Isaac Julien: Lessons of the Hour — Frederick Douglass
2023-12-08 - 2026-12-06 | Smithsonian American Art Museum, 750 9th St. N.W., Washington, DC, 20001, United States
Sir Isaac Julien’s moving image installation Lessons of the Hour (2019) interweaves period reenactments across five screens to create a vivid picture of nineteenth-century activist, writer, orator, and philosopher Frederick Douglass. Through critical research, fictional reconstruction, and a marriage of poetic image and sound, Julien asserts Douglass’ enduring lessons of justice, abolition, and freedom that remain just as relevant today.
Lessons of the Hour features passages from Douglass’ key speeches, including the titular “Lessons of the Hour,” “What to the Slave Is the Fourth of July?” and “Lecture on Pictures.”
Julien weaves together reenacted scenes from Douglass’ life and lectures, filming at his historic home in Washington, DC, and a restaged studio of famed Black photographer J.P. Ball (1825–1904) as he makes a portrait of Douglass. Images of contemporary Baltimore—the city where Douglass was enslaved and escaped from bondage in 1838—including footage of fireworks and protests in 2015 following the death of Freddie Gray, Jr. while in police custody, are interspersed as the struggle to make good on America’s promise of equality continues.
Lessons of the Hour was jointly acquired by SAAM and the National Portrait Gallery in 2023. The 28-minute work debuted for Washington audiences December 8, 2023, and remains on public view through the 250th anniversary of the founding of the United States in 2026.
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Tending and Dreaming: Stories from the Collection
2025-03-07 11:00 - 2027-12-31 18:00 (America/New_York) | San Jose Museum of Art, 110 S. Market Street, San Jose, CA, 95113, United States
Tending and Dreaming: Stories from the Collection launches the first dedicated collection galleries at the Museum. Providing unprecedented access to core works in San José’s only publicly held art collection, SJMA’s collection galleries position artists as storytellers to imagine the Museum as a space where culture and meaning are actively made and always in process.
Organized into thematic groupings, Tending and Dreaming offers poetic starting points for engaging with ideas woven through the works of almost fifty artists from the Bay Area and beyond, including Ruth Asawa, Martha Atienza, Shilpa Gupta, Yolanda López, and Elias Sime, among many others.
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“Tell Clyfford I Said ‘Hi’”: An Exhibition Curated by Children of the Colville Confederated Tribes
2025-09-19 10:00 - 2026-05-10 17:00 (America/Denver) | Clyfford Still Museum, 1250 Bannock St., Denver, CO, 80204, United States
“Tell Clyfford I Said ‘Hi’”: An Exhibition Curated by Children of the Colville Confederated Tribes is a collaborative exhibition co-curated with youth from the Colville Confederated Tribes in Washington State, on view from September 19, 2025–May 10, 2026, at the Clyfford Still Museum. It highlights the perspectives of Colville children on Clyfford Still’s depictions of their ancestors and their home, as well as his abstract works. Installed in all nine of the Museum’s galleries, this exhibition investigates six themes identified by our co-curators: Family & Culture, Connection, Storytelling, Wilderness, Love, and Paint & Color.
Clyfford Still Museum’s curatorial and education staff worked with young children (ages three years to fourteen years old) and teachers from partner schools and childcare centers on the Colville Confederated Tribes Reservation on every level of the exhibition, including artwork selection and arrangement, object interpretation and gallery text, and interactive space.
This exhibition continues CSM’s efforts to foster engagement with its collections by sharing authority on Still’s work with the Museum’s critical communities and is an occasion to bridge various gaps—physical, cultural, metaphorical—that exist between Indigenous communities and the traditional art museum space.
Background and Development
While working as an instructor at the Washington State College Fine Arts Department, Clyfford Still assisted in founding a summer art colony for WSC community members and became one of its first instructors in the summers of 1937 and 1938. Instructors held classes in Nespelem on the Colville Reservation and Toppenish on the Yakama Indian Reservation in Washington. The Clyfford Still Museum collections include three paintings on canvas, over 85 drawings and sketches on paper, nearly 20 documentary photographs, and other archival ephemera documenting Still’s time in the area. These objects reveal how Still’s experiences with the Colville community profoundly impacted his work for years.
While culturally distinct and diverse, the twelve bands of the Confederated Tribes of the Colville Reservation—Chelan, Chief Joseph Band of Nez Perce, Colville, Entiat, Lakes, Methow, Moses-Columbia, Nespelem, Okanogan, Palus, San Poil, and Wenatchi—share cultural practices and 1.4 million acres of land. Though CSM has focused past exhibitions and programs on Still’s work from Nespelem since 2013, this exhibition seeks to extend and deepen CSM’s relationship with the Colville Tribal community.
Co-curated with children in the Colville Confederated Tribes in northeastern Washington, this exhibition explores Clyfford Still’s work through the perspectives of children, some of whom are direct descendants of individuals Still portrayed in his art. “Tell Clyfford I Said ‘Hi’” centers young Indigenous voices by engaging them to collaboratively develop an exhibition that builds upon previous evaluation, research, and CSM exhibitions.
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Wallflowers
2026-02-07 11:00 - 2026-05-17 17:00 (America/Los_Angeles) | Frye Art Museum, 704 Terry Ave, Seattle, WA, 98104, United States
Wallflowers is a dialogue across time centered on one of art history’s most underestimated genres: the floral still life. Bringing together eleven paintings from the Frye’s collection with newly commissioned wallpaper designs from eleven contemporary artists, the exhibition explores how artists from the nineteenth century to the present have turned to floral imagery as fertile ground for experimentation and reinvention.
The floral still life genre has proven remarkably durable, capable of holding centuries’ worth of ideas about beauty, impermanence, social class, and the shifting relationship between art and craft. Today, contemporary artists continue to redeploy the floral as both image and symbol: an unassuming bouquet is actually neither quaint nor static, but full of cultural memory, and a site for subversive social critique.
Structured to mimic the delights of navigating a cultivated garden, Wallflowers oscillates between discrete paintings and immersive patterns, between contemplation and exuberance. The selected works tell a broader story of industrialization, design, and modernism’s ongoing flirtation with the decorative, and celebrate the ability of artists to invest familiar forms with fresh meaning.
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Unseen Layers
2026-03-05 - 2026-05-21 | Ronald Feldman Gallery, 31 Mercer Street, New York, NY, 10013, United States
“The most beautiful emotion we can experience is the mysterious.
It is the fundamental emotion that stands at the cradle of all true art and science.”
Albert Einstein
from a 1931 essay, included later in Ideas and Opinions and quoted by Eleanor Heartney in Unseen Layers catalogue.

Ronald Feldman Gallery presents a series of new science-inspired paintings by Edwin Schlossberg, marking his fifteenth solo exhibition with the gallery. Compelled by his study of visual realms newly observed by scientists using innovative techniques and cutting-edge technology, the works expound upon a broad range of subjects: biological and cosmic processes, cellular emergence, organic composition, neural phenomenon, and many others – all united by their alive-ness. The artist approaches life’s activities from an expansive perspective, where art, science and humanity fundamentally interconnect, and opportunities for crosspollination and renewal continually exist.

Notably, Schlossberg considers each work a type of portrait, with titles such as Portrait of Cells Dividing, Portrait of Mouse Brain, and Portrait of the Sun Shining. At once corporeal and spiritual, the paintings are made of luminous, metallic colors with daubed or web-like compositions; the multiple paint layers applied to highly-reflective backgrounds portray structural, life-supporting (or potentially life-threatening) entities.
Schlossberg’s Making Visible will be played in the gallery’s street window. The visionary, 26:38 minute, black and white video was commissioned by the Dilexi Foundation for public television in 1969. The experimental work, narrated by the artist and Buckminster Fuller, is an essayistic exploration of the vast potential for electronic communication, and embodies the promise of technology facilitating human interaction and understanding.
The exhibition is accompanied by a catalogue featuring contributors invited by Edwin Schlossberg and Lara Pan. The publication includes texts and reflections by John Alexander, Céline Fribourg, Steven Heller, Eleanor Heartney, Brett Littman, Debbie Millman, George Musser, Lara Pan, Rose Schlossberg, Sasha Stiles, Sacha Wade, and Kevin Wade, edited by Lara Pan.

Edwin Schlossberg has been represented by Ronald Feldman Gallery since 1978. For over five decades, he has worked across conventional and unconventional media to create visual and poetic worlds that bridge language, image and perception. His work has been exhibited widely in the United States and internationally and is included in major public and private collections, including the Art Institute of Chicago, the Solomon R. Guggenheim Museum, the Metropolitan Museum of Art, and the Museum of Modern Art. In 2004, he received the National Arts Club Medal of Honor, and in 2011 he was appointed by President Barack Obama to the U.S. Commission of Fine Arts.

Gallery hours are Tuesday through Thursday and Saturday, 1-5pm (closed Saturday March 7th and April 4th)
For press and image inquiries, contact Cat Zhou at (212) 226-3232 or catherine@feldmangallery.com
Reception: Thursday, March 5, 6-8pm
Panel Discussion: Saturday March 28, 5pm with Edwin Schlossberg, Eleanor Heartney, and George Musser, moderated by Lara Pan
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Jacquelyn Strycker: Pattern of a Pattern
2026-04-02 - 2026-05-09 | Kathryn Markel Fine Arts, 179 Tenth Avenue, New York, 10011, United States
Kathryn Markel Fine Arts is pleased to announce Pattern of a Pattern, an exhibition of new mixed media works on paper by Jacquelyn Strycker. This will be her first solo exhibition with the gallery. A reception will be held on April 9th, 6-8pm.
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Jinie Park | Twins
2026-04-16 18:00 - 2026-05-30 18:00 (America/New_York) | Winston Wächter Fine Art, 530 W 25th St, New York, New York, 10001
Winston Wächter Fine Art, New York is pleased to present, Twins, an exhibition featuring a new body of work by Jinie Park. In her debut solo exhibition with the gallery, Park paints thinly layered, translucent assemblages of linen, muslin, and hand-woven fiber to explore materiality and activated space.
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Stephanie Hirsch | Wherever You Go, There You Are
2026-04-16 18:00 - 2026-05-30 18:00 (America/New_York) | Winston Wächter Fine Art, 530 W 25th St, New York, New York, 10001
Winston Wächter Fine Art, New York is pleased to present, Wherever You Go, There You Are, a series of beaded works by Stephanie Hirsch exploring emotional patterns and the inevitability of self. In her newest series, Hirsch’s work is a meditation on the patterns we carry, the stories we tell ourselves, and the excuses we make as the same lessons repeat.
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Dalí: The Great Years, 1929–1939
2026-04-17 10:00 - 2026-06-13 18:00 (America/New_York) | Di Donna Galleries, 744 Madison Avenue, New York, NY, 10065, United States
Di Donna Galleries is pleased to present Dalí: The Great Years, 1929–1939, a major exhibition tracing the pivotal decade in which Dalí established both his mature artistic language and enduring public persona. It is the most significant presentation of Dalí’s work in New York since the Museum of Modern Art’s exhibition in 2008.
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Dalí: The Great Years, 1929–1939
2026-04-17 10:00 - 2026-06-13 18:00 (America/New_York) | NY
Di Donna Galleries is pleased to present Dalí: The Great Years, 1929–1939, a major exhibition tracing the pivotal decade in which Dalí established both his mature artistic language and enduring public persona. It is the most significant presentation of Dalí’s work in New York since the Museum of Modern Art’s exhibition in 2008. The exhibition is on view from April 16 through June 13, 2026 at Di Donna’s Madison Avenue gallery.
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Benny Andrews: Migrants
2026-04-18 - 2026-08-07 | Michael Rosenfeld Gallery, 100 11th Ave, New York, NY, New York, United States
Michael Rosenfeld Gallery is pleased to present Benny Andrews: Migrants, the gallery’s fourth solo exhibition celebrating the work of Benny Andrews (1930–2006). Created between 2004 and 2006, The Migrant Series is the artist’s last body of work created before his death in November 2006. In the series, Andrews traced three historical migration routes that connected to his own Black, White, and Cherokee ancestry: the Great Migration of the 20th century, in which millions of Black Americans moved from the South to the North, the 1930s Dust Bowl exodus from the Great Plains that was driven by environmental and economic hardship, and the 19th century forced migration of Native Americans in what has become known as the Trail of Tears. By shedding light on human resilience amidst the injustices of history, the series exemplifies Andrews’ humanist approach as an artist who recognized the power of history and sought to leverage the past to inform the future.
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Louisa Chase: The Eighties
2026-04-23 - 2026-05-30 | Berry Campbell Gallery, 524 W 26th Street, New York, NY, 10001, United States
Berry Campbell is pleased to present Louisa Chase: The Eighties, on view April 23 through May 30, 2026. Marking the artist’s first exhibition with the gallery since announcing representation of her estate, this exhibition features paintings and works on paper from the mid-1970s to the mid-1980s, a pivotal and emotionally expressive period of Chase’s practice. This exhibition will be Chase’s largest and most comprehensive in New York City in over 25 years.
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José-Ricardo Presman
2026-04-30 - 2026-06-07 | Amos Eno Gallery, 191 Henry Street, New York, NY, 10002, United States
Amos Eno Gallery is pleased to present A Mountain Overlooking a Home by the Lake – The Creation of Time from the State of Duration, a solo exhibition by artist José-Ricardo Presman. Presman was among the founding artists who established Amos Eno Gallery in 1974, making this exhibition both a continuation of a decades-long relationship and a reflection on the evolving concerns of his practice.
In this new body of work, Presman explores the relationship between perception, time, and scale — drawing connections between the intimate spaces of human awareness and the vastness of the cosmos. The exhibition unfolds as a contemplative installation of canvas panels layered with diluted acrylic pigments that reveal themselves slowly, shifting as viewers spend time with the surface.
Presman’s paintings resist immediate readability. Instead, subtle tonal variations and restrained color fields emerge gradually, inviting viewers into an extended act of looking. The works operate less as static images than as perceptual environments — spaces where attention itself becomes part of the experience.
The exhibition’s title references philosophical ideas about time and duration, particularly the notion that reality is in constant flux. Presman approaches each exhibition as an opportunity to begin again, deliberately avoiding stylistic repetition in order to reflect this sense of continual transformation. The resulting works encourage viewers to move beyond habitual ways of seeing and engage the work through sustained attention and imagination.
The exhibition also includes a related video component and a forthcoming live musical performance by composer Damien Olsen Berdichevsky, extending Presman’s investigation of rhythm, perception, and time across multiple sensory registers.
Over five decades after helping to found Amos Eno, Presman’s latest exhibition reflects both the continuity of his philosophical inquiry and its ongoing evolution.
The gallery will celebrate the exhibition with an opening reception on Friday, May 1, from 6 to 8 p.m. Works and installation images will be available to view on Artsy.
About the Artist
José-Ricardo Presman was born and raised in Buenos Aires, Argentina, and received his MFA from Pratt Institute in Brooklyn, NY. He is one of the co-founders of the Amos Eno Gallery in 1974, and has exhibited in numerous solo shows at Amos Eno Gallery in New York and in various group shows throughout the US and Canada. A complete list of exhibitions is available in his CV upon request.
About Amos Eno Gallery
Amos Eno Gallery has been a fixture in the New York art scene since 1974 when it opened in Soho. The nonprofit space is open Thursdays through Sundays from noon to 6 p.m. and run by a community of professional artists from New York City and across the country, along with a part-time director. ​
The gallery is located at 191 Henry Street between Jefferson and Clinton Streets on the Lower East Side of Manhattan. It’s a 5 minute walk from the F Train’s East Broadway Station and a 10 minute walk from the J Train’s Delancey Street – Essex Street Station.
Amos Eno Gallery’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.
Amos Eno Gallery is also funded in part thanks to the generosity of the Joseph Roberts Foundation.
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"In Translation" Group Show
2026-04-30 - 2026-06-07 | Amos Eno Gallery, 191 Henry Street, New York, NY, 10002, United States
In Translation brings together five artists whose works examine how inherited systems — linguistic, biological, algorithmic, political, and ritual — shape identity and belonging. Across drawing, painting, sculpture, and collage, the exhibition asks how forms are received and remade: to be patterned by forces larger than the self, and to respond by constructing new visual languages.
Curated by gallery director Ellen Sturm Niz, the exhibition traces a shared tension between origin and invention — between what is given and what is built in response. Each artist engages a distinct system of transformation, from cultural displacement and personal syntax to painterly fracture, algorithmic logic, and political interference. Translation emerges here not as loss, but as a generative act — a process of absorbing disturbance and reconstituting it as meaning.
At a moment when identity is increasingly mediated by technology, migration, and political division, the question of how meaning is constructed — and who constructs it — feels newly urgent. In Translation responds by foregrounding artists who do not simply receive these systems, but actively reshape them.
Reception: Friday, May 1, from 6 to 8 p.m.
Artists & Works in the Exhibition
Zoë Elena Moldenhauer
Zoë Elena Moldenhauer is a New York–based artist who received her BFA from the Maryland Institute College of Art (2019) and an MA from New York University (2022). She is the founder of The Aerogramme Center for Arts and Culture, an online platform supporting artists and writers, and maintains a studio at Brooklyn Art Cluster.
Since 2017, Moldenhauer has developed a personal alphabet rooted in her experience as a Guatemalan transracial adoptee — a tool for constructing identity in the absence of inherited language or culture. The system continues to evolve, incorporating Nahuatl, pictorial languages from the Nazca lines in Peru, and cave paintings from Serra da Capivara in Brazil. Using linoleum block printing on fabric, she builds layered surfaces with yarn, buttons, zippers, and wax crayon, forming what she describes as imaginary constellations — a language that is both invented and deeply researched.

Composition 3 | 2025 | Screenprint, zipper, wax crayon, plastic bread tags on fabric | 12 × 20 in. | $300
Two panels of vivid red fabric, joined at the center by a zipper, bear bold black screenprinted forms — abstracted figures or glyphs — surrounded by Moldenhauer’s evolving visual syntax and arrow-like notations in yellow and purple wax crayon. Small found objects punctuate the surface: a red button, orange and green plastic bread tags. The zipper seam running across the middle feels structurally apt: two things held together, translatable into each other, always capable of coming apart.

Composition 1 | 2025 | Yarn, buttons, plastic bread tags, wax crayon, screenprint on fabric | 21 × 19.5 in. | $300
Made in Rio de Janeiro in response to Brazil’s Tropicália Movement, Composition 1 works in a quieter register — a dark fabric ground against which Moldenhauer’s coded system floats alongside loosely applied black shapes and thin wax crayon marks. Buttons and bread tags act as punctuation. The work resists legibility by design, asking to be felt before it is read.
Allison Pottasch
Allison Pottasch is a Brooklyn-based artist who collages, draws, and paints. Trained in Advertising at Pratt Institute and largely self-taught, she works with clippings from magazines and historical mass media, transforming them into what she describes as hieroglyphic characters.
Her maximalist collages reassemble these fragments into dense visual systems that examine contemporary Americana — exploring sexuality and gender, religion and mysticism, and cultural and personal identity. Removed from their original context, the images invite viewers to activate their own visual memory to construct meaning.

Rangoli | 2025 | Paper collage | 11 × 17 in. | $1,200
Set against a ground of layered, torn black paper, Pottasch’s collage unfolds along a strict bilateral axis — the symmetry of a mandala or altar. At its center, a dense horizontal band of fragments — crowns, leopards, religious iconography, botanical forms, and unmistakably American consumer imagery — is assembled into a form of unexpected ceremony. The traditional Indian rangoli, typically made as an offering of welcome, is here reconstructed from the detritus of print culture. The logic of accumulation becomes ceremonial, transforming disposable imagery into a structure of attention and care.
Olga Rudenko
Olga Rudenko is a Ukrainian-born artist based in New York City, trained in stone and wood carving and holding a Master’s degree in the history of philosophy. Working across sculpture, textiles, painting, and digital language, she examines how human identity is reshaped by ideology and technology.
Her project AI_Augmented_Iconography merges Orthodox religious imagery — halos, gold leaf, frontal stillness — with algorithmic code, emojis, and scientific notation. Rooted in lived experience of cultural and personal transformation, the work considers how technological systems alter perception, relationships, and the body. Slow processes like embroidery act in deliberate opposition to digital speed, while the recurring child figure underscores the fragility of human life.

<!–edited–> #3 | 2024 | Silicone dolls, cotton, embroidery, sequins, ink, mirrors | 34 × 20 × 18 in. | $10,000
A cluster of soft, stuffed figures — childlike in form, unsettling in implication — hangs suspended against overlapping black mirror discs. Every surface is covered in embroidered and inked genetic notation: CRISPR, mRNA, scissor symbols, DNA base-pair letters. The body becomes a readable document — legible to an algorithm. Where Orthodox iconography once marked the body as sacred, here it is rendered as code. The work asks what individuality means when reproduction is systematized and the script of life is written elsewhere.
Sasha Skulinets
Sasha Skulinets is a Ukrainian-born painter and filmmaker based in New York. Working across painting and narrative film, she examines perception and the construction of point of view.
Her paintings, made primarily with acrylic on canvas and wood, evolve through layering, pouring, and erasure, emphasizing surface, duration, and the physical negotiation of form. The surface records what has been added, removed, and reworked, locating meaning in the accumulation of time and process, where images are continually translated through material change.

While the World Decays | 2025 | Acrylic on canvas | 36 × 48 × 1.5 in. | $1,600
A dark vertical stroke bisects the canvas, splitting a bruised, atmospheric field of lavender, blue, teal, ochre, and red into near-mirror halves. Layers of erasure and reapplication remain visible in the surrounding surface. Here, translation emerges through paint itself — the unified image fracturing under pressure into something less resolved, more contingent. The palette carries the weight of the title: these are not colors of resolution.
Christopher Squier
Christopher Squier is a New York–based visual artist who holds an MFA in Sculpture from the San Francisco Art Institute. Working across drawing, writing, and installation, he explores optics and the role of light in contemporary visual culture, framing vision as both historically shaped and politically contested.
His Disturbances series draws on a mid-century physics experiment visualizing light as wave interference, using these patterns as a framework for understanding how perception is shaped by overlapping political and social forces, including sound, architecture, and embodied experience.

Disturbances No. 22 (Troubadours) | 2025 | Colored pencil on Bristol vellum | 17 × 11 in. | Framed | $1,500
Made following a trip to Guanajuato, Mexico, this drawing layers delicate Gothic-inspired ironwork — drawn from the city’s balconies — over a central interference pattern of concentric white rings radiating across a soft blue and lavender field. Diagonal lines cut through the composition like wave trajectories; a prismatic triangle glows with spectral color; a botanical sprig curls near the surface. Here, interference becomes grounded in lived conditions — sound moving through streets, bodies gathering in public space, presence insisting on itself.

Disturbances No. 19 | 2023 | Colored pencil on Bristol vellum | 17 × 11 in. | Framed | $1,500
Part of the same series, this drawing extends Squier’s investigation of interference into the realm of sound. Inspired by time spent in Milan, the work connects the vibration of light to sonic experience — footsteps echoing in humid air, architectural acoustics, and the internal mechanics of hearing itself. The composition draws from specific sites, including the ear-shaped intercom of Casa Sola Busca and the staircase of Villa Necchi, while staging a dialogue between interior and exterior space, and between visual and sensory perception.
Tessellation (The Lighthouse, Unfolded) | 2026 | Colored pencil on Bristol vellum | 19 × 24 in. | Unframed | $2,200
A larger, in-progress work, Tessellation (The Lighthouse, Unfolded) expands Squier’s interest in optical systems through the geometry of a deconstructed Fresnel lens translating its structure into a dense, flattened field with a hypnotic, tessellated structure.
About The Project Space at Amos Eno
In Translation is on view at The Project Space, Amos Eno’s experimental exhibition space in the cellar, from April 30 through June 7, 2026.
The gallery is open from 12 p.m. – 6 p.m. Thursdays through Sundays. Please note there is a steep staircase to access this area.

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