The exhibition will be accompanied by a catalog featuring an essay by curator and Rauschenberg scholar Susan Davidson. This exhibition opened on April 25 and will run through to June 27, 2026, at the gallery’s 980 Madison at 76th Street, New York location

The exhibition opened on April 25 and will be on view until June 27, 2026. For more information about the artists represented by Gagosian and other exhibitions at the gallery, please visit the gallery’s site here . The gallery can also be found on Pinterest , X , YouT ube, Faceboo k , Instag ram , and Art sy . For Robert Rauschenberg’s biographical information and exhibition history, please visit here.

uzomah ugwu 5/22/26 uzomah ugwu 5/22/26

Chema Madoz

2Sin título, 2025 50 x 60 cm Fotografía b/n sobre papel Ed. 1/15

“I would like the viewer to leave the room with the awareness that traveling does not require to move, that everything around us can reveal a different side simply by changing our point of view, and that poetry can exist right in our own room. ”

— Chema Madoz, 2020

Galería Elvira González presents, during the PHotoEspaña 2026 Festival, the fifth solo exhibition by photographer Chema Madoz (Madrid, 1958). The exhibition brings together 34 photographs from 2024 and 2025.

INSTALLATION VIEW: Chema Madoz 2026, Photo Courtesy of Galería Elvira González

For decades, Madoz has produced his images from everyday objects, photographed in the studio with natural light. Rooted in surrealism and influenced by René Magritte, his work is intuitive and driven by the unexpected. “What interests me is the idea of discovery, of perceiving mystery within the everyday.” He works with one or two elements at a time, only with black and white which brings him to childhood and the dreamlike. The combinations he establishes between objects disrupt conventional logic, and in this way, his photographs convey the sensation of encountering something both familiar and strange.

Courtesy of Brutos TV and Galería Elvira González

Among the new works, a recurring motif in his career, a cage, appears open; the birds that have escaped now scatter across a map. In another image, a falconry glove holds, instead of the talons of a bird of prey, a butterfly. In this way, Madoz introduces us to the idea that things in the world are not entirely self-evident. No matter how domesticated they might be, or how clearly named or defined, objects always retain something for themselves.

Sin título, 2025 60 x 50 cm Fotografía b/n sobre papel Ed. 1/15

Madoz describes it as follows: “For me, in some way, each object carries with it a word or a set of concepts determined by its use, form, or evocative capacity. Playing with them, when determining their position or their relationship with others, alters and multiplies their possible meanings. It opens up cracks in perception and offers us an idea of reality that is tremendously malleable.”

Chema Madoz en la Galería Elvira González © Alex Mena

Chema Madoz (Madrid, 1958) is a central figure in the contemporary Spanish photography scene. From the 1990s onward he developed a personal visual language rooted in the everyday object as a starting point for the construction of images with a strongly conceptual character. In 1999 the Museo Nacional Centro de Arte Reina Sofía presented Objetos 1990–1999, the first exhibition of a living Spanish photographer held at the museum. In 2000 Madoz was awarded with the Premio Nacional de Fotografía from the Ministry of Culture, and that same year he became the first Spanish artist to receive the Premio PhotoEspaña. His work has been shown in numerous Spanish and international institutions, including the Real Sociedad Fotográfica de Madrid, the Canal de Isabel II in Madrid, Centre Pompidou in Paris, the Netherland Photomuseum in Rotterdam, the Fondazione M. Marangoni in Florence, Museo de Bellas Artes in Caracas, and FotoFest International in Houston. In October 2026, Canal de Isabel II will host Manual de un distraído, a selection of 94 photographs dated between 2015 and 2025.

The exhibition opened on May 5 and will conclude on July 10, 2026. For more information about this exhibition and others at Galería Elvira González please visit their site here. The gallery can also be found on Facebook, Instagram, X, and Vimeo.

uzomah ugwu 5/20/26 uzomah ugwu 5/20/26

Little Birds and Our Daily Prayers

Little Birds and Our Daily Prayers is a beautiful group exhibition that just opened in Tribeca through June 28 at The Locker Room (253 Church St). Bringing together 13 impressive artists of various backgrounds (ages 24-65) who engage, grapple with, and dispute how Queerness transforms the everyday, the show is co-curated by Cameron Barker,an artist & educator whose drawing & printmaking centers around visibility of queer intimacy—as a queer Jew, Barker is interested in destabilizing cultural systems that force communities to engage in closeting to avoid persecution (he's also taught at Yale & otheruniversities).

Chris Minard, *A Moment of Pageant Ennui (The Only Gay Bar For 200 Miles*), 2025, Oil on Linen, 60 x 36 inches

Faygeleh in Yiddish means “little bird” and has historically been used as a slur for “girly” boys. This exhibition imagines a reclamation of the term—birds, after all, possess an extraordinary ability to find their flock even in dire conditions. The featured works move beyond Queerness as identity and toward Queerness as essence—a divine energy that animates mundane life. It is an essence that outs us: irrepressible, embodied, in the soul—swishing our hips and lisping our lips. Girly boys, boyly girls, and all our siblings who do not fit—we sing a similar song and we listen. We answer one another’s prayers. Our existence become reliquary.

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INSTALLATION VIEW: Little Birds and Our Daily Prayers Group Exhibition 2026, Photo Courtesy of Locker Room, NYC

Rites, traditions, and rituals are associated with organized religion, but queerness is a language so ancient that religion can only attempt to mimic its cadence: rites counted in bumps in the road beneath motorbikes, in sweat sacraments made on dark dance floors, and in daily rituals enacted through the wettest application of lip gloss imaginable. These rites appear throughout the exhibition, particularly in Anthony Viti’s works made of moving blankets, Chris Minard’s meticulous depiction of “the only gay bar in 200 miles", and Robert Martin’s reverential portrait of a boy in his underwear standing in a marsh with the solemnity of a saint awaiting canonization. Instead of the typical rainbow of colors associated with commercial queerness, the 22 works in this exhibition are largely moody monochromes or limited color palettes, signifying a celebratory muddying that occurs with perseverance. Examples include Abbey Gilbert’s cyanotypes on newspaper; graphite, charcoal, and ink drawings by Brett Park, Cameron Barker, and Creighton Baxter; and Khari Johnson-Ricks’ welded steel works.

From NYC and the Northeast (MA, CT, PA, NJ), plus West Virginia, Wisconsin, New Orleans, the group includes Anthony Viti (a Pollock-Krasner grant recipient with works in museum collections including The Metropolitan Museum of Art) and Creighton Baxter whose live performances of swallowing images have been done at MoMA and MOCA LA(both artists work with found surfaces—blankets, discarded papers—engaging technical rituals of accumulation & removal, they archive acts of queer being, and evidence of the body itself); painter Chris Minard (also an art director/set designer currently working on new Gremlins movie/has worked on TV shows like Russian Doll, The Americans); photographer Abbey Gilbert whose work is driven by desire & longing with particular emphasis on relationships with past & present lovers; sculptors Khari Johnson-Ricks (whose works are in library collections of The Met, Whitney, MoMA) and Earthen Clay who both transform obstacles into sites of self-reflection & growth, where strength emerges through connection (Clay forms relics of bodies shaped by oppressive conditions, Johnson-Ricks welds steel through tension, rhythm, and heat, mending material through intensity); Brett Parkwho explores the dialectics of queerness through (w)holes—using a vernacular of breeze blocks, cutouts, and silhouettes, he questions the material & psychic architectures that subsume bodies; and show co-curator Cameron Barker.

Rounding out the group are West Virginia-based Anthony Peyton Young (a 2024 Fire Island Artist Residency participant whose work is in the collection of the Museum of Fine Arts, Boston); Marla McLeod (currently a studio resident at the Boston Center for the Arts), Mia Fabrizio (an artist-in-residence at The Studios at MASS MoCA), Wisconsin-based Robert Martin (awarded New American Paintings Emerging Artist Grant in 2021 and a featured artist at the Denver Art Museum in 2022); and Ryan Leitner (a 2024 resident artist at the Joan Mitchell Foundation).

Here's a link to short bios for each artist. For more information about this exhibition and others at the Locker Room, please visit the Locker Room's site here. The gallery can also be found on Instagram here.

uzomah ugwu 5/18/26 uzomah ugwu 5/18/26

WHIPPED CREAM & OTHER DELIGHTSFRAENKEL at ORTUZAR

MARTINE GUTIERREZ Whipped Cream & Other Delights, 2026 mixed media collage & original LP © Martine Gutierrez, courtesy RYAN LEE Gallery, New York, and Fraenkel Gallery, San Francisco

Fraenkel Gallery presents Whipped Cream & Other Delights, a two-week pop-up residency at Ortuzar in New York, on view May 9–21 in the gallery’s West Broadway space. Reflecting Fraenkel Gallery’s idiosyncratic approach to photography and its intersections with other media, the exhibition moves freely through centuries and brings together works by Eadweard Muybridge, Diane Arbus, and Robert Adams alongside more recent “delights” by Martine Gutierrez, Kota Ezawa, and Liz Deschenes—some created specifically for this project. An opening reception will take place Saturday, May 9, from 3-5pm.

HIROSHI SUGIMOTO Cinerama Dome, Hollywood, 1993 gelatin silver print © Hiroshi Sugimoto, courtesy Fraenkel Gallery, San Francisco and Lisson Gallery

The exhibition takes its title from a new piece by Martine Gutierrez, in which she inserts herself into the iconic cover of Herb Alpert’s 1965 album of the same name, playing on the uncanny resemblance between her performative self-portraits and the model famously draped in whipped cream. Interweaving the unexpected with the canonical, the exhibition juxtaposes an 1887 study of a man lifting a dumbbell by Eadweard Muybridge with an eighteen-part typology of water towers by Bernd & Hilla Becher. Other highlights include a 1955 “paste-up” by Bay Area artist Jess, whose fiercely personal work weaves together text and image fragments drawn from an eclectic range of sources, and John Waters’s fabled Faux Video Room installation from 2006. A new work by Carrie Mae Weems, The Law of Diminishing Returns, explores the intersection of history and memory in connection with the transatlantic slave trade.

The residency at Ortuzar reflects Fraenkel Gallery’s long-standing belief in the value of collaboration, bringing together the sensibilities of both galleries while reaching new audiences. As Fraenkel Gallery President Daphne Palmer states: “It’s simple: we enjoy working with our friends. Given the challenges of today’s art world, it makes sense to nurture alliances and build on mutual strengths. We were especially drawn to working with our great colleagues at Ortuzar because their artists and ours often seem in unspoken dialogue with one another.”

ROBERT ADAMS Berthoud, Colorado, 1976 gelatin silver print © Robert Adams, courtesy Fraenkel Gallery, San Francisco

Ortuzar founder Ales Ortuzar adds: “Fraenkel Gallery has consistently expanded the conversation around photography and how it is understood within contemporary art. We’ve long admired their program, so it’s a pleasure to welcome them to Ortuzar for this project. The exhibition captures something we both value—unexpected connections between artists, ideas, and generations.”

Since 1979, Fraenkel Gallery has presented nearly 400 exhibitions exploring photography and its relation to the other arts. Based in San Francisco, the gallery exhibits and publishes significant works of art across a variety of media spanning two centuries.

Founded in New York by Ales Ortuzar in 2018, Ortuzar represents artists who play a significant role in the development of twentieth- and twenty-first-century art. Through well- researched exhibitions, global institutional placements, and market leadership, the gallery advances the careers and legacies of artists and estates.

Concurrent with Whipped Cream & Other Delights, Fraenkel Gallery will partner with New York’s Metrograph theater for Fraenkel Gallery Presents, a selection of highlights from the Fraenkel Film Festival. Held annually at San Francisco’s Roxie Theater, the series invites gallery artists to select films that have shaped their creative, intellectual, or aesthetic outlook. From May 8-10 and May 15-17, Metrograph will present films chosen by Lee Friedlander, Nan Goldin, Martine Gutierrez, Christian Marclay, Wardell Milan, and Hiroshi Sugimoto.

Fraenkel Gallery will be at Ortuzar until May 21, 2026. Ortuzar is located at 221 W. Broadway, New York. For more information about the Fraenkel Gallery, please visit he re. Inf ormation about Ortuzar is also available here.

uzomah ugwu 5/13/26 uzomah ugwu 5/13/26

Daniel Hauben: Emergence

BRONX, NY — The Kingsbridge Historical Society (KHS), located at 2570 Independence Avenue in the Bronx, will host an exhibition of artwork by celebrated Bronx painter Daniel Hauben from May 1 through June 30. An opening reception was held on May 1, from 5 to 8 PM, with additional public events happening on May 24 and June 21.

This exhibition offers a rare opportunity to experience the artist’s monumental cityscapes, sculpted oil reliefs, and landscapes both real and imagined. Featured among these works are several recent pieces, including the 21-foot Reflecting on the Familiar and the 9-foot centerpiece painting Emergence.

Hauben is widely recognized as one of the Bronx’s most versatile and prolific painters. Working primarily in oil and pastel, he has spent more than five decades documenting the landscape and unique character of the borough he calls home. He has also traveled widely, painting wherever he goes. When travel ceased during the pandemic, Hauben began painting Emergence, which he describes as “a 6-year odyssey into the realm of the imagination.”

Visitors to the exhibition will have the opportunity to engage more deeply with Hauben’s work during a special event on Sunday, May 24 at 1 PM, which will feature a time-lapse video presentation of the evolution of Emergence, along with an artist talk and guided gallery tour. On Sunday, June 21, KHS will host a fundraising event, during which Hauben will sell prints of his work and the organization From The Bronx will offer a wide variety of Bronx-themed merchandise for sale. A portion of the proceeds will benefit KHS and its programs.

Daniel Hauben, *Emergence*, 2026, Oil on canvas and wood, 54 x 108 inches, Photo by Adi Talwar

The exhibition will be held in the historic Edgehill building, home of the Kingsbridge Historical Society. “This will be a unique opportunity to view Danny’s art work in a NYC landmark building,” said Nick Dembowski, Executive Director of KHS.

This program is supported, in part, by public funds from the New York City Department of Cultural Affairs and the NYC Department of Youth and Community Development in partnership with the City Council. The Kingsbridge Historical Society's programs are made possible by the New York State Council on the Arts with the support of the Office of the Governor and the New York State Legislature.2

About the Kingsbridge Historical Society

The Kingsbridge Historical Society is the first, and oldest, local historical society in the Bronx. Founded in 1949, KHS is a cultural institution dedicated to preserving and celebrating the rich history of the Kingsbridge and Riverdale area communities. In 2022 the KHS took ownership of the landmark Edgehill building, which was constructed in 1889 and is listed on the National Register of Historic Places

Exhibition hours are 11 AM to 3 PM on Sundays, Mondays, and Tuesdays, and admission is free. The exhibition will remain on view through June 30, 2026. Further information and additional open hours can be found here. The magazine also did an interview with Daniel which can be found here.

uzomah ugwu 5/8/26 uzomah ugwu 5/8/26

Marcel Duchamp

NEW YORK, —Gagosian is pleased to announce a significant presentation of key works by Marcel Duchamp to inaugurate the gallery’s new ground-floor space in the historic building at 980 Madison Avenue. The exhibition, opened on April 25, 2026, and brings a selection of works—including all of the artist’s most iconic readymades—back to the location where these editions made their American debut in a 1965 exhibition at Cordier & Ekstrom Gallery. It also coincides with Duchamp’s first retrospective in the United States since 1973, which is on view at the Museum of Modern Art, New York, until August 22. It all started with Duchamp,

**Marcel Duchamp** *L.H.O.O.Q.*, 1964 (after 1919 original) Pencil and white gouache on printed paper 11 7/8 × 9 1/8 inches (30.2 × 23 cm) Edition 19/35 + 3 AP © Association Marcel Duchamp/ADAGP, Paris/Artists Rights Society (ARS), New York 2026 Photo: Owen Conway Courtesy Gagosian

“I couldn’t imagine a better artist or a more critical body of work to be the first exhibited in our new gallery at 980 Madison, a building he showed in just over sixty years ago. ”

— Larry Gagosian

Marcel Duchamp 2026, installation view © Association Marcel Duchamp/ADAGP, Paris/Artists Rights Society (ARS), New York 2026 Photo: Owen Conway Courtesy Gagosian

The exhibition features the readymades that Duchamp produced in 1964 with the help of Italian gallerist Arturo Schwarz, given that many of the originals had been lost or destroyed over the years. Of these, Roue de bicyclette (Bicycle Wheel) (1964, after 1913 lost original) is the only surviving example not currently in the collection of a major international institution; other works on view include Fountain (1964, after 1917 lost original); L.H.O.O.Q. (1964, after 1919 original); Porte-bouteilles (Bottle Dryer) (1964, after 1914 lost original); and Boîte-en-valise (1935–49; contents 1935–41). In these works, Duchamp memorialized his own oeuvre while subverting ideas of artistic integrity, authorship, and originality.

**Marcel Duchamp** *Fresh Widow*, 1964 (after 1920 original) Paint, wood, metal, leather, and glass 31 7/8 × 22 5/8 × 5 3/4 inches (81 × 57.5 × 14.4 cm) “Ex Arturo” (1 of 2 AP) + edition of 8 + 2 HC © Association Marcel Duchamp/ADAGP, Paris/Artists Rights Society (ARS), New York 2026 Photo: Owen Conway Courtesy Gagosian

The exhibition illustrates Duchamp’s continuing relevance to the work of contemporary artists who make use of recontextualization and irony. It illuminates his redirection of art toward a more conceptual realm, which laid the ground for Dada and Neo-Dada, Minimalism, performance art, and Fluxus. Duchamp withdrew the hand of the artist, paving the way for Andy Warhol and Jeff Koons; used found objects and addressed “non-art” subjects, informing the work of Robert Rauschenberg and Jasper Johns; and embraced the operation of chance, inspiring artists from Urs Fischer to Damien Hirst.

**Marcel Duchamp** *Porte-chapeau (Hat Rack)*, 1964 (after lost 1917 original) Wood 9 1/8 × 18 × 13 1/8 inches (23 × 45.7 × 33.3 cm) “Ex Arturo” (1 of 2 AP) + edition of 8 + 2 HC © Association Marcel Duchamp/ADAGP, Paris/Artists Rights Society (ARS), New York 2026 Photo: Rob McKeever Courtesy Gagosian

The exhibition is accompanied by a book featuring statements by the artist, an essay by art historian and graphic designer Don Quaintance, and an interview with Koons about Duchamp’s enduring influence that also appears in the Spring 2026 issue of Gagosian Quarterly. For Marcel Duchamp’s biographical information and exhibition history, please visit gagosian.com.

Gagosian inaugurated its new Upper East Side gallery with an exhibition that celebrates Marcel Duchamp and his enduring influence, featuring all of the artist’s most iconic readymades, at the ground-floor Location at 980 Madison. The exhibition opened on April 25 and will be on view until June 27, 2026. For more information about the artists represented by Gagosian and other exhibitions at the gallery, please visit the gallery’s site here. The gallery can also be found on Pinterest, X, YouTube, Facebook, Instagram, and Artsy.

Daudi Karungi 5/7/26 Daudi Karungi 5/7/26

Mona Taha: A Walk in Makindye

Mona Taha, Barakah (Abundance_ Bounty), 2025, Ink, watercolor, and acrylic on paper collage, 72x56cm, ©Mona Taha, Courtesy of Afriart Gallery and the Artist.

Afriart Gallery is pleased to present A Walk in Makindye, a new body of work by Mona Taha. This new body of work emerges from repeated walks through Makindye, the Kampala neighborhood where she moves between home and studio along quiet roads lined with trees, undergrowth, birds, and small animals. In these daily passages through a green and lived-in part of the city, observation becomes ritual. Walking becomes a way of looking, and looking becomes a way of returning to the self.

This body of work also emerges from a period of pause within the artist’s practice. After several years of consistent production and public presentation, Taha stepped away from exhibiting for over a year, turning instead toward research, reflection, and a more private process of self-inquiry. During this time, she revisited materials, experimented with new combinations of mediums, and allowed herself to work without the immediate pressures of exhibition or outcome. The paintings presented here are the result of that interval of quiet exploration works that grow out of a renewed attentiveness to process, to observation, and to the subtle ways in which inner experience finds form in the natural world around her.

INSTALLATION VIEW 2, A Walk in Makindye, Mona Taha, Courtesy of Afriart Gallery 2026, Photo by James Wasswa.jpg

INSTALLATION VIEW 1, A Walk in Makindye, Mona Taha, Courtesy of Afriart Gallery 2026, Photo by James Wasswa.jpg

INSTALLATION VIEW 3, A Walk in Makindye, Mona Taha, Courtesy of Afriart Gallery 2026, Photo by James Wasswa.jpg

INSTALLATION VIEW 4, A Walk in Makindye, Mona Taha, Courtesy of Afriart Gallery 2026, Photo by James Wasswa.jpg

INSTALLATION VIEW 5, A Walk in Makindye, Mona Taha, Courtesy of Afriart Gallery 2026, Photo by James Wasswa.jpg

INSTALLATION VIEW 6, A Walk in Makindye, Mona Taha, Courtesy of Afriart Gallery 2026, Photo by James Wasswa.jpg

INSTALLATION VIEW 8, A Walk in Makindye, Mona Taha, Courtesy of Afriart Gallery 2026, Photo by James Wasswa.jpg

INSTALLATION VIEW 9, A Walk in Makindye, Mona Taha, Courtesy of Afriart Gallery 2026, Photo by James Wasswa.jpg

INSTALLATION VIEW 10, A Walk in Makindye, Mona Taha, Courtesy of Afriart Gallery 2026, Photo by James Wasswa.jpg

INSTALLATION VIEW: A Walk in Makindye, Mona Taha, Courtesy of Afriart Gallery 2026, Photo by James Wasswa

Alongside her visual practice, Taha maintains a close relationship with poetry, both reading and writing it regularly. The reflective tone in her paintings often echoes the structure of a poem built through fragments, pauses, and subtle shifts in atmosphere rather than direct narrative. Much like poetry, her compositions allow meaning to unfold gradually through layers of color and gesture, creating a contemplative space that invites viewers to slow down and reflect.

Yet these works are not simple celebrations of landscape. They do not present nature as scenery, nor as escape in any naïve sense. Instead, Taha approaches nature as a space of reorientation: a place where the self can soften, unravel, and be reassembled. In a time marked by speed, overload, uncertainty, and emotional fatigue, this gesture becomes especially resonant. These paintings do not deny the chaos of contemporary life; they propose another rhythm within it.

Mona Taha, Rahma ( Mercy_ also Womb), 2025, Mixed media and cutouts on paper, 69.5x47cm, ©Mona Taha, Courtesy of Afriart Gallery and the Artist.

Working with watercolor, ink, coffee, tea, and collage, Taha builds images through accumulation, staining, interruption, and response. Her process allows fluid materials to spread, pool, fade, and settle with a degree of unpredictability. Rather than imposing total control, she collaborates with the medium, letting it generate its own atmosphere and logic. This openness is central to the work: form is not fixed from the beginning, but discovered through process.

The collage elements intensify this language. Often made from fragments, offcuts, and remnants of earli er works, they introduce a visual structure of rupture and return. These strips do not merely decorate the image; they act like interruptions, membranes, or thresholds across the picture plane. They obscure and reveal. They divide and connect. Through them, fragments that once seemed discarded are brought back into relation, suggesting that brokenness, excess, and incompletion can themselves become generative.

INSTALLATION VIEW: A Walk in Makindye, Mona Taha, Courtesy of Afriart Gallery 2026, Photo by James Wasswa

This is especially significant in the treatment of the figure. Taha’s subjects do not dominate the landscape; they seem to emerge through it and with it. Their bodies share the tonal atmosphere of the surrounding space, at times nearly dissolving into washes of greens, blues, and earthen color. The human form becomes porous, held within an ecology rather than standing apart from it. In these works, nature is not the background. It is a structure, a presence, and a companion.

Mona Taha, Resting Place, 2026, Ink, watercolor, acrylic on paper collage, 74.5x58cm, ©Mona Taha, Courtesy of Afriart Gallery and the Artist.

If Taha’s earlier practice often centered the self through portraiture and interior searching, this body of work marks a subtle but important shift. A self-taught artist with a background in economics, Taha initially turned to drawing as a way of navigating questions of identity and personal experience. Many of her early works took the form of self-portraits, using the human face and body as sites through which to explore emotion, vulnerability, and transformation. These portraits often reflected moments of introspection, grappling with personal change, the complexities of motherhood, and the evolving understanding of self within the rhythms of everyday life.

While the inquiry into selfhood remains central to her practice, it is no longer held solely within the face or body. In this new body of work, that exploration expands outward into the surrounding environment into light, vegetation, atmosphere, and the organic rhythms of the natural world. The figure is no longer isolated as the primary subject but becomes part of a wider ecology of forms and sensations. What emerges is a visual language of abundance, but not excess; of beauty, but not decoration; of softness, but not passivity, suggesting a practice that continues to grow from personal reflection while opening itself to a broader sense of connection and renewal.

Looking at these new works, I felt that they resonate with a longer art historical lineage in which artists have approached nature as a symbolic language for inner life. In the late nineteenth century, figures associated with Symbolism, such as Odilon Redon and Gustav Klimt, turned to atmosphere, landscape, and the human figure to evoke psychological and spiritual states rather than simply depict the visible world. This sensibility continued across the twentieth and twenty-first centuries through artists who explored the relationship between the body, the environment, and the unseen dimensions of experience from the metaphysical investigations of Hilma af Klint and the intimate landscapes of Georgia O’Keeffe to the layered and fragmented figuration of Wangechi Mutu. Within this broader lineage, Taha’s work contributes a contemporary voice in which nature, material process, and the human figure become intertwined sites of reflection and renewal.

In the context of today’s world with its wars, digital saturation, private anxieties, and collective disorientation, these works feel quietly urgent. They return us to the possibility that restoration may begin in attention: in walking, in pausing, in re-entering the more-than-human world with humility. Taha’s paintings offer no grand solution. What they offer instead is something rarer: an image of coexistence, of slowness, and of the self not as sealed or isolated, but as something capable of being remade through contact, care, and presence.

Taha treats nature not as a place one visits, but as a condition through which one becomes visible again. In this sense, the works invite us quietly and without insistence to take a walk of our own.

For more information about this exhibition, please visit the gallery’s site here. The gallery can also be found on Instagram and Artsy. The magazine did an interview with the artist Mona Tahaa, which can be found here. Along with an interview with the curator Daudi Karungi, available here.

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Nam June Paik: Rewind / Repeat

SEOUL—Gagosian is pleased to announce Nam June Paik: Rewind / Repeat, the first exhibition in twenty-five years to be presented by the Estate of Nam June Paik in Seoul, his place of birth. The exhibition, which opened on April 1, 2026, surveys the groundbreaking artist’s career and includes significant historical works such as For London and Abroad (Mailbox) (1982) and TV Bra for Living Sculpture (1969), as well as others that have not been previously exhibited. Nam June

**Nam June Paik** *Gold TV Buddha*, 2005 Closed-circuit video (color, silent), 27-inch monitor, video camera, tripod, cables, and permanent oil marker on gilded bronze Buddha 31 1/2 x 26 x 85 inches (80 x 66 x 215.9 cm) © Nam June Paik Estate Photo: Paula Abreu Pita Courtesy the Brooklyn Museum and Gagosian

Paik: Rewind / Repeat is on view at the headquarters of Amorepacific, the world-renowned Korean beauty company, in the center of Seoul, and takes place in the APMA Cabinet, a project space on the ground floor of the David Chipperfield–designed building.

Paik studied classical music and art at the University of Tokyo and combined this training with a radical aesthetic approach, introducing the technology of television into the realm of fine art as early as the 1950s. Paik moved to West Germany in 1956, where he joined the Fluxus group, and eight years later relocated to New York. There, he drew on his international background and extensive network to develop a practice that incorporated painting, sculpture, performance, music, and electronic media. Although frequently referred to as the father of video art, Paik anticipated a variety of subsequent developments in media and communications, a prescience that continues to unfold as culture is shaped by emergent technologies.

Nam June Paik Rewind / Repeat, 2026 Installation view © Nam June Paik Estate Photo: Jeon Byung Cheol Courtesy Gagosian

In 1963 Paik began visiting Tokyo to study television and robotics. It was there that he met engineer Shuya Abe and began to explore connections between technology and the human body. TV Bra for Living Sculpture, on view at APMA Cabinet, is a clear vinyl undergarment incorporating two small black-and-white television sets housed in plexiglass boxes. The singular garment was designed for musician and performance artist Charlotte Moorman, who first wore it during a performance at the opening of the exhibition TV as a Creative Medium at Howard Wise Gallery, New York, in 1969. On that occasion, Moorman played sounds on her cello that altered the televisions’ images in various ways, helping to realize Paik’s aim of humanizing this ubiquitous device.

**Nam June Paik** *Bakelite Robot*, 2003 Single-channel video (color, silent), LCD monitors, Bakelite radios, electric lights, media player, and permanent oil marker 50 1/2 x 56 3/8 x 9 inches (128.3 x 143.2 x 22.9 cm) © Nam June Paik Estate Photo: Ben Blackwell Courtesy Gagosian

Another work, Bakelite Robot (2003), is composed of vintage radios acquired from thrift stores and markets, which Paik adapted to screen video footage. The dials of six of the radios have been replaced with TV monitors showing specially produced videos composed of material from science- fiction films, recordings of vintage robot toys, and excerpts from earlier video edits. In the iconic Gold TV Buddha (2005), a late entry in the TV Buddha series (1974–2005), a gilded, painted bronze statue of Buddha meditates before a closed-circuit video camera and monitor, embodying the intersection of ancient spirituality and modern media, Eastern and Western thought.

**Nam June Paik** *TV Bra for Living Sculpture*, 1969 Cathode ray tubes, television casing, acrylic, vinyl, safety pins, footswitch, tape, cables, and transformer Variable dimensions © Nam June Paik Estate Photo: Ben Blackwell Courtesy Gagosian

Also on view are other projects including a carved wood “painting,” Orchestra (1991); Untitled [Cage Composite] (2005), a tribute to John Cage and Merce Cunningham (both of whom collaborated with Paik and had a significant influence on Fluxus); and Media Sandwich (1961–64). This early work, one of Paik’s first installations, marks the artist’s decision to move away from musical composition and make use of electronics. It incorporates eight German electronics magazines, eight ten-inch Japanese phonograph records, and an antique rotogravure print of a man offering a message to a boy. Paik has inscribed the image with the year of its production, 1832, and the year of his own birth, a hundred years later.

NAM JUNE PAIK’s’ Rewind / Repeat had a press conference on Wednesday, April 1, from 2–3 pm. There was also an opening reception on Wednesday, April 1, from 5–7 pm. The exhibition opened on April 1 and will be on view until May 16, 2026, at the APMA Cabinet Amorepacific Headquarters 100 Hangang-daero, 1/F, Yongsan-gu, Seoul. For Nam June Paik’s biographical information and exhibition history, please visit here. For more information about the artists represented by Gagosian and other exhibitions at the gallery, please visit the gallery’s site here. The gallery can also be found on Pinterest, X, YouTube,Facebook, Instagram, and Artsy.

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THOMAS HOUSEAGO. SCULPTURES. BANCA MARCH GARDEN.

*Aluminium Construction No. 1 (Giant)*. Courtesy of the Artist and Xavier Hufkens, Brussels

This spring, Banca March reopened its gardens in Madrid to the public to mark its centenary with the presentation of Thomas Houseago. Sculptures. Banca March Garden, the first exhibition in Spain by the British sculptor.

The exhibition, which opened to the public on 1 May, underlines the commitment of Banca March to culture and art while commemorating its 100-year history with a celebration of its origins and its vision for renewal and growth, both reflected in the motto chosen to celebrate its centenary, A Future with History.

José Luis Acea, CEO of Banca March, states: “Since Banca March was founded in 1926, we have evolved and constantly adapted to the times. We are heirs to a way of doing things that seeks to create lasting value for our community. Our business model is based on specialisation in private banking and corporate advisory services, with a philosophy of shared growth with clients, employees, shareholders, and society. This includes an unwavering commitment to art and culture as a fundamental element of the Group. The works of Thomas Houseago, exhibited in the Banca March garden in Madrid, will accompany us throughout this year of celebration as a reminder that the future of our institution will find inspiration in the values of its past to continue evolving.”

The exhibition, conceived in collaboration with Vande, an international firm specialising in the private sale of works of art and cultural production, will bring together seven monumental sculptures made with traditional materials such as plaster, bronze, and aluminum, combined with industrial and natural elements like iron rods and hemp.

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Installation view: Thomas Houseago. Sculptures. Banca March Garden 1 May – 30 October 2026 Banca March Gardens Calle Castelló, 75, Madrid, Spain Photo: Courtesy the artist and Banca March Garden

Thomas Houseago comments: “As a sculptor, I try to translate my thoughts and energy into an inert material and imbue it with truth and form, and I believe there is nothing more profound than achieving that.”

In this way, Houseago's works reflect his interest in bridging the gap between art history—from ancient and classical sculpture to the modern tradition of the 20th century, from Rodin to Picasso—and contemporary popular culture, with references ranging from David Bowie's Ziggy Stardust to George Lucas's Darth Vader. This intersection of influences defines his own unique language, in which tradition and modernity coexist without hierarchy.

Among the pieces that will form part of the exhibition are the monumental Large Walking Figure I (Leeds), 2013, almost five metres tall, and the recent Janus-Mirror-Figure, 2025, which exemplifies the intersection of primitive influences and contemporary language that characterises the work of the artist.

Anne Pontégnie, the exhibition's curator, notes: “At the heart of his practice lies the human figure. The sculptor constructs fragmented bodies, marked surfaces, and open structures that make the creative process visible. Often incomplete, broken, or hollow, his figures and masks convey vulnerability and resilience. Their scale allows them to shape and activate space, directly engaging the viewer, while their fragility lends them emotional and existential depth.”

*Moon Figure I*. Courtesy of the Artist and Xavier Hufkens, Brussels

This emphasis on the human and the connection between legacy and innovation resonates with Banca March's own trajectory. Houseago's honest and direct sculptural language connects with the institution's century-old philosophy: a family-owned institution, now in its fourth generation, whose model has taken shape in a corporate culture of strong values such as commitment, high standards, effort, integrity, and ambition.

Portrait of Thomas Houseago. Photo: Joshua White

About Thomas Houseago

Thomas Houseago (Leeds, UK, 1972) is one of the most prominent contemporary sculptors of his generation. He studied at Central Saint Martins in London in the early 1990s, and later at De Ateliers in Amsterdam. After spending several years in Brussels, he moved to Los Angeles, where he has lived and worked since 2004. His work has been exhibited internationally at major institutions, including TANK Shanghai, China (2023); the Centre Pompidou-Metz, France (2022); the Musée d'Art Moderne de la Ville de Paris (2019); the Royal Academy, London (2019); the Galleria Borghese, Rome (2013); the Storm King Art Center, New York (2013); and Inverleith House, Edinburgh (2011).

About the Banca March Garden

Located on Calle Castelló, the Banca March garden is a verdant oasis in the shadow of an iconic early 20th-century building in Madrid's Salamanca district. Its landscape design is characterized by the integration of art and nature, which converge across its more than 1,600 square meters. Scattered throughout its dense vegetation are several ponds alongside sculptures by prominent contemporary artists such as Cristina Iglesias. Although it shares a block with the Juan March Foundation, it is a unique and distinct space, only open to the public during special occasions, such as this one, when Banca March wishes to share the garden with the community to celebrate its centenary.

About Banca March

Banca March is one of Spain’s leading banks specialising in private and corporate banking. It is also the only bank that has been wholly family-owned since its foundation in 1926. In line with its philosophy of prudent, long-term management, Banca March’s business model is underpinned by robust financial and capital ratios: the bank maintains the highest CET 1 capital ratio in the Spanish banking sector (26.32%), one of the lowest non-performing loan ratios in the sector in Spain (1.18% at the end of 2025, compared to an industry average of 2.78% as of November 2025) and liquidity ratios — LCR (245%) and DTL (187%) — and coverage of non-performing loans (74%) among the highest in the sector. The strength of Banca March’s value proposition has been endorsed by the credit rating agency Moody’s, which has raised Banca March’s long-term rating to A1 with a ‘stable’ outlook, meaning it remains one of the highest-rated institutions in the Spanish financial system, ahead of the Kingdom of Spain (currently A3). Banca March is one of the main shareholders of Corporación Financiera Alba, with significant holdings in Naturgy, Acerinox, Ebro Foods, Viscofan, Atlantic, ERM, Inmobiliaria Colonial and Technoprobe, amongst other companies.

THOMAS HOUSEAGO. SCULPTURES. BANCA MARCH GARDEN.

1 May – 30 October 2026

Banca March Gardens

Calle Castelló, 75, Madrid, Spain

Thursday: 7:00 – 11:00 pm

Friday: 12:00 – 7:00 pm

Saturday: 12:00 – 7:00 pm

For more information, please visit Banca March Garden here. The Garden can also be found on YouTube and Instagram.

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MURRAY HOCHMAN: Dissolution/Resolution

Murray Hochjman, Camo tower No. 2, 2023, plywood, plastic and aerosol paint, 21.5 x 10 x 10 in

NEW YORK—Gallery AP SPACE, located at 555 West 25th Street, is pleased to present works by artist Murray Hochman, opened April 2 and will be on view through May 10. An opening reception was held on April 9, from 6 to 8 pm. The exhibition, curated by the gallery and Alan Goolman, features large-scale canvases alongside ten works on paper and a freestanding sculpture, all created post-2000 and reflecting the artist’s mature and refined practice.

Now 91 years old, Hochman was born and raised in NYC. His artistic career spans more than six decades, guided by cultural trends, the demands of his materials, and an abiding interest in experimentation. Throughout that time, he has explored the possibilities of light, color, geometry, and gesture. Inspired by graffiti culture in the late 1960s, Hochman’s signature medium has become aerosol paint—ranging from jarring fluorescents to luminescent lacquers that shift with the light. Layers of different—sometimes arbitrary—colors and solvents are sprayed on paper or canvas, revealing the complexity of what lies underneath. This process of dissolution continues until the work is resolved.

Murray Hochman, Large Polychrome No. 2, 2005, aerosol paint on canvas, 120 × 96 in

For decades before it became fashionable, Hochman was a fan of camouflage. In the 2020s, he began incorporating camo patterning in a series of wall reliefs and sculptures made from discarded plastic. Camo Tower No. 1, shown above, is one example, created using layers of matte, multi-colored spray paint on plastic scavenged at the local dump. It is the sole sculpture featured in this exhibition.

Murray Hochman, *Large Polychrome No. 5*, 2002, aerosol paint on canvas, 96 x 84 in

The Large Polychromes on view were among the first paintings produced by Hochman in the early 2000s, after he converted a barn in the Berkshire Hills of Massachusetts into a studio. For the first time, he was able to work as large as he wanted, and many of the paintings created during this period—up to 10 x 8 feet in size—reflect the calm and expansiveness outside his wide barn/studio doors. After stretching his canvases, he placed them horizontally on milk crates and sprayed them with multiple layers of paint. After applying solvents, he lifted the canvases in various directions to see what patterns emerged. The process is guided by chance, filtered through Hochman’s keen perception of surfaces and lifelong fascination with materials

Most of Hochman’s work, unlike the Large Polychromes, start with geometric forms, even if they are later submerged under layers of paint. The works on paper exhibited here, from a series called Inner Spaces, are a straightforward example: a single rectangle on a neutral metallic background is sprayed with lacquers and solvents to create intricate patterns. The simplicity of the composition and the subtlety of the tones lend a meditative quality to the works. Although Hochman’s paintings are often minimal in form, his sophisticated— sometimes whimsical—use of color and space create compositions in which time seems to dissolve. “The parameters of my work are both formal and expressionistic,” he says, “veering between concept and impulse, and their fusion.”

‍ ‍*Murray Hochman: Dissolution / Resolution 2026,* Installation View: Photo Credit AP SPACE, Courtesy of the artist and AP SPACE

Although Hochman’s paintings are often minimal in form, his sophisticated— sometimes whimsical—use of color and space create compositions in which time seems to dissolve. “The parameters of my work are both formal and expressionistic,” he says, “veering between concept and impulse, and their fusion.”

About Murray Hochman

Murray Hochman was born in 1934 and raised on NYC’s Lower East Side. He has a BA in art history from New York University and an MFA from Alfred University in ceramic arts, although he quickly turned to painting. His first works were bought by Frederic Mueller of the Pace Gallery and other prominent curators and collectors, including Henry Geldzahler (then curator of American Art at the Metropolitan 2Museum), Sam Hunter, Robert Scull and Allan Stone. During the 1960s, he was included in group shows at the Pace and Tibor de Nagy galleries along with the Whitney Art Resources Center and the Lobo Gallery in Montreal. Throughout the following decades, Hochman has painted and exhibited consistently, but largely under the radar of the mainstream art establishment. In 2000, he bought a farm in the Berkshires, where he has been working in relative isolation for the last 25 years. It stimulated a period of intense creativity and new directions, including collage, paintings on scrap metal, and wall reliefs and sculpture made out of discarded plastic, his first foray into the third dimension since his graduate work in ceramics.

About AP SPACE

AP SPACE is a contemporary art gallery located in the heart of Chelsea, New York. Committed to expanding the reach and global scope of artistic innovation and cultural dialogue, AP SPACE presents year-round exhibitions that feature established and emerging artists worldwide, with a focus on Korean contemporary art. The gallery fosters long-term relationships, supports new ideas, and builds a global community that values experimentation, inclusivity, and excellence—bridging cultures and amplifying underrepresented voices in the evolving discourse of contemporary art. Through collaborations with artists, curators, and institutions across the United States, Korea, and beyond, AP SPACE continues to cultivate an international platform that connects diverse artistic perspectives and audiences.

Murray Hochman’s exhibition Dissolution/Resolution opened April 2 and will be on view through May 10. An opening reception was held on April 9, from 6 to 8 pm at the Gallery AP SPACE’s Chelsea location at 555 West 25th Street. For more information about this exhibition and others at AP SPACE, please visit their site here. The gallery can also be found on Instagram, Facebook, and YouTube. The magazine also did an interview with Murray, which can be found here.

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FRANCIS BACON

PARIS,—Gagosian is pleased to announce an exhibition of three major late paintings by Francis Bacon at its rue de Castiglione gallery in Paris, on view from April 11 through May 30.These commanding works crystallize the radical economy and psychological intensity of the artist’s final period while reaffirming his enduring dialogue with the French capital—a city in which he maintained a studio and intellectual foothold between 1975 and 1987, frequenting, among other places, the storied Hôtel La Louisiane.

Widely regarded as one of the most incisive painters of the twentieth century, Bacon forged a singular visual language that collapses the boundaries between modernity and tradition. His figures— simultaneously constrained and exposed within fragile geometric armatures—seem to convulse against saturated chromatic fields, rendering the human body as a site of existential tension rather than stable form.

The three large-scale canvases presented—Study from the Human Body—Figure in Movement (1982), Study from the Human Body (1986), and Man at a Washbasin (1989–90)—are marked by a striking formal austerity. Sparse architectural frameworks and distilled compositions reflect what Bacon himself described as “a kind of shorthand” with which to approach the complexity of lived experience. These works do not merely depict movement, they register its psychological residue, capturing the body under duress through distortion and powerful color. As Gilles Deleuze observed, Bacon’s painting “does not represent violence, it makes visible the violence of the forces exerted on the body.” Across these canvases, the human figure oscillates between flesh and sculpture, presence and dissolution. Bacon’s use of saturated color—at once seductive and destabilizing—reveals a uniquely visceral engagement with the legacies of Color Field and hard-edge abstraction.

**FRANCIS BACON** *Study from the Human Body—Figure in Movement*, 1982 Oil on canvas 78 × 58 inches (198 × 147.5 cm) (CR 82-08) © The Estate of Francis Bacon. All rights reserved./DACS, London/ARS, NY 2026 Photo: Annik Wetter Courtesy Gagosian

Study from the Human Body—Figure in Movement encapsulates two central preoccupations of Bacon’s early 1980s practice: the use of cadmium orange grounds and a fascination with the iconography of cricket. The fleshy, truncated figure—suggestive of a wicketkeeper—is elevated onto a stark, almost theatrical plane, as if exhibited rather than inhabited. Its malformed shadow, reflected in a mirror, constitutes one of Bacon’s final uses of this recurring motif. In Study from the Human Body, a similar pairing of figure and reflection unfolds against a rare field of luminous sunshine yellow, heightening both the immediacy and the estrangement of the image.

Francis Bacon in his studio on rue de Birague, Paris, 1979. Photo: Edward Quinn

In Man at a Washbasin, Bacon returns to a subject he first explored in 1954, inflecting it with a darker psychological resonance—perhaps alluding to the death of his partner, George Dyer, in a Paris hotel room in 1971. Here, the chromatic exuberance of earlier works gives way to a muted gray tonality, augmenting the scene’s introspective gravity. The hunched figure, legs splayed in a pose derived from Eadweard Muybridge’s 1887 photographic study Man Shadow Boxing recalls Bacon’s admiration for Auguste Rodin, whose treatment of the body as a dynamic, unstable form left a lasting impression on the painter.

Considered together, these works affirm art historian Richard Calvocoressi’s assessment that Bacon’s late oeuvre is marked by a resurgence of invention—“as if the artist’s imagination, far from drying up, had been stimulated to create new and ever more intense combinations of color, structure, and form.”

**FRANCIS BACON** *Study from the Human Body*, 1986 Oil, pastel, aerosol paint, and dry transfer lettering on canvas 78 × 58 inches (198 × 147.5 cm) (CR 86-03) © The Estate of Francis Bacon. All rights reserved./DACS, London/ARS, NY 2026 Photo: Annik Wetter Courtesy Gagosian

An illustrated catalogue will accompany the exhibition, featuring essays by Calvocoressi and Sebastian Smee as well as artwork texts by Gillian Pistell.

FRANCIS BACON, which opened on April 11th and will close on May 30, 2026, is now being displayed at 9 rue de Castiglione, Paris. For Francis Bacon’s biographical information and exhibition history, please visit here. Additionally information about the artists represented by Gagosian and other exhibitions at the gallery, please visit the gallery’s site here . The gallery can also be found on Pinterest , X ,YouT ube,Faceboo k , Instag ram , and Art sy .

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Rachel Whiteread: Substitute

LONDON, —Gagosian is pleased to announce an exhibition of new sculptures and recent photographs by Rachel Whiteread at its Davies Street gallery, opening on March 26. The exhibition title, Substitute, resonates with the artist’s use of one medium to echo another, and to the way in which her casting process replaces negative space with physical substance.

**Rachel Whiteread** Installation view of multiple works from Rachel Whiteread’s 'Untitled (Canister)' series (2024–) © Rachel Whiteread Photo: Prudence Cuming Associates Ltd Courtesy Gagosian

Substitute features large, wall-mounted sculptural reliefs produced by pressing papier-mâché pulp onto timeworn wooden barn doors and sections of gates, then covering the resultant forms in pigmented silver and copper leaf. In contrast to these opaque metallic surfaces are two transparent resin casts of sash windows in blue and pink hues.

In her sculptural practice, Whiteread often uses standard industrial substances such as concrete, resin, and rubber, as well as more traditional materials like plaster and bronze, to produce cast objects with significatory presence that evoke absence, memory, and loss. Building on a foundation of Minimalist Rachel Whiteread to Exhibit New Sculptures and Photographs at Gagosian in London

Substitute Opens March 26 at 17–19 Davies Street aesthetics, she focuses on the tangible surfaces of life, revealing lingering markers of age and use while drawing attention to negative space.

Rachel Whiteread Substitute, 2026, installation view Artwork © Rachel Whiteread Photo: Prudence Cuming Associates Ltd Courtesy Gagosian

Traditionally used as a preliminary cast for sculptures, or for childhood projects, papier-mâché has a recycled composition that invites dialogue with the past while providing a tool for new creation. (In this, Whiteread’s new works are reminiscent of Embankment [2005–06], her project for Tate Modern’s Turbine Hall, which comprised more than fourteen thousand cast polyethylene boxes, the raw material of which was reprocessed after the exhibition to make street furniture.) As a young artist, Whiteread used the materiality of paper in her transition from painting to sculpture; in Substitute it continues to provide a link between the two practices. The highly textured surfaces of these works are imbued, too, with traces of their own histories, while the finishes conjure the sensation of cool metal in unexpected shades.

**Rachel Whiteread** *Untitled (Barn Door)*, 2024–26 Papier-mâché and silver leaf, in aluminum frame 71 1/8 x 35 1/2 x 3 1/8 inches (180.5 x 90 x 8 cm) © Rachel Whiteread Photo: Prudence Cuming Associates Ltd Courtesy Gagosian

In the rear gallery, Whiteread juxtaposes Untitled (Canister) (2024–), a new series of small-scale sculptures in fiberglass—a novel material for her—with photographs. The sculptures are casts of objects she found during beachcombing walks on the Essex coast. Painted in different bright colors suggestive of seaside leisure, they can function as stools, side tables, or sculptural objects. In this, they recall such earlier projects of the artist’s as Untitled (6 Spaces) (1994), a set of polyester resin forms cast from the empty spaces beneath chairs. Each editioned work in the Untitled (Canister) series is accompanied by a signed certificate of authenticity, and 10 percent of the sale profits will be donated to the charity Surfers Against Sewage.

**Rachel Whiteread** *Untitled (Seaside)*, 2026 Resin 27 3/8 x 13 11/16 x 5 13/16 inches (69.5 x 34.8 x 14.8 cm) © Rachel Whiteread Photo: Prudence Cuming Associates Ltd Courtesy Gagosian

Whiteread’s photographs also record serendipitous everyday discoveries. Documenting low-key material incidents and alignments, their poignant tone hints at a kind of abandonment. Some shots echo her sculptural practice in their capturing of both positive forms and negative space, while others share its often muted palette.

Seen together, Whiteread’s sculptures and photographs invite sustained reflection on the relationship between natural and constructed forms, and on the memories embedded within familiar objects, places, and structures.

RACHEL WHITEREAD’s Substitute opened onMarch 26 and will be on view until May 16, 2026. There was an opening reception: Thursday, March 26, 6–8 pm. The exhibition is being held at 17–19 Davies Street, London, Gagosian’s London location. For Rachel Whiteread’s biographical information and exhibition history, please visit here. For more information about the artists represented by Gagosian and other exhibitions at the gallery, please visit the gallery’s site here. The gallery can also be found on Pinterest, X, YouTube,Facebook, Instagram, and Artsy.

uzomah ugwu 5/3/26 uzomah ugwu 5/3/26

Ellen Gallagher: Fast-Fish and Loose-Fish

PARIS, —Gagosian is pleased to announce Ellen Gallagher: Fast-Fish and Loose Fish, on view through May 23 at the rue de Ponthieu gallery. The exhibition features a cycle of three large-scale paintings titled Fast-Fish and Loose-Fish that Gallagher produced between 2023 and 2026. Among these is a work featured in Gallagher’s exhibition All of No Man’s Land Is Ours at the Stedelijk Museum, Amsterdam (2023–24).

Built upon canvas-mounted sheets of ruled, gridded paper that are stained in a vibrant pink hue, then layered with brilliantly colored, thickly impastoed pigment and incised palladium leaf, each of the Fast-Fish and Loose-Fish paintings employs a material abundance from which Gallagher’s playful meditations emerge. She takes a sculptural approach to her process, often working paintings from multiple positions. Exploding their compositional grids into groupings of vibrant lines and biomorphic shapes, she melds Post-Minimalist abstraction with imagined ocean-floor topographies and phantasmal worlds.

**Ellen Gallagher** *Fast-Fish and Loose-Fish*, 2026, installation view © Ellen Gallagher Photo: Thomas Lannes Courtesy the artist and Gagosian

Gallagher has long been fascinated by the ocean. Her 2010 film installation Osedax, a collaboration with Edgar Cleijne, opens with a shipwreck off the coast of Rhode Island, interspersing animated imagery of a whale fall—the descent of a whale carcass to the abyssal depths of the ocean floor—within a radiant network of sea flora and fauna.

**Ellen Gallagher** *Fast-Fish and Loose-Fish*, 2025 Oil, pigment, palladium, and paper on canvas 116 5/8 x 79 1/2 inches (296 x 202 cm) © Ellen Gallagher Photo: Thomas Lannes Courtesy the artist and Gagosian

The Fast-Fish and Loose-Fish series similarly considers this phenomenon of slow decomposition becoming an intertwined regenerative ecosystem. The whales’ bodies support a profusion of life, from crustaceans and mollusks to bone-eating Osedax worms and specialized bacteria. Cross sections of the same bones suggest a shifting orientation within each picture plane, exploring the permeability between bodies and the environments they inhabit. For Gallagher, the seabed is inseparable from the historical marks of colonization and enslavement. In these works, tumbling caryatid forms inspired by African Fang sculptures join the whale bones amid strands of kelp and crinoid fossils.

Herman Melville’s Moby-Dick (1851) is an important source of inspiration for Gallagher. The series title, Fast-Fish and Loose-Fish, alludes to chapter 89 of the famously discursive novel, in which the author departs from the book’s primary narrative to define “fast-fish,” which have been claimed by a whaler, versus “loose-fish,” which remain free of such claims.

This discussion develops into a wide-ranging reflection on the nature of possession and freedom. Melville further uses the microcosm of human conflicts and frailties on the ship to suggest broader struggles in American society. The book’s publication coincided with the enactment of the Fugitive Slave Act (1850), which legally obliged free states to return escaped fugitives to their enslavers. in the South. Whaling ships were a place where Black men might find refuge. For the artist, we are the progeny of the novel’s Pip, one of the earliest significant Black characters in American literature, whose grammars we inherit whether we like it or not. Pip’s descent to the seabed is obliquely referenced in each of the Fast-Fish and Loose-Fish paintings. With their underlying grids of penmanship paper, above which hover imaginative and interspecific realms, Gallagher’s works suggest a wealth of resources that can constitute possibilities on the other side of the Middle Passage.

A conversation between the artist and Robin D. G. Kelley, the Gary B. Nash Endowed Chair in United States History at the University of California, Los Angeles, was held at the gallery on Saturday, March 28, at 11:30am.

The exhibition Fast-Fish and Loose-Fish opened on March 26 and will be on view until May 23, 2026, at Gagosian’s Paris location 4 rue de Ponthieu, Paris. There was an opening reception on Thursday, March 26, from 6–8 pm .For Ellen Gallagher’s biographical information and exhibition history, please visit here.For more information about the artists represented by Gagosian and other exhibitions at the gallery, please visit the gallery’s site here. The gallery can also be found on Pinterest, X, YouTube,Facebook, Instagram, and Artsy.

uzomah ugwu 5/1/26 uzomah ugwu 5/1/26

JULIE MEHRETU: Our Days, Like a Shadow (a non-abiding hauntology)

Marian Goodman Gallery is pleased to announce our seventh solo exhibition by Julie Mehretu titled Our Days, Like a Shadow (a non-abiding hauntology), which will include new and distinct bodies of work from 2024-2026. Presented for the first time in the U.S., a prelude to this body of work was seen in the exhibition Ensemble at Palazzo Grassi in Venice in 2024, and Transcore of the Radical Imaginatory at MCA Sydney in 2024-25.

The exhibition, Mehretu’s fourth solo presentation in New York, will feature a series of live performances under the direction of choreographer John Jasperse, who was invited to create a new dance work in response to Mehretu’s works. John Jasperse Projects will perform the piece, Wandering, twice daily over four consecutive evenings from 20-23 May.

Referencing “our days, like a shadow” from Chronicles 29:15, and the Buddhist concept of “non-abidance,” the show’s title augurs life as a series of fleeting and transitory experiences, and existence as a passing shadow in search of enlightenment when walking in darkness. Mehretu explores these metaphors in conceptual and temporal terms, channeling abstraction as a vehicle of liberatory imagination, in her new cycle of Black Paintings, 2025-26 and in her recent collaboration with sculptor Nairy Baghramian, TRANSpaintings / Upright Brackets, 2023-26.

Mehretu’s TRANSpaintings with Nairy Baghramian’s Upright Brackets enable a dynamic phenomenology of movement through upright works that invite display and interaction across a vertical expanse of the gallery’s first two floors. Permitting a view in and through the surfaces of abstract works which trade opacity for translucence, and the planar surface for three-dimensional space, itinerant shadows and optical effects are absorbed into the artwork, along with the viewer. One discerns the beginning, middle and end--or verso--of a painting. The TRANSpaintings/ Upright Brackets build from layers of inks and acrylics on translucent monofilament polyester fabric applied over residual ghost images from recent reportage of geopolitical events. Their permeable mesh surfaces provide an airy transparency antithetical to a canvas’ usual dense ground. Buttressed and embraced by the sculptural armatures of Baghramian which surround them, their taught stance emboldens participatory views from both sides, equalizing the relationship between artwork and audience. Bearing witness, the paintings summon the viewer into intimate encounters that fluctuate with each bodily circumnavigation in space. In this flux and multiplicity, ethereal images shift and change around blurs and traces in response to the passage of light, shadow, and corporeal actions in real time, becoming intrinsic to the work itself.

*Julie Mehretu Black Monolith (after Atopolis: For Édouard Glissant by Jack Whitten), 2024-2026 Ink and acrylic on canvas 144* × *180 in (365.8* × *457.2 cm) (overall)* Photo Credit: Tom Powel Imaging.

On the first floor, centered on the North wall, Black Monolith (after Atopolis: For Édouard Glissant by Jack Whitten), 2024-2026, a large-scale diptych on black ground evokes a grand cosmos and establishes a mise en scene for the convergence of abstract forms to unfold throughout the gallery’s tripartite space. Flanking this work are two large TRANSpaintings / Upright Brackets whose luminous energy flows through their porous surfaces. Resolute and horizontal, TRANSpaintings (night seam) / Upright Brackets, 2024, forms a perimeter within the space, its violet and black tones shifting from darkness to light. Opposite, in TRANSpaintings (the substanceless blue pour of tor and distances) / Upright Brackets, 2025-2026, a matrix of blue, violet and gold contains a flurry of black cross marks ascending whose verticality is a portal for transience.

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Exhibition view, Julie Mehretu, Our Days, Like a Shadow (a non-abiding hauntology), Marian Goodman Gallery, New York, 2026 Courtesy of the artist and Marian Goodman Gallery Photo credit: Alex Yudzon

On the first and second floor, a selection of what Mehretu refers to, in contrast, as her “TRADpaintings” continues the dialogue with the standing TRANSpaintings/Upright Brackets on view in both the North and South Galleries. One work, The Wine-Dark-Sea, 2023-2026, features a reprise of vivid ultramarine blue, white, black ink markings, and Ben Day dot screenprint, which pulse, fall, and reverberate across the canvas with foreboding urgency. In Our Waste Places, 2024-2026, vaporous emergent suggestions of bodies appear beneath a field of ardent hues, with recurring hand prints and agitated black markings traversing the work’s yellow and magenta undertones.

Mehretu’s process of activation is ever present and builds in a different way in the new cycle of Black Paintings, shown on Floor 3, which feature a meta-sampling of fervent markings and newly emergent matter. In this new cycle of works on black ground, a hauntology in majestic hues evolves through resonant layers of material disintegration which transform in real time. Beginning with the exploration of black, the actual and profound saturation of all colors, one that absorbs and reflects light, rather than emitting it, they mark a point of departure from her earlier cycle, Femenine in Nine, inspired by Julius Eastman’s 1975 musical composition of the same name. This newest sequence is emblematic of collective traces, initiated from intuition and improvisation rather than photographic images or social movements. Comprised of multiple layers which absorb into complex densities, luminous chromatic hues activate each work, integrating and prismatically shifting in response to the viewer’s choreography in the space. A visual meditation on darkness and immersion, the works are born from a multitude of influences: from a fascination with the primitive and haptic experience of mark making in the intimacy of darkness and caves; from primeval striations on ancient desert rocks; to age-old religious frescoes turned black with only their lustrous halo remaining. Propelled towards unprecedented autonomy in these new compositions which are free of embedded referents, the works are conceived in a chromatic reversal of black ground and white marks with multi-tone interference inks. Beginning from a fugitive interiority, they build in emergent strata from dark gessoed grounds forming environments and firmaments: each a universe of its own. Using techniques such as brush, screen print, tracing, erasure, and mark making, the tiers converge, rising and illuminating with iridescent energy and motion. Shifting from black to exultant hues of violet, white, silver, green, and pink, blue, or kaleidoscopic, they alternate and diverge from unfathomable to spatial to transcendent as the light and angles of perception shift. Dynamic graphic lines, scrawls, and marks are inscriptive and feverish; unconstrained by image, blur, outlines, apparitions, they become sentient and experiential, countering rupture and uncertainty with movement and a jubilant topography of space.

A core tenet to Mehretu’s recent abstraction, the dynamism born of motion in relation to the artwork, and collaboration as a discursive space for contemplation and creation, builds in this exhibition. Continuing with the collective as a place for reflection and unknowing, and abstraction as a site of communality, the fact of the performative underscores this new body of work. A duet is enacted in relation to the works: one becomes a dancer, transforming in three dimensions in response to individual vantage points and the paintings’ fluctuating rhythms.

John Jasperse Project’s new dance work, Wandering, will further activate the space with a live intervention that will take place from 20-23 May. In this new choreo-sonic landscape, dancers and musicians will stage a kinetic encounter over three floors. In an all-encompassing choreography, seven dancers respond to the music of composers Hahn Rowe and Will Johnson, as well as to the architecture of the space and Mehretu’s works. The dancing, wandering body becomes an agent, a witness, an activator, a ghost—embodying and reflecting upon the presence and resistance of Mehretu’s paintings. Illuminating their liberatory potential, in tandem, the dancers will swerve… and [so too] resist apparatuses of control.

Forthcoming this June, Mehretu’s large-scale commission, Uprising of the Sun, will be unveiled on the façade of the new Obama Presidential Center in Chicago, IL.

Julie Mehretu, American (b. 1970, Addis Ababa, Ethiopia) lives and works in New York City. She received a B.A. from Kalamazoo College, Michigan, studied at the University Cheik Anta Diop, Dakar Senegal, and received a Master of Fine Arts with honors from The Rhode Island School of Design in 1997.

She has received many prestigious awards including the MacArthur Fellowship in 2005, the U.S. Department of State Medal of Arts Award in 2015, membership to the American Academy of Arts and Sciences, 2021, and the Officer of the Ordre des Arts et des Lettres by the French Ministry of Culture in 2025. Her work has been exhibited extensively in museums and biennials including the Carnegie International (2004–05), Sydney Biennial (2006), Solomon R. Guggenheim Museum, New York (2010), dOCUMENTA (13) (2012), Sharjah Biennial (2015), Museu de Arte Contemporânea de Serralves, Porto, Portugal (2017), Kettle's Yard, University of Cambridge, UK (2019); and the 58th International Art Exhibition, La Biennale di Venezia, (2019).

Julie Mehretu: Kairos / Hauntological Variations recently opened at the Museum of Modern Art in Warsaw, Poland and runs through 30 August 2026. In 2025 her work was exhibited in a solo exhibition at the Kunstsammlung Nordrhein-Westfalen, Germany. Julie Mehretu: Ensemble opened in 2024 at the Palazzo Grassi-Pinault Collection, Venice, Italy and in November that year the first exhibition of Mehretu’s work shown in Australia and the Asia-Pacific region opened at Museum of Contemporary Art, Sydney, Australia. In November 2019 a career survey opened of Mehretu’s work at the Los Angeles County Museum of Art, and traveled to the High Museum, Atlanta (2020), The Whitney Museum of American Art, New York (2021); and the Walker Museum of Art, Minneapolis (2021).

About Marian Goodman Gallery

Marian Goodman Gallery champions the work of artists who stand among the most influential of our time, representing over five generations of diverse thought and practice. What makes the gallery singular is its enduring and deep-rooted collaborations and understanding with the artists—a bond that is concurrent with curators, thought leaders, and art institutions worldwide. The Gallery’s exhibition program, characterized by its caliber and rigor, provides international platforms for its artists to showcase their work, foster vital dialogues with new audiences, and advance their practices within nonprofit and institutional realms.

Our enduring legacy persists through the combined strength and leadership of Partners Rose Lord, Junette Teng, Emily-Jane Kirwan and Leslie Nolen, whose extensive tenure with the gallery and its distinguished roster of artists began under Founder Marian Goodman.

Established in 1977 by Goodman, who had earlier co-founded the art publishing company, Multiples, Inc., the Gallery gained prominence early in its trajectory for introducing the work of seminal European artists to American audiences. Synchronous with the mission at hand, Marian and the Gallery were inevitably drawn to Europe, establishing a Paris location in the Marais district in 1995 and an adjacent space for books and editions in 2017. From 2014 until 2022, the Gallery also operated an exhibition space in London.

With its desire to expand and explore growing areas of interest for its artists, the Gallery recently moved its New York City headquarters to the historic Grosvenor building in Tribeca in October 2024 and inaugurated a new permanent space in Los Angeles in September 2023. With two major spaces anchoring each coast, and an ongoing program for over three decades in Paris, Marian Goodman Gallery is committed to further advancing new bodies of work and the creative practices of the leading contemporary artists of our time.

The artists in the Gallery’s program share a culture-critical approach to art, maintain extraordinary perception and integrity, and a tendency in their respective practices to propel the collective experience of art through empowering and sustaining relationships with others. These visionaries, with their distinctive means of expression and technical expertise, have been responsible for inspiring future artists and enriching the dialogue around art. Working in partnership with the Gallery leadership and directors, the artists have continually collaborated to create and stimulate the intellectual discourse within their own work and elsewhere - through their collective knowledge and expertise, the artists have created circles of impact and distinction that continue to impart, illuminate and ground us, and resonate through the industry.

The Gallery represents over fifty artists and estates working in the U.S. and internationally: Eija-Liisa Ahtila, Chantal Akerman, Giovanni Anselmo, Leonor Antunes, Nairy Baghramian, Lothar Baumgarten, Dara Birnbaum, Christian Boltanski, Daniel Boyd, Marcel Broodthaers, Maurizio Cattelan, James Coleman, Tony Cragg, Richard Deacon, Tacita Dean, Edith Dekyndt, Rineke Dijkstra, Cerith Wyn Evans, Andrea Fraser, Bernard Frize, Dan Graham, Pierre Huyghe, Amar Kanwar, Agnieszka Kurant, An-My Lê, Steve MᶜQueen, Julie Mehretu, Ana Mendieta, Annette Messager, Delcy Morelos, Sabine Moritz, Maria Nordman, Gabriel Orozco, Giulio Paolini, Giuseppe Penone, Edi Rama, Anri Sala, Matt Saunders, Tino Sehgal, Paul Sietsema, Robert Smithson, Ettore Spalletti, Tavares Strachan, Thomas Struth, Niele Toroni, Álvaro Urbano, Adrián Villar Rojas, Danh Vo, Lawrence Weiner, James Welling, Yang Fudong and Jongsuk Yoon.

In addition to its exhibition program, the Gallery’s continued legacy is strengthened by its institutional partnerships and philanthropic efforts. Through organizations such as The Marian Goodman Gallery Initiative in honor of the late Okwui Enwezor, a joint collaborative effort managed by the ICI (Independent Curators Intl.), and the Gallery’s education department, among others, the Gallery has continued to strengthen and expand opportunities for research, education, and access to higher levels of learning, and advocate for building stronger communities of diversity in the realm of art

The exhibition opened on the 14th of April and will conclude on the 6th of June 2026 at 385 Broadway, New York, NY 10013. For more information about the exhibit, please visit the Marian Goodman Gallery’s site. The gallery can be found on Instagram and Artsy, too.

uzomah ugwu 4/14/26 uzomah ugwu 4/14/26

Kohei Nawa: Photon Camp

Los Angeles — Pace will present an exhibition by Kohei Nawa at its Los Angeles gallery from April 11 to June 6. Marking the Japanese multidisciplinary artist’s first solo show in Los Angeles, this presentation will bring together 20 new works from two of his iconic sculptural series—PixCell and Prism—creating a cohesive environment in which his sculptures engage directly with the architecture of the gallery’s main exhibition space.

Drawing out the unique properties of various traditional and unconventional materials in his paintings, sculptures, and installations, Nawa explores nuanced relationships between physical and virtual spaces, synthetic and natural forces, and the individual and the collective. Intrinsic to his practice is a rigorous engagement with technologies that traverse eras and cultures, particularly information technologies. Visual distortions and transformations cut across his artworks, encouraging viewers to consider the ways that digital technologies impact their relationship to and experience of the physical world.

Nawa has also expanded his practice into the fields of architecture and performance—he is currently presenting Mirage and Planet [wanderer], performance works created in collaboration with choreographer Damien Jalet, in select European and Asian cities.

Kohei Nawa: Photon Camp 1201 South La Brea Avenue, Los Angeles, CA 90019 April 11 – June 6, 2026 Photography courtesy Pace Gallery

Titled Photon Camp, the artist’s exhibition at Pace Los Angeles foregrounds his expansive investigations of perceptual and sensory phenomena and reflects new directions in his recent work. For Nawa, an artwork is not a static entity fixed by a single interpretation. Rather, it is a phenomenological event that occurs when swarms of photons momentarily and miraculously come together. His first installation comprising both his PixCell and Prism series—which he has developed continuously over the course of his career—explores tensions between the natural and the artificial, the real and the fictional, and the sacred and the profane.

Memories of disaster—including the 1995 Great Hanshin-Awaji Earthquake and the 2011 Great East Japan Earthquake— have also profoundly shaped Nawa’s worldview and artistic practice as well as his vision for Photon Camp. Nawa understands the works in his installation at Pace as “drifting objects.” Japan has welcomed drifting objects carried on the sea throughout its history, forging its culture through processes of mixture and hybridization. Within the global circulation of matter, drifting objects wander, linger, and arrive in unintended places. For Nawa, they symbolize the cyclical nature of civilization on a planetary scale. Notions of fluctuation and impermanence cut across his work, inviting meditations on cycles of destruction and regeneration.

Kohei Nawa, Prism[Butterflies/Sign], 2026MIXED MEDIA ©Kohei Nawa, courtesy Pace Gallery. Photo: Nobutada OMOTE

The artist’s new PixCell and Prism works reflect his enduring engagement with the history of Surrealism. Incorporating taxidermized animals and found objects he has collected from different places and during various periods of his life, these sculptures juxtapose new technologies and modes of making with analogue materials. In his celebrated PixCell works, which he began producing 25 years ago, Nawa covers the surfaces of objects with transparent spheres, or cells, to distort viewers’ perceptions of the forms beneath. With his Prism works, he houses objects inside transparent boxes, which fragment and transform the appearance of their contents depending on the viewer’s position. Works in both series pose questions about the nature of reality through visuo-tactile experience.

Kohei Nawa, Prism[Maria]/Prism[Kettle]/Prism [Toy-Bird]/Prism [Toy-Elephant]/Prism[Woman&Koto]/PixCell Microscope/Alex(detail),2026MIXED MEDIA ©Kohei Nawa, courtesy Pace Gallery.Photo: Nobutada OMOTE.

A large-scale, freestanding sculpture titled PixCell-Elk#3, which takes a taxidermized elk as its motif, is the centerpiece of Nawa’s presentation at the gallery. Other works surround the elk—a symbol of the majesty of the natural world—to create a cohesive environment, with some displayed atop pedestals and others situated on the floor or mounted on walls. Casting its gaze beyond the viewer, into the void, the elk presides over the artist’s installation, which unfolds through space along the elk’s axis. Together, these sculptures form a holistic, dynamic installation that pushes the boundary between artifice and nature.

Kohei Nawa (b. 1975, Osaka, Japan) is a multidisciplinary artist whose diverse practice explores the perception of virtual and physical space and probes the borders between nature and artificiality. He examines relationships between the individual and the whole, illustrating how parts aggregate, like cells, to create complex and dynamic structures. His practice spans painting, drawing, sculpture, and installation, as well as various facets of design and collaborative projects through his Kyoto-based creative platform, Sandwich. Nawa’s use of synthetic compounds underscores a recurring theme wherein materials such as polyurethane foam, translucent beads, ink, paint, glue, and silicone oil become devices that prompt an awareness of our mediated environment.

Notable one-artist exhibitions include L_B_S, Ginza Maison Hermes, Tokyo (2009); Synthesis, Museum of Contemporary Art, Tokyo (2011); SCULPTURE GARDEN, Kirishima Open-air Art Museum, Kagoshima, (2013); Kohei Nawa: ESPUMA, Japan House São Paulo, Brazil (2017); Kohei Nawa: Japonisms 2018, Throne, Musée du Louvre, Paris (2018–2019); Kohei Nawa: TORNSCAPE, SCAI The Bathhouse, Tokyo (2021); and Kohei Nawa: vol.3 Cell, Gallery Nomart, Osaka, Japan (2023); Sentient, SCAI The Bathhouse, Tokyo (2025), among others. He has participated in the 6th Asia Pacific Triennial in Brisbane, Australia, 2009; the 14th Asian Art Biennale Bangladesh in Dhaka, Bangladesh, 2010 (Grand Prize winner); Busan Biennale 2010, Korea, 2010; and Aichi Triennale in Nagoya, Japan, 2013 and 2016. His work is held in public collections worldwide, including Hara Museum of Contemporary Art, Tokyo; Long Museum, Shanghai; The Metropolitan Museum of Art, New York; Mori Art Museum, Tokyo; National Gallery of Victoria, Melbourne; Queensland Art Gallery, Brisbane, Australia, among many others. Nawa is currently a Professor at the Kyoto University of Art and Design.

Pace is a leading international art gallery representing some of the most influential contemporary artists and estates from the past century, holding decades-long relationships with Alexander Calder, Jean Dubuffet, Barbara Hepworth, Agnes Martin, Louise Nevelson, and Mark Rothko. Pace enjoys a unique U.S. heritage spanning East and West coasts through its early support of artists central to the Abstract Expressionist and Light and Space movements.

Since its founding by Arne Glimcher in 1960, Pace has developed a distinguished legacy as an artist-first gallery that mounts seminal historical and contemporary exhibitions. Under the current leadership of CEO Marc Glimcher, Pace continues to support its artists and share their visionary work with audiences worldwide by remaining at the forefront of innovation. Now in its seventh decade, the gallery advances its mission through a robust global program— comprising exhibitions, artist projects, public installations, institutional collaborations, performances, and interdisciplinary projects. Pace has a legacy in art bookmaking and has published over five hundred titles in close collaboration with artists, with a focus on original scholarship and on introducing new voices to the art historical canon.

Today, Pace has seven locations worldwide, including European footholds in London and Geneva as well as Berlin, where the gallery established an office in 2023. Pace maintains two galleries in New York—its headquarters at 540 West 25th Street, which welcomed almost 120,000 visitors and programmed 20 shows in its first six months, and an adjacent 8,000 sq. ft. exhibition space at 510 West 25th Street. Pace’s long and pioneering history in California includes a gallery in Palo Alto, which was open from 2016 to 2022. Pace’s engagement with Silicon Valley’s technology industry has had a lasting impact on the gallery at a global level, accelerating its initiatives connecting art and technology as well as its work with experiential artists. Pace consolidated its West Coast activity through its flagship in Los Angeles, which opened in 2022. Pace was one of the first international galleries to establish outposts in Asia, where it operates permanent gallery spaces in Hong Kong and Seoul, along with an office and viewing room in Beijing. In spring 2024, Pace will open its first gallery space in Japan in Tokyo’s new Azabudai Hills development.

Kohei Nawa’s exhibition Photon Camp is being exhibited at the Pace Gallery location at 1201 South La Brea Avenue, Los Angeles, CA 90019 from April 11 to June 6, 2026. For more information about this exhibition and others, please visit the Pace Gallery’s website here. Pace Gallery can be found on Instagram and Artsy, too.

uzomah ugwu 4/13/26 uzomah ugwu 4/13/26

Jaqueline Cedar: Wave

The Empty Circle presents Wave, a solo exhibition of new paintings by Brooklyn-based artist Jaqueline Cedar (b. 1985, Los Angeles, CA). Bringing together a focused group of intimate acrylic paintings on panel, the exhibition considers how everyday images—glimpsed in passing or half-remembered—can shift between sincerity and interruption, capturing the fragile, dreamlike logic through which memories and perceptions take shape. Working at a small scale, Cedar constructs scenes that feel both familiar and slightly estranged. Restaurants,

highways, landscapes, and urban intersections appear as if recalled from memory rather than observed directly. Figures move through simplified spaces while architectural elements, signage, and fragments of landscape emerge with the clarity of a passing detail suddenly brought into focus. In these paintings, visible reality is not presented as stable or continuous, but as something subject to slippage, humor, and quiet emotional resonance.

Jaqueline Cedar Action, 2024 Acrylic on panel 5 x 7 inches

Across the works in Wave, Cedar explores the tension between stillness and movement. Repetition of forms produces subtle visual echoes that suggest motion unfolding across time. In Dance (2026), a group of figures stretch across a luminous landscape, their gestures overlapping like frames of a slowed-down sequence. In Action (2024), lines of traffic recede beneath a web of glowing paths overhead, evoking the sensation of movement through space while simultaneously suspending the moment in an abstracted stillness. These compositions treat time not as a linear progression, but as a layered experience where perception drifts between observation and recollection.

Installation View: Jaqueline Cedar: Wave 260 W Broadway APT 7G, New York, NY 10013, March 20 — April 18, 2026 Photography courtesy The Empty Circle and Jaqueline Cedar

Throughout the exhibition, Cedar’s compositions maintain a careful balance between restraint and emotional charge. Her flattened spaces and pared-down figures evoke a calm, almost detached visual language, yet within this quiet structure moments of vulnerability surface. A rider and horse in Go (2026) lean forward with a sense of anticipation; a railway scene in Wait (2025) centers on the sudden burst of light where tracks converge, transforming a mundane environment into a site of suspense. By allowing subtle disjunctions to emerge within otherwise ordinary scenes, Cedar creates paintings that oscillate between the recognizable and the uncanny.

Jaqueline Cedar Back, 2024 Acrylic on panel 8 x 10 inches

In Wave, Cedar approaches painting as a space where perception, humor, and emotional memory coexist. Rather than offering fixed narratives, her images invite viewers to linger in moments where meaning feels suspended—where a passing observation, a fleeting joke, or an inexplicable detail might suddenly carry the weight of a remembered experience.

Installation View: Jaqueline Cedar: Wave 260 W Broadway APT 7G, New York, NY 10013, March 20 — April 18, 2026 Photography courtesy The Empty Circle and Jaqueline Cedar

About the Artist

Jaqueline Cedar (American, b. 1985 in Los Angeles, CA) lives and works in Brooklyn, NY. She received her MFA from Columbia University in 2009 and her BA from the University of California, Los Angeles in 2007. Recent solo exhibitions include Andrew Rafacz, Chicago, IL (2025); Shelter Gallery, New York, NY (2023, 2021); and Platform x David Zwirner (2022). Cedar’s work has been featured in recent and upcoming group exhibitions at Hollis Taggart (2026) and White Columns (2026) in New York, Blah Blah Gallery in Philadelphia (2025), and Serious Topics in Los Angeles (2024), among numerous others nationwide. She has exhibited at NADA New York and Miami, and her work is held in numerous private collections. Press features include Hyperallergic, Artnet, The Huffington Post, New American Paintings, and The Boston Globe.

About The Empty Circle

The Empty Circle is a New York City space dedicated to artistic creation and dialogue. We collaborate with both emerging and established artists, often providing emerging voices with their first New York City exhibition. Moving beyond traditional formats, our programs encourage experimentation in both process and presentation to spark meaningful exchanges between artists and audiences. We present work across diverse mediums, fostering connections between disciplines, cultures, and generations.

For more information about this exhibition and others at The Empty Circle, please visit their site here, and the gallery can also be found on Instagram here. The magazine also did an interview with Jacqueline, which can be found here.

uzomah ugwu 3/30/26 uzomah ugwu 3/30/26

CHRISTINE TIEN WANG & RACHEL YOUN: Factory Doomscroll

Night Gallery is pleased to present Factory Doomscroll, a two-person exhibition of new work bySan Francisco-based artist Christine Tien Wang and Albuquerque-based artist Rachel Youn. The show opened on February 24, 2026, during Frieze Los Angeles. While Wang has been showing work at the gallery for over a decade, Factory Doomscroll marks Youn’s second major exhibition, following Well Adjusted in 2023.

Both artists revel in the exhaustive gestures of contemporary life—the perpetual motion that leads nowhere. Youn's sculptures animate the artifacts of self-care culture, transforming massage devices and baby rockers into tireless performers locked in cycles of jiggling, turning, and pleasure-seeking labor. Wang paints photorealistic internet memes, elevating digital detritus into something worthy of sustained attention. Both artists take objects designed for instant gratification—whether physical comfort or viral dopamine hits—and trap them in a kind of amber, forcing us to reckon with what we consume and discard. Where Youn's motors expose the mechanical infrastructure behind our pursuit of wellness and ease, Wang's brushwork exposes the labor required to make the throwaway permanent. Their works operate as preservation acts with a wink: Youn keeps the comfort machines running long past their useful life, while Wang rescues memes from algorithmic decay, both artists archiving the absurd rituals through which we attempt to soothe or entertain ourselves into oblivion.

Where Youn's motors expose how quickly comfort technology is discarded, Wang's paintings reveal how rapidly viral moments decay into cultural landfill. Youn keeps well-worn machines running past their planned lifespans, transforming wellness devices into zombie performers. Wang paints memes as if they were Old Masters, granting permanence to content created to be consumed and forgotten within hours. Wang and Youn’s collaboration is a significant and honest reflection of the times: an era wherein late capitalism generates unprecedented waste—and manufactured obsolescence pushes consumers to continually scroll, upgrade, and replace.

In two of Wang's paintings, Luigi Mangione—accused assassin of UnitedHealthCare CEO Brian Thompson—is rendered holy. At once winged and ripped, a halo encircles Mangione's thick curls, a pistol in each hand. The meme was already aging when Wang began painting it, its cultural relevance ticking toward zero. Several paintings depict sexual innuendos, subverted by comical, cerebral text. Collection of Failures (2025) spotlights a grinning blonde in front of a made bed, the smallest glimpse of a penis gripped by a French-manicured hand. The overlaying text reads: "Oh my god, I think this is the biggest I've ever seen." But the real joke comes from what's typed above: "When you show her your collection of failures."

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Installation View: CHRISTINE TIEN WANG & RACHEL YOUN Factory Doomscroll, 2276 E. 16th Street, Los Angeles, California 90021, February 24 — April 4, 2026 Photography courtesy Marten Elder and Night Gallery.

Additionally, Youn’s work begets the giggles of nonsense—when inexplicable permutations render reality absurd and therefore hilarious. In Plunge (2025), Youn secures artificial orchids to the motor of a circulation massager. Strips of grow lights serve as anchors, glass-jeweled chains hanging from their stems. When darkness falls, the sculpture lights its own party, grooving to the beat of its own design. CLEANSE (I'll do it myself) (2024) reimagines a car wash after its commercial usefulness has ended. Wavy nylon strips hang from a tall steel frame, animated by an AC motor. The plastic is printed with an idyllic beach scene: clear waters and a painfully blue sky. It's self-care infrastructure performing for no one, automated bliss running on empty.

Wang and Youn's collaboration serves as a testament to the excess that comes with contemporary Western living. Youn's sculptures demonstrate physical obsolescence in real time —you watch motors strain, materials degrade, technology outlive its purpose. Wang's paintings sustain cultural fads mid-decay, preserving memes that were born to be outdated. The show pulses with the artists' shared humor about late capitalism's promise of perpetual self- optimization and infinite content, revealing how both the physical and digital economies of comfort are built on foundations of repetition, manufactured obsolescence, and a nagging sense that none of it quite delivers what it promises.

Christine Tien Wang (b. 1985, Washington, D.C.) has had solo exhibitions at Night Gallery, Los Angeles, CA; Galerie Nagel Draxler, Cologne, Berlin, and Munich, Germany; The Hole, New York, NY; Magenta Plains, New York, NY; PTT Space, Taipei, Taiwan; M. LeBlanc, Chicago, IL; and Ever Gold [Projects], San Francisco, CA. Her work has been included in group shows at the Frans-Hals Museum, Haarlem; Museum of Contemporary Art Busan, Busan, Korea; Yerba Buena Center for the Arts, San Francisco, CA; Rachel Uffner Gallery, New York; The Rockbund Museum, Shanghai, China; M. LeBlanc Gallery, Chicago; Et Al, San Francisco; LAXART, Los Angeles; Foxy Production, New York; and African American Museum in Philadelphia, PA, among others. Currently, her work is on view at the Rockbund Museum in Shanghai, China. Wang lives and works in San Francisco.

Rachel Youn (b. 1994, Abington, PA) has had solo exhibitions at Night Gallery, Los Angeles, CA; Sargent’s Daughters, New York, NY; G Gallery, Seoul, South Korea; and Soy Capitán, Berlin, Germany, among others. Youn has participated in numerous group exhibitions at venues including Fondazione Sandretto Re Rebaudengo, Turin, Italy; FuoriCamp, Siena, Italy; Kunsthalle Barmen, Wuppertal, Germany; DOX Centre for Contemporary Art, Prague, Czech Republic; Alice Amati, London, UK; PODIUM, Hong Kong, China; The Aldrich Contemporary Art Museum, Ridgefield, CT; SHRINE, New York, NY; Gallery Belenius, Stockholm, Sweden; and Contemporary Arts Center, Cincinnati, OH, among others. Youn is a recipient of the Vermont Studio Center Fellowship and the 2020 Great Rivers Biennial Award. They received their BFA from the Sam Fox School of Design & Visual Arts at Washington University in St. Louis, St. Louis, MO. Youn holds an MFA from Yale School of Art in New Haven. They live and work in Albuquerque, NM and are represented by Sargent’s Daughter (New York), Soy Capitán (Berlin), and G Gallery (Seoul).

For more information about this exhibition and current and future exhibitions, please visit Night Gallery’s site here. The magazine did an interview with Rachel, which can be found here.

uzomah ugwu 3/30/26 uzomah ugwu 3/30/26

Mira Dancy :Mourning's Orbit

The paintings in Mourning's Orbit are for Mira Dancy a homecoming and a departure. They are oil landscape paintings, based on photographs Dancy has taken in the area around her home in Altadena, California, during the year since the Eaton Fire ravaged and transformed the community on every level. They are clearly different, and made differently, than the acrylic paintings of goddess-like figures that have dominated her paintings for the past 15 years. A dynamic use of line and impassioned commitment to worldly and otherworldly uses of color unifies the bodies of work, however, and suggests that the new paintings are in fact an expansion of and re-articulation of themes that give the previous ones their power.

Mourning's Orbit is a statement about the necessity of painting as both response and reflection, and speaks to the feeling of conviction—about painting, but also about art and cultural expression generally—that characterizes Dancy's work. This is a moral stance with important formal reverberations. As the show's title suggests, she is attuned to the orbits, the outer edges, of a landscape and the catastrophic changes it and its inhabitants have undergone. The paintings depict trees in every state of charred decay and abundant renewal; scorched hillsides renegotiating their subtle chaparral palettes with the forces of fire and the seasons; and sun, clouds, and luminous moods of the sky that encompasses all. Dancy allows grief and beauty to exist in close contact. They are often shown to be as intimate as two brushstrokes staking out adjacent bits of canvas, or two colors delineating the space of a tree trunk or a cloud even as they suggest extremes of ecstasy and despair.

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Installation View: MIRA DANCY Mourning’s Orbit, 2276 E. 16th Street, Los Angeles, California 90021, February 24 — April 4, 2026 Photography courtesy Marten Elder and Night Gallery

The evocative realism of Dancy's pictures calls to mind a range of associations. They are impressionistic, expressionistic, and naturalistic, revealing not only her encyclopedic interest in the history of her medium, but the urgency with which she has tapped her own resources and lifetime of study to respond to an unprecedented moment in her own and her community's lives. The orbit of mourning, while natural and emotional, is also therefore a cultural demarcation. Forms like trees and mountains carry more than merely the images of a specific place and time; like elements of a genetic code, they are the building blocks of the foundational narratives that provide the narrative bedrock for collective human experiences.

The garden-like groves that fill the all-over surfaces of some paintings, for instance, are Edenic, with all the complexity and potential for hope and loss that the word contains. The ragged stumps that anchor compositions like the one in Resurrection, meanwhile, engage an instinct for theological speculation to which even the most casual observer might resort in the face of cataclysmic environmental change. Even absent its religious overtones, the idea of being born again becomes in these paintings a matter of daily, even mundane, reality. In the moment-to- moment negotiations with her materials; in the photographic cataloguing of scenes while on daily walks; and in the formal translation of her perception into fields of color and gesture with their own, often abstract, communicative power, Dancy devotes her attention to luminous details.

“As these moments elicit her—and her viewers'—continued looking, they create bridges between what is known about this landscape and the fire and what is yet to be discovered. Like any given color—a supernatural pink, a void-inducing black, a greenish grey that evokes the need for imminent rain—such moments exist on a spectrum on which destruction and renewal are always transitional states rather than final or permanent designations. Mourning's Orbit finds Dancy locating the chapters of her artistic evolution in a similar way. In this respect, each individual painting can be seen as a question about the meaning of the past and the trajectory of the future, as well as an act of surrender to the fact that such questions can only be asked by engaging in the present moment of painting itself.”

- Stuart Krimko, Altadena, 2026

Mira Dancy (b. 1979) received her MFA in painting from Columbia University and has had solo exhibitions at Night Gallery, Los Angeles; Chapter NY, New York; Dia Horia, Athens, GR; Yuz Museum, Shanghai; Galerie Hussenot, Paris; Lumber Room, Portland; and JOAN, Los Angeles among others. Her work is included in the permanent collections of Los Angeles County Museum of Art, Los Angeles; Whitney Museum of American Art, New York; Columbus Museum of Art, OH; and Yuz Foundation, Shanghai. In 2015, Dancy's work was included in Greater New York at MoMA PS1. She has been covered in the New York Times, Art in America, Artforum, Vogue, The Financial Times, Kaleidoscope, and ArtNews, among other publications. Dancy lives and works in Los Angeles.

For more information about this exhibition and current and future exhibitions, please visit Night Gallery’s site here. The magazine did an interview with Mira, which can be found here.

uzomah ugwu 3/19/26 uzomah ugwu 3/19/26

Conditions of Inheritance: Bobby K. Hill and Coby Kennedy

Installation Views: Coby Kennedy, Bobby K. Hill, *Conditions of Inheritance* 524 West 19th Street, New York, NY. February 19, 2026- April 11, 2026 Photography courtesy L’SPACE Gallery

L’SPACE Gallery, in collaboration with ARTMoney Society, opened the exhibition Conditions of Inheritance, an exhibition featuring works by Bobby K. Hill and Coby Kennedy that engages questions of cultural inheritance, material legacy, and the systems that shape both. There was an opening reception on February 19th. The exhibition will conclude on April 11, 2026, at their location at 524 West 19th Street, New York, NY.

Installation Views: Coby Kennedy, Bobby K. Hill, Conditions of Inheritance 524 West 19th Street, New York, NY. February 19, 2026- April 11, 2026 Photography courtesy L’SPACE Gallery

Conditions of Inheritance brings together two distinct yet resonant artistic practices rooted in figurative language and material intelligence. Working across layered narratives of family, memory, and inheritance, the artists construct complex visual languages that engage questions of lineage, pressure, and continuity. Shaped by lived experience and cultural inheritance, these narratives reflect the power of ancestral legacy and family to withstand ongoing systemic pressures—revealing resilience as constructed, not assumed, and creating space for empowerment and celebration. This inquiry finds distinct expression in the practices of Bobby K. Hill and Coby Kennedy, whose works approach inheritance through personal history, material experimentation, and symbolic form.

Bobby K. Hill, Chasing Bubbles, 2019, mixed media, paint on repurposed wood, 31 x 22 in

Bobby K. Hill’s Inner Child Collection on canvas and The Stellar Collection on repurposed wood incorporate elements of painting, collage, and printmaking to create introspective portraits of family and community. His works combine figurative elements layered across multiple perspectives, portraying interwoven relationships between generations—connections lost and found over time, yet still part of a strong lineage. Familiar imagery is created by hand using house paint, abstract textures, and finishes reminiscent of woodblock/screenprinting, splatter painting, and graffiti. Inspired by years of immersion in commercial design and popular culture, alongside a keen observation of fine art techniques and traditions, he presents an emotionally rich slice of New York City life and beyond.

Coby Kennedy, Accretion Collision, 2025, ballistic grade Kevlar, steel, rust, resin, fiberglass, 76 x 36 x 9 in

Coby Kennedy’s latest body of work extends his Afro-Futurist leanings through a deeply personal lens shaped by parenthood. As the father of two young daughters, his bold, unflinching engagement with the realities of racism in the United States has evolved into a metaphorical exploration of ancestral lineage and protection. He stretches bulletproof Kevlar canvases, pigmented with rust, onto roughly soldered, geometrically shaped metal frames. Other works take the form of shields, some fragmented as if from battle. Images of his daughters appear throughout the series as mythic figures, their hair braided by out-of-frame ancestors.

Together, the works of Hill and Kennedy demonstrate the power and persistence of artistic vision that surpasses social and political boundaries. Drawing viewers into the nuances of each artist’s personal history, the exhibition invites a dialogue that resonates with universal understanding.

For more information about this exhibition and others at L’SPACE Gallery, please visit their site here. The Gallery can be found on Instagram here. The magazine did an interview with Coby, which can be found here. The magazine also did an interview with Bobby, which can be found here.