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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Pao Houa Her: The Imaginative Landscape
2025-07-11 11:00 - 2026-02-22 18:00 (America/New_York) | San Jose Museum of Art, 110 S. Market Street, San Jose, CA, 95113, United States
Pao Houa Her’s practice engages with the legacies, potentials, and aesthetics of landscape and portrait photography traditions, examining the complex intertwining of desire, homeland, and artifice. Rooted in the experience of her Hmong community and shaped by family experiences and lore passed down by her elders, Her’s work centers women as the knowledge bearers of both past and future. Using a formally rigorous photographic approach, Her explores constructions of homeland that resonate across diasporas.
Pao Houa Her: The Imaginative Landscape is an unconventional survey of over 20 years. Seen through the expansive titular series, it traces conceptual ties between past series, new work, and work still under development, connecting California agricultural landscapes to the jungles of Laos, poppy fields in Minnesota, and beyond. The exhibition is co-organized by Lauren Schell Dickens, chief curator at SJMA, and Jodi Throckmorton, chief curator at John Michael Kohler Arts Center in Sheboygan, Wisconsin, and will be presented at both organizations simultaneously.
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Pao Houa Her: The Imaginative Landscape
2025-07-11 11:00 - 2026-02-22 18:00 (America/New_York) | San Jose Museum of Art, 110 S. Market Street, San Jose, CA, 95113, United States
Pao Houa Her’s practice engages with the legacies, potentials, and aesthetics of landscape and portrait photography traditions, examining the complex intertwining of desire, homeland, and artifice. Rooted in the experience of her Hmong community and shaped by family experiences and lore passed down by her elders, Her’s work centers women as the knowledge bearers of both past and future. Using a formally rigorous photographic approach, Her explores constructions of homeland that resonate across diasporas.
Pao Houa Her: The Imaginative Landscape is an unconventional survey of over 20 years. Seen through the expansive titular series, it traces conceptual ties between past series, new work, and work still under development, connecting California agricultural landscapes to the jungles of Laos, poppy fields in Minnesota, and beyond. Her’s images are also dispersed across downtown San José in unexpected place—outside and indoors, on walls and on screens—a reminder of the tenacity of diasporic communities flourishing throughout our city.
The exhibition is co-organized by Lauren Schell Dickens, chief curator at SJMA, and Jodi Throckmorton, chief curator at John Michael Kohler Arts Center in Sheboygan, Wisconsin, and will be presented at both organizations simultaneously.
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Soundings: Making Culture at Sea
2025-08-12 10:00 - 2025-12-14 17:00 (America/New_York) | Spencer Museum of Art, University of Kansas, 1301 Mississippi St., Lawrence, KS, 66045, United States
Soundings: Making Culture at Sea explores how visual representations of oceans from different times and places across history have helped humans articulate questions and concerns that are political, cultural, and environmental. Soundings remains on view through December 14, 2025.
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Edna Andrade: Imagination Is Never Static
2025-08-30 10:00 - 2026-01-04 17:00 (America/New_York) | Harvard Art Museums, 32 Quincy Street, Cambridge, MA, 02138
Celebrate a 20th-century artist whose innovative abstract drawings and paintings continue to inspire.
Edna Andrade: Imagination Is Never Static offers a new look at the practice of acclaimed artist and educator Edna Andrade (1917–2008). Presenting a selection of drawings recently gifted to the Harvard Art Museums by the artist’s estate, this exhibition emphasizes the central role of drawing as well as interdisciplinary exploration in her art and in modernist movements of the 20th century.
Andrade is best known for her geometric compositions, which were inspired by her interest in studying structures in nature, architecture, astronomy, mathematics, and art history. She carried this same set of wide-ranging inspirations and inquiry to her teaching. Her classroom bridged her own traditional artistic training of drawing from observation and the principles of the Bauhaus school that transformed U.S. arts curricula after faculty émigrés took up leadership positions in art and architecture programs, such as Harvard’s Graduate School of Design. Andrade taught courses on color and design at the Philadelphia Museum School of Art and was part of an intellectual salon called Form Forum, which brought mathematicians, artists, architects, and philosophers together in an exchange of ideas. Presented on a university campus, the exhibition explores the way that Andrade used drawing as a process of experimentation, channeling her own multifaceted approach to art and design.
Curated by Mitra Abbaspour, Houghton Curator of Modern and Contemporary Art and Head of the Division of Modern and Contemporary Art, and Madeline Murphy Turner, Emily Rauh Pulitzer Curatorial Fellow in Contemporary Drawings; with Bridget Hinz, Senior Curatorial Assistant for Special Exhibitions and Publications.
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Performance, Activist, and Existential Photographs
2025-09-02 - 2026-01-29 | Ronald Feldman Gallery, 31 Mercer Street, New York, NY, 10013, United States
Ronald Feldman Gallery is pleased to present a group exhibition:
Performance, Activist, and Existential Photographs
A selection of photographs and photo-based works by:
Vincenzo Agnetti, Elaine Angelopoulos, Eleanor Antin, Arakawa, Conrad Atkinson, Brandon Ballengée, Joseph Beuys, Chris Burden, Cassils, Chuck Close, Keith Cottingham, Terry Fox, Tom Friedman, Rico Gatson, Helen & Newton Harrison, Komar & Melamid, Lev Nisnevich, Robert Rauschenberg, Man Ray, Gerhard Richter, Cindy Sherman, Dmitry Shubin, Tavares Strachan, Diemut Strebe, Hiroshi Sugimoto, Eve Sussman, Mierle Laderman Ukeles, Andy Warhol, Hannah Wilke
This selection is inspired by Marcel Duchamp’s belief that the concept behind the artwork is more important than its visual or material form. This radical shift away from materiality created a foundation for artists to challenge traditional artistic forms and practices and opened the door to bold new directions. All of the artists included use their work to probe into an array of subject matters, and often redefine art in the process. If approached with an open mind, the photographs invite and inspire viewers to question their own assumptions about what art is. This exhibition presents a cross-section of Ronald Feldman Gallery’s significant history and commitment to idea-driven work.
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Stitching Time: Social Justice Collaboration Quilts Project and Give Me Life: CPA Prison Arts Program
2025-09-12 11:00 - 2025-12-13 16:00 (America/New_York) | Quick Center for the Arts, Walsh Gallery, 1073 North Benson Road, Fairfield, CT, 06824, United States
Stitching Time features 12 quilts created by men who are incarcerated in the Louisiana State Penitentiary, also known as Angola Prison. These works of art, and accompanying recorded interviews, tell the story of a unique inside-outside quilt collaboration. The exhibition focuses our attention on the quilt creators, people often forgotten by society when discussing the history of the U.S. criminal justice system. Also on view in the gallery will be Give Me Life, a selection of works from women artists presently or formerly incarcerated at York Correctional Institution, a maximum security state prison in Niantic, CT, courtesy of Community Partners in Action (CPA). The CPA’s Prison Arts program was initiated in 1978 and is one of the longest-running projects of its kind in the United States. Founded in 1875, CPA is celebrating 150 years of working within the criminal justice system. Click here for more information.
* This event is a part of Fairfield University Explores 250 Years of the American Experiment: The Promise and Paradox *
Image: Yongmi Olsen, Breaking Through Narrow, pen and colored pencil on Bristol board, 2008. Courtesy of the artist and the CPA Prison Arts Program
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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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Betsy Eby | Chromatic Frequencies
2025-10-30 18:00 - 2025-12-20 18:00 (America/New_York) | Winston Wächter Fine Art, 530 W 25th St, New York, New York, 10001
Winston Wächter Fine Art is pleased to present Chromatic Frequencies, a new body of encaustic paintings by Betsy Eby exploring the visualization of sound and harmonic connection. As both a painter and musician, Eby brings a rare sensitivity to her practice, drawing on her heightened perceptual gifts, creating correspondences between color, rhythms and sound.
Chromatic Frequencies emerges from Eby’s recent personal journey. Following major neurosurgery, she turned to Solfeggio Frequencies, soundscapes rooted in hertz frequencies known by researchers to have healing properties on the brain and body’s neural networks. An evolution of her lifelong practice of painting nature based abstractions, this body of work explores themes on a quantum level at once read micro and macroscopically, bringing together Eby’s love of music, colorfield painting, rhythmic line and materiality. She builds resonant color fields representing harmonic systems then disrupts those systems with the embodiment of gestural line work. The lines bury, recede and emerge, hovering amidst luminous fields. One painting to the next explores analogous or contrasting color worlds, decisions affecting their resulting moods.
Eby speaks of the Japanese process, Kintsugi, or “golden repair,” a tradition in which broken vessels are mended with precious metals, celebrating scars as markers of resilience. “The act of painting is a recognition of the beauty found through survival, with each painting being a record of systems disrupted then renewed,” Eby states. Chromatic Frequencies reflects Eby’s belief in the healing power of sound translated into material form.
Betsy Eby earned her BA in Art History at the University of Oregon in 1990 and has since exhibited her artworks widely, showing across the United States and Europe. Her works are held in numerous public and private collections including the Tacoma Museum of Art and the Columbus Museum of Art. She and her husband, painter Bo Bartlett, split their time between studios in Columbus, Georgia, and Wheaton Island, Maine. A native to Oregon, Eby cites her early influences in the Northwest mystics, Pacific Northwest modernism and atmospheric abstraction.
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Paulette Tavormina | Portraits in Bloom
2025-10-30 18:00 - 2025-12-20 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 Portraits in Bloom, a new series of photographs by Paulette Tavormina. In her second solo exhibition with the gallery, Tavormina takes inspiration from 17th-century Old Master still life paintings, transforming their rich symbolism into contemporary photographic portraits of flowers.
Tavormina races against time to stage and curate each portrait in her studio after hand picking various fresh florals. Thus, rather than presenting flowers in traditional vases, she captures peonies, lilacs, dahlias, roses, tulips, foxglove, and more, in various stages of life, from tightly furled buds to petals in decline. Butterflies and insects often appear within her compositions, reinforcing the interconnectedness of the natural world while echoing the allegorical depth of Old Master paintings.
For Tavormina, flowers are not only symbolic but deeply personal. Her lifelong love of flora stems from childhood days spent in her grandparents’ garden on Long Island, where her grandfather’s plum, fig trees, and plate sized dahlias alongside her grandmother’s award-winning roses, left a lasting impression. Today, Tavormina continues that tradition, cultivating many of the flowers featured in her photographs from her own Connecticut garden. In Portraits in Bloom, Tavormina elevates these homegrown specimens into elegant, timeless compositions. Each work is both a meditation on beauty’s transience and a tribute to the enduring, intimate bond between memory, family, and the natural world.
Paulette Tavormina lives and works in New York City and Connecticut. Her photographs are held in museum, corporate and private collections and have been exhibited in Paris, London, Moscow, Lugano, Madrid, New York, Los Angeles, Miami, Palm Beach, Boston, Palm Desert and San Francisco. Tavormina also has a successful career as a commercial photographer, photographing Gucci’s Alchemist’s Garden Perfume campaign. She has photographed works of art for Sotheby’s, fragrances for GOOP, and recipes for The Del Posto Cookbook (Hachette) with chef, Mark Ladner. She has been commissioned by National Geographic Magazine and The New York Times, among others. Previously, Tavormina was a prop and food stylist in Hollywood, her work seen on the silver screen in seven films such as Nixon, The Astronaut’s Wife and The Perfect Storm. Most recently, she was invited to show her works at the Château des Joncherets showcase in Saint Lubin des Joncherets, France, which opens to the public in January 2026.
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Vivian Browne: The Trees Speak, Painting 1964-1992
2025-11-13 - 2025-12-23 | RYAN LEE, 515 W 26th St, 3rd Fl, New York, NY, 10001, United States
RYAN LEE is pleased to announce The Trees Speak, an exhibition of paintings and works on paper by Vivian Browne (b. 1929 Laurel, FL – d. 1993 New York, NY) inspired by the intersection of humans and nature that she observed in the California landscape. Ranging from small paintings to grand triptychs, some of the works on view were included in the 2025 museum retrospective Vivian Browne: My Kind of Protest, but many of them haven’t been exhibited for 30 years. This is RYAN LEE’s third solo exhibition of Browne’s work.
These paintings, created between 1964 and 1992, reveal Browne’s heightened awareness of man’s impact on nature. In a 1988 artist statement, Browne wrote, “As a child growing up in Queens, NY, when it was still possible to walk through open fields and small orchards, I became fascinated with trees. That compelling attraction combined with a growing concern for environmental issues has led to references to plant life in much of my work of the past ten years.”
Curator Lowery Stokes Sims concurred, noting that Browne “captured the wonderment of a child’s first infatuation with trees encapsulated in the dramatic upsweep of the perspective in many of these paintings.” This is epitomized in the monumental painting Kings Canyon (1992), named after Kings Canyon National Park which contains some of the world’s largest stands of sequoia trees. Creating a patchwork of abstracted elements, Browne plays with perspective and color. The works in this exhibition, pulsing with energy and repeated patterns, are studies of light and space and the ways that humans intervene in nature.
In 1964, Browne traveled to California for the first time when she received a six-month Huntington Hartford fellowship, dedicating herself to art full time and finding inspiration in the local topography. During this time, she created Pacific Palisades (1964-65), which foreshadowed both her interest in painting trees as well as the color palette she would favor throughout her career.
Browne returned to California in the 1980s and became captivated with the monumental trees that she encountered in places like Yosemite National Park. Her studio overlooked a “bunch of tangled trees,” as her friend Emma Amos described it. She photographed power lines and transmission towers and began to visually juxtapose the linearity of tree branches and trunks with the metal bars of the pylons. Later, she began to superimpose these natural and manmade shapes, considering them as competing sources of energy. Browne said, “In a world fast becoming stripped of its natural resources, forms of the big trees seemed to me to be symbolic of power, strength and endurance.” The painting titled Global Warming (1987) represents Browne’s prescient anxiety about the environment as she used what was, at the time, a newly popular term for climate change.
Embedded in the abstract patterns of the trees in paintings such as All Trace (c. 1987) are encoded words by Black female writers – in this case, a quote from Toni Morrison’s acclaimed 1987 novel Beloved. Browne faced decades of pressure to paint “Black art” – meaning figurative art about Black themes. In an act of defiance and celebration, she made her trees “Black” by imbuing them with writing by Black female authors.
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Mary Bauermeister: St.one-d
2025-11-14 - 2026-01-31 | Michael Rosenfeld Gallery, 100 11th Ave, New York, NY, New York, United States
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Ibram Lassaw: From Equinox to Solstice
2025-11-20 - 2025-12-20 | Berry Campbell Gallery, 524 W 26th Street, New York, NY, 10001, United States
Berry Campbell is pleased to announce its first exhibition of Ibram Lassaw (1913-2003), one of the foremost American abstract sculptors of the twentieth century. Lassaw merged technique and form in his process-based “action sculpture”—considered both a counterpart to and an inventive variation on Abstract Expressionist “action painting.” An early advocate of “truth to materials,” he is best known for his direct-metal, open-space welded sculptures in which he united both geometric and biomorphic forms. Lassaw’s enduring passion was to explore relationships between space and matter, reflecting his abiding belief in universal order and cosmic harmony.
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Imagine: Art in the Environment
2025-12-14 02:30 - 03:30 (America/New_York) | NSU Art Museum, 1 E Las Olas Blvd, Fort Lauderdale, FL, 33301, United States
Can you imagine surrounding eleven islands with pink fabric in Biscayne Bay, or submerging a monumental art installation that doubles as a hybrid reef off of Miami Beach? Join us for two astonishing presentations by guest speakers Katherine Fleming and Ximena Caminos to illuminate the new frontier of public art.
Presented in association with the inaugural exhibition, Christo and Jeanne-Claude: Surrounded Islands, currently on view.
Free for Members
Free with Museum Admission*
*Reserve your tickets in advance by purchasing online. Museum Admission is included with your ticket. Additionally, Museum Admission can be purchased on the day of the event and will grant admission to the lecture.
Photo by Brittany Weber.
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Shared Horizon: New Editions from Tandem Press
2026-01-06 10:00 - 2026-02-20 16:00 (America/New_York) | Tandem Press, 1743 Commercial Avenue, Madison, WI, 53704, United States
This exhibition presents new editions and monoprints created at Tandem Press by Michelle Grabner, Marie Lorenz, Alison Saar, Marie Watt, and Dyani White Hawk.
Exhibition dates: January 6-Feburary 20, 2026
Gallery hours: Tuesday-Friday, 10am-4pm and by appointment
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Hung Liu: Shaping, Pouring, Layering
2026-01-08 - 2026-02-14 | RYAN LEE, 515 W 26th St, 3rd Fl, New York, NY, 10001, United States
RYAN LEE is pleased to announce Shaping, Pouring, Layering, an exhibition of paintings, mixed media resin works, and works on paper by Hung Liu (b. Changchun, China, 1948 – d. Oakland, California, 2021). This show explores the inventive processes that Liu employed to outmaneuver the limitations of media, merging painting and sculpture as she brought historical images to life. “I create and destroy an image concurrently by working freely – being both careful and careless at the same time,” Liu said.
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Sara MacCulloch: Sun Fog Rain
2026-01-08 - 2026-02-14 | 179 10th Ave, 179 10th Ave, New York, NY, 10011, United States
Kathryn Markel Fine Arts is pleased to announce Sun Fog Rain, an exhibition of new paintings by Sara Maculloch. This will be her fourth solo exhibition with the gallery. An opening reception will be held on January 15 from 6-8pm.
Sara MacCulloch is a landscape painter who paints in order to capture the transient experiences of nature. She paints seasonally, leaving her home in Toronto for the familiar vistas of Maine and Nova Scotia where she grew up. Summer days immersed in nature provide necessary relief from the challenges of today’s world. As Maculloch says, “Finding solace even in the bad weather, in the skies made opaque from fog or forest fire smoke, in the rain, or despite the drought, in the hot sun.”
All the small changes in time of day, weather, plant growth, and shoreline variations interest her. With photos and sketches, she absorbs the subtleties and feelings of a specific landscape and a specific experience.
In the fall, she returns to her studio to paint. She paints with deliberation, commits to each brushstroke strategically, and completes most paintings in one sitting. If, occasionally, a painting doesn’t work in a day or two, she scrapes it away and starts over. Intuitive, sensual brush strokes and a creamy palette create a sense of immediacy and clarity. The resulting paintings are a distillation of the experience and an invitation to enter these spaces and share a precise moment.
Sara MacCulloch is based in Toronto and studied painting at the Nova Scotia College of Art and Design. She exhibits extensively throughout Canada and work is represented in various public and private collections including TD Bank, Mayo Clinic, Bank of Montreal, the Art Gallery of Nova Scotia, University of Toronto, University of Iowa, Department of Foreign Affairs, Royal Bank of Canada, and Gotlands Kunstmuseum, SE. She has also received numerous grants and awards including the Canada council for the Arts and the Brucebo Scholarship in Gotland, Sweden.
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Susan Dory | Inner Weather
2026-01-08 18:00 - 2026-02-21 20:00 (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 Inner Weather, a series of new works by Susan Dory. In her sixth solo exhibition with the gallery, Dory continues her long-standing investigation into interconnectivity and perception through a dynamic interplay of color, transparency, and layered form.
In Inner Weather, Dory’s biomorphic and linear shapes congregate and reorganize in intricate, structured patterns. Each composition emerges from color: this series centers on radiant reds, oranges, and yellows, tones that the artist describes as an act of optimism and hope. Dory has also introduced more translucent pigments into her process, combining acrylic paint with a transparent varnish to produce a luminous, “seeing through” effect that suggests movement and transformation.
Working in a studio suffused with natural light, Dory is attuned to the shifts of shadow and reflection that traverse her workspace throughout the day. As sunlight rakes across her canvases—laid flat on sawhorses—shadows distort and reform, leaving traces that she translates into painted form. These ephemeral impressions of light and negative space become an integral part of her compositions, transforming fleeting environmental moments into lasting visual structures.
Furthermore, Dory draws on the irregular geometries of gerrymandered maps, expanding them into a broader meditation on impermanence. These shifting boundaries along with the movement of light and shadow serve as markers that anchor an ongoing inquiry into the temporary states that define our experience. Each painting becomes an artifact of this investigation: a singular object that compresses months of decision-making, revision, and fleeting perception into a single encounter. Unlike a film or novel that unfolds over time, Dory’s paintings offer its entire history at once, revealing the accumulation of moments that brought it into being.
Dory’s meticulous layering process creates both a physical and temporal depth. Each layer acts as a record of time, allowing viewers to peer through one form and into another, evoking the constant flux of perception. The resulting surfaces are at once pristine and tactile, inviting contemplation on how memory, observation, and sensation continuously overlap. For Dory, the layered compositions in Inner Weather serve as repositories of experience—a visual metaphor for the fluid nature of temporal landscapes.
Susan Dory was born in Oklahoma City, OK and currently works and resides in Seattle, WA. She studied at Iowa State University in Ames, IA where she received a Bachelor’s of Arts. Dory has received both national and local awards including the Pollock-Krasner Foundation Grant, the Netty Award, the Willard R. Espy Foundation Artist-In-Residence Fellowship and the Ballinglen Art Foundation Fellowship in Ballycastle, County Mayo, Ireland. Dory’s works have been featured in The Seattle Times, Art in America and Blouin Art Info. Her work is held in numerous public collections including The Tacoma Art Museum, Ballinglen Museum of Contemporary Art, the U.S. Embassy and the Seattle Arts Commission Collection.
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Christian Marclay
2026-01-15 - 2026-02-28 | Fraenkel Gallery, 49 Geary Street, San Francisco, CA, 94108, United States
Fraenkel Gallery is pleased to present an exhibition of new work by Christian Marclay featuring prints, collages, and a video. Fascination with vinyl records has long informed Marclay’s artistic practice. In this exhibition, the artist focuses on the recurring motifs found within the familiar square format of LP covers, exploring how music is packaged, distributed, and consumed. Following his inclusion in the 1998 Fraenkel Gallery exhibition Dust Breeding organized by artist and curator Steve Wolfe, the exhibition will be Marclay’s sixth solo show with the gallery since 2008. A reception with the artist will take place at the gallery on Saturday, January 17, from 11am to 1pm.

In eleven new works on paper, Marclay inks the sleeves and covers from 7”, 10”, and 12” vinyl records, printing them as monotypes. Unlike etchings or lithographs, the monotype process creates a single unique impression, capturing the folds, creases, and surface wear of these objects and revealing their tactile histories as carriers of both sound and memory. Each work comprises a grid made up of nine or sixteen printed elements, varying in tone from pale gray to deep black. In some, the printing technique reproduces a faint transfer of the album art on the original cover. In others, a round void at the center of the sleeve leaves a white circle where the record’s label would have been visible through the cutout—a feature designed to reveal the label without removing the vinyl. The prints preserve traces of handling and use, transforming everyday cultural artifacts into meditations on materiality, repetition, and the passage of time.

Oculi, a new collage series, also focuses on vintage record sleeves with circular cutouts. Using the circular opening of sleeves to frame LP covers, Marclay turns the functional detail into a compositional device, providing only a glimpse into the full photographic artwork while concealing most of it. The opening acts as a framing device, revealing details such as hands, eyes, or mouths. Through this subtle gesture, Marclay reimagines the record sleeve as both object and image, where absence becomes part of the composition.

Marclay’s single-channel video Bildspiel (after Dieter Roth’s Kugelbild, 1960) features Kugelbild (Bead Picture), a 1960 work by Swiss-German artist Dieter Roth held in the Sohm Archive at the Staatsgalerie Stuttgart, Germany. Found in the museum’s storage and never heard, the simple mechanical piece sends wooden beads through a matrix of nails arranged on a rotating disk, following a path determined by chance and gravity. In Marclay’s 2015 video activation, his hand moves the wheel, causing the balls to rattle across the circular face. Edited into an unexpected and kaleidoscopic video, Marclay creates a new musical composition. Bildspiel (after Dieter Roth’s Kugelbild, 1960) follows Marclay’s monumental video installation Shake Rattle and Roll (Fluxmix), made using Fluxus objects from the Walker Art Center’s collection to generate music, while artist-in-residence in 2004.

Christian Marclay’s work has been shown in museums and galleries internationally, including recent one-person exhibitions at the Institute of Contemporary Art, Boston; Brooklyn Museum, New York; Centre Pompidou, Paris; and Museum of Contemporary Art, Tokyo, as well as Museu d’Art Contemporani de Barcelona; Los Angeles County Museum of Art; Kunsthaus, Zurich; Museum of Contemporary Art, Chicago; San Francisco Museum of Modern Art; and the Whitney Museum of American Art, New York, among others. Marclay received the Golden Lion award for best artist at the 54th Venice Biennale for his 24-hour virtuosic video piece, The Clock, which has been shown widely to great acclaim. His work is in the collection of Centre Pompidou, Paris; Kunsthalle Zurich; Museum of Modern Art, New York; Musée d’Art Contemporain, Montreal; Philadelphia Museum of Art; San Francisco Museum of Modern Art; Tate Modern, London; Walker Art Center, Minneapolis; and the Whitney Museum of American Art, New York, among others.
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Vision/Version @ CAMP: Opening Night
2026-01-17 18:00 - 22:00 (America/New_York) | The CAMP Gallery, 791 NE 125 St, Miami, FL, 33161, United States
NORTH MIAMI, FL – December 31, 2025. The Contemporary Art Modern Project is
honored to announce our first exhibition of 2026, Vision/ Version featuring
Pablo Power in his first Miami solo. For more than a decade, Power has been
percolating ideas and memories into what is now this exhibition. Looking back
at his first encounters with Miami’s local art scene, Power has compiled a vision
which recalls his experiences through the years in the city. But key to both the
vision and the version of that vision is the intersection of what is remembered
(intention) and what is reality. Power explains: “This version of my vision brings
me back to Miami for the first time in nearly a decade, to revisit the genesis of
my creative inspiration. I had the great privilege to live in Miami during a unique
period of cultural evolution, which provided me with my earliest understanding
of intention versus reality.” This can be explained in some of his earlier practices
of destroying to create anew – whether that destruction grows out of posters he
tears down to transfer into and onto new works, to releasing works to nature to
wash away the superficial, to him then tirelessly working with the elements to
unearth hidden value.
This exhibition captivates not only through the kaleidoscope of works on the
walls but through the profound conversation created by older pieces standing
confidently beside new, mapping both Power’s artistic growth and his deep
commitment to understanding and sharing lived experience. Though away
from the city for many years, and now working in Brooklyn, NY, Power has held
onto the palette that is Miami, adding its unique light to his northward life. This
exhibition becomes a testimony to his remembrance and how though away,
the city of Miami has stood firm in his creative roots. During a month-long
residency at The CAMP Gallery, Power will further this exchange through a
dynamic program of film screenings, artist talks, poetry events, panel
discussions, and more, all accentuating the vibrant creative intersection
reminiscent of Miami’s 1980s spirit. Alongside mixed-media works, sculpture, and
video, the exhibition features unique print collaborations with Keigo Prints, Inc.,
and special editions of offset prints and zines, each layer enriching a dialogue
with the city that continues to inspire him. film and video screenings, artist led
tours, panel discussions, music and poetry evenings, and other activations to
“exchange with the city that continues to inspire [his] work.”
Event Programming:
Show Preview Jan 9th, 2026 6-8pm
Opening Jan 17th, 2026 7-10pm. Artist Talk 6-7pm.
Film Screening Jan 31st , 2026
Poetry Evening February 21 , 2026
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LIC-A @ ATLANTIC: A Winter Salon, 2026
2026-01-22 18:00 - 20:00 (America/New_York) | Atlantic Gallery, 548 W. 28th St, #540, New York, 10001, United States
JANUARY 20TH – FEBRUARY 14TH, 2026
OPENING RECEPTION:
THURSDAY, JANUARY 22nd, 6 PM – 8 PM
LICA at Atlantic: A Winter Salon 2026, is a group exhibition featuring the works of 30 artists, all of whom are members of Long Island City Artists. This diverse showcase includes painting, sculpture, graphics and textile art, and is on view from January 20th – February 14th, 2026, at Atlantic Gallery, 548 West 28 Street, Suite 540, in the Landmark Arts Building in Chelsea, Manhattan, NY 10001.
A reception for the artists will be held on Thursday, January 22nd, from 6 – 8 pm. In addition, a continuous digital slide show will provide glimpses into the studios of the show participants. All events are free and open to the public.
We also want to take the opportunity to honor LIC-A’s former president, Carol Crawford, who passed away on Sept. 17, 2025. Carol was part of LIC-A since the founding in 1985 and served as its president for 15 years until 2024. She was also a member of Atlantic Gallery since 2008, where she exhibited her work in many solo and group exhibitions.
Carol was the driving force in establishing the LIC-A/Atlantic relationship which she initiated with the Over the Bridge exhibition in January 2015. In addition to running the LIC-A @ Atlantic exhibitions, Carol curated and facilitated numerous exhibitions with LIC-A all with the goal of fostering meaningful interactions between artists, communities, and audiences, encouraging dialogue, shared understanding, and deeper appreciation of the creative process.
“For me, the creative process is akin to giving birth, with all the effort, hope, struggle and joy. You shape and love what results; you give it to the world.” –Carol Crawford
LIC Artists, Inc., and Atlantic Gallery have much in common: both are artist-run and share a mission of supporting the creative freedom and careers of their independent artist-members. LIC Artists, Inc. is a 501 (c) (3) arts advocacy organization, founded in 1985. It launched the Annual Open Studios tradition in Queens in 1985, and continues in service to the artists and communities of Queens and New York City with an extensive program of exhibitions, workshops, and performances in its new headquarters at the LIC-A Art Space at The Factory LIC, 30-30 47th Avenue in Long Island City, Its history, activities and the works of its members can be seen on its website, www.licartists.org
Atlantic Gallery was founded in 1974 in Brooklyn as an artists’ cooperative. In 1979 it moved to SoHo, then to Chelsea in 2007, and in 2012 it opened a new gallery in the Landmark Arts Building at the High Line. Its current gallery was designed by mixed-media artist and interior designer Carol Crawford, a member of both LIC ARTISTS INC. and Atlantic Gallery, and the organizer of this exhibition. This is the tenth LIC-A group exhibition hosted by Atlantic Gallery. For more information and to see members’ works, visit www.atlanticgallery.org
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Richard Hambleton: Momentum
2026-01-29 11:00 - 2026-03-30 17:00 (America/New_York) | Woodward Gallery, 132A Eldridge Street, New York City, NY, 10002, United States
Woodward Gallery opens the new year with Richard Hambleton: Momentum, an exhibition of works spanning 1982 – 2007. This selection brings together key bodies of work, including Beautiful Paintings, Shadowman, and Burning Merit, to trace movement as a persistent and driving force throughout Hambleton’s practice. Hambleton achieved the impossible: capturing the illusion of motion on canvas. Gesture, layering, and atmosphere generate an almost kinetic energy that invites viewers to experience the animated textures depicted in Hambleton’s paintings. Through his various styles of painting, Hambleton’s work embodies movement as energized momentum.

Richard Hambleton approached painting as an act of immediacy and intention. Working in spontaneous bursts, he translated emotional and physical states directly onto the surface. His practice was deeply participatory, shaped by a belief that art functions as both a psychological and sociological encounter. Materials were mixed intuitively, varnishes, pigments, and unconventional substances layered in ways that reveal the artist’s inner state. Nothing in Hambleton’s work is static; everything is in motion.

The Beautiful Paintings, including Priscilla (2006) and Magdalena (2007), evoke the qualities of dawn and dusk. Incorporating silver leaf, these dramatic seascape works function as immersive experiences. Once presented in David Rockefeller’s art gallery at Rockefeller State Park Preserve, these works underscore Hambleton’s capacity to channel stillness, depth, and quiet momentum, an encounter that lingers well beyond the first viewing.

In Malibu (1986), a stark black monolith, an ancient symbol of life and transcendence, is intended to be an entry point to heaven. Acting simultaneously as barrier and passage, this foreboding rectangle shields the viewer from the sun’s intensity while also offering entry into it. In this and related works, Hambleton’s use of vertical black lines functions as collapsed shadows, a modern element he sometimes added, both an echo of Hambleton’s iconic figures and a conceptual homage to Abstract Expressionist Barnett Newman.

Another significant body of work in the exhibition centers on horse-and-rider imagery. Drawing from cigarette advertising, most notably the Marlboro Man, Hambleton critiqued American hypermasculinity and the commodification of identity. Instead of a cool-looking cowboy, Hambleton painted the Marlboro Man as a shadowy silhouette, symbolizing the dangers of smoking. Reappropriating the ads, Richard sometimes embedded actual tobacco into the paint, confronting seduction and toxicity simultaneously.

The Burning Merit series critiques vintage Merit cigarette advertisements, replacing the fantasized image of a ship full of happy smokers, with a dark parody of this same ship on fire from a stray lit cigarette. Through the explosive imagery of a burning ship, momentum is harnessed. Romanticization of cigarette addiction and the catastrophic effects of smoking culture collide.

Freiburg (1982), a striking Shadowman painting, depicts an exploding white figure suspended in motion. Like the broader Shadowman series, originally conceived as urban interventions, this work captures sudden presence, psychological tension, and the shock of encounter. The figure feels alive, erupting into the viewer’s space with urgency and force.

Together, the Beautiful Paintings, Shadowman, and Burning Merit works reveal Hambleton’s engagement with nature and the human psyche. Momentum emerges not only as physical movement, but as something accumulated, lived, and carried forward, an enduring force that defines Hambleton’s legacy. Richard Hambleton’s art carries the viewer beyond the canvas, where their momentum continues to unfold long after the encounter ends.

Richard Hambleton: Momentum is on view at Woodward Gallery’s 132A Eldridge Street location from late January throughout March 2026, also available on our website, and as a Viewing Room on Artsy.net. We welcome you to join us in person or online this winter.

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Beauford Delaney: The Light Contained in Every Thing
2026-02-07 - 2026-04-04 | Michael Rosenfeld Gallery, 100 11th Ave, New York, NY, New York, United States
The gallery’s fourth solo presentation featuring the work of celebrated American artist Beauford Delaney (1901–1979), Beauford Delaney: The Light Contained in Every Thing includes abstract paintings and works on paper created between 1954 and 1968. Taking its title from the introduction to Delaney’s 1964 solo exhibition at Galerie Lambert in Paris written by his close friend and famed author James Baldwin (1924–1987), this exhibition illuminates Delaney’s unmatched ability to imbue his compositions with a radiance that resonates on a visual, psychological, and spiritual level.
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William T. Williams: Word of Eye
2026-02-07 - 2026-04-04 | Michael Rosenfeld Gallery, 100 11th Ave, New York, NY, New York, United States
William T. Williams: Word of Eye is the debut presentation for a new series of paintings by William T. Williams (b.1942). The gallery’s fourth solo exhibition of the artist’s work, the show includes eleven paintings created between 2024 and 2025. Imbued with a sense of monumentality that is expressed through their beauty, compositional complexity, and perceptual impact, Williams states: “I wanted to make a body of work that demanded and would require a person looking and looking for a sustained amount of time. It’s not a 30 second pass, its stopping, looking, inquiring, and allowing the painting and the viewer to become one in the same.”
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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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Matt Greco: More Cave Painting
2026-02-12 - 2026-03-15 | Amos Eno Gallery, 191 Henry Street, New York, NY, 10002, United States
Amos Eno Gallery, a non-profit, artist-run space, is pleased to present More Cave Painting, a solo exhibition by Brooklyn-based artist Matt Greco. The exhibition brings together new and recent works that position myth not as ancient fantasy, but as a living, contemporary framework—one that continues to shape how we understand ourselves, each other, and the world we inhabit.
Greco’s thinking aligns with ideas articulated by Joseph Campbell, who argued that myth is not escapism but a lens through which people interpret lived experience. In More Cave Painting, Greco treats myth in this way—not as something distant or fixed, but as an active condition of daily life. “I’m never quite sure whether I discover myths or whether they discover me,” he notes, “but I’m drawn to the idea of living in the mythological—not the mythical, but the mythological.”
For Greco, myth is not about fantasy or nostalgia, but about shared human patterns—stories that persist across cultures, eras, and belief systems because they speak to fundamental aspects of lived experience. At a moment defined by division, acceleration, and the erosion of shared narratives, his work offers myth as a connective tissue rather than a relic. “This may seem counterintuitive in a world marked by such diversity and division,” he writes, “but it is precisely these myths—with their different places, characters, and creatures, yet shared lessons—that speak to our common condition.”
The exhibition’s title points directly to Greco’s method. “I’m marking some myths by making a few more cave paintings,” he explains, “recording moments large and small—living in the mythological by scratching a bit of pigment into the rock.” This impulse to inscribe—to leave evidence of presence—runs throughout the work, linking ancient modes of communication to present-day acts of remembrance and meaning-making.
Greco’s practice is rooted in close observation. “I’m a student of human behavior—I can’t stop watching people: what they do, how they act, what they wear, and how they hold themselves,” he says. These observations intersect with his fascination for systems, material processes, and invisible forces, resulting in works that balance curiosity with rigor, and intuition with structure.
Equally central is the act of making itself. “The preparation, the hard work, and the tactility of materials all speak to an amazement at how the world works,” Greco reflects. In an era increasingly mediated by screens and algorithms, his materially driven practice insists on slowness, labor, and physical presence. Through this synthesis of observation, making, and memory, Greco’s work suggests that the ways we collaborate, commemorate, and construct meaning reveal how deeply interconnected we remain. As he notes, “These reflections of ourselves—how we interact and collaborate—often show that we are more the same than we are different.”
About the Artist
Matt Greco is an artist and educator living and working in Brooklyn, NY. He is an Assistant Professor of Photography & Imaging at Queens College, CUNY; a co–principal investigator on MakeSTEAM Q, an NSF-HSI funded project; and Co-founder and Faculty Supervisor of the Klapper Digital Imaging Lab and Digital Fabrication Lab at Queens College.
Greco received his BFA from Armstrong Atlantic University and his MFA from Queens College, CUNY. His work has been exhibited nationally and internationally, including at Amos Eno Gallery (NY), The Museum of Arts and Design (NY), apexart (NY), The NY Studio Gallery (NY), The Telfair Museum of Art (GA), Gallery 126 (Ireland), The Beacon Gallery (CA), and The Baron Gallery (OH). He is also one half of the collaborative duo Damfino, which focuses on public art projects rooted in traditional construction methods and reclaimed building materials.
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 gallery is open Thursdays through Sundays from noon to 6 p.m. and is run by a small community of professional artists, both from New York City and across the country, and a part-time director. ​

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.
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Lilian Thomas Burwell: The Journey
2026-02-12 - 2026-03-14 | Berry Campbell Gallery, 524 W 26th Street, New York, NY, 10001, United States
Berry Campbell is pleased to present Lilian Thomas Burwell: The Journey, the gallery’s third exhibition of Lilian Thomas Burwell (b. 1927). On view from February 12 through March 14, 2026, The Journey examines the evolution of Burwell’s practice, highlighting her evolution from two-dimensional painting into three-dimensional sculpture. The Journey brings together paintings, wall sculptures, and installations spanning the 1960s through the 2000s. Central to the exhibition is Burwell’s monumental installation, Orison Piece (1982). This 24-piece installation is her largest work and marks a pivotal movement into an immersive environment, in which sculptural viewers to move through and within.
The Journey reflects Burwell’s own articulation of her creative path. Both an artist and an art educator, Burwell balanced teaching with her own studio practice, viewing education as inseparable from artistic inquiry. Beginning with abstract painting in the early 1960s, her work evolved into sculptural forms, as she cut, shaped, and constructed wooden elements with painted canvas stretched over them, creating works that move from the wall into physical space. Throughout her career, Burwell has understood art as an evolutionary process rooted in intuition and material exploration, a means of personal and collective survival as well as hope.
In recent years, Burwell’s work has received renewed critical and institutional attention. In December 2022, she was featured in the New York Times as the “Tom Brady of Artists,” recognizing her continued artistic activity at the age of 95. In April 2022, Burwell received a Lifetime Achievement Award from Howard University, Washington, D.C., where she was honored alongside Betye Saar and Dr. Alvia Wardlaw. Her work was also included in Magnetic Fields: Expanding American Abstraction, 1960s to Today, an intergenerational exhibition of 21 Black women abstract artists that traveled from the Kemper Museum of Contemporary Art, Kansas City, to the National Museum of Women in the Arts, Washington, D.C., and the Museum of Fine Arts, St. Petersburg, Florida.
Lilian Thomas Burwell: The Journey opens with a reception on February 12, 2026, from 6 to 8 pm and continues through March 14, 2026. The exhibition is accompanied by a 56-page catalogue featuring an essay by Lilian Thomas Burwell, originally appearing in her 1997 monograph, The Journey, published in conjunction with Hampton University Museum, Virginia.
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Art in Context: An Informal History of Art Series led by Ariella Wolens, Bryant-Taylor Curator
2026-02-13 14:00 - 15:00 (America/New_York) | NSU Art Museum, 1 E Las Olas Blvd, Fort Lauderdale, FL, 33301, United States
Join us for an engaging and informal three-part art history course presented by Ariella Wolens, Bryant Taylor Curator, designed for curious learners of all backgrounds. Held on the second Friday of each month from February through April at 2:00 pm, this lecture series offers a broad and accessible journey through the history of art.
Each session builds chronologically, beginning with the foundations of art history and moving through key movements, ideas, and artists, concluding with contemporary and current-day practices. Through lively discussion, images, and curatorial insight, participants will gain a deeper understanding of how art reflects and shapes the world across time.
No prior art history experience is required, just curiosity and a willingness to explore. This casual, three-part series invites participants to learn, ask questions, and connect across centuries of artistic expression.
Admission is free for members, $16 per class for non-members. Space is limited. Preregistration Required.
If you or someone you know needs help registering, please call 954-262-0204 or email museumeducation@nova.edu
Ariella Wolens is Bryant-Taylor Curator at NSU Art Museum Fort Lauderdale, where she has organized exhibitions including Jacqueline de Jong: Vicious Circles (2024-2025), Walasse Ting: Parrot Jungle (2023-2024) and Cosmic Mirrors: Haitian Art Highlights from the Collection (2023-2024). Wolens received her BA in Art History from University College London and master’s from Columbia University in Curating and Criticism of Modern Art. Prior to joining NSU Art Museum Fort Lauderdale, Wolens served as Assistant Curator at SCAD Museum of Art in Savannah, Georgia, where she curated exhibitions of artists such as Sanford Biggers, Raúl de Nieves, Paulina Olowska, Wong Ping and Rose B. Simpson. Her writings have appeared in publications such as Art in America, Flash Art, Gagosian Quarterly and Spike Art Magazine.
Image: Laocoön and His Sons, c.40-30 BCE, Marble, 6 ft 10 in × 5 ft 4 in × 3 ft 8 in, Vatican Museums, Vatican City.
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The Interior Wild
2026-02-19 17:30 - 20:00 (America/New_York) | Atlantic Gallery, 548 W. 28th St, #540, New York, 10001, United States
The Interior Wild
February 17th – March 7th, 2026
Opening Reception:
Thursday, February 19th 5:30 – 8 PM
Atlantic Gallery is very pleased to present, The Interior Wild, curated by Etty Yaniv. The Interior Wild invites artists to explore how feeling, memory, and perception take shape through connection with materials, engagement with space, and gestures of making. During this challenging time, as our world undergoes significant shifts on multiple levels, the exhibition emphasizes states of transformation—emotional, physical, and perceptual. Works may convey fluctuating mental states, emotional tension, biological processes, or memory through texture, repetition, and form.
The Exhibition will be on view February 17th – March 7th, 2026. An opening reception will be held for the artists on Thursday, February 19th 5:30 – 8 PM.
The juror and curator, Etty Yaniv, will award one artist a grand-prize of a one-week solo show at Atlantic Gallery at a future date.
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