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DTSTART;TZID=America/New_York:20260402T180000
DTEND;TZID=America/New_York:20260402T200000
DTSTAMP:20260407T191045
CREATED:20260325T165823Z
LAST-MODIFIED:20260325T165823Z
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SUMMARY:Slant on a Grecian Urn
DESCRIPTION:March 31– April 18\, 2026 \nOpening Reception: Thurs.\, April 2\, 2026\, 6 – 8 pm \nGallery Hours: Tuesdays – Saturdays: Noon to 6 PM \nThursdays until 8 PM \nWith Slant on a Grecian Urn\, JEFF MILLER takes his witty and decorative slant on ancient Greek black figure pottery from the two-dimensional drawings that he showed in his most recent exhibition (January 2024) to actual three-dimensional terra cotta vases and urns. \nIn addition\, ATLANTIC GALLERY will be showing a new selection of JEFF MILLER’s white-line figure drawings\, as well as recent works of sculpture. Slant on a Grecian Urn will be on view from Tuesday\, March 31\, 2026 through Saturday\, April 18\, 2026. A reception for the artist will be held on Thursday\, April 2nd from 6 pm to 8 pm. \nJEFF MILLER is a New York-based figurative artist\, whose drawings and sculptures are in many private collections\, as well as in the permanent collection of the Leslie-Lohman Museum in New York City. For more information about the artist\, visit \nwww.JeffMillerDrawings.com \n\n  Save  
URL:https://artinamericaguide.com/event/slant-on-a-grecian-urn/
LOCATION:Atlantic Gallery\, 548 W. 28th St\, #540\, New York\, 10001\, United States
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260317T140000
DTEND;TZID=America/New_York:20260317T143000
DTSTAMP:20260407T191045
CREATED:20260218T163632Z
LAST-MODIFIED:20260218T163632Z
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SUMMARY:Gallery Talk: American Works of Art at the 250th
DESCRIPTION:From late January to early July 2026\, curator of American art Horace D. Ballard will lead a series of gallery talks to coincide with the 250th anniversary of the signing of the Declaration of Independence. Each talk will closely examine a work of art that speaks to the historical\, social\, and political contexts that continue to shape the events and ideas of the United States within the broader context of the colonial and political framework of the Americas. Please note that each month\, the work of art experienced will change. \nThis gallery talk is part of our New on View series\, highlighting recent gallery installations and presenting new insights into recent acquisitions or old favorites. \nLed by:\nHorace D. Ballard\, Theodore E. Stebbins\, Jr.\, Curator of American Art\, Division of European and American Art \nPlease check in with museum staff at the Visitor Services desk in the Calderwood Courtyard to request to join the gallery talk. Space is limited\, and talks are available on a first-come\, first-served basis; no registration is required. \n  Save  
URL:https://artinamericaguide.com/event/gallery-talk-american-works-of-art-at-the-250th-2/
LOCATION:Harvard Art Museums\, 32 Quincy Street\, Cambridge\, MA\, 02138
CATEGORIES:Exhibition
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ORGANIZER;CN="Harvard Art Museums":MAILTO:john_connolly@harvard.edu
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260313T140000
DTEND;TZID=America/New_York:20260313T150000
DTSTAMP:20260407T191045
CREATED:20260304T164615Z
LAST-MODIFIED:20260304T164615Z
UID:116044-1773410400-1773414000@artinamericaguide.com
SUMMARY:Art in Context: An Informal History of Art Series led by Ariella Wolens\, Bryant-Taylor Curator
DESCRIPTION:Join us for part two of the 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\, continuing in March and April at 2 pm\, this lecture series offers a broad and accessible journey through the history of art. \nEach 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. \nNo 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. \nAdmission is free for members\, $16 per class for non-members. Space is limited. Preregistration Required. \nAriella Wolens \nAriella 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. \nImage: Édouard Manet\, Le Fifre (The Fifer)\, 1866\, Oil on canvas\, 63.1 x 38.1 inches\, Musée d’Orsay\, Paris. 01 \n  Save  
URL:https://artinamericaguide.com/event/art-in-context-an-informal-history-of-art-series-led-by-ariella-wolens-bryant-taylor-curator-2/
LOCATION:NSU Art Museum\, 1 E Las Olas Blvd\, Fort Lauderdale\, FL\, 33301\, United States
CATEGORIES:Exhibition
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ORGANIZER;CN="NSU Art Museum":MAILTO:moareservations@moafl.org
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260312T180000
DTEND;TZID=America/New_York:20260312T200000
DTSTAMP:20260407T191045
CREATED:20260304T164715Z
LAST-MODIFIED:20260304T164715Z
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SUMMARY:Functional Aesthetics: Contemporary Art in Use
DESCRIPTION:Functional Aesthetics: Contemporary Art in Use\nCurated by Raluca Anchidin\nMarch 10 – March 28\, 2026\nOpening Reception:\nThursday\, March 12\, 6 – 8 PM\nAtlantic Gallery is pleased to present Functional Aesthetics: Contemporary Art in Use\, curated by Raluca Anchidin\, on view March 10–28\, 2026. An opening reception for the artists will be held on Thursday\, March 12 from 6 to 8 PM. In addition to the reception\, the gallery will host a one-day Market Meets Salon event on Saturday\, March 14\, from 1 to 5 PM. \nFunctional Aesthetics: Contemporary Art in Use brings together inventive\, hand-made\, and uniquely designed works that expand the definition of functionality in contemporary art and everyday life. It explores the intersection of art\, craft\, and design: pottery that transforms into feel-good art\, wearables that double as sculpture\, furniture and light fixtures that merge aesthetic experimentation with everyday use. \nWith more than 50 artists participating\, the show becomes a collective statement: art does not need to hang at a distance to be meaningful. It can sit beside us\, illuminate our evenings\, hold our coffee\, frame our bodies. \nEach work asks: What does it mean for art to be used? \nFunctional Aesthetics celebrates objects that refuse to choose between beauty and utility. What connects them is not a single style or material\, but a shared belief that art can exist within daily life. Regular interaction changes how we experience these objects; they become companions rather than decorations. \nThe juror and curator\, Raluca Anchidin will award one artist the prize of Feature on the Atlantic Gallery website and in the gallery newsletter\, plus a one-week social media takeover of the Atlantic Gallery Instagram account\, at a future date. \nMarket Meets Salon  \nThe Saturday afternoon event is designed to bring the artworks to life\, turning the gallery into a living space shaped by the work itself. Visitors will be invited to converse with participating artists\, explore the works\, and connect with them — drinking from a ceramic cup\, trying on jewelry\, or sitting on a piece of furniture before making a purchase. \nThe program affirms that creativity is accessible to everyone and celebrates the vibrancy of functional art as both an autonomous artistic practice and a form of daily experience. \n  Save  
URL:https://artinamericaguide.com/event/functional-aesthetics-contemporary-art-in-use/
LOCATION:Atlantic Gallery\, 548 W. 28th St\, #540\, New York\, 10001\, United States
CATEGORIES:Exhibition
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260311T123000
DTEND;TZID=America/New_York:20260311T130000
DTSTAMP:20260407T191045
CREATED:20260304T164457Z
LAST-MODIFIED:20260304T164457Z
UID:116026-1773232200-1773234000@artinamericaguide.com
SUMMARY:Gallery Talk: Uncovering the Layered Past of a Haniwa Figure
DESCRIPTION:If you’re in the Calderwood Courtyard\, you’ll likely see a newly installed sculpture: a 6th-century terracotta sculpture from Japan’s Kofun period (c. 250–600)\, called a haniwa. Haniwawere created from coils and slabs of clay\, shaped into figures or structures\, and then placed around the outside of royal tombs. This figure underwent comprehensive analysis and treatment in preparation for its display. Join objects conservation fellow Kaela Nurmi as she shares how the conservation treatment uncovered original surfaces obscured by layers of restoration\, offering insights into how the sculpture was reconstructed in the past. \nThis gallery talk is part of our New on View series\, highlighting recent gallery installations and presenting new insights into recent acquisitions or old favorites. \nLed by:\nKaela Nurmi\, Objects Conservation Fellow\, Straus Center for Conservation and Technical Studies \n  Save  
URL:https://artinamericaguide.com/event/gallery-talk-uncovering-the-layered-past-of-a-haniwa-figure-2/
LOCATION:Harvard Art Museums\, 32 Quincy Street\, Cambridge\, MA\, 02138
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2026/02/haniwa.jpg
ORGANIZER;CN="Harvard Art Museums":MAILTO:john_connolly@harvard.edu
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260308T120000
DTEND;TZID=America/New_York:20260308T150000
DTSTAMP:20260407T191045
CREATED:20260310T172521Z
LAST-MODIFIED:20260310T172521Z
UID:116068-1772971200-1772982000@artinamericaguide.com
SUMMARY:"Under The Red Tent" Opening @ CAMP
DESCRIPTION: The Contemporary Art Modern Project is proud to announce our March exhibition in collaboration with Red Thread Art Studio Miami\, Under The Red Tent\, an immersive fiber exhibition that brings together artists whose practices engage thread and textile as tools of storytelling\, connection\, and resistance. Under The Red Tent opens with a brunch in celebration of International Women’s day Sunday\, March 8th and will  be on view through Sunday\, April 26th. In alignment with The CAMP Gallery’s emphasis on participation and dialogue\, Under The Red Tent incorporates a living oral-history archive that unfolds throughout the exhibition.  \nFounded by fiber artist Aurora Molina\, the Red Thread Art Studio Miami functions as both production space and cultural hub\, rooted in Miami’s rich landscape while maintaining a global outlook\, advancing textile-based practices as vital forms of contemporary artistic expression and civic dialogue. The exhibition takes its name from a book brought to the group by member Sarah Laing: The Red Tent by Anita Diamant. The novel centers on the red tent\, a sanctuary where women gather during menstruation and childbirth\, as a symbol of feminine community\, strength\, and generational wisdom. For this exhibition\, a collective of over twenty women have come together to reimagine the gallery as a contemporary sanctuary. Through performances\, activations\, and community gatherings\, participants are invited to share personal narratives that become integrated into an evolving audio component. The red tent invites us to enter a protected space of reflection and exchange\, to consider what flourishes when we give ourselves to building something together\, and to follow the thread.  \nParticipating artists: Aida Tejada\, Angela Bolaños\, Anna Biondo\, Aurora Molina\, Bella Cardim\, Cynthia Passavanti\, Debora Rosental\, Eva Llarena\, Fernanda Froes\, Flavia Fortuna\, Flor Godward\, Juliana Torres\, Katia Bandeira de Mello\, Marine Fonteyne\, Mila Hajjar\, Mirele Volkart\, Paola Mondolfi\, Robertha Blatt\, Sarah Laing and Susanne Schirato  \n  Save  
URL:https://artinamericaguide.com/event/under-the-red-tent-opening-camp/
LOCATION:The CAMP Gallery\, 791 NE 125 St\, Miami\, FL\, 33161\, United States
ATTACH;FMTTYPE=image/png:https://artinamericaguide.com/wp-content/uploads/2026/03/RedTent_Invite.png
ORGANIZER;CN="The Contemporary Art Modern Project":MAILTO:maria@thecampgallery.com
GEO:25.8434605;-80.1895077
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=The CAMP Gallery 791 NE 125 St Miami FL 33161 United States;X-APPLE-RADIUS=500;X-TITLE=791 NE 125 St:geo:-80.1895077,25.8434605
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260308T120000
DTEND;TZID=America/New_York:20260308T150000
DTSTAMP:20260407T191045
CREATED:20260310T172521Z
LAST-MODIFIED:20260310T172521Z
UID:116074-1772971200-1772982000@artinamericaguide.com
SUMMARY:"Under The Red Tent" Opening @ CAMP
DESCRIPTION:The Contemporary Art Modern Project is proud to announce our March exhibition in collaboration with Red Thread Art Studio Miami\, Under The Red Tent\, an immersive fiber exhibition that brings together artists whose practices engage thread and textile as tools of storytelling\, connection\, and resistance. Under The Red Tent opens with a brunch in celebration of International Women’s day Sunday\, March 8th and will be on view through Sunday\, April 26th. In alignment with The CAMP Gallery’s  emphasis on participation and dialogue\, Under The Red Tent incorporates a living oral-history archive that unfolds throughout the exhibition.  \nFounded by fiber artist Aurora Molina\, the Red Thread Art Studio Miami functions as both production space and cultural hub\, rooted in Miami’s rich landscape while maintaining a global outlook\, advancing textile-based practices as vital forms of contemporary artistic expression and civic dialogue. The exhibition takes its name from a book brought to the group by member Sarah Laing: The Red Tent by Anita Diamant. \n The novel centers on the red tent\, a sanctuary where women gather during menstruation and childbirth\, as a symbol of feminine community\, strength\, and generational wisdom. For this exhibition\, a collective of over twenty women have come together to reimagine the gallery as a contemporary sanctuary. Through performances\, activations\, and community gatherings\, participants are invited to share personal narratives that become integrated into an evolving audio component. The red tent invites us to enter a protected space of reflection and exchange\, to consider what flourishes when we give ourselves to building something together\, and to follow the thread.  \n  Save  
URL:https://artinamericaguide.com/event/under-the-red-tent-opening-camp-2/
LOCATION:The CAMP Gallery\, 791 NE 125 St\, Miami\, FL\, 33161\, United States
CATEGORIES:Exhibition
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ORGANIZER;CN="The Contemporary Art Modern Project":MAILTO:maria@thecampgallery.com
GEO:25.8434605;-80.1895077
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=The CAMP Gallery 791 NE 125 St Miami FL 33161 United States;X-APPLE-RADIUS=500;X-TITLE=791 NE 125 St:geo:-80.1895077,25.8434605
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260305T180000
DTEND;TZID=America/New_York:20260305T193000
DTSTAMP:20260407T191045
CREATED:20260210T204436Z
LAST-MODIFIED:20260210T204436Z
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SUMMARY:Opening Conversation for Celtic Art Across the Ages
DESCRIPTION:Free admission\, but seating is limited and registration is encouraged. Register here. \nWe invite you to the opening conversation for the special exhibition Celtic Art Across the Ages\, on view from March 6 through August 2\, 2026. Susanne Ebbinghaus\, Laure Marest\, Penny Coombe\, and Catherine McKenna will take a close look at elaborate Celtic bronze objects and gold coins\, examine religious imagery from Roman Gaul\, and highlight moments of Celtic revival in modern times. \nCeltic Art Across the Ages offers an unprecedented opportunity to explore masterful metalwork\, including exquisitely decorated weaponry\, jewelry\, and horse and chariot trappings of the first millennium BCE Iron Age and early medieval times\, all brought to light through archaeological discoveries of the last 200 years. See how imagery transformed under Roman rule\, and trace the revival of Celtic art and identities in the modern era. From shape-shifting ancient ornaments to the more well-known Celtic iconography of medieval Ireland and Scotland\, the objects in this exhibition reveal rich and complex artistic traditions that defy stereotypes of what constitutes “Celtic art.” \n  Save  
URL:https://artinamericaguide.com/event/opening-conversation-for-celtic-art-across-the-ages/
LOCATION:Harvard Art Museums\, 32 Quincy Street\, Cambridge\, MA\, 02138
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2026/02/Pony-cap.jpeg
ORGANIZER;CN="Harvard Art Museums":MAILTO:john_connolly@harvard.edu
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260226T180000
DTEND;TZID=America/New_York:20260226T200000
DTSTAMP:20260407T191045
CREATED:20260202T204925Z
LAST-MODIFIED:20260202T204925Z
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SUMMARY:Andreas Kocks | Keep Your Eyes Open
DESCRIPTION:Winston Wächter Fine Art\, New York is pleased to present Keep Your Eyes Open\, an exhibition featuring a series of new sculptural works by Andreas Kocks. In his sixth solo exhibition with the gallery\, Kocks carefully chooses materials and forms that reflect a balance of elements and activate space in relation to the viewer.   \n  \nKocks’ practice involves cutting\, layering and shaping metals and paper to form structured lines that activate light and shadow. Fascinated by the intersection of drawing and sculpture\, the line is a crucial part of Kocks’ work. More than a mere mark\, Kocks wields his materials to turn a drawn line into a physical gesture\, transforming the solid form to create cutouts\, hollowed spaces\, and warped three dimensional structures. This equality of positive and negative\, convex and concave\, is essential to Kocks’ practice\, reflecting the tension that is inherent to creating works of metal and paper structures. \n  \nThrough this use of metal\, Kocks’ expands the possibility of a traditional wall hanging\, allowing the works to merge with the environment and for the wall to become a part of the composition of each piece. For example\, some of his pieces have polished\, mirrorlike surfaces\, allowing the surrounding space to be reflected in the sculpture. His use of watercolor paper offers a similar opportunity. Kocks delicately builds up layers of paper that rest upon one another\, carving lines and shapes that create pockets of shadow\, warping as the location and surrounding light changes. In some works\, Kocks even places parts of the piece detached from the main structure\, with single elements literally jumping out of the constraints of the frame.  \n  \nIn Keep Your Eyes Open\, Kocks creates a dialogue between the artwork\, the viewer\, and the space that they are in. Each material is carefully chosen to engage negative spaces and surrounding frameworks\, thus drawing the viewer in closer\, creating a deep relationship to locality that is present in each piece. \n  \nBorn in Oberhausen\, Germany\, Andreas Kocks received his MFA in sculpture from the Kunstakademie Düsseldorf. His work has been featured in museum exhibitions worldwide including the Museum of Art and Design in New York\, Manchester Art Museum\, England\, the Museum August-Macke-Haus in Bonn\, Haus der Kunst Munich\, Germany\, and the Kerawa Art Museum in Helsinki\, Finland. In 2006 Kocks was awarded a Pollock-Krasner Foundation fellowship. In 2010 and 2011 he was a lecturing artist at the Savannah College of Art and Design in Lacoste\, France\, and in Atlanta and Savannah\, GA. He has received numerous commissions from private and public clients\, and his work has been written about in numerous publications\, including Art in America\, Architectural Digest\, Kunstforum\, Time Out\, Platinum Magazine and the Financial Times. After living in New York for over a decade\, Andreas is currently living and working in Munich\, Germany. \n  Save  
URL:https://artinamericaguide.com/event/andreas-kocks-keep-your-eyes-open/
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
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20260226
DTEND;VALUE=DATE:20260413
DTSTAMP:20260407T191045
CREATED:20260304T164457Z
LAST-MODIFIED:20260304T164457Z
UID:116020-1772064000-1776038399@artinamericaguide.com
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. \n  \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. \n  \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. \n  \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. \n  \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  \nView the exhibition online here>. \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-3/
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:20260226
DTEND;VALUE=DATE:20260413
DTSTAMP:20260407T191045
CREATED:20260226T210132Z
LAST-MODIFIED:20260226T210132Z
UID:116004-1772064000-1776038399@artinamericaguide.com
SUMMARY:Robert The: Book Work
DESCRIPTION:Artist Robert The creates sculptural works in which books are transformed with subversive wit and scrupulous sculptural 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. \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. \nView the exhibition online here. \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  \n  Save  
URL:https://artinamericaguide.com/event/robert-the-book-work-2/
LOCATION:JHB Gallery New York\, 26 Grove Street\, 4C\, New York\, NY\, 10014\, United States
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2026/02/Bible-grenade.jpg
ORGANIZER;CN="JHB Gallery":MAILTO:info@jhbgallery.com
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20260226
DTEND;VALUE=DATE:20260413
DTSTAMP:20260407T191045
CREATED:20260226T210131Z
LAST-MODIFIED:20260226T210131Z
UID:116008-1772064000-1776038399@artinamericaguide.com
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:20260226
DTEND;VALUE=DATE:20260302
DTSTAMP:20260407T191045
CREATED:20260226T195730Z
LAST-MODIFIED:20260226T200131Z
UID:115997-1772064000-1772409599@artinamericaguide.com
SUMMARY:Music & Art | Frieze Los Angeles
DESCRIPTION:Michael Rosenfeld Gallery is pleased to announce its return to Frieze Los Angeles 2026 for the fifth consecutive year with a group presentation that celebrates the intertwining relationship between music and the visual arts. \nLearn more \n\nImage Caption:\nRomare Bearden (1911-1988)\nOf the Blues: New Orleans Farewell\, 1974\nCollage of various papers with acrylic on Masonite\n43 3/8 x 49 1/2 inches / 110.2 x 125.7 cm\nsigned \n  Save  
URL:https://artinamericaguide.com/event/music-art-frieze-los-angeles/
LOCATION:Frieze Los Angeles\, 9900 Wilshire Boulevard\, Beverly Hills\, 90210\, United States
CATEGORIES:Art Fair
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2026/02/thumb__1734_1300_0_0_crop.jpg
ORGANIZER;CN="Michael Rosenfeld Gallery":MAILTO:info@michaelrosenfeld.com
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20260226
DTEND;VALUE=DATE:20260405
DTSTAMP:20260407T191045
CREATED:20260218T163500Z
LAST-MODIFIED:20260218T163500Z
UID:115852-1772064000-1775347199@artinamericaguide.com
SUMMARY:Erick Johnson: Continuum
DESCRIPTION:Kathryn Markel Fine Arts is pleased to announce an upcoming exhibition of new paintings by Erick Johnson titled Continuum.  This is his third solo exhibition with the gallery. A reception for the artist will be held on February 26th from 6-8pm. \n\nJohnson’s abstract paintings explore the synergy between color and form. Irregular shapes stack and slide together\, building walls of reverberating color. The elements touch occasionally\, but most are separated by narrow white passages that create the illusion of forms suspended in space. \n\nJohnson uses handmade tools to pull paint across the surface in layered passes. Small interruptions in the lines remain as evidence of the process. Opaque and translucent bands of color play against each other\, creating rhythm and movement. Fluctuating stripes build vibrant\, shifting polygons\, while fuzzy edges bleed into the surrounding white. Some settle into place like masonry; others teeter on their neighbors. \nThe compositions feel active rather than fixed. The shapes become worlds of their own\, grazing one another and pressing against the picture’s edge. They are both grounded and moving – structured geometry animated by color.  To Johnson the shapes “often straddle the line between object and opening\, construction and evolution.” \n  \nErick Johnson holds an MFA from Bard College and a BFA from Empire State College. He has presented notable solo exhibitions\, including at the Brattleboro Museum & Art Center\, VT\, Gallery Neptune & Brown\, Wash DC\, and Furnace: Art on Paper Archive in Falls Village\, CT. He has also participated in group exhibitions at Pierogi Gallery\, NYC\, LABspace\, Hillsdale\, NY\, and Bernays Fine Art in Great Barrington\, MA amongst others. He is a new 2023 member of the historic American Abstract Artists group and lives and works in New York City. \n  Save  
URL:https://artinamericaguide.com/event/erick-johnson-continuum/
LOCATION:529 W 20th St. 6W\, 529 W 20th St. 6W\, New York\, NY\, 10011\, United States
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2026/02/joh063-scaled.jpg
ORGANIZER;CN="Kathryn Markel Fine Arts":MAILTO:markel@markelfinearts.com
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20260226
DTEND;VALUE=DATE:20260405
DTSTAMP:20260407T191045
CREATED:20260210T204436Z
LAST-MODIFIED:20260210T204436Z
UID:115837-1772064000-1775347199@artinamericaguide.com
SUMMARY:Martine Gutierrez: Lottery
DESCRIPTION:RYAN LEE is pleased to announce Lottery\, an exhibition of photographs and video installation by Martine Gutierrez. Arising out of a recent performance in Paris that took inspiration from 1970s feminist performance art\, Gutierrez incorporates her tool of choice\, the camera\, to subvert hierarchies of power and explore notions of control and access. \n  Save  
URL:https://artinamericaguide.com/event/martine-gutierrez-lottery/
LOCATION:RYAN LEE\, 515 W 26th St\, 3rd Fl\, New York\, NY\, 10001\, United States
GEO:40.7500935;-74.0036112
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=RYAN LEE 515 W 26th St 3rd Fl New York NY 10001 United States;X-APPLE-RADIUS=500;X-TITLE=515 W 26th St\, 3rd Fl:geo:-74.0036112,40.7500935
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260221T150000
DTEND;TZID=America/New_York:20260221T170000
DTSTAMP:20260407T191045
CREATED:20260120T172930Z
LAST-MODIFIED:20260120T172930Z
UID:115691-1771686000-1771693200@artinamericaguide.com
SUMMARY:Reading between the Brushstrokes: Imagery and Meaning in Italian Renaissance Painting
DESCRIPTION:While famous masterpieces such as the “Mona Lisa\,” the “Birth of Venus\,” and the “Sistine Chapel\, Ceiling” draw massive crowds in Italy\, most Italian Renaissance paintings in US museums are passed over for more readable\, recognizable\, and user-friendly 19th and/or 20th-century paintings. Museum-goers today often have a difficult time recognizing the characters\, knowing the theology\, identifying with the morality\, or understanding the function of most Italian Renaissance paintings. Dr. Rocky Ruggiero will “read between the brushstrokes” to explain the meaning behind the imagery of painted masterpieces from the Italian Renaissance. \nAdmission is free for members\, $16 per class for non-members. Space is limited. Preregistration Required. \nRocky Ruggiero has been a professor of Art and Architectural History since 1999. He received his BA from the College of the Holy Cross and a Master of Arts degree from Syracuse University\, where he was awarded a prestigious Florence Fellowship in 1996. He furthered his art historical studies at the University of Exeter\, UK\, where he received a Ph.D. in Art History and Visual Culture. \nIn addition to lecturing for various American universities in Florence\, Italy\, including Syracuse\, Kent State\, Vanderbilt\, and Boston College\, Rocky has starred in various TV documentaries concerning the Italian Renaissance. He recently appeared as an expert witness for NBC News\, as well as in the History Channel’s “Engineering an Empire: Da Vinci’s World” and “Museum Secrets: the Uffizi Gallery”\, and the recent NatGeo/NOVA PBS program on Brunelleschi’s dome entitled “Great Cathedral Mystery.” \nAfter living in Florence\, Italy\, for 20 years\, Rocky and his family moved to East Greenwich\, RI\, and he now divides his time between the US and Italy. \nRocky also shares his knowledge and love of Italian art as an academic advisory board member of the non-profit group Friends of Florence and as a frequent collaborator and lecturer for the Friends of the Uffizi Gallery\, both of which have provided funds for the restoration of numerous works of art throughout Florence. He also lectures and serves as a college liaison for the prestigious Jay Pritzker Academy in Siem Reap\, Cambodia. \nIf you or someone you know needs help registering\, please call 954-262-0204 or email museumeducation@nova.edu \n  Save  
URL:https://artinamericaguide.com/event/reading-between-the-brushstrokes-imagery-and-meaning-in-italian-renaissance-painting/
LOCATION:NSU Art Museum\, 1 E Las Olas Blvd\, Fort Lauderdale\, FL\, 33301\, United States
CATEGORIES:Exhibition
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ORGANIZER;CN="NSU Art Museum":MAILTO:moareservations@moafl.org
GEO:26.1194368;-80.1427657
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=NSU Art Museum 1 E Las Olas Blvd Fort Lauderdale FL 33301 United States;X-APPLE-RADIUS=500;X-TITLE=1 E Las Olas Blvd:geo:-80.1427657,26.1194368
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20260221
DTEND;VALUE=DATE:20260329
DTSTAMP:20260407T191045
CREATED:20260218T163500Z
LAST-MODIFIED:20260218T163500Z
UID:115856-1771632000-1774742399@artinamericaguide.com
SUMMARY:Jill Moser
DESCRIPTION:Kathryn Markel Fine Arts is thrilled to present Jill Moser’s Talking Pictures: Collaborations\, an exhibition of 40 of Moser’s painted collages that form the basis of her new book project. For Talking Pictures: Collaborations\, Moser asked friends and colleagues to create a dialogue with one of her painted collages. Poets\, artists\, journalists\, critics\, curators\, art historians\, novelists\, psychoanalysts accepted the invitation\, forming a chorus that plays along the border of the visual and the verbal. This exhibition presents the painted collages alongside each contributor’s response. An audio recording of their texts accompanies the show. \n\nWith a forward by Elena Karina Byrne\, the chorus includes: Tiffany Bell\, Ágnes Berecz\, Star Black\, Charles Bernstein\, Jon Bowermaster\, Barbara Bloemink\, Giuliana Bruno\, Jesse Browner\, Lee Eiferman\, Corinne Erni\, Aniko Erdosi\, Stephen Frailey\, Laurence Hegarty\, Christopher French\, Mary Heilmann\, David Humphrey\, Didi Jackson\, Major Jackson\, Susan Lewis\, David Lichtenstein\, Mary Lucier\, Tim Maul\, Alison Mitchell\, Milos Zahradka Maiorana\, Jennifer McGregor\, Sarah Greenberg Morse\, Paul Muldoon\, Eric Pankey\, Anne Plettener\, Nancy Princenthal\, Manya Steinkoler\, Laurie Sheck\, Adam Simon\, Chase Twichell\, Terrie Sultan\, Eliza Walton\, Stephen Westfall\, Lilly Wei\, Karen Wilkin\, Lila Zemborain. \n\nMoser began painting these small\, intense collages at the start of the pandemic and now\, five years later\, they have become the atlas of images for all her work. In these painted collages\, gestural line\, the hallmark of Moser’s work for decades\, generates forms and volumetric spaces saturated in vivid and often startling color. \n\nTalking Pictures reflects Moser’s long-standing interest in the interplay of language and image.  a language of drawing\, painting\, and printmaking that resists figuration to celebrate visual narratives.Selections of her earlier collaborative work with poets  will be on view in the Pocket Gallery. \nJill Moser’s paintings\, drawings\, prints\, and artist’s books have been exhibited in galleries and museums throughout the United States and featured in prominent collections\, including The Metropolitan Museum of Art\, The Museum of Modern Art\, The Museum of Fine Arts Houston\, The National Gallery of Art\, The Yale University Art Gallery\, The Fogg Art Gallery and The National Library of France. \n\nMoser has made numerous print editions and series\, most recently with Bleu Acier\, Jungle Press\, Manneken Press and Oehme Graphics.  She continues to work collaboratively on projects with poets\, artists\, designers\, and architects. She has taught at Princeton University\, Virginia Commonwealth University\, SUNY and The School of Visual Arts. Jill Moser lives and works in New York. \n  Save  
URL:https://artinamericaguide.com/event/jill-moser/
LOCATION:179 10th Ave\, 179 10th Ave\, New York\, NY\, 10011\, United States
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2026/02/mose039-scaled.jpg
ORGANIZER;CN="Kathryn Markel Fine Arts":MAILTO:markel@markelfinearts.com
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260219T173000
DTEND;TZID=America/New_York:20260219T200000
DTSTAMP:20260407T191045
CREATED:20260205T192323Z
LAST-MODIFIED:20260205T192323Z
UID:115792-1771522200-1771531200@artinamericaguide.com
SUMMARY:The Interior Wild
DESCRIPTION:The Interior Wild \nFebruary 17th – March 7th\, 2026 \nOpening Reception: \nThursday\, February 19th 5:30 – 8 PM \nAtlantic 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. \nThe 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. \nThe 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. \n  Save  
URL:https://artinamericaguide.com/event/the-interior-wild/
LOCATION:Atlantic Gallery\, 548 W. 28th St\, #540\, New York\, 10001\, United States
CATEGORIES:Exhibition
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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;TZID=America/New_York:20260213T140000
DTEND;TZID=America/New_York:20260213T150000
DTSTAMP:20260407T191045
CREATED:20260127T172445Z
LAST-MODIFIED:20260127T172445Z
UID:115713-1770991200-1770994800@artinamericaguide.com
SUMMARY:Art in Context: An Informal History of Art Series led by Ariella Wolens\, Bryant-Taylor Curator
DESCRIPTION: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. \nEach 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. \nNo 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. \nAdmission is free for members\, $16 per class for non-members. Space is limited. Preregistration Required. \nIf you or someone you know needs help registering\, please call 954-262-0204 or email museumeducation@nova.edu \nAriella 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. \nImage: 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. \n  Save  
URL:https://artinamericaguide.com/event/art-in-context-an-informal-history-of-art-series-led-by-ariella-wolens-bryant-taylor-curator/
LOCATION:NSU Art Museum\, 1 E Las Olas Blvd\, Fort Lauderdale\, FL\, 33301\, United States
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2026/01/d1687890-ecd9-43b0-bcd7-aeb8e6eb074b.jpg
ORGANIZER;CN="NSU Art Museum":MAILTO:moareservations@moafl.org
GEO:26.1194368;-80.1427657
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=NSU Art Museum 1 E Las Olas Blvd Fort Lauderdale FL 33301 United States;X-APPLE-RADIUS=500;X-TITLE=1 E Las Olas Blvd:geo:-80.1427657,26.1194368
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20260212
DTEND;VALUE=DATE:20260315
DTSTAMP:20260407T191045
CREATED:20260210T204450Z
LAST-MODIFIED:20260210T204450Z
UID:115828-1770854400-1773532799@artinamericaguide.com
SUMMARY:Lilian Thomas Burwell: The Journey
DESCRIPTION: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. \nThe 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. \nIn 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. \nLilian 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. \n  Save  
URL:https://artinamericaguide.com/event/lilian-thomas-burwell-the-journey/
LOCATION:Berry Campbell Gallery\, 524 W 26th Street\, New York\, NY\, 10001\, United States
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2026/02/burwell_BUR_00051_1_f.jpg
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;VALUE=DATE:20260212
DTEND;VALUE=DATE:20260316
DTSTAMP:20260407T191045
CREATED:20260210T204436Z
LAST-MODIFIED:20260210T204436Z
UID:115832-1770854400-1773619199@artinamericaguide.com
SUMMARY:Matt Greco: More Cave Painting
DESCRIPTION: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. \nGreco’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.” \nFor 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.” \nThe 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. \nGreco’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. \nEqually 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.” \nAbout the Artist \nMatt 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. \nGreco 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. \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. ​ \n   \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. \n  Save  
URL:https://artinamericaguide.com/event/matt-greco-more-cave-painting/
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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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20260207
DTEND;VALUE=DATE:20260405
DTSTAMP:20260407T191045
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;VALUE=DATE:20260207
DTEND;VALUE=DATE:20260405
DTSTAMP:20260407T191045
CREATED:20260205T191930Z
LAST-MODIFIED:20260210T223853Z
UID:115812-1770422400-1775347199@artinamericaguide.com
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;TZID=America/New_York:20260129T123000
DTEND;TZID=America/New_York:20260129T130000
DTSTAMP:20260407T191045
CREATED:20260120T154409Z
LAST-MODIFIED:20260120T154409Z
UID:115674-1769689800-1769691600@artinamericaguide.com
SUMMARY:Gallery Talk: Uncovering the Layered Past of a Haniwa Figure
DESCRIPTION:If you’re in the Calderwood Courtyard\, you’ll likely see a newly installed sculpture: a 6th-century terracotta sculpture from Japan’s Kofun period (c. 250–600)\, called a haniwa. Haniwa were created from coils and slabs of clay\, shaped into figures or structures\, and then placed around the outside of royal tombs. This figure underwent comprehensive analysis and treatment in preparation for its display. Join objects conservation fellow Kaela Nurmi as she shares how the conservation treatment uncovered original surfaces obscured by layers of restoration\, offering insights into how the sculpture was reconstructed in the past. \nThis gallery talk is part of our New on View series\, highlighting recent gallery installations and presenting new insights into recent acquisitions or old favorites. \nLed by:\nKaela Nurmi\, Objects Conservation Fellow\, Straus Center for Conservation and Technical Studies \nPlease check in with museum staff at the Visitor Services desk in the Calderwood Courtyard to request to join the gallery talk. Space is limited\, and talks are available on a first-come\, first-served basis; no registration is required. \n  Save  
URL:https://artinamericaguide.com/event/gallery-talk-uncovering-the-layered-past-of-a-haniwa-figure/
LOCATION:Harvard Art Museums\, 32 Quincy Street\, Cambridge\, MA\, 02138
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2026/01/haniwa.jpg
ORGANIZER;CN="Harvard Art Museums":MAILTO:john_connolly@harvard.edu
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260129T110000
DTEND;TZID=America/New_York:20260330T170000
DTSTAMP:20260407T191045
CREATED:20260202T204903Z
LAST-MODIFIED:20260202T204903Z
UID:115731-1769684400-1774890000@artinamericaguide.com
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
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Woodward Gallery 132A Eldridge Street New York City NY 10002 United States;X-APPLE-RADIUS=500;X-TITLE=132A Eldridge Street:geo:-73.9915203,40.7188679
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260128T123000
DTEND;TZID=America/New_York:20260128T130000
DTSTAMP:20260407T191045
CREATED:20260106T171535Z
LAST-MODIFIED:20260106T171535Z
UID:115578-1769603400-1769605200@artinamericaguide.com
SUMMARY:Gallery Talk: American Works of Art at the 250th
DESCRIPTION:From late January to early July 2026\, curator of American art Horace D. Ballard will lead a series of gallery talks to coincide with the 250th anniversary of the signing of the Declaration of Independence. Each talk will closely examine a work of art that speaks to the historical\, social\, and political contexts that continue to shape the events and ideas of the United States within the broader context of the colonial and political framework of the Americas.\nThis gallery talk is part of our New on View series\, highlighting recent gallery installations and presenting new insights into recent acquisitions or old favorites. \n  Save  
URL:https://artinamericaguide.com/event/gallery-talk-american-works-of-art-at-the-250th/
LOCATION:Harvard Art Museums\, 32 Quincy Street\, Cambridge\, MA\, 02138
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2026/01/John-Singleton-Copley.jpg
ORGANIZER;CN="Harvard Art Museums":MAILTO:john_connolly@harvard.edu
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260127T120000
DTEND;TZID=America/New_York:20260127T130000
DTSTAMP:20260407T191045
CREATED:20260105T214147Z
LAST-MODIFIED:20260105T214147Z
UID:115550-1769515200-1769518800@artinamericaguide.com
SUMMARY:Art + Science: Varnish on Paintings
DESCRIPTION:Have you ever wondered what happens in our conservation labs? Join a member of our Straus Center staff for an informal conversation about their work treating objects in our collections. Taking place just outside the Straus Center in the Lightbox Gallery\, this presentation will give you the chance to get up close and hands-on with a selection of tools and materials used by conservation staff. \nIn this session\, Saffie Patel\, the Richard I. Shader Fellow in Paintings Conservation\, will talk about varnish on paintings. \n  Save  
URL:https://artinamericaguide.com/event/art-science-varnish-on-paintings/
LOCATION:Harvard Art Museums\, 32 Quincy Street\, Cambridge\, MA\, 02138
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2026/01/ArtScience.jpg
ORGANIZER;CN="Harvard Art Museums":MAILTO:john_connolly@harvard.edu
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260122T180000
DTEND;TZID=America/New_York:20260122T200000
DTSTAMP:20260407T191045
CREATED:20260120T172859Z
LAST-MODIFIED:20260120T172859Z
UID:115681-1769104800-1769112000@artinamericaguide.com
SUMMARY:LIC-A @ ATLANTIC: A Winter Salon\, 2026
DESCRIPTION:JANUARY 20TH – FEBRUARY 14TH\, 2026 \nOPENING RECEPTION:  \nTHURSDAY\, JANUARY 22nd\, 6 PM – 8 PM \n 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. \nA 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. \nWe 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. \nCarol 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. \n“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 \nLIC 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 \nAtlantic 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 \n  Save  
URL:https://artinamericaguide.com/event/lic-a-atlantic-a-winter-salon-2026/
LOCATION:Atlantic Gallery\, 548 W. 28th St\, #540\, New York\, 10001\, United States
CATEGORIES:Exhibition
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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;TZID=America/New_York:20260117T180000
DTEND;TZID=America/New_York:20260117T220000
DTSTAMP:20260407T191045
CREATED:20260109T153545Z
LAST-MODIFIED:20260109T153545Z
UID:115650-1768672800-1768687200@artinamericaguide.com
SUMMARY:Vision/Version @ CAMP: Opening Night
DESCRIPTION:NORTH MIAMI\, FL – December 31\, 2025. The Contemporary Art Modern Project is\nhonored to announce our first exhibition of 2026\, Vision/ Version featuring\nPablo Power in his first Miami solo. For more than a decade\, Power has been\npercolating ideas and memories into what is now this exhibition. Looking back\nat his first encounters with Miami’s local art scene\, Power has compiled a vision\nwhich recalls his experiences through the years in the city. But key to both the\nvision and the version of that vision is the intersection of what is remembered\n(intention) and what is reality. Power explains: “This version of my vision brings\nme back to Miami for the first time in nearly a decade\, to revisit the genesis of\nmy creative inspiration. I had the great privilege to live in Miami during a unique\nperiod of cultural evolution\, which provided me with my earliest understanding\nof intention versus reality.” This can be explained in some of his earlier practices\nof destroying to create anew – whether that destruction grows out of posters he\ntears down to transfer into and onto new works\, to releasing works to nature to\nwash away the superficial\, to him then tirelessly working with the elements to\nunearth hidden value. \nThis exhibition captivates not only through the kaleidoscope of works on the\nwalls but through the profound conversation created by older pieces standing\nconfidently beside new\, mapping both Power’s artistic growth and his deep\ncommitment to understanding and sharing lived experience. Though away\nfrom the city for many years\, and now working in Brooklyn\, NY\, Power has held\nonto the palette that is Miami\, adding its unique light to his northward life. This\nexhibition becomes a testimony to his remembrance and how though away\,\nthe city of Miami has stood firm in his creative roots. During a month-long\nresidency at The CAMP Gallery\, Power will further this exchange through a\ndynamic program of film screenings\, artist talks\, poetry events\, panel\ndiscussions\, and more\, all accentuating the vibrant creative intersection\nreminiscent of Miami’s 1980s spirit. Alongside mixed-media works\, sculpture\, and\nvideo\, the exhibition features unique print collaborations with Keigo Prints\, Inc.\,\nand special editions of offset prints and zines\, each layer enriching a dialogue\nwith the city that continues to inspire him. film and video screenings\, artist led\ntours\, panel discussions\, music and poetry evenings\, and other activations to\n“exchange with the city that continues to inspire [his] work.” \nEvent Programming:\nShow Preview Jan 9th\, 2026 6-8pm \nOpening Jan 17th\, 2026 7-10pm. Artist Talk 6-7pm. \nFilm Screening Jan 31st \, 2026 \nPoetry Evening February 21 \, 2026 \n  Save  
URL:https://artinamericaguide.com/event/vision-version-camp-opening-night/
LOCATION:The CAMP Gallery\, 791 NE 125 St\, Miami\, FL\, 33161\, United States
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2026/01/Compass-Points-Forming-Patterns-2B-scaled.jpg
ORGANIZER;CN="The Contemporary Art Modern Project":MAILTO:maria@thecampgallery.com
GEO:25.8434605;-80.1895077
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=The CAMP Gallery 791 NE 125 St Miami FL 33161 United States;X-APPLE-RADIUS=500;X-TITLE=791 NE 125 St:geo:-80.1895077,25.8434605
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20260115
DTEND;VALUE=DATE:20260222
DTSTAMP:20260407T191045
CREATED:20260109T153006Z
LAST-MODIFIED:20260109T153006Z
UID:115590-1768435200-1771718399@artinamericaguide.com
SUMMARY:Dana Piazza: Fall Lines
DESCRIPTION:Kathryn Markel Fine Arts is pleased to announce an upcoming exhibition of new drawings by Dana Piazza titled\,  Fall Lines.  This is his first solo exhibition with the gallery and an artist reception will be held on  January 15th. \nDana Piazza creates meticulous abstract drawings on paper that build upon one initial mark. The line based shapes are largely monochromatic and minimal. He does not plan the final composition\, instead opting to follow a set of self-imposed rules in which each line is influenced by the one before. \nPiazza’s forms are voluminous and densely patterned. Striped repetition creates a rhythm within the curved bodies. The ink lines are semi transparent and deepen as they overlap. Though the marks themselves are quite dense\, the shapes appear light as if floating. \nDiscovery and an exploration of chance are at the heart of his practice. The artist’s hand remains present in slight wavering of the lines and subtle imperfections. Though the drawings are largely improvisational\, the final forms are structured and maintain the illusion of precision and order. \nDana Piazza is an abstract artist based in Lenox\, Massachusetts. He received a BFA from Purchase College\, State University of New York. Piazza has held solo exhibitions at TURLEY\, Hudson\, NY; Art Austerlitz\, Austerlitz\, NY; Thompson Giroux Gallery\, Chatham\, NY; and Jennifer Terzian Gallery\, Litchfield\, CT. His work has also been included in shows at Ortega y Gasset Projects\, Brooklyn\, NY; Galerie Manqué\, Brooklyn\, NY; Muriel Guépin Gallery\, New York\, NY; Kathryn Markel Fine Arts\, New York\, NY; Geoffrey Young Gallery\, Great Barrington\, MA; and Brattleboro Museum & Art Center\, Brattleboro\, VT. \n  Save  
URL:https://artinamericaguide.com/event/dana-piazza-fall-lines/
LOCATION:529 W 20th St. 6W\, 529 W 20th St. 6W\, New York\, NY\, 10011\, United States
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2026/01/pia019-scaled.jpg
ORGANIZER;CN="Kathryn Markel Fine Arts":MAILTO:markel@markelfinearts.com
END:VEVENT
END:VCALENDAR