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DTSTART;VALUE=DATE:20231208
DTEND;VALUE=DATE:20261207
DTSTAMP:20260417T161832
CREATED:20240522T193731Z
LAST-MODIFIED:20240522T193731Z
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SUMMARY:Isaac Julien: Lessons of the Hour — Frederick Douglass
DESCRIPTION: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. \nLessons 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.” \nJulien 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. \nLessons 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. \n  Save  
URL:https://artinamericaguide.com/event/isaac-julien-lessons-of-the-hour-frederick-douglass/
LOCATION:Smithsonian American Art Museum\, 750 9th St. N.W.\, Washington\, DC\, 20001\, United States
CATEGORIES:Exhibition
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ORGANIZER;CN="Smithsonian American Art Museum":MAILTO:americanartpressoffice@si.edu
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20250307T110000
DTEND;TZID=America/New_York:20271231T180000
DTSTAMP:20260417T161832
CREATED:20250224T180514Z
LAST-MODIFIED:20250224T180514Z
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SUMMARY:Tending and Dreaming: Stories from the Collection
DESCRIPTION: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.  \nOrganized 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.  \n  Save  
URL:https://artinamericaguide.com/event/tending-and-dreaming-stories-from-the-collection/
LOCATION:San Jose Museum of Art\, 110 S. Market Street\, San Jose\, CA\, 95113\, United States
CATEGORIES:Exhibition
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Denver:20250919T100000
DTEND;TZID=America/Denver:20260510T170000
DTSTAMP:20260417T161832
CREATED:20250123T201026Z
LAST-MODIFIED:20250123T201026Z
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SUMMARY:“Tell Clyfford I Said ‘Hi’”: An Exhibition Curated by Children of the Colville Confederated Tribes
DESCRIPTION:“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. \nClyfford 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. \nThis 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. \nBackground and Development \nWhile 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. \nWhile 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. \nCo-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. \n  Save  
URL:https://artinamericaguide.com/event/tell-clyfford-i-said-hi-an-exhibition-curated-by-children-of-the-colville-confederated-tribes/
LOCATION:Clyfford Still Museum\, 1250 Bannock St.\, Denver\, CO\, 80204\, United States
CATEGORIES:Exhibition
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ORGANIZER;CN="Clyfford Still Museum":MAILTO:press@clyffordstillmuseum.org
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260129T110000
DTEND;TZID=America/New_York:20260330T170000
DTSTAMP:20260417T161832
CREATED:20260202T204903Z
LAST-MODIFIED:20260202T204903Z
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SUMMARY:Richard Hambleton: Momentum
DESCRIPTION: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. \n  \nRichard 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. \n  \nThe 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. \n  \nIn 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. \n  \nAnother 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. \n  \nThe 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. \n  \nFreiburg (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. \n  \nTogether\, 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. \n  \nRichard 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. \n  \n  Save  
URL:https://artinamericaguide.com/event/richard-hambleton-momentum/
LOCATION:Woodward Gallery\, 132A Eldridge Street\, New York City\, NY\, 10002\, United States
CATEGORIES:Exhibition
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ORGANIZER;CN="Woodward Gallery":MAILTO:art@woodwardgallery.net
GEO:40.7188679;-73.9915203
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20260207
DTEND;VALUE=DATE:20260405
DTSTAMP:20260417T161832
CREATED:20260205T191930Z
LAST-MODIFIED:20260210T223853Z
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SUMMARY:Beauford Delaney: The Light Contained in Every Thing
DESCRIPTION: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. \nLearn more \n  Save  
URL:https://artinamericaguide.com/event/beauford-delaney-the-light-contained-in-every-thing/
LOCATION:Michael Rosenfeld Gallery\, 100 11th Ave\, New York\, NY\, New York\, United States
CATEGORIES:Exhibition
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ORGANIZER;CN="Michael Rosenfeld Gallery":MAILTO:info@michaelrosenfeld.com
GEO:40.7460874;-74.0076191
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Michael Rosenfeld Gallery 100 11th Ave New York NY New York United States;X-APPLE-RADIUS=500;X-TITLE=100 11th Ave:geo:-74.0076191,40.7460874
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20260207
DTEND;VALUE=DATE:20260405
DTSTAMP:20260417T161832
CREATED:20260205T191953Z
LAST-MODIFIED:20260210T223810Z
UID:115808-1770422400-1775347199@artinamericaguide.com
SUMMARY:William T. Williams: Word of Eye
DESCRIPTION: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.” \nLearn more \n  Save  
URL:https://artinamericaguide.com/event/william-t-williams-word-of-eye/
LOCATION:Michael Rosenfeld Gallery\, 100 11th Ave\, New York\, NY\, New York\, United States
CATEGORIES:Exhibition
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ORGANIZER;CN="Michael Rosenfeld Gallery":MAILTO:info@michaelrosenfeld.com
GEO:40.7460874;-74.0076191
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Michael Rosenfeld Gallery 100 11th Ave New York NY New York United States;X-APPLE-RADIUS=500;X-TITLE=100 11th Ave:geo:-74.0076191,40.7460874
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20260207T110000
DTEND;TZID=America/Los_Angeles:20260517T170000
DTSTAMP:20260417T161832
CREATED:20260109T153801Z
LAST-MODIFIED:20260109T153801Z
UID:115662-1770462000-1779037200@artinamericaguide.com
SUMMARY:Wallflowers
DESCRIPTION: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. \nThe 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. \nStructured 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. \n  Save  
URL:https://artinamericaguide.com/event/wallflowers/
LOCATION:Frye Art Museum\, 704 Terry Ave\, Seattle\, WA\, 98104\, United States
CATEGORIES:Exhibition
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20260226
DTEND;VALUE=DATE:20260427
DTSTAMP:20260417T161832
CREATED:20260226T210131Z
LAST-MODIFIED:20260409T173434Z
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SUMMARY:Robert The: Book Work
DESCRIPTION:Artist Robert The creates sculptural works in which books are transformed with subversive wit and scrupulous invention. Often working with remaindered volumes that were part of large-scale mass-market editions\, the artist transfigures these objects through singular gestures such as through-slicing words and cutting out new iconic forms. Always uniquely appropriate to his source material\, the artist’s interventions have included turning a bible into a grenade and a Malevich monograph into a Kalashnikov. \nFor History of Art\, 2017\, The modifies a copy of H.W. Janson’s ubiquitous art history doorstopper by slicing ‘bristles’ into its leaved edge and affixing a broom handle to its spine. This remarkable sculptural hybrid could be designed for sweeping away the remnants of a dated art history—or reminding us of the alternate histories swept under the carpet by Janson’s grand narrative. \nWith The Illustrated Story of “O”\, 2005\, the artist highlights the violence at the core of the notorious “erotic” novel\, cutting a nested handgun through the book. As with all his work\, The’s disruptive gesture manages to hold the original book and its new form in an urgent\, engaging open conversation with one another. \nIn Philosophical Investigations\, 2017\, the artist cuts the word THIS all the way through a copy of Wittgenstein’s opus\, suggesting both an analog for indexical meaning\, as well as a counter to linguistic relativity through a gesture toward presentness. \nView the exhibition online here. \nWhile the precision of Robert The’s work suggests the use of die or laser-cut processes\, the works are in fact all directly cut by the artist. Playfully referring to his work as “precision vandalism”\, The prefers to avoid marks of the hand-crafted and high-end: his book works instead foreground the laser-like sharpness of their creator’s inventiveness. \n  \nRobert The studied philosophy and mathematics at the University of Wisconsin\, Madison\, and design at the Institute of Lettering and Design in Chicago. His work has been included in exhibitions at Yale University Art Gallery\, New Haven\, CT; the Bonner Kunstverein\, Bonn\, Germany; Momenta Art\, Brooklyn NY; Walker Art Center\, Minneapolis\, MN; Samuel Dorsky Museum of Art\, SUNY\, New Paltz\, NY; Center for Book Arts\, New York\, NY; and Parsons School of Design\, New York\, NY. The artist’s work can be found in the permanent collections of Los Angeles Museum of Contemporary Art\, Los Angeles\, CA; The Museum of Modern Art Artist Book Collection\, New York\, NY; New York Public Library\, Print Collection\, New York\, NY; Walker Art Center Library\, Minneapolis\, MN; Yale University Library\, Arts of the Book Collection\, New Haven\, CT; and Banff Centre Library\, Banff\, Alberta\, Canada\, among many others. \n  Save  
URL:https://artinamericaguide.com/event/robert-the-book-work/
LOCATION:JHB Gallery New York\, 26 Grove Street\, 4C\, New York\, NY\, 10014\, United States
CATEGORIES:Exhibition
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ORGANIZER;CN="JHB Gallery":MAILTO:info@jhbgallery.com
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20260305
DTEND;VALUE=DATE:20260522
DTSTAMP:20260417T161832
CREATED:20260226T200253Z
LAST-MODIFIED:20260310T180350Z
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SUMMARY:Unseen Layers
DESCRIPTION:“The most beautiful emotion we can experience is the mysterious. \nIt is the fundamental emotion that stands at the cradle of all true art and science.” \nAlbert Einstein \nfrom a 1931 essay\, included later in Ideas and Opinions and quoted by Eleanor Heartney in Unseen Layers catalogue. \n  \nRonald 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. \n  \nNotably\, 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. \nSchlossberg’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. \nThe 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. \n  \nEdwin 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. \n  \nGallery hours are Tuesday through Thursday and Saturday\, 1-5pm (closed Saturday March 7th and April 4th) \nFor press and image inquiries\, contact Cat Zhou at (212) 226-3232 or catherine@feldmangallery.com \nReception: Thursday\, March 5\, 6-8pm\nPanel Discussion: Saturday March 28\, 5pm with Edwin Schlossberg\, Eleanor Heartney\, and George Musser\, moderated by Lara Pan \n  Save  
URL:https://artinamericaguide.com/event/unseen-layers/
LOCATION:Ronald Feldman Gallery\, 31 Mercer Street\, New York\, NY\, 10013\, United States
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2026/02/Schlossberg-Portrait-of-Mouse-Brain-2023.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20260319
DTEND;VALUE=DATE:20260427
DTSTAMP:20260417T161832
CREATED:20260304T164457Z
LAST-MODIFIED:20260304T164457Z
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SUMMARY:Nishiki Sugawara-Beda: Scale and Tonality
DESCRIPTION:Amos Eno Gallery\, a non-profit\, artist-run gallery\, is pleased to present Scale and Tonality\, a solo exhibition by artist Nishiki Sugawara-Beda\, featuring the new series of work\, KuroKuroShiro+. The exhibition will be on view from March 19 to April 26\, 2026\, with an opening reception on Friday\, March 20\, from 6 to 8 p.m. at the gallery at 191 Henry St. on New York’s Lower East Side. \nLive music by the renowned duo Shoko Nagai and Satoshi Takeishi\, inspired by Sugawara-Beda’s paintings\, will be performed on Thursday\, April 9 at 6 p.m.\, followed by an art discussion moderated by Kyoko Sato\, a New York-based curator and Editor-in-Chief and Publisher of Japan Contemporaries. A closing reception is also scheduled on Saturday\, April 25\, from 2 to 5pm. Works and installation images are available to view via Artsy. \nFor many years\, Sugawara-Beda researched and used Sumi ink in her works—a material traditionally used in East Asia for writing and drawing\, made from soot and animal glue. She has made her own Sumi by collecting organic materials to burn into soot from various locations across the world. The resulting paintings\, a series called KuroKuroShiro\, act as a stage for the fusing together of this traditional Japanese craft and matter sourced from specific places that she has been drawn to over the course of her life. \nFor Scale and Tonality\, she is debuting a brand-new body of work\, KuroKuroShiro+\, which she began in early 2024 with the invitation to artistically respond to Palo Duro Canyon in west Texas\, the second largest canyon in the U.S. Multiple visits to the canyon allowed her to touch\, feel\, and extract materials from the canyon system and create this series of work that incorporated the materials from Texas. In addition\, she collaborated with a New York-based composer\, pianist\, and accordionist\, Shoko Nagai\, who created two pieces of music after visiting the canyon with Sugawara-Beda. Springboarded from this experience\, Scale and Tonality explores how the titular themes intersect in both the visual and aural realms. Ultimately\, this exhibition explores the relationship between scales and tonalities across music and painting through the materials she has harvested and collected from her current home state\, Texas\, and her native country\, Japan. \nAmos Eno Gallery’s new\, narrow gallery space in Manhattan inspired Sugawara-Beda to envision this exhibition with a large-scale painting\, KuroKuroShiro+ Scale and Tonality\, consisting of 6 panels as the center piece and aiming to occupy the majority of the viewer’s field of vision. The viewer’s visual experience will be accompanied by music that guides them and highlights the notions of scale and tonality\, both physically in the space and visually in the painting. Sugawara-Beda notes that “tonality becomes a guide for the viewer to navigate the painting; in the music\, the tonal shifts will help navigate the painting—the observation of tonality is really to create a more meaningful\, engaged experience with the painting itself.” Through the monumentality of the painting\, as well as the recording of Nagai’s music that will play throughout the gallery\, Sugawara-Beda hopes to guide the viewer into new emotional depths of reflection. \nFor the live music event on April 9\, the layers of interpretations can be witnessed through this performance which is the ultimate culmination of the collaboration between the musician and the artist. For this project\, Sugawara-Beda said “this synthesis began when I interpreted the music by Nagai and the land to produce a series of work. Then in this live music event\, Nagai will interpret my large painting which was the result of my exploration of the relationship between the visual and aural\, specifically her music”. Therefore\, this event will be the cycle of interpretation through a multi-sensory experience both for the viewers and herself. \nScale and Tonality welcomes the viewers to be immersed both physically with a large-scale painting and aurally with the sound of Nagai’s music\, bringing Texas and Japan to New York City. \nAbout the Artist \nNishiki Sugawara-Beda is a Japan-born\, Japanese-American visual artist. Through her art\, she seeks to find the core of shared humanity\, connecting across space and time. To do this\, she centers traditional artistic methods from multiple cultures and foregrounds the origins of materials in her artworks. \nShe holds an MFA in Painting from Indiana University in Bloomington\, Indiana\, exhibits her work in solo and group exhibitions\, and lectures nationwide and abroad. Her works are in private and public collections including the Dallas Museum of Art (TX) and the Dennos Museum (MI). Currently\, she is an Associate Professor and Cox Family Endowed Professor of Painting and Drawing at Southern Methodist University in Dallas\, Texas. \nAbout Amos Eno Gallery \nAmos 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. ​ \nAmos 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. \nAmos Eno Gallery is also partially funded thanks to the generosity of the Joseph Roberts Foundation. \n  Save  
URL:https://artinamericaguide.com/event/nishiki-sugawara-beda-scale-and-tonality/
LOCATION:Amos Eno Gallery\, 191 Henry Street\, New York\, NY\, 10002\, United States
CATEGORIES:Exhibition
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ORGANIZER;CN="Amos Eno Gallery":MAILTO:amosenogallery@gmail.com
GEO:40.7057864;-73.9331373
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Amos Eno Gallery 191 Henry Street New York NY 10002 United States;X-APPLE-RADIUS=500;X-TITLE=191 Henry Street:geo:-73.9331373,40.7057864
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20260402
DTEND;VALUE=DATE:20260510
DTSTAMP:20260417T161832
CREATED:20260408T184656Z
LAST-MODIFIED:20260415T194119Z
UID:116179-1775088000-1778371199@artinamericaguide.com
SUMMARY:Jacquelyn Strycker: Pattern of a Pattern
DESCRIPTION: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. \n  Save  
URL:https://artinamericaguide.com/event/jacquelyn-strycker-pattern-of-a-pattern/
LOCATION:Kathryn Markel Fine Arts\, 179 Tenth Avenue\, New York\, 10011\, United States
CATEGORIES:Exhibition
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ORGANIZER;CN="Kathryn Markel Fine Arts":MAILTO:markel@markelfinearts.com
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260416T180000
DTEND;TZID=America/New_York:20260530T180000
DTSTAMP:20260417T161832
CREATED:20260325T165103Z
LAST-MODIFIED:20260325T165103Z
UID:116098-1776362400-1780164000@artinamericaguide.com
SUMMARY:Jinie Park | Twins
DESCRIPTION: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.  \n  Save  
URL:https://artinamericaguide.com/event/jinie-park-twins/
LOCATION:Winston Wächter Fine Art\, 530 W 25th St\, New York\, New York\, 10001
CATEGORIES:Exhibition
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ORGANIZER;CN="Winston Wachter Fine Art":MAILTO:nygallery@winstonwachter.com
GEO:40.7493621;-74.0047021
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Winston Wächter Fine Art 530 W 25th St New York New York 10001;X-APPLE-RADIUS=500;X-TITLE=530 W 25th St:geo:-74.0047021,40.7493621
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260416T180000
DTEND;TZID=America/New_York:20260530T180000
DTSTAMP:20260417T161832
CREATED:20260325T165355Z
LAST-MODIFIED:20260325T165355Z
UID:116102-1776362400-1780164000@artinamericaguide.com
SUMMARY:Stephanie Hirsch | Wherever You Go\, There You Are
DESCRIPTION: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. \n  Save  
URL:https://artinamericaguide.com/event/stephanie-hirsch-wherever-you-go-there-you-are/
LOCATION:Winston Wächter Fine Art\, 530 W 25th St\, New York\, New York\, 10001
CATEGORIES:Exhibition
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ORGANIZER;CN="Winston Wachter Fine Art":MAILTO:nygallery@winstonwachter.com
GEO:40.7493621;-74.0047021
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Winston Wächter Fine Art 530 W 25th St New York New York 10001;X-APPLE-RADIUS=500;X-TITLE=530 W 25th St:geo:-74.0047021,40.7493621
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260417T100000
DTEND;TZID=America/New_York:20260613T180000
DTSTAMP:20260417T161832
CREATED:20260325T165140Z
LAST-MODIFIED:20260325T165140Z
UID:116122-1776420000-1781373600@artinamericaguide.com
SUMMARY:Dalí: The Great Years\, 1929–1939
DESCRIPTION: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. \n  Save  
URL:https://artinamericaguide.com/event/dali-the-great-years-1929-1939/
LOCATION:Di Donna Galleries\, 744 Madison Avenue\, New York\, NY\, 10065\, United States
CATEGORIES:Exhibition
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ORGANIZER;CN="Di Donna Galleries":MAILTO:info@didonna.com
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260417T100000
DTEND;TZID=America/New_York:20260613T180000
DTSTAMP:20260417T161832
CREATED:20260325T165312Z
LAST-MODIFIED:20260325T165312Z
UID:116116-1776420000-1781373600@artinamericaguide.com
SUMMARY:Dalí: The Great Years\, 1929–1939
DESCRIPTION: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. \n  Save  
URL:https://artinamericaguide.com/event/dali-the-great-years-1929-1939-2/
LOCATION:NY
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2026/03/02-Dali-Venus-de-Milo-aux-Tiroirs-Venus-de-Milo-with-Drawers-scaled.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20260418
DTEND;VALUE=DATE:20260808
DTSTAMP:20260417T161832
CREATED:20260415T191117Z
LAST-MODIFIED:20260415T191117Z
UID:116255-1776470400-1786147199@artinamericaguide.com
SUMMARY:Benny Andrews: Migrants
DESCRIPTION: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. \nLearn more \n  Save  
URL:https://artinamericaguide.com/event/benny-andrews-migrants/
LOCATION:Michael Rosenfeld Gallery\, 100 11th Ave\, New York\, NY\, New York\, United States
CATEGORIES:Exhibition
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ORGANIZER;CN="Michael Rosenfeld Gallery":MAILTO:info@michaelrosenfeld.com
GEO:40.7460874;-74.0076191
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Michael Rosenfeld Gallery 100 11th Ave New York NY New York United States;X-APPLE-RADIUS=500;X-TITLE=100 11th Ave:geo:-74.0076191,40.7460874
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20260423
DTEND;VALUE=DATE:20260531
DTSTAMP:20260417T161832
CREATED:20260417T194937Z
LAST-MODIFIED:20260417T194937Z
UID:116260-1776902400-1780185599@artinamericaguide.com
SUMMARY:Louisa Chase: The Eighties
DESCRIPTION: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. \n  Save  
URL:https://artinamericaguide.com/event/louisa-chase-the-eighties/
LOCATION:Berry Campbell Gallery\, 524 W 26th Street\, New York\, NY\, 10001\, United States
CATEGORIES:Exhibition
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ORGANIZER;CN="Berry Campbell":MAILTO:em@berrycampbell.com
GEO:40.7488193;-74.0052789
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Berry Campbell Gallery 524 W 26th Street New York NY 10001 United States;X-APPLE-RADIUS=500;X-TITLE=524 W 26th Street:geo:-74.0052789,40.7488193
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260423T180000
DTEND;TZID=America/New_York:20260423T200000
DTSTAMP:20260417T161832
CREATED:20260408T184731Z
LAST-MODIFIED:20260415T194226Z
UID:116187-1776967200-1776974400@artinamericaguide.com
SUMMARY:Anthony Tarsitano Selected Works 2025-2026
DESCRIPTION:As beautiful as the world is\, it ain’t always pretty. New York based artist\, Anthony Tarsitano\, feels that perhaps this statement characterizes his upcoming premiere solo show at the Atlantic Gallery. \nSelected Works on Paper 2025-2026 is his perspective of the world\, revealed through a series of varied\, at times random\, subjects. Anthony\, also a filmmaker\, noted\, “Creating the pieces for this exhibit felt much like exploring the inner\, interpersonal\, and societal perspectives of a character in one of my films”. Figurative images are used to symbolically convey his point of view. The medium of Sumi ink on paper presents a simplified black and white palette\, producing blunt graphic imagery in an almost Rorschach-like form of communication. \nSince 2017 Anthony has exhibited in group shows in NYC at the Plaxall Gallery\, The Factory and Atlantic Gallery. Anthony is also a member of the Sumi-e Society of America and his work is currently exhibited in the 2025-26 Annual Show. Prior\, he received his BFA in Painting from CW Post\, showing his earlier paintings from New York to group shows in Los Angeles. Anthony continually experimented with new mediums; creating sound installations at BACA in NYC\, 500X Gallery in Dallas\, and in SoNo Connecticut\, to name a few. His creative path also led to filmmaking; writing\, directing and producing award-winning films with premieres at the Tribeca Film Festival\, Academy-qualifying festivals\, and on Paramount Showtime. \n  Save  
URL:https://artinamericaguide.com/event/anthony-tarsitano-selected-works-2025-2026-2/
LOCATION:Atlantic Gallery\, 548 W. 28th St\, #540\, New York\, 10001\, United States
CATEGORIES:Event,Exhibition
GEO:40.7515661;-74.0041872
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Atlantic Gallery 548 W. 28th St #540 New York 10001 United States;X-APPLE-RADIUS=500;X-TITLE=548 W. 28th St\, #540:geo:-74.0041872,40.7515661
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20260430
DTEND;VALUE=DATE:20260608
DTSTAMP:20260417T161832
CREATED:20260417T194927Z
LAST-MODIFIED:20260417T195403Z
UID:116270-1777507200-1780876799@artinamericaguide.com
SUMMARY:José-Ricardo Presman
DESCRIPTION: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. \nIn 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. \nPresman’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. \nThe 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. \nThe 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. \nOver five decades after helping to found Amos Eno\, Presman’s latest exhibition reflects both the continuity of his philosophical inquiry and its ongoing evolution. \nThe 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. \nAbout the Artist \nJosé-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. \nAbout Amos Eno Gallery \nAmos 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. ​ \nThe 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. \nAmos 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. \nAmos Eno Gallery is also funded in part thanks to the generosity of the Joseph Roberts Foundation. \n  Save  
URL:https://artinamericaguide.com/event/jose-ricardo-presman/
LOCATION:Amos Eno Gallery\, 191 Henry Street\, New York\, NY\, 10002\, United States
CATEGORIES:Exhibition
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ORGANIZER;CN="Amos Eno Gallery":MAILTO:amosenogallery@gmail.com
GEO:40.7057864;-73.9331373
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Amos Eno Gallery 191 Henry Street New York NY 10002 United States;X-APPLE-RADIUS=500;X-TITLE=191 Henry Street:geo:-73.9331373,40.7057864
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20260430
DTEND;VALUE=DATE:20260608
DTSTAMP:20260417T161832
CREATED:20260417T194927Z
LAST-MODIFIED:20260417T194927Z
UID:116274-1777507200-1780876799@artinamericaguide.com
SUMMARY:"In Translation" Group Show
DESCRIPTION: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. \nCurated 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. \nAt 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. \nReception: Friday\, May 1\, from 6 to 8 p.m. \nArtists & Works in the Exhibition \nZoë Elena Moldenhauer \nZoë 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. \nSince 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. \n\n\n\n\n\n\n\n\n\n\n\n\n \n\n\n\n\n\n\n\n\n\n\n\n\n\n\nComposition 3  |  2025  |  Screenprint\, zipper\, wax crayon\, plastic bread tags on fabric  |  12 × 20 in.  |  $300 \nTwo 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. \n\n\n\n\n\n\n\n\n\n\n\n\n \n\n\n\n\n\n\n\n\n\n\n\n\n\n\nComposition 1  |  2025  |  Yarn\, buttons\, plastic bread tags\, wax crayon\, screenprint on fabric  |  21 × 19.5 in.  |  $300 \nMade 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. \nAllison Pottasch \nAllison 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. \nHer 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. \n\n\n\n\n\n\n\n\n\n\n\n\n \n\n\n\n\n\n\n\n\n\n\n\n\n\n\nRangoli  |  2025  |  Paper collage  |  11 × 17 in.  |  $1\,200 \nSet 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. \nOlga Rudenko \nOlga 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. \nHer 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. \n\n\n\n\n\n\n\n\n\n\n\n\n \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n<!–edited–> #3   |  2024  |  Silicone dolls\, cotton\, embroidery\, sequins\, ink\, mirrors  |  34 × 20 × 18 in.  |  $10\,000 \nA 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. \nSasha Skulinets \nSasha 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. \nHer 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. \n\n\n\n\n\n\n\n\n\n\n\n\n \n\n\n\n\n\n\n\n\n\n\n\n\n\n\nWhile the World Decays  |  2025  |  Acrylic on canvas  |  36 × 48 × 1.5 in.  |  $1\,600 \nA 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. \nChristopher Squier \nChristopher 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. \nHis 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. \n\n\n\n\n\n\n\n\n\n\n\n\n \n\n\n\n\n\n\n\n\n\n\n\n\n\n\nDisturbances No. 22 (Troubadours)  |  2025  |  Colored pencil on Bristol vellum  |  17 × 11 in.  |  Framed  | $1\,500 \nMade 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. \n\n\n\n\n\n\n\n\n\n\n\n\n \n\n\n\n\n\n\n\n\n\n\n\n\n\n\nDisturbances No. 19 |  2023  |  Colored pencil on Bristol vellum  |  17 × 11 in.  |  Framed  |  $1\,500 \nPart 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. \nTessellation (The Lighthouse\, Unfolded) | 2026 | Colored pencil on Bristol vellum | 19 × 24 in. | Unframed | $2\,200 \nA 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. \nAbout The Project Space at Amos Eno \nIn Translation is on view at The Project Space\, Amos Eno’s experimental exhibition space in the cellar\, from April 30 through June 7\, 2026. \nThe gallery is open from 12 p.m. – 6 p.m. Thursdays through Sundays. Please note there is a steep staircase to access this area. \n\n\n\n\n\n  Save  
URL:https://artinamericaguide.com/event/in-translation-group-show/
LOCATION:Amos Eno Gallery\, 191 Henry Street\, New York\, NY\, 10002\, United States
CATEGORIES:Exhibition
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ORGANIZER;CN="Amos Eno Gallery":MAILTO:amosenogallery@gmail.com
GEO:40.7057864;-73.9331373
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