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warehousedallas
The Warehouse, Dallas
A jointly operated non-profit art foundation in Dallas. The foundation’s mission is to educate the public and to provide free educational programming.
Curator Alexandra Terry (@alexandra__terry) walks us through our current exhibition 𝘊𝘩𝘢𝘴𝘦 𝘢 𝘊𝘳𝘰𝘰𝘬𝘦𝘥 𝘚𝘩𝘢𝘥𝘰𝘸: 𝘍𝘪𝘭𝘮 𝘕𝘰𝘪𝘳 𝘢𝘴 𝘊𝘰𝘯𝘵𝘦𝘮𝘱𝘰𝘳𝘢𝘳𝘺 𝘔𝘪𝘳𝘳𝘰𝘳, now on view through July 18, 2026.
Curated by Terry, the exhibition approaches film noir as a visual, psychological, and ethical framework that continues to resonate today. Across more than 100 works, the exhibition considers noir as an enduring lens through which shifting power dynamics, moral ambiguity, and the instability of perception come into focus.
The Warehouse is open every Saturday from 12–5 PM during our exhibitions. Guided tours and gallery talks led by The Warehouse team take place at 2 PM during Open Hours and focus on the current exhibitions.
🔗 Visit the link in bio to learn more about upcoming programs and to sign up for our newsletter.
📸 Video by @exploredinary
Join us this May at The Warehouse!
Two exhibitions, 𝘊𝘩𝘢𝘴𝘦 𝘢 𝘊𝘳𝘰𝘰𝘬𝘦𝘥 𝘚𝘩𝘢𝘥𝘰𝘸: 𝘍𝘪𝘭𝘮 𝘕𝘰𝘪𝘳 𝘢𝘴 𝘊𝘰𝘯𝘵𝘦𝘮𝘱𝘰𝘳𝘢𝘳𝘺 𝘔𝘪𝘳𝘳𝘰𝘳, curated by Alexandra Terry, and WAREHOUSE:01 𝘠𝘰𝘴𝘩𝘪𝘵𝘢𝘬𝘢 𝘈𝘮𝘢𝘯𝘰 are currently on view through July 18, 2026.
We have several opportunities to engage more deeply during 𝘚𝘢𝘵𝘶𝘳𝘥𝘢𝘺𝘴 𝘢𝘵 𝘛𝘩𝘦 𝘞𝘢𝘳𝘦𝘩𝘰𝘶𝘴𝘦: On May 2, join us for a Gallery Talk on Nigel Cooke with Jim Burton. On May 16, join us for Drawing in the Galleries with Michael Duncan. On May 30, join us for a Gallery Talk on Anne Collier with artist Kelli Connell.
On May 14 from 6–8:30 PM, join us for a Block Printing Workshop and Gallery Tour, an evening of art making inspired by the visual language of film noir.
A reminder that The Warehouse is open EVERY Saturday from 12 PM to 5 PM.
🔗 Click the link in bio to learn more about our exhibitions and register for your visit.
Join us this May at The Warehouse!
Two exhibitions, 𝘊𝘩𝘢𝘴𝘦 𝘢 𝘊𝘳𝘰𝘰𝘬𝘦𝘥 𝘚𝘩𝘢𝘥𝘰𝘸: 𝘍𝘪𝘭𝘮 𝘕𝘰𝘪𝘳 𝘢𝘴 𝘊𝘰𝘯𝘵𝘦𝘮𝘱𝘰𝘳𝘢𝘳𝘺 𝘔𝘪𝘳𝘳𝘰𝘳, curated by Alexandra Terry, and WAREHOUSE:01 𝘠𝘰𝘴𝘩𝘪𝘵𝘢𝘬𝘢 𝘈𝘮𝘢𝘯𝘰 are currently on view through July 18, 2026.
We have several opportunities to engage more deeply during 𝘚𝘢𝘵𝘶𝘳𝘥𝘢𝘺𝘴 𝘢𝘵 𝘛𝘩𝘦 𝘞𝘢𝘳𝘦𝘩𝘰𝘶𝘴𝘦: On May 2, join us for a Gallery Talk on Nigel Cooke with Jim Burton. On May 16, join us for Drawing in the Galleries with Michael Duncan. On May 30, join us for a Gallery Talk on Anne Collier with artist Kelli Connell.
On May 14 from 6–8:30 PM, join us for a Block Printing Workshop and Gallery Tour, an evening of art making inspired by the visual language of film noir.
A reminder that The Warehouse is open EVERY Saturday from 12 PM to 5 PM.
🔗 Click the link in bio to learn more about our exhibitions and register for your visit.
Join us this May at The Warehouse!
Two exhibitions, 𝘊𝘩𝘢𝘴𝘦 𝘢 𝘊𝘳𝘰𝘰𝘬𝘦𝘥 𝘚𝘩𝘢𝘥𝘰𝘸: 𝘍𝘪𝘭𝘮 𝘕𝘰𝘪𝘳 𝘢𝘴 𝘊𝘰𝘯𝘵𝘦𝘮𝘱𝘰𝘳𝘢𝘳𝘺 𝘔𝘪𝘳𝘳𝘰𝘳, curated by Alexandra Terry, and WAREHOUSE:01 𝘠𝘰𝘴𝘩𝘪𝘵𝘢𝘬𝘢 𝘈𝘮𝘢𝘯𝘰 are currently on view through July 18, 2026.
We have several opportunities to engage more deeply during 𝘚𝘢𝘵𝘶𝘳𝘥𝘢𝘺𝘴 𝘢𝘵 𝘛𝘩𝘦 𝘞𝘢𝘳𝘦𝘩𝘰𝘶𝘴𝘦: On May 2, join us for a Gallery Talk on Nigel Cooke with Jim Burton. On May 16, join us for Drawing in the Galleries with Michael Duncan. On May 30, join us for a Gallery Talk on Anne Collier with artist Kelli Connell.
On May 14 from 6–8:30 PM, join us for a Block Printing Workshop and Gallery Tour, an evening of art making inspired by the visual language of film noir.
A reminder that The Warehouse is open EVERY Saturday from 12 PM to 5 PM.
🔗 Click the link in bio to learn more about our exhibitions and register for your visit.
Join us this May at The Warehouse!
Two exhibitions, 𝘊𝘩𝘢𝘴𝘦 𝘢 𝘊𝘳𝘰𝘰𝘬𝘦𝘥 𝘚𝘩𝘢𝘥𝘰𝘸: 𝘍𝘪𝘭𝘮 𝘕𝘰𝘪𝘳 𝘢𝘴 𝘊𝘰𝘯𝘵𝘦𝘮𝘱𝘰𝘳𝘢𝘳𝘺 𝘔𝘪𝘳𝘳𝘰𝘳, curated by Alexandra Terry, and WAREHOUSE:01 𝘠𝘰𝘴𝘩𝘪𝘵𝘢𝘬𝘢 𝘈𝘮𝘢𝘯𝘰 are currently on view through July 18, 2026.
We have several opportunities to engage more deeply during 𝘚𝘢𝘵𝘶𝘳𝘥𝘢𝘺𝘴 𝘢𝘵 𝘛𝘩𝘦 𝘞𝘢𝘳𝘦𝘩𝘰𝘶𝘴𝘦: On May 2, join us for a Gallery Talk on Nigel Cooke with Jim Burton. On May 16, join us for Drawing in the Galleries with Michael Duncan. On May 30, join us for a Gallery Talk on Anne Collier with artist Kelli Connell.
On May 14 from 6–8:30 PM, join us for a Block Printing Workshop and Gallery Tour, an evening of art making inspired by the visual language of film noir.
A reminder that The Warehouse is open EVERY Saturday from 12 PM to 5 PM.
🔗 Click the link in bio to learn more about our exhibitions and register for your visit.
Join us this May at The Warehouse!
Two exhibitions, 𝘊𝘩𝘢𝘴𝘦 𝘢 𝘊𝘳𝘰𝘰𝘬𝘦𝘥 𝘚𝘩𝘢𝘥𝘰𝘸: 𝘍𝘪𝘭𝘮 𝘕𝘰𝘪𝘳 𝘢𝘴 𝘊𝘰𝘯𝘵𝘦𝘮𝘱𝘰𝘳𝘢𝘳𝘺 𝘔𝘪𝘳𝘳𝘰𝘳, curated by Alexandra Terry, and WAREHOUSE:01 𝘠𝘰𝘴𝘩𝘪𝘵𝘢𝘬𝘢 𝘈𝘮𝘢𝘯𝘰 are currently on view through July 18, 2026.
We have several opportunities to engage more deeply during 𝘚𝘢𝘵𝘶𝘳𝘥𝘢𝘺𝘴 𝘢𝘵 𝘛𝘩𝘦 𝘞𝘢𝘳𝘦𝘩𝘰𝘶𝘴𝘦: On May 2, join us for a Gallery Talk on Nigel Cooke with Jim Burton. On May 16, join us for Drawing in the Galleries with Michael Duncan. On May 30, join us for a Gallery Talk on Anne Collier with artist Kelli Connell.
On May 14 from 6–8:30 PM, join us for a Block Printing Workshop and Gallery Tour, an evening of art making inspired by the visual language of film noir.
A reminder that The Warehouse is open EVERY Saturday from 12 PM to 5 PM.
🔗 Click the link in bio to learn more about our exhibitions and register for your visit.
Join us this May at The Warehouse!
Two exhibitions, 𝘊𝘩𝘢𝘴𝘦 𝘢 𝘊𝘳𝘰𝘰𝘬𝘦𝘥 𝘚𝘩𝘢𝘥𝘰𝘸: 𝘍𝘪𝘭𝘮 𝘕𝘰𝘪𝘳 𝘢𝘴 𝘊𝘰𝘯𝘵𝘦𝘮𝘱𝘰𝘳𝘢𝘳𝘺 𝘔𝘪𝘳𝘳𝘰𝘳, curated by Alexandra Terry, and WAREHOUSE:01 𝘠𝘰𝘴𝘩𝘪𝘵𝘢𝘬𝘢 𝘈𝘮𝘢𝘯𝘰 are currently on view through July 18, 2026.
We have several opportunities to engage more deeply during 𝘚𝘢𝘵𝘶𝘳𝘥𝘢𝘺𝘴 𝘢𝘵 𝘛𝘩𝘦 𝘞𝘢𝘳𝘦𝘩𝘰𝘶𝘴𝘦: On May 2, join us for a Gallery Talk on Nigel Cooke with Jim Burton. On May 16, join us for Drawing in the Galleries with Michael Duncan. On May 30, join us for a Gallery Talk on Anne Collier with artist Kelli Connell.
On May 14 from 6–8:30 PM, join us for a Block Printing Workshop and Gallery Tour, an evening of art making inspired by the visual language of film noir.
A reminder that The Warehouse is open EVERY Saturday from 12 PM to 5 PM.
🔗 Click the link in bio to learn more about our exhibitions and register for your visit.
Anne Collier’s 𝘞𝘰𝘮𝘦𝘯 𝘸𝘪𝘵𝘩 𝘊𝘢𝘮𝘦𝘳𝘢𝘴 uses a 35mm slide projector to display a sequence of found photographs of women holding cameras. Collected from disparate sources—advertisements, films, magazine covers—the camera oscillates between tool, prop, and bodily appendage. In her gesture of appropriation, Collier re-frames these artifacts as objects of study and scrutiny, raising questions about gender, agency, and the photographic gaze.
Join us this Saturday, May 30 at 2 PM for a gallery talk with artist Kelli Connell (@kelli_connell) on Anne Collier’s 𝘞𝘰𝘮𝘦𝘯 𝘸𝘪𝘵𝘩 𝘊𝘢𝘮𝘦𝘳𝘢𝘴. Connell’s work investigates sexuality, gender, and the photographer’s relationship to their subject.
🔗 Please RSVP via the link in bio.
𝘊𝘩𝘢𝘴𝘦 𝘢 𝘊𝘳𝘰𝘰𝘬𝘦𝘥 𝘚𝘩𝘢𝘥𝘰𝘸: 𝘍𝘪𝘭𝘮 𝘕𝘰𝘪𝘳 𝘢𝘴 𝘊𝘰𝘯𝘵𝘦𝘮𝘱𝘰𝘳𝘢𝘳𝘺 𝘔𝘪𝘳𝘳𝘰𝘳, curated by @alexandra_terry, is on view April 11–July 18, 2026.
—
Anne Collier
𝘞𝘰𝘮𝘦𝘯 𝘸𝘪𝘵𝘩 𝘊𝘢𝘮𝘦𝘳𝘢𝘴, 2014
35mm slides, 35mm slide projector, pedestal stand, and base
Installation dimensions variable
Edition 3 of 3
Dallas Museum of Art, Lay Family Acquisition Fund
@antonkerngallery @kelli_connell #annecollier #thewarehouse #contemporaryart #dallas
Anne Collier’s 𝘞𝘰𝘮𝘦𝘯 𝘸𝘪𝘵𝘩 𝘊𝘢𝘮𝘦𝘳𝘢𝘴 uses a 35mm slide projector to display a sequence of found photographs of women holding cameras. Collected from disparate sources—advertisements, films, magazine covers—the camera oscillates between tool, prop, and bodily appendage. In her gesture of appropriation, Collier re-frames these artifacts as objects of study and scrutiny, raising questions about gender, agency, and the photographic gaze.
Join us this Saturday, May 30 at 2 PM for a gallery talk with artist Kelli Connell (@kelli_connell) on Anne Collier’s 𝘞𝘰𝘮𝘦𝘯 𝘸𝘪𝘵𝘩 𝘊𝘢𝘮𝘦𝘳𝘢𝘴. Connell’s work investigates sexuality, gender, and the photographer’s relationship to their subject.
🔗 Please RSVP via the link in bio.
𝘊𝘩𝘢𝘴𝘦 𝘢 𝘊𝘳𝘰𝘰𝘬𝘦𝘥 𝘚𝘩𝘢𝘥𝘰𝘸: 𝘍𝘪𝘭𝘮 𝘕𝘰𝘪𝘳 𝘢𝘴 𝘊𝘰𝘯𝘵𝘦𝘮𝘱𝘰𝘳𝘢𝘳𝘺 𝘔𝘪𝘳𝘳𝘰𝘳, curated by @alexandra_terry, is on view April 11–July 18, 2026.
—
Anne Collier
𝘞𝘰𝘮𝘦𝘯 𝘸𝘪𝘵𝘩 𝘊𝘢𝘮𝘦𝘳𝘢𝘴, 2014
35mm slides, 35mm slide projector, pedestal stand, and base
Installation dimensions variable
Edition 3 of 3
Dallas Museum of Art, Lay Family Acquisition Fund
@antonkerngallery @kelli_connell #annecollier #thewarehouse #contemporaryart #dallas
Anne Collier’s 𝘞𝘰𝘮𝘦𝘯 𝘸𝘪𝘵𝘩 𝘊𝘢𝘮𝘦𝘳𝘢𝘴 uses a 35mm slide projector to display a sequence of found photographs of women holding cameras. Collected from disparate sources—advertisements, films, magazine covers—the camera oscillates between tool, prop, and bodily appendage. In her gesture of appropriation, Collier re-frames these artifacts as objects of study and scrutiny, raising questions about gender, agency, and the photographic gaze.
Join us this Saturday, May 30 at 2 PM for a gallery talk with artist Kelli Connell (@kelli_connell) on Anne Collier’s 𝘞𝘰𝘮𝘦𝘯 𝘸𝘪𝘵𝘩 𝘊𝘢𝘮𝘦𝘳𝘢𝘴. Connell’s work investigates sexuality, gender, and the photographer’s relationship to their subject.
🔗 Please RSVP via the link in bio.
𝘊𝘩𝘢𝘴𝘦 𝘢 𝘊𝘳𝘰𝘰𝘬𝘦𝘥 𝘚𝘩𝘢𝘥𝘰𝘸: 𝘍𝘪𝘭𝘮 𝘕𝘰𝘪𝘳 𝘢𝘴 𝘊𝘰𝘯𝘵𝘦𝘮𝘱𝘰𝘳𝘢𝘳𝘺 𝘔𝘪𝘳𝘳𝘰𝘳, curated by @alexandra_terry, is on view April 11–July 18, 2026.
—
Anne Collier
𝘞𝘰𝘮𝘦𝘯 𝘸𝘪𝘵𝘩 𝘊𝘢𝘮𝘦𝘳𝘢𝘴, 2014
35mm slides, 35mm slide projector, pedestal stand, and base
Installation dimensions variable
Edition 3 of 3
Dallas Museum of Art, Lay Family Acquisition Fund
@antonkerngallery @kelli_connell #annecollier #thewarehouse #contemporaryart #dallas
Anne Collier’s 𝘞𝘰𝘮𝘦𝘯 𝘸𝘪𝘵𝘩 𝘊𝘢𝘮𝘦𝘳𝘢𝘴 uses a 35mm slide projector to display a sequence of found photographs of women holding cameras. Collected from disparate sources—advertisements, films, magazine covers—the camera oscillates between tool, prop, and bodily appendage. In her gesture of appropriation, Collier re-frames these artifacts as objects of study and scrutiny, raising questions about gender, agency, and the photographic gaze.
Join us this Saturday, May 30 at 2 PM for a gallery talk with artist Kelli Connell (@kelli_connell) on Anne Collier’s 𝘞𝘰𝘮𝘦𝘯 𝘸𝘪𝘵𝘩 𝘊𝘢𝘮𝘦𝘳𝘢𝘴. Connell’s work investigates sexuality, gender, and the photographer’s relationship to their subject.
🔗 Please RSVP via the link in bio.
𝘊𝘩𝘢𝘴𝘦 𝘢 𝘊𝘳𝘰𝘰𝘬𝘦𝘥 𝘚𝘩𝘢𝘥𝘰𝘸: 𝘍𝘪𝘭𝘮 𝘕𝘰𝘪𝘳 𝘢𝘴 𝘊𝘰𝘯𝘵𝘦𝘮𝘱𝘰𝘳𝘢𝘳𝘺 𝘔𝘪𝘳𝘳𝘰𝘳, curated by @alexandra_terry, is on view April 11–July 18, 2026.
—
Anne Collier
𝘞𝘰𝘮𝘦𝘯 𝘸𝘪𝘵𝘩 𝘊𝘢𝘮𝘦𝘳𝘢𝘴, 2014
35mm slides, 35mm slide projector, pedestal stand, and base
Installation dimensions variable
Edition 3 of 3
Dallas Museum of Art, Lay Family Acquisition Fund
@antonkerngallery @kelli_connell #annecollier #thewarehouse #contemporaryart #dallas
Anne Collier’s 𝘞𝘰𝘮𝘦𝘯 𝘸𝘪𝘵𝘩 𝘊𝘢𝘮𝘦𝘳𝘢𝘴 uses a 35mm slide projector to display a sequence of found photographs of women holding cameras. Collected from disparate sources—advertisements, films, magazine covers—the camera oscillates between tool, prop, and bodily appendage. In her gesture of appropriation, Collier re-frames these artifacts as objects of study and scrutiny, raising questions about gender, agency, and the photographic gaze.
Join us this Saturday, May 30 at 2 PM for a gallery talk with artist Kelli Connell (@kelli_connell) on Anne Collier’s 𝘞𝘰𝘮𝘦𝘯 𝘸𝘪𝘵𝘩 𝘊𝘢𝘮𝘦𝘳𝘢𝘴. Connell’s work investigates sexuality, gender, and the photographer’s relationship to their subject.
🔗 Please RSVP via the link in bio.
𝘊𝘩𝘢𝘴𝘦 𝘢 𝘊𝘳𝘰𝘰𝘬𝘦𝘥 𝘚𝘩𝘢𝘥𝘰𝘸: 𝘍𝘪𝘭𝘮 𝘕𝘰𝘪𝘳 𝘢𝘴 𝘊𝘰𝘯𝘵𝘦𝘮𝘱𝘰𝘳𝘢𝘳𝘺 𝘔𝘪𝘳𝘳𝘰𝘳, curated by @alexandra_terry, is on view April 11–July 18, 2026.
—
Anne Collier
𝘞𝘰𝘮𝘦𝘯 𝘸𝘪𝘵𝘩 𝘊𝘢𝘮𝘦𝘳𝘢𝘴, 2014
35mm slides, 35mm slide projector, pedestal stand, and base
Installation dimensions variable
Edition 3 of 3
Dallas Museum of Art, Lay Family Acquisition Fund
@antonkerngallery @kelli_connell #annecollier #thewarehouse #contemporaryart #dallas
Anne Collier’s 𝘞𝘰𝘮𝘦𝘯 𝘸𝘪𝘵𝘩 𝘊𝘢𝘮𝘦𝘳𝘢𝘴 uses a 35mm slide projector to display a sequence of found photographs of women holding cameras. Collected from disparate sources—advertisements, films, magazine covers—the camera oscillates between tool, prop, and bodily appendage. In her gesture of appropriation, Collier re-frames these artifacts as objects of study and scrutiny, raising questions about gender, agency, and the photographic gaze.
Join us this Saturday, May 30 at 2 PM for a gallery talk with artist Kelli Connell (@kelli_connell) on Anne Collier’s 𝘞𝘰𝘮𝘦𝘯 𝘸𝘪𝘵𝘩 𝘊𝘢𝘮𝘦𝘳𝘢𝘴. Connell’s work investigates sexuality, gender, and the photographer’s relationship to their subject.
🔗 Please RSVP via the link in bio.
𝘊𝘩𝘢𝘴𝘦 𝘢 𝘊𝘳𝘰𝘰𝘬𝘦𝘥 𝘚𝘩𝘢𝘥𝘰𝘸: 𝘍𝘪𝘭𝘮 𝘕𝘰𝘪𝘳 𝘢𝘴 𝘊𝘰𝘯𝘵𝘦𝘮𝘱𝘰𝘳𝘢𝘳𝘺 𝘔𝘪𝘳𝘳𝘰𝘳, curated by @alexandra_terry, is on view April 11–July 18, 2026.
—
Anne Collier
𝘞𝘰𝘮𝘦𝘯 𝘸𝘪𝘵𝘩 𝘊𝘢𝘮𝘦𝘳𝘢𝘴, 2014
35mm slides, 35mm slide projector, pedestal stand, and base
Installation dimensions variable
Edition 3 of 3
Dallas Museum of Art, Lay Family Acquisition Fund
@antonkerngallery @kelli_connell #annecollier #thewarehouse #contemporaryart #dallas
Anne Collier’s 𝘞𝘰𝘮𝘦𝘯 𝘸𝘪𝘵𝘩 𝘊𝘢𝘮𝘦𝘳𝘢𝘴 uses a 35mm slide projector to display a sequence of found photographs of women holding cameras. Collected from disparate sources—advertisements, films, magazine covers—the camera oscillates between tool, prop, and bodily appendage. In her gesture of appropriation, Collier re-frames these artifacts as objects of study and scrutiny, raising questions about gender, agency, and the photographic gaze.
Join us this Saturday, May 30 at 2 PM for a gallery talk with artist Kelli Connell (@kelli_connell) on Anne Collier’s 𝘞𝘰𝘮𝘦𝘯 𝘸𝘪𝘵𝘩 𝘊𝘢𝘮𝘦𝘳𝘢𝘴. Connell’s work investigates sexuality, gender, and the photographer’s relationship to their subject.
🔗 Please RSVP via the link in bio.
𝘊𝘩𝘢𝘴𝘦 𝘢 𝘊𝘳𝘰𝘰𝘬𝘦𝘥 𝘚𝘩𝘢𝘥𝘰𝘸: 𝘍𝘪𝘭𝘮 𝘕𝘰𝘪𝘳 𝘢𝘴 𝘊𝘰𝘯𝘵𝘦𝘮𝘱𝘰𝘳𝘢𝘳𝘺 𝘔𝘪𝘳𝘳𝘰𝘳, curated by @alexandra_terry, is on view April 11–July 18, 2026.
—
Anne Collier
𝘞𝘰𝘮𝘦𝘯 𝘸𝘪𝘵𝘩 𝘊𝘢𝘮𝘦𝘳𝘢𝘴, 2014
35mm slides, 35mm slide projector, pedestal stand, and base
Installation dimensions variable
Edition 3 of 3
Dallas Museum of Art, Lay Family Acquisition Fund
@antonkerngallery @kelli_connell #annecollier #thewarehouse #contemporaryart #dallas
Anne Collier’s 𝘞𝘰𝘮𝘦𝘯 𝘸𝘪𝘵𝘩 𝘊𝘢𝘮𝘦𝘳𝘢𝘴 uses a 35mm slide projector to display a sequence of found photographs of women holding cameras. Collected from disparate sources—advertisements, films, magazine covers—the camera oscillates between tool, prop, and bodily appendage. In her gesture of appropriation, Collier re-frames these artifacts as objects of study and scrutiny, raising questions about gender, agency, and the photographic gaze.
Join us this Saturday, May 30 at 2 PM for a gallery talk with artist Kelli Connell (@kelli_connell) on Anne Collier’s 𝘞𝘰𝘮𝘦𝘯 𝘸𝘪𝘵𝘩 𝘊𝘢𝘮𝘦𝘳𝘢𝘴. Connell’s work investigates sexuality, gender, and the photographer’s relationship to their subject.
🔗 Please RSVP via the link in bio.
𝘊𝘩𝘢𝘴𝘦 𝘢 𝘊𝘳𝘰𝘰𝘬𝘦𝘥 𝘚𝘩𝘢𝘥𝘰𝘸: 𝘍𝘪𝘭𝘮 𝘕𝘰𝘪𝘳 𝘢𝘴 𝘊𝘰𝘯𝘵𝘦𝘮𝘱𝘰𝘳𝘢𝘳𝘺 𝘔𝘪𝘳𝘳𝘰𝘳, curated by @alexandra_terry, is on view April 11–July 18, 2026.
—
Anne Collier
𝘞𝘰𝘮𝘦𝘯 𝘸𝘪𝘵𝘩 𝘊𝘢𝘮𝘦𝘳𝘢𝘴, 2014
35mm slides, 35mm slide projector, pedestal stand, and base
Installation dimensions variable
Edition 3 of 3
Dallas Museum of Art, Lay Family Acquisition Fund
@antonkerngallery @kelli_connell #annecollier #thewarehouse #contemporaryart #dallas
The Warehouse is open today from 12–5 PM!
Now on view: 𝘊𝘩𝘢𝘴𝘦 𝘢 𝘊𝘳𝘰𝘰𝘬𝘦𝘥 𝘚𝘩𝘢𝘥𝘰𝘸: 𝘍𝘪𝘭𝘮 𝘕𝘰𝘪𝘳 𝘢𝘴 𝘊𝘰𝘯𝘵𝘦𝘮𝘱𝘰𝘳𝘢𝘳𝘺 𝘔𝘪𝘳𝘳𝘰𝘳 and WAREHOUSE:01 𝘠𝘰𝘴𝘩𝘪𝘵𝘢𝘬𝘢 𝘈𝘮𝘢𝘯𝘰.
Curated by @alexandra_terry, 𝘊𝘩𝘢𝘴𝘦 𝘢 𝘊𝘳𝘰𝘰𝘬𝘦𝘥 𝘚𝘩𝘢𝘥𝘰𝘸 approaches film noir as a visual, psychological, and ethical framework that continues to resonate today. Presented concurrently, WAREHOUSE 01: 𝘠𝘰𝘴𝘩𝘪𝘵𝘢𝘬𝘢 𝘈𝘮𝘢𝘯𝘰 spans nearly three decades of the artist’s expansive practice across fine art, illustration, and design.
Guided tours and gallery talks led by The Warehouse team take place at 2 PM during Open Hours and focus on the current exhibitions.
🔗 Visit the link in bio to learn more and sign up for our newsletter.
📸: Photography by @exploredinary
#thewarehouse #dallas #contemporaryart
The Warehouse is open today from 12–5 PM!
Now on view: 𝘊𝘩𝘢𝘴𝘦 𝘢 𝘊𝘳𝘰𝘰𝘬𝘦𝘥 𝘚𝘩𝘢𝘥𝘰𝘸: 𝘍𝘪𝘭𝘮 𝘕𝘰𝘪𝘳 𝘢𝘴 𝘊𝘰𝘯𝘵𝘦𝘮𝘱𝘰𝘳𝘢𝘳𝘺 𝘔𝘪𝘳𝘳𝘰𝘳 and WAREHOUSE:01 𝘠𝘰𝘴𝘩𝘪𝘵𝘢𝘬𝘢 𝘈𝘮𝘢𝘯𝘰.
Curated by @alexandra_terry, 𝘊𝘩𝘢𝘴𝘦 𝘢 𝘊𝘳𝘰𝘰𝘬𝘦𝘥 𝘚𝘩𝘢𝘥𝘰𝘸 approaches film noir as a visual, psychological, and ethical framework that continues to resonate today. Presented concurrently, WAREHOUSE 01: 𝘠𝘰𝘴𝘩𝘪𝘵𝘢𝘬𝘢 𝘈𝘮𝘢𝘯𝘰 spans nearly three decades of the artist’s expansive practice across fine art, illustration, and design.
Guided tours and gallery talks led by The Warehouse team take place at 2 PM during Open Hours and focus on the current exhibitions.
🔗 Visit the link in bio to learn more and sign up for our newsletter.
📸: Photography by @exploredinary
#thewarehouse #dallas #contemporaryart
The Warehouse is open today from 12–5 PM!
Now on view: 𝘊𝘩𝘢𝘴𝘦 𝘢 𝘊𝘳𝘰𝘰𝘬𝘦𝘥 𝘚𝘩𝘢𝘥𝘰𝘸: 𝘍𝘪𝘭𝘮 𝘕𝘰𝘪𝘳 𝘢𝘴 𝘊𝘰𝘯𝘵𝘦𝘮𝘱𝘰𝘳𝘢𝘳𝘺 𝘔𝘪𝘳𝘳𝘰𝘳 and WAREHOUSE:01 𝘠𝘰𝘴𝘩𝘪𝘵𝘢𝘬𝘢 𝘈𝘮𝘢𝘯𝘰.
Curated by @alexandra_terry, 𝘊𝘩𝘢𝘴𝘦 𝘢 𝘊𝘳𝘰𝘰𝘬𝘦𝘥 𝘚𝘩𝘢𝘥𝘰𝘸 approaches film noir as a visual, psychological, and ethical framework that continues to resonate today. Presented concurrently, WAREHOUSE 01: 𝘠𝘰𝘴𝘩𝘪𝘵𝘢𝘬𝘢 𝘈𝘮𝘢𝘯𝘰 spans nearly three decades of the artist’s expansive practice across fine art, illustration, and design.
Guided tours and gallery talks led by The Warehouse team take place at 2 PM during Open Hours and focus on the current exhibitions.
🔗 Visit the link in bio to learn more and sign up for our newsletter.
📸: Photography by @exploredinary
#thewarehouse #dallas #contemporaryart
The Warehouse is open today from 12–5 PM!
Now on view: 𝘊𝘩𝘢𝘴𝘦 𝘢 𝘊𝘳𝘰𝘰𝘬𝘦𝘥 𝘚𝘩𝘢𝘥𝘰𝘸: 𝘍𝘪𝘭𝘮 𝘕𝘰𝘪𝘳 𝘢𝘴 𝘊𝘰𝘯𝘵𝘦𝘮𝘱𝘰𝘳𝘢𝘳𝘺 𝘔𝘪𝘳𝘳𝘰𝘳 and WAREHOUSE:01 𝘠𝘰𝘴𝘩𝘪𝘵𝘢𝘬𝘢 𝘈𝘮𝘢𝘯𝘰.
Curated by @alexandra_terry, 𝘊𝘩𝘢𝘴𝘦 𝘢 𝘊𝘳𝘰𝘰𝘬𝘦𝘥 𝘚𝘩𝘢𝘥𝘰𝘸 approaches film noir as a visual, psychological, and ethical framework that continues to resonate today. Presented concurrently, WAREHOUSE 01: 𝘠𝘰𝘴𝘩𝘪𝘵𝘢𝘬𝘢 𝘈𝘮𝘢𝘯𝘰 spans nearly three decades of the artist’s expansive practice across fine art, illustration, and design.
Guided tours and gallery talks led by The Warehouse team take place at 2 PM during Open Hours and focus on the current exhibitions.
🔗 Visit the link in bio to learn more and sign up for our newsletter.
📸: Photography by @exploredinary
#thewarehouse #dallas #contemporaryart
The Warehouse is open today from 12–5 PM!
Now on view: 𝘊𝘩𝘢𝘴𝘦 𝘢 𝘊𝘳𝘰𝘰𝘬𝘦𝘥 𝘚𝘩𝘢𝘥𝘰𝘸: 𝘍𝘪𝘭𝘮 𝘕𝘰𝘪𝘳 𝘢𝘴 𝘊𝘰𝘯𝘵𝘦𝘮𝘱𝘰𝘳𝘢𝘳𝘺 𝘔𝘪𝘳𝘳𝘰𝘳 and WAREHOUSE:01 𝘠𝘰𝘴𝘩𝘪𝘵𝘢𝘬𝘢 𝘈𝘮𝘢𝘯𝘰.
Curated by @alexandra_terry, 𝘊𝘩𝘢𝘴𝘦 𝘢 𝘊𝘳𝘰𝘰𝘬𝘦𝘥 𝘚𝘩𝘢𝘥𝘰𝘸 approaches film noir as a visual, psychological, and ethical framework that continues to resonate today. Presented concurrently, WAREHOUSE 01: 𝘠𝘰𝘴𝘩𝘪𝘵𝘢𝘬𝘢 𝘈𝘮𝘢𝘯𝘰 spans nearly three decades of the artist’s expansive practice across fine art, illustration, and design.
Guided tours and gallery talks led by The Warehouse team take place at 2 PM during Open Hours and focus on the current exhibitions.
🔗 Visit the link in bio to learn more and sign up for our newsletter.
📸: Photography by @exploredinary
#thewarehouse #dallas #contemporaryart
The Warehouse is open today from 12–5 PM!
Now on view: 𝘊𝘩𝘢𝘴𝘦 𝘢 𝘊𝘳𝘰𝘰𝘬𝘦𝘥 𝘚𝘩𝘢𝘥𝘰𝘸: 𝘍𝘪𝘭𝘮 𝘕𝘰𝘪𝘳 𝘢𝘴 𝘊𝘰𝘯𝘵𝘦𝘮𝘱𝘰𝘳𝘢𝘳𝘺 𝘔𝘪𝘳𝘳𝘰𝘳 and WAREHOUSE:01 𝘠𝘰𝘴𝘩𝘪𝘵𝘢𝘬𝘢 𝘈𝘮𝘢𝘯𝘰.
Curated by @alexandra_terry, 𝘊𝘩𝘢𝘴𝘦 𝘢 𝘊𝘳𝘰𝘰𝘬𝘦𝘥 𝘚𝘩𝘢𝘥𝘰𝘸 approaches film noir as a visual, psychological, and ethical framework that continues to resonate today. Presented concurrently, WAREHOUSE 01: 𝘠𝘰𝘴𝘩𝘪𝘵𝘢𝘬𝘢 𝘈𝘮𝘢𝘯𝘰 spans nearly three decades of the artist’s expansive practice across fine art, illustration, and design.
Guided tours and gallery talks led by The Warehouse team take place at 2 PM during Open Hours and focus on the current exhibitions.
🔗 Visit the link in bio to learn more and sign up for our newsletter.
📸: Photography by @exploredinary
#thewarehouse #dallas #contemporaryart
The Warehouse is open today from 12–5 PM!
Now on view: 𝘊𝘩𝘢𝘴𝘦 𝘢 𝘊𝘳𝘰𝘰𝘬𝘦𝘥 𝘚𝘩𝘢𝘥𝘰𝘸: 𝘍𝘪𝘭𝘮 𝘕𝘰𝘪𝘳 𝘢𝘴 𝘊𝘰𝘯𝘵𝘦𝘮𝘱𝘰𝘳𝘢𝘳𝘺 𝘔𝘪𝘳𝘳𝘰𝘳 and WAREHOUSE:01 𝘠𝘰𝘴𝘩𝘪𝘵𝘢𝘬𝘢 𝘈𝘮𝘢𝘯𝘰.
Curated by @alexandra_terry, 𝘊𝘩𝘢𝘴𝘦 𝘢 𝘊𝘳𝘰𝘰𝘬𝘦𝘥 𝘚𝘩𝘢𝘥𝘰𝘸 approaches film noir as a visual, psychological, and ethical framework that continues to resonate today. Presented concurrently, WAREHOUSE 01: 𝘠𝘰𝘴𝘩𝘪𝘵𝘢𝘬𝘢 𝘈𝘮𝘢𝘯𝘰 spans nearly three decades of the artist’s expansive practice across fine art, illustration, and design.
Guided tours and gallery talks led by The Warehouse team take place at 2 PM during Open Hours and focus on the current exhibitions.
🔗 Visit the link in bio to learn more and sign up for our newsletter.
📸: Photography by @exploredinary
#thewarehouse #dallas #contemporaryart
The Warehouse is open today from 12–5 PM!
Now on view: 𝘊𝘩𝘢𝘴𝘦 𝘢 𝘊𝘳𝘰𝘰𝘬𝘦𝘥 𝘚𝘩𝘢𝘥𝘰𝘸: 𝘍𝘪𝘭𝘮 𝘕𝘰𝘪𝘳 𝘢𝘴 𝘊𝘰𝘯𝘵𝘦𝘮𝘱𝘰𝘳𝘢𝘳𝘺 𝘔𝘪𝘳𝘳𝘰𝘳 and WAREHOUSE:01 𝘠𝘰𝘴𝘩𝘪𝘵𝘢𝘬𝘢 𝘈𝘮𝘢𝘯𝘰.
Curated by @alexandra_terry, 𝘊𝘩𝘢𝘴𝘦 𝘢 𝘊𝘳𝘰𝘰𝘬𝘦𝘥 𝘚𝘩𝘢𝘥𝘰𝘸 approaches film noir as a visual, psychological, and ethical framework that continues to resonate today. Presented concurrently, WAREHOUSE 01: 𝘠𝘰𝘴𝘩𝘪𝘵𝘢𝘬𝘢 𝘈𝘮𝘢𝘯𝘰 spans nearly three decades of the artist’s expansive practice across fine art, illustration, and design.
Guided tours and gallery talks led by The Warehouse team take place at 2 PM during Open Hours and focus on the current exhibitions.
🔗 Visit the link in bio to learn more and sign up for our newsletter.
📸: Photography by @exploredinary
#thewarehouse #dallas #contemporaryart
“It’s that idea of taking the debris left from something that has already passed, putting it in a new context, and admiring it as something completely new.” — Shinro Ohtake
Japanese artist Shinro Ohtake’s 𝘙𝘦𝘵𝘪𝘯𝘢 works are made from discarded Polaroids, greatly enlarged and encased in coats of resin. They bear traces of light and photo-sensitive chemicals characteristic of early Polaroid film processes, yet are transformed through scale and surface treatment. The works evoke the perceptual realm of the eye’s retina, where light is captured but hasn’t yet become a memory.
Three of Shinro Ohtake’s 𝘙𝘦𝘵𝘪𝘯𝘢 works are currently on view in 𝘊𝘩𝘢𝘴𝘦 𝘢 𝘊𝘳𝘰𝘰𝘬𝘦𝘥 𝘚𝘩𝘢𝘥𝘰𝘸: 𝘍𝘪𝘭𝘮 𝘕𝘰𝘪𝘳 𝘢𝘴 𝘊𝘰𝘯𝘵𝘦𝘮𝘱𝘰𝘳𝘢𝘳𝘺 𝘔𝘪𝘳𝘳𝘰𝘳, curated by @alexandra_terry.
𝘊𝘩𝘢𝘴𝘦 𝘢 𝘊𝘳𝘰𝘰𝘬𝘦𝘥 𝘚𝘩𝘢𝘥𝘰𝘸: 𝘍𝘪𝘭𝘮 𝘕𝘰𝘪𝘳 𝘢𝘴 𝘊𝘰𝘯𝘵𝘦𝘮𝘱𝘰𝘳𝘢𝘳𝘺 𝘔𝘪𝘳𝘳𝘰𝘳 is on view April 11–July 18, 2026.
📸: Photography by @todoraphotography
@ohtakeshinroten @takeninagawa #shinroohtake #thewarehouse #contemporaryart #dallas
—
Retina (DNA Shadow III), 1990
Photo, vinyl sheet, plastic, cloth, and adhesive tape on wooden panel
115 3/4 x 90 1/2 x 3 7/8 inches (294 x 229.9 x 9.8 cm)
The Rachofsky Collection
Retina (Night Fever 1), 1990
Photo, cloth adhesive tape, and plastic on wooden panel
118 1/8 x 90 1/2 x 3 7/8 inches (300 x 229.9 x 9.8 cm)
The Rachofsky Collection
Retina 13 (Purple Haze 4), 1980/1989–1990
Resin-covered laminated chromogenic analog print, mounted on wood
117 3/8 x 75 x 3 inches (298.1 x 190.5 x 7.6 cm)
The Rachofsky Collection
“It’s that idea of taking the debris left from something that has already passed, putting it in a new context, and admiring it as something completely new.” — Shinro Ohtake
Japanese artist Shinro Ohtake’s 𝘙𝘦𝘵𝘪𝘯𝘢 works are made from discarded Polaroids, greatly enlarged and encased in coats of resin. They bear traces of light and photo-sensitive chemicals characteristic of early Polaroid film processes, yet are transformed through scale and surface treatment. The works evoke the perceptual realm of the eye’s retina, where light is captured but hasn’t yet become a memory.
Three of Shinro Ohtake’s 𝘙𝘦𝘵𝘪𝘯𝘢 works are currently on view in 𝘊𝘩𝘢𝘴𝘦 𝘢 𝘊𝘳𝘰𝘰𝘬𝘦𝘥 𝘚𝘩𝘢𝘥𝘰𝘸: 𝘍𝘪𝘭𝘮 𝘕𝘰𝘪𝘳 𝘢𝘴 𝘊𝘰𝘯𝘵𝘦𝘮𝘱𝘰𝘳𝘢𝘳𝘺 𝘔𝘪𝘳𝘳𝘰𝘳, curated by @alexandra_terry.
𝘊𝘩𝘢𝘴𝘦 𝘢 𝘊𝘳𝘰𝘰𝘬𝘦𝘥 𝘚𝘩𝘢𝘥𝘰𝘸: 𝘍𝘪𝘭𝘮 𝘕𝘰𝘪𝘳 𝘢𝘴 𝘊𝘰𝘯𝘵𝘦𝘮𝘱𝘰𝘳𝘢𝘳𝘺 𝘔𝘪𝘳𝘳𝘰𝘳 is on view April 11–July 18, 2026.
📸: Photography by @todoraphotography
@ohtakeshinroten @takeninagawa #shinroohtake #thewarehouse #contemporaryart #dallas
—
Retina (DNA Shadow III), 1990
Photo, vinyl sheet, plastic, cloth, and adhesive tape on wooden panel
115 3/4 x 90 1/2 x 3 7/8 inches (294 x 229.9 x 9.8 cm)
The Rachofsky Collection
Retina (Night Fever 1), 1990
Photo, cloth adhesive tape, and plastic on wooden panel
118 1/8 x 90 1/2 x 3 7/8 inches (300 x 229.9 x 9.8 cm)
The Rachofsky Collection
Retina 13 (Purple Haze 4), 1980/1989–1990
Resin-covered laminated chromogenic analog print, mounted on wood
117 3/8 x 75 x 3 inches (298.1 x 190.5 x 7.6 cm)
The Rachofsky Collection
“It’s that idea of taking the debris left from something that has already passed, putting it in a new context, and admiring it as something completely new.” — Shinro Ohtake
Japanese artist Shinro Ohtake’s 𝘙𝘦𝘵𝘪𝘯𝘢 works are made from discarded Polaroids, greatly enlarged and encased in coats of resin. They bear traces of light and photo-sensitive chemicals characteristic of early Polaroid film processes, yet are transformed through scale and surface treatment. The works evoke the perceptual realm of the eye’s retina, where light is captured but hasn’t yet become a memory.
Three of Shinro Ohtake’s 𝘙𝘦𝘵𝘪𝘯𝘢 works are currently on view in 𝘊𝘩𝘢𝘴𝘦 𝘢 𝘊𝘳𝘰𝘰𝘬𝘦𝘥 𝘚𝘩𝘢𝘥𝘰𝘸: 𝘍𝘪𝘭𝘮 𝘕𝘰𝘪𝘳 𝘢𝘴 𝘊𝘰𝘯𝘵𝘦𝘮𝘱𝘰𝘳𝘢𝘳𝘺 𝘔𝘪𝘳𝘳𝘰𝘳, curated by @alexandra_terry.
𝘊𝘩𝘢𝘴𝘦 𝘢 𝘊𝘳𝘰𝘰𝘬𝘦𝘥 𝘚𝘩𝘢𝘥𝘰𝘸: 𝘍𝘪𝘭𝘮 𝘕𝘰𝘪𝘳 𝘢𝘴 𝘊𝘰𝘯𝘵𝘦𝘮𝘱𝘰𝘳𝘢𝘳𝘺 𝘔𝘪𝘳𝘳𝘰𝘳 is on view April 11–July 18, 2026.
📸: Photography by @todoraphotography
@ohtakeshinroten @takeninagawa #shinroohtake #thewarehouse #contemporaryart #dallas
—
Retina (DNA Shadow III), 1990
Photo, vinyl sheet, plastic, cloth, and adhesive tape on wooden panel
115 3/4 x 90 1/2 x 3 7/8 inches (294 x 229.9 x 9.8 cm)
The Rachofsky Collection
Retina (Night Fever 1), 1990
Photo, cloth adhesive tape, and plastic on wooden panel
118 1/8 x 90 1/2 x 3 7/8 inches (300 x 229.9 x 9.8 cm)
The Rachofsky Collection
Retina 13 (Purple Haze 4), 1980/1989–1990
Resin-covered laminated chromogenic analog print, mounted on wood
117 3/8 x 75 x 3 inches (298.1 x 190.5 x 7.6 cm)
The Rachofsky Collection
“It’s that idea of taking the debris left from something that has already passed, putting it in a new context, and admiring it as something completely new.” — Shinro Ohtake
Japanese artist Shinro Ohtake’s 𝘙𝘦𝘵𝘪𝘯𝘢 works are made from discarded Polaroids, greatly enlarged and encased in coats of resin. They bear traces of light and photo-sensitive chemicals characteristic of early Polaroid film processes, yet are transformed through scale and surface treatment. The works evoke the perceptual realm of the eye’s retina, where light is captured but hasn’t yet become a memory.
Three of Shinro Ohtake’s 𝘙𝘦𝘵𝘪𝘯𝘢 works are currently on view in 𝘊𝘩𝘢𝘴𝘦 𝘢 𝘊𝘳𝘰𝘰𝘬𝘦𝘥 𝘚𝘩𝘢𝘥𝘰𝘸: 𝘍𝘪𝘭𝘮 𝘕𝘰𝘪𝘳 𝘢𝘴 𝘊𝘰𝘯𝘵𝘦𝘮𝘱𝘰𝘳𝘢𝘳𝘺 𝘔𝘪𝘳𝘳𝘰𝘳, curated by @alexandra_terry.
𝘊𝘩𝘢𝘴𝘦 𝘢 𝘊𝘳𝘰𝘰𝘬𝘦𝘥 𝘚𝘩𝘢𝘥𝘰𝘸: 𝘍𝘪𝘭𝘮 𝘕𝘰𝘪𝘳 𝘢𝘴 𝘊𝘰𝘯𝘵𝘦𝘮𝘱𝘰𝘳𝘢𝘳𝘺 𝘔𝘪𝘳𝘳𝘰𝘳 is on view April 11–July 18, 2026.
📸: Photography by @todoraphotography
@ohtakeshinroten @takeninagawa #shinroohtake #thewarehouse #contemporaryart #dallas
—
Retina (DNA Shadow III), 1990
Photo, vinyl sheet, plastic, cloth, and adhesive tape on wooden panel
115 3/4 x 90 1/2 x 3 7/8 inches (294 x 229.9 x 9.8 cm)
The Rachofsky Collection
Retina (Night Fever 1), 1990
Photo, cloth adhesive tape, and plastic on wooden panel
118 1/8 x 90 1/2 x 3 7/8 inches (300 x 229.9 x 9.8 cm)
The Rachofsky Collection
Retina 13 (Purple Haze 4), 1980/1989–1990
Resin-covered laminated chromogenic analog print, mounted on wood
117 3/8 x 75 x 3 inches (298.1 x 190.5 x 7.6 cm)
The Rachofsky Collection
“It’s that idea of taking the debris left from something that has already passed, putting it in a new context, and admiring it as something completely new.” — Shinro Ohtake
Japanese artist Shinro Ohtake’s 𝘙𝘦𝘵𝘪𝘯𝘢 works are made from discarded Polaroids, greatly enlarged and encased in coats of resin. They bear traces of light and photo-sensitive chemicals characteristic of early Polaroid film processes, yet are transformed through scale and surface treatment. The works evoke the perceptual realm of the eye’s retina, where light is captured but hasn’t yet become a memory.
Three of Shinro Ohtake’s 𝘙𝘦𝘵𝘪𝘯𝘢 works are currently on view in 𝘊𝘩𝘢𝘴𝘦 𝘢 𝘊𝘳𝘰𝘰𝘬𝘦𝘥 𝘚𝘩𝘢𝘥𝘰𝘸: 𝘍𝘪𝘭𝘮 𝘕𝘰𝘪𝘳 𝘢𝘴 𝘊𝘰𝘯𝘵𝘦𝘮𝘱𝘰𝘳𝘢𝘳𝘺 𝘔𝘪𝘳𝘳𝘰𝘳, curated by @alexandra_terry.
𝘊𝘩𝘢𝘴𝘦 𝘢 𝘊𝘳𝘰𝘰𝘬𝘦𝘥 𝘚𝘩𝘢𝘥𝘰𝘸: 𝘍𝘪𝘭𝘮 𝘕𝘰𝘪𝘳 𝘢𝘴 𝘊𝘰𝘯𝘵𝘦𝘮𝘱𝘰𝘳𝘢𝘳𝘺 𝘔𝘪𝘳𝘳𝘰𝘳 is on view April 11–July 18, 2026.
📸: Photography by @todoraphotography
@ohtakeshinroten @takeninagawa #shinroohtake #thewarehouse #contemporaryart #dallas
—
Retina (DNA Shadow III), 1990
Photo, vinyl sheet, plastic, cloth, and adhesive tape on wooden panel
115 3/4 x 90 1/2 x 3 7/8 inches (294 x 229.9 x 9.8 cm)
The Rachofsky Collection
Retina (Night Fever 1), 1990
Photo, cloth adhesive tape, and plastic on wooden panel
118 1/8 x 90 1/2 x 3 7/8 inches (300 x 229.9 x 9.8 cm)
The Rachofsky Collection
Retina 13 (Purple Haze 4), 1980/1989–1990
Resin-covered laminated chromogenic analog print, mounted on wood
117 3/8 x 75 x 3 inches (298.1 x 190.5 x 7.6 cm)
The Rachofsky Collection
Yoshitaka Amano’s monumental 𝘕𝘦𝘸 𝘠𝘰𝘳𝘬 𝘕𝘪𝘨𝘩𝘵𝘴 𝘐𝘐 is currently on view at The Warehouse!
Spanning 54 feet, the work is a cascading tableau of colors, textures, and figures. This and other works in this exhibition showcase Amano’s fluid blending of Eastern and Western art historical influences.
𝘕𝘦𝘸 𝘠𝘰𝘳𝘬 𝘕𝘪𝘨𝘩𝘵𝘴 𝘐𝘐 recalls the Japanese tradition of illustrated handscrolls, which used distant perspectives to allow multiple narratives to unfold at once. At the same time, its elegant figures and exquisite textures are evocative of Pre-Raphaelite and Viennese styles.
Come enjoy the first part of a two-part exhibition, 𝘠𝘰𝘴𝘩𝘪𝘵𝘢𝘬𝘢 𝘈𝘮𝘢𝘯𝘰, the fifth iteration of 𝗪𝗔𝗥𝗘𝗛𝗢𝗨𝗦𝗘:𝟬𝟭.
Part 1 of 𝘠𝘰𝘴𝘩𝘪𝘵𝘢𝘬𝘢 𝘈𝘮𝘢𝘯𝘰 is on view April 11 – June 6, 2026.
Part 2 is on view June 13 – July 18, 2026. Stay tuned for more!
📸: Photography by @todoraphotography
@yoshitaka_amano @lomexgallery #yoshitakaamano #thewarehouse #contemporaryart #dallas
Yoshitaka Amano’s monumental 𝘕𝘦𝘸 𝘠𝘰𝘳𝘬 𝘕𝘪𝘨𝘩𝘵𝘴 𝘐𝘐 is currently on view at The Warehouse!
Spanning 54 feet, the work is a cascading tableau of colors, textures, and figures. This and other works in this exhibition showcase Amano’s fluid blending of Eastern and Western art historical influences.
𝘕𝘦𝘸 𝘠𝘰𝘳𝘬 𝘕𝘪𝘨𝘩𝘵𝘴 𝘐𝘐 recalls the Japanese tradition of illustrated handscrolls, which used distant perspectives to allow multiple narratives to unfold at once. At the same time, its elegant figures and exquisite textures are evocative of Pre-Raphaelite and Viennese styles.
Come enjoy the first part of a two-part exhibition, 𝘠𝘰𝘴𝘩𝘪𝘵𝘢𝘬𝘢 𝘈𝘮𝘢𝘯𝘰, the fifth iteration of 𝗪𝗔𝗥𝗘𝗛𝗢𝗨𝗦𝗘:𝟬𝟭.
Part 1 of 𝘠𝘰𝘴𝘩𝘪𝘵𝘢𝘬𝘢 𝘈𝘮𝘢𝘯𝘰 is on view April 11 – June 6, 2026.
Part 2 is on view June 13 – July 18, 2026. Stay tuned for more!
📸: Photography by @todoraphotography
@yoshitaka_amano @lomexgallery #yoshitakaamano #thewarehouse #contemporaryart #dallas
Yoshitaka Amano’s monumental 𝘕𝘦𝘸 𝘠𝘰𝘳𝘬 𝘕𝘪𝘨𝘩𝘵𝘴 𝘐𝘐 is currently on view at The Warehouse!
Spanning 54 feet, the work is a cascading tableau of colors, textures, and figures. This and other works in this exhibition showcase Amano’s fluid blending of Eastern and Western art historical influences.
𝘕𝘦𝘸 𝘠𝘰𝘳𝘬 𝘕𝘪𝘨𝘩𝘵𝘴 𝘐𝘐 recalls the Japanese tradition of illustrated handscrolls, which used distant perspectives to allow multiple narratives to unfold at once. At the same time, its elegant figures and exquisite textures are evocative of Pre-Raphaelite and Viennese styles.
Come enjoy the first part of a two-part exhibition, 𝘠𝘰𝘴𝘩𝘪𝘵𝘢𝘬𝘢 𝘈𝘮𝘢𝘯𝘰, the fifth iteration of 𝗪𝗔𝗥𝗘𝗛𝗢𝗨𝗦𝗘:𝟬𝟭.
Part 1 of 𝘠𝘰𝘴𝘩𝘪𝘵𝘢𝘬𝘢 𝘈𝘮𝘢𝘯𝘰 is on view April 11 – June 6, 2026.
Part 2 is on view June 13 – July 18, 2026. Stay tuned for more!
📸: Photography by @todoraphotography
@yoshitaka_amano @lomexgallery #yoshitakaamano #thewarehouse #contemporaryart #dallas
Yoshitaka Amano’s monumental 𝘕𝘦𝘸 𝘠𝘰𝘳𝘬 𝘕𝘪𝘨𝘩𝘵𝘴 𝘐𝘐 is currently on view at The Warehouse!
Spanning 54 feet, the work is a cascading tableau of colors, textures, and figures. This and other works in this exhibition showcase Amano’s fluid blending of Eastern and Western art historical influences.
𝘕𝘦𝘸 𝘠𝘰𝘳𝘬 𝘕𝘪𝘨𝘩𝘵𝘴 𝘐𝘐 recalls the Japanese tradition of illustrated handscrolls, which used distant perspectives to allow multiple narratives to unfold at once. At the same time, its elegant figures and exquisite textures are evocative of Pre-Raphaelite and Viennese styles.
Come enjoy the first part of a two-part exhibition, 𝘠𝘰𝘴𝘩𝘪𝘵𝘢𝘬𝘢 𝘈𝘮𝘢𝘯𝘰, the fifth iteration of 𝗪𝗔𝗥𝗘𝗛𝗢𝗨𝗦𝗘:𝟬𝟭.
Part 1 of 𝘠𝘰𝘴𝘩𝘪𝘵𝘢𝘬𝘢 𝘈𝘮𝘢𝘯𝘰 is on view April 11 – June 6, 2026.
Part 2 is on view June 13 – July 18, 2026. Stay tuned for more!
📸: Photography by @todoraphotography
@yoshitaka_amano @lomexgallery #yoshitakaamano #thewarehouse #contemporaryart #dallas
Yoshitaka Amano’s monumental 𝘕𝘦𝘸 𝘠𝘰𝘳𝘬 𝘕𝘪𝘨𝘩𝘵𝘴 𝘐𝘐 is currently on view at The Warehouse!
Spanning 54 feet, the work is a cascading tableau of colors, textures, and figures. This and other works in this exhibition showcase Amano’s fluid blending of Eastern and Western art historical influences.
𝘕𝘦𝘸 𝘠𝘰𝘳𝘬 𝘕𝘪𝘨𝘩𝘵𝘴 𝘐𝘐 recalls the Japanese tradition of illustrated handscrolls, which used distant perspectives to allow multiple narratives to unfold at once. At the same time, its elegant figures and exquisite textures are evocative of Pre-Raphaelite and Viennese styles.
Come enjoy the first part of a two-part exhibition, 𝘠𝘰𝘴𝘩𝘪𝘵𝘢𝘬𝘢 𝘈𝘮𝘢𝘯𝘰, the fifth iteration of 𝗪𝗔𝗥𝗘𝗛𝗢𝗨𝗦𝗘:𝟬𝟭.
Part 1 of 𝘠𝘰𝘴𝘩𝘪𝘵𝘢𝘬𝘢 𝘈𝘮𝘢𝘯𝘰 is on view April 11 – June 6, 2026.
Part 2 is on view June 13 – July 18, 2026. Stay tuned for more!
📸: Photography by @todoraphotography
@yoshitaka_amano @lomexgallery #yoshitakaamano #thewarehouse #contemporaryart #dallas
Yoshitaka Amano’s monumental 𝘕𝘦𝘸 𝘠𝘰𝘳𝘬 𝘕𝘪𝘨𝘩𝘵𝘴 𝘐𝘐 is currently on view at The Warehouse!
Spanning 54 feet, the work is a cascading tableau of colors, textures, and figures. This and other works in this exhibition showcase Amano’s fluid blending of Eastern and Western art historical influences.
𝘕𝘦𝘸 𝘠𝘰𝘳𝘬 𝘕𝘪𝘨𝘩𝘵𝘴 𝘐𝘐 recalls the Japanese tradition of illustrated handscrolls, which used distant perspectives to allow multiple narratives to unfold at once. At the same time, its elegant figures and exquisite textures are evocative of Pre-Raphaelite and Viennese styles.
Come enjoy the first part of a two-part exhibition, 𝘠𝘰𝘴𝘩𝘪𝘵𝘢𝘬𝘢 𝘈𝘮𝘢𝘯𝘰, the fifth iteration of 𝗪𝗔𝗥𝗘𝗛𝗢𝗨𝗦𝗘:𝟬𝟭.
Part 1 of 𝘠𝘰𝘴𝘩𝘪𝘵𝘢𝘬𝘢 𝘈𝘮𝘢𝘯𝘰 is on view April 11 – June 6, 2026.
Part 2 is on view June 13 – July 18, 2026. Stay tuned for more!
📸: Photography by @todoraphotography
@yoshitaka_amano @lomexgallery #yoshitakaamano #thewarehouse #contemporaryart #dallas
The environment of film noir is never neutral. Cities, suburbs, highways, and open land do not merely contain the story—they shape it, press against it, and often overwhelm it. The setting mirrors the inner lives of film noir's protagonists: disorienting and inescapable. Whether set in rain-soaked streets or blinding daylight, film noir environments express a post-war loss of sanctuary. There is no safe place left to retreat to and no pastoral ideal to restore balance. The world itself feels compromised.
𝘊𝘩𝘢𝘴𝘦 𝘢 𝘊𝘳𝘰𝘰𝘬𝘦𝘥 𝘚𝘩𝘢𝘥𝘰𝘸: 𝘍𝘪𝘭𝘮 𝘕𝘰𝘪𝘳 𝘢𝘴 𝘊𝘰𝘯𝘵𝘦𝘮𝘱𝘰𝘳𝘢𝘳𝘺 𝘔𝘪𝘳𝘳𝘰𝘳, curated by @alexandra_terry, gathers works that evoke a sense of estrangement in their setting through use of light, shadow, and composition.
𝘊𝘩𝘢𝘴𝘦 𝘢 𝘊𝘳𝘰𝘰𝘬𝘦𝘥 𝘚𝘩𝘢𝘥𝘰𝘸: 𝘍𝘪𝘭𝘮 𝘕𝘰𝘪𝘳 𝘢𝘴 𝘊𝘰𝘯𝘵𝘦𝘮𝘱𝘰𝘳𝘢𝘳𝘺 𝘔𝘪𝘳𝘳𝘰𝘳, is on view April 11–July 18, 2026. Come visit us!
📸: Photography by @todoraphotography
@nicnicosia @erincluleygallery @annaconwaystudio @fergusmccaffrey @henrygunderson.online @loyalgallery @halseymckaygallery
#thewarehouse #contemporaryart #dallas
—
Nic Nicosia
Blue Truck, 1980/2013
Blue Posts, 1980/2013
Pink House, 1980/2013
Rickety Fence, 1980/2013
Tom and Jo's, 1980/2013
Yellow Tree, 1980/2013
Archival inkjet on Hahnemühle paper
Image: 13 1/2 x 20 inches (34.3 x 50.8 cm)
The Rachofsky Collection
Anna Conway
Rhino, 2017
Oil on linen
44 x 66 inches (111.8 x 167.6 cm)
The Rachofsky Collection
Henry Gunderson
Night Shack, 2022
Oil on canvas
108 x 72 inches (274.3 x 182.9 cm)
Hartland & Mackie / Labora Collection
Lucy Kim
Clean Like Spring Rain, 2014
Oil paint, acrylic paint, urethane resin, and epoxy on dibond panel
57 x 52 inches (144.8 x 132 cm)
The Rachofsky Collection
Chris Duncan
Bedroom Window (black) 6 month exposure summer-winter, 2013
Sunlight, time, and cotton fabric
54 x 68 inches (137.2 x 172.7 cm)
The Rachofsky Collection
The environment of film noir is never neutral. Cities, suburbs, highways, and open land do not merely contain the story—they shape it, press against it, and often overwhelm it. The setting mirrors the inner lives of film noir's protagonists: disorienting and inescapable. Whether set in rain-soaked streets or blinding daylight, film noir environments express a post-war loss of sanctuary. There is no safe place left to retreat to and no pastoral ideal to restore balance. The world itself feels compromised.
𝘊𝘩𝘢𝘴𝘦 𝘢 𝘊𝘳𝘰𝘰𝘬𝘦𝘥 𝘚𝘩𝘢𝘥𝘰𝘸: 𝘍𝘪𝘭𝘮 𝘕𝘰𝘪𝘳 𝘢𝘴 𝘊𝘰𝘯𝘵𝘦𝘮𝘱𝘰𝘳𝘢𝘳𝘺 𝘔𝘪𝘳𝘳𝘰𝘳, curated by @alexandra_terry, gathers works that evoke a sense of estrangement in their setting through use of light, shadow, and composition.
𝘊𝘩𝘢𝘴𝘦 𝘢 𝘊𝘳𝘰𝘰𝘬𝘦𝘥 𝘚𝘩𝘢𝘥𝘰𝘸: 𝘍𝘪𝘭𝘮 𝘕𝘰𝘪𝘳 𝘢𝘴 𝘊𝘰𝘯𝘵𝘦𝘮𝘱𝘰𝘳𝘢𝘳𝘺 𝘔𝘪𝘳𝘳𝘰𝘳, is on view April 11–July 18, 2026. Come visit us!
📸: Photography by @todoraphotography
@nicnicosia @erincluleygallery @annaconwaystudio @fergusmccaffrey @henrygunderson.online @loyalgallery @halseymckaygallery
#thewarehouse #contemporaryart #dallas
—
Nic Nicosia
Blue Truck, 1980/2013
Blue Posts, 1980/2013
Pink House, 1980/2013
Rickety Fence, 1980/2013
Tom and Jo's, 1980/2013
Yellow Tree, 1980/2013
Archival inkjet on Hahnemühle paper
Image: 13 1/2 x 20 inches (34.3 x 50.8 cm)
The Rachofsky Collection
Anna Conway
Rhino, 2017
Oil on linen
44 x 66 inches (111.8 x 167.6 cm)
The Rachofsky Collection
Henry Gunderson
Night Shack, 2022
Oil on canvas
108 x 72 inches (274.3 x 182.9 cm)
Hartland & Mackie / Labora Collection
Lucy Kim
Clean Like Spring Rain, 2014
Oil paint, acrylic paint, urethane resin, and epoxy on dibond panel
57 x 52 inches (144.8 x 132 cm)
The Rachofsky Collection
Chris Duncan
Bedroom Window (black) 6 month exposure summer-winter, 2013
Sunlight, time, and cotton fabric
54 x 68 inches (137.2 x 172.7 cm)
The Rachofsky Collection
The environment of film noir is never neutral. Cities, suburbs, highways, and open land do not merely contain the story—they shape it, press against it, and often overwhelm it. The setting mirrors the inner lives of film noir's protagonists: disorienting and inescapable. Whether set in rain-soaked streets or blinding daylight, film noir environments express a post-war loss of sanctuary. There is no safe place left to retreat to and no pastoral ideal to restore balance. The world itself feels compromised.
𝘊𝘩𝘢𝘴𝘦 𝘢 𝘊𝘳𝘰𝘰𝘬𝘦𝘥 𝘚𝘩𝘢𝘥𝘰𝘸: 𝘍𝘪𝘭𝘮 𝘕𝘰𝘪𝘳 𝘢𝘴 𝘊𝘰𝘯𝘵𝘦𝘮𝘱𝘰𝘳𝘢𝘳𝘺 𝘔𝘪𝘳𝘳𝘰𝘳, curated by @alexandra_terry, gathers works that evoke a sense of estrangement in their setting through use of light, shadow, and composition.
𝘊𝘩𝘢𝘴𝘦 𝘢 𝘊𝘳𝘰𝘰𝘬𝘦𝘥 𝘚𝘩𝘢𝘥𝘰𝘸: 𝘍𝘪𝘭𝘮 𝘕𝘰𝘪𝘳 𝘢𝘴 𝘊𝘰𝘯𝘵𝘦𝘮𝘱𝘰𝘳𝘢𝘳𝘺 𝘔𝘪𝘳𝘳𝘰𝘳, is on view April 11–July 18, 2026. Come visit us!
📸: Photography by @todoraphotography
@nicnicosia @erincluleygallery @annaconwaystudio @fergusmccaffrey @henrygunderson.online @loyalgallery @halseymckaygallery
#thewarehouse #contemporaryart #dallas
—
Nic Nicosia
Blue Truck, 1980/2013
Blue Posts, 1980/2013
Pink House, 1980/2013
Rickety Fence, 1980/2013
Tom and Jo's, 1980/2013
Yellow Tree, 1980/2013
Archival inkjet on Hahnemühle paper
Image: 13 1/2 x 20 inches (34.3 x 50.8 cm)
The Rachofsky Collection
Anna Conway
Rhino, 2017
Oil on linen
44 x 66 inches (111.8 x 167.6 cm)
The Rachofsky Collection
Henry Gunderson
Night Shack, 2022
Oil on canvas
108 x 72 inches (274.3 x 182.9 cm)
Hartland & Mackie / Labora Collection
Lucy Kim
Clean Like Spring Rain, 2014
Oil paint, acrylic paint, urethane resin, and epoxy on dibond panel
57 x 52 inches (144.8 x 132 cm)
The Rachofsky Collection
Chris Duncan
Bedroom Window (black) 6 month exposure summer-winter, 2013
Sunlight, time, and cotton fabric
54 x 68 inches (137.2 x 172.7 cm)
The Rachofsky Collection
The environment of film noir is never neutral. Cities, suburbs, highways, and open land do not merely contain the story—they shape it, press against it, and often overwhelm it. The setting mirrors the inner lives of film noir's protagonists: disorienting and inescapable. Whether set in rain-soaked streets or blinding daylight, film noir environments express a post-war loss of sanctuary. There is no safe place left to retreat to and no pastoral ideal to restore balance. The world itself feels compromised.
𝘊𝘩𝘢𝘴𝘦 𝘢 𝘊𝘳𝘰𝘰𝘬𝘦𝘥 𝘚𝘩𝘢𝘥𝘰𝘸: 𝘍𝘪𝘭𝘮 𝘕𝘰𝘪𝘳 𝘢𝘴 𝘊𝘰𝘯𝘵𝘦𝘮𝘱𝘰𝘳𝘢𝘳𝘺 𝘔𝘪𝘳𝘳𝘰𝘳, curated by @alexandra_terry, gathers works that evoke a sense of estrangement in their setting through use of light, shadow, and composition.
𝘊𝘩𝘢𝘴𝘦 𝘢 𝘊𝘳𝘰𝘰𝘬𝘦𝘥 𝘚𝘩𝘢𝘥𝘰𝘸: 𝘍𝘪𝘭𝘮 𝘕𝘰𝘪𝘳 𝘢𝘴 𝘊𝘰𝘯𝘵𝘦𝘮𝘱𝘰𝘳𝘢𝘳𝘺 𝘔𝘪𝘳𝘳𝘰𝘳, is on view April 11–July 18, 2026. Come visit us!
📸: Photography by @todoraphotography
@nicnicosia @erincluleygallery @annaconwaystudio @fergusmccaffrey @henrygunderson.online @loyalgallery @halseymckaygallery
#thewarehouse #contemporaryart #dallas
—
Nic Nicosia
Blue Truck, 1980/2013
Blue Posts, 1980/2013
Pink House, 1980/2013
Rickety Fence, 1980/2013
Tom and Jo's, 1980/2013
Yellow Tree, 1980/2013
Archival inkjet on Hahnemühle paper
Image: 13 1/2 x 20 inches (34.3 x 50.8 cm)
The Rachofsky Collection
Anna Conway
Rhino, 2017
Oil on linen
44 x 66 inches (111.8 x 167.6 cm)
The Rachofsky Collection
Henry Gunderson
Night Shack, 2022
Oil on canvas
108 x 72 inches (274.3 x 182.9 cm)
Hartland & Mackie / Labora Collection
Lucy Kim
Clean Like Spring Rain, 2014
Oil paint, acrylic paint, urethane resin, and epoxy on dibond panel
57 x 52 inches (144.8 x 132 cm)
The Rachofsky Collection
Chris Duncan
Bedroom Window (black) 6 month exposure summer-winter, 2013
Sunlight, time, and cotton fabric
54 x 68 inches (137.2 x 172.7 cm)
The Rachofsky Collection
The environment of film noir is never neutral. Cities, suburbs, highways, and open land do not merely contain the story—they shape it, press against it, and often overwhelm it. The setting mirrors the inner lives of film noir's protagonists: disorienting and inescapable. Whether set in rain-soaked streets or blinding daylight, film noir environments express a post-war loss of sanctuary. There is no safe place left to retreat to and no pastoral ideal to restore balance. The world itself feels compromised.
𝘊𝘩𝘢𝘴𝘦 𝘢 𝘊𝘳𝘰𝘰𝘬𝘦𝘥 𝘚𝘩𝘢𝘥𝘰𝘸: 𝘍𝘪𝘭𝘮 𝘕𝘰𝘪𝘳 𝘢𝘴 𝘊𝘰𝘯𝘵𝘦𝘮𝘱𝘰𝘳𝘢𝘳𝘺 𝘔𝘪𝘳𝘳𝘰𝘳, curated by @alexandra_terry, gathers works that evoke a sense of estrangement in their setting through use of light, shadow, and composition.
𝘊𝘩𝘢𝘴𝘦 𝘢 𝘊𝘳𝘰𝘰𝘬𝘦𝘥 𝘚𝘩𝘢𝘥𝘰𝘸: 𝘍𝘪𝘭𝘮 𝘕𝘰𝘪𝘳 𝘢𝘴 𝘊𝘰𝘯𝘵𝘦𝘮𝘱𝘰𝘳𝘢𝘳𝘺 𝘔𝘪𝘳𝘳𝘰𝘳, is on view April 11–July 18, 2026. Come visit us!
📸: Photography by @todoraphotography
@nicnicosia @erincluleygallery @annaconwaystudio @fergusmccaffrey @henrygunderson.online @loyalgallery @halseymckaygallery
#thewarehouse #contemporaryart #dallas
—
Nic Nicosia
Blue Truck, 1980/2013
Blue Posts, 1980/2013
Pink House, 1980/2013
Rickety Fence, 1980/2013
Tom and Jo's, 1980/2013
Yellow Tree, 1980/2013
Archival inkjet on Hahnemühle paper
Image: 13 1/2 x 20 inches (34.3 x 50.8 cm)
The Rachofsky Collection
Anna Conway
Rhino, 2017
Oil on linen
44 x 66 inches (111.8 x 167.6 cm)
The Rachofsky Collection
Henry Gunderson
Night Shack, 2022
Oil on canvas
108 x 72 inches (274.3 x 182.9 cm)
Hartland & Mackie / Labora Collection
Lucy Kim
Clean Like Spring Rain, 2014
Oil paint, acrylic paint, urethane resin, and epoxy on dibond panel
57 x 52 inches (144.8 x 132 cm)
The Rachofsky Collection
Chris Duncan
Bedroom Window (black) 6 month exposure summer-winter, 2013
Sunlight, time, and cotton fabric
54 x 68 inches (137.2 x 172.7 cm)
The Rachofsky Collection
“I’m constantly aware of the fact that there’s always more than the eye can see. . . I’m especially inspired by moments that transcend the everyday. I’m looking for transcendence, always.” – Naudline Pierre
Naudline Pierre’s work creates a mythological alternate universe, saturated and dynamic, where an alter-ego protagonist navigates otherworldly scenes. Inspired by the religious iconography of the Renaissance, Pierre re-animates this history through her personal exploration of Black female subjectivity and spirituality.
Pierre’s painting 𝘛𝘩𝘦 𝘖𝘯𝘭𝘺 𝘞𝘢𝘺 𝘖𝘶𝘵 𝘐𝘴 𝘐𝘯 is currently on view in 𝘊𝘩𝘢𝘴𝘦 𝘢 𝘊𝘳𝘰𝘰𝘬𝘦𝘥 𝘚𝘩𝘢𝘥𝘰𝘸: 𝘍𝘪𝘭𝘮 𝘕𝘰𝘪𝘳 𝘢𝘴 𝘊𝘰𝘯𝘵𝘦𝘮𝘱𝘰𝘳𝘢𝘳𝘺 𝘔𝘪𝘳𝘳𝘰𝘳, curated by @alexandra_terry.
𝘊𝘩𝘢𝘴𝘦 𝘢 𝘊𝘳𝘰𝘰𝘬𝘦𝘥 𝘚𝘩𝘢𝘥𝘰𝘸: 𝘍𝘪𝘭𝘮 𝘕𝘰𝘪𝘳 𝘢𝘴 𝘊𝘰𝘯𝘵𝘦𝘮𝘱𝘰𝘳𝘢𝘳𝘺 𝘔𝘪𝘳𝘳𝘰𝘳 is on view April 11–July 18, 2026.
📸: Photography by @todoraphotography
@cluvie @jamescohangallery #naudlinepierre#thewarehouse #contemporaryart #dallas
—
Naudline Pierre
American, born 1989
𝘛𝘩𝘦 𝘖𝘯𝘭𝘺 𝘞𝘢𝘺 𝘖𝘶𝘵 𝘐𝘴 𝘐𝘯, 2023
Oil and oil stick on canvas
96 x 120 inches (243.8 x 304.8 cm)
The Rachofsky Collection
Lee Mullican
American, 1919–1998
𝘈𝘴𝘤𝘦𝘯𝘴𝘪𝘰𝘯, 1967
Oil on canvas
50 x 34 7/8 inches (127 x 88.6 cm)
The Rachofsky Collection
“I’m constantly aware of the fact that there’s always more than the eye can see. . . I’m especially inspired by moments that transcend the everyday. I’m looking for transcendence, always.” – Naudline Pierre
Naudline Pierre’s work creates a mythological alternate universe, saturated and dynamic, where an alter-ego protagonist navigates otherworldly scenes. Inspired by the religious iconography of the Renaissance, Pierre re-animates this history through her personal exploration of Black female subjectivity and spirituality.
Pierre’s painting 𝘛𝘩𝘦 𝘖𝘯𝘭𝘺 𝘞𝘢𝘺 𝘖𝘶𝘵 𝘐𝘴 𝘐𝘯 is currently on view in 𝘊𝘩𝘢𝘴𝘦 𝘢 𝘊𝘳𝘰𝘰𝘬𝘦𝘥 𝘚𝘩𝘢𝘥𝘰𝘸: 𝘍𝘪𝘭𝘮 𝘕𝘰𝘪𝘳 𝘢𝘴 𝘊𝘰𝘯𝘵𝘦𝘮𝘱𝘰𝘳𝘢𝘳𝘺 𝘔𝘪𝘳𝘳𝘰𝘳, curated by @alexandra_terry.
𝘊𝘩𝘢𝘴𝘦 𝘢 𝘊𝘳𝘰𝘰𝘬𝘦𝘥 𝘚𝘩𝘢𝘥𝘰𝘸: 𝘍𝘪𝘭𝘮 𝘕𝘰𝘪𝘳 𝘢𝘴 𝘊𝘰𝘯𝘵𝘦𝘮𝘱𝘰𝘳𝘢𝘳𝘺 𝘔𝘪𝘳𝘳𝘰𝘳 is on view April 11–July 18, 2026.
📸: Photography by @todoraphotography
@cluvie @jamescohangallery #naudlinepierre#thewarehouse #contemporaryart #dallas
—
Naudline Pierre
American, born 1989
𝘛𝘩𝘦 𝘖𝘯𝘭𝘺 𝘞𝘢𝘺 𝘖𝘶𝘵 𝘐𝘴 𝘐𝘯, 2023
Oil and oil stick on canvas
96 x 120 inches (243.8 x 304.8 cm)
The Rachofsky Collection
Lee Mullican
American, 1919–1998
𝘈𝘴𝘤𝘦𝘯𝘴𝘪𝘰𝘯, 1967
Oil on canvas
50 x 34 7/8 inches (127 x 88.6 cm)
The Rachofsky Collection
“I’m constantly aware of the fact that there’s always more than the eye can see. . . I’m especially inspired by moments that transcend the everyday. I’m looking for transcendence, always.” – Naudline Pierre
Naudline Pierre’s work creates a mythological alternate universe, saturated and dynamic, where an alter-ego protagonist navigates otherworldly scenes. Inspired by the religious iconography of the Renaissance, Pierre re-animates this history through her personal exploration of Black female subjectivity and spirituality.
Pierre’s painting 𝘛𝘩𝘦 𝘖𝘯𝘭𝘺 𝘞𝘢𝘺 𝘖𝘶𝘵 𝘐𝘴 𝘐𝘯 is currently on view in 𝘊𝘩𝘢𝘴𝘦 𝘢 𝘊𝘳𝘰𝘰𝘬𝘦𝘥 𝘚𝘩𝘢𝘥𝘰𝘸: 𝘍𝘪𝘭𝘮 𝘕𝘰𝘪𝘳 𝘢𝘴 𝘊𝘰𝘯𝘵𝘦𝘮𝘱𝘰𝘳𝘢𝘳𝘺 𝘔𝘪𝘳𝘳𝘰𝘳, curated by @alexandra_terry.
𝘊𝘩𝘢𝘴𝘦 𝘢 𝘊𝘳𝘰𝘰𝘬𝘦𝘥 𝘚𝘩𝘢𝘥𝘰𝘸: 𝘍𝘪𝘭𝘮 𝘕𝘰𝘪𝘳 𝘢𝘴 𝘊𝘰𝘯𝘵𝘦𝘮𝘱𝘰𝘳𝘢𝘳𝘺 𝘔𝘪𝘳𝘳𝘰𝘳 is on view April 11–July 18, 2026.
📸: Photography by @todoraphotography
@cluvie @jamescohangallery #naudlinepierre#thewarehouse #contemporaryart #dallas
—
Naudline Pierre
American, born 1989
𝘛𝘩𝘦 𝘖𝘯𝘭𝘺 𝘞𝘢𝘺 𝘖𝘶𝘵 𝘐𝘴 𝘐𝘯, 2023
Oil and oil stick on canvas
96 x 120 inches (243.8 x 304.8 cm)
The Rachofsky Collection
Lee Mullican
American, 1919–1998
𝘈𝘴𝘤𝘦𝘯𝘴𝘪𝘰𝘯, 1967
Oil on canvas
50 x 34 7/8 inches (127 x 88.6 cm)
The Rachofsky Collection
“I’m constantly aware of the fact that there’s always more than the eye can see. . . I’m especially inspired by moments that transcend the everyday. I’m looking for transcendence, always.” – Naudline Pierre
Naudline Pierre’s work creates a mythological alternate universe, saturated and dynamic, where an alter-ego protagonist navigates otherworldly scenes. Inspired by the religious iconography of the Renaissance, Pierre re-animates this history through her personal exploration of Black female subjectivity and spirituality.
Pierre’s painting 𝘛𝘩𝘦 𝘖𝘯𝘭𝘺 𝘞𝘢𝘺 𝘖𝘶𝘵 𝘐𝘴 𝘐𝘯 is currently on view in 𝘊𝘩𝘢𝘴𝘦 𝘢 𝘊𝘳𝘰𝘰𝘬𝘦𝘥 𝘚𝘩𝘢𝘥𝘰𝘸: 𝘍𝘪𝘭𝘮 𝘕𝘰𝘪𝘳 𝘢𝘴 𝘊𝘰𝘯𝘵𝘦𝘮𝘱𝘰𝘳𝘢𝘳𝘺 𝘔𝘪𝘳𝘳𝘰𝘳, curated by @alexandra_terry.
𝘊𝘩𝘢𝘴𝘦 𝘢 𝘊𝘳𝘰𝘰𝘬𝘦𝘥 𝘚𝘩𝘢𝘥𝘰𝘸: 𝘍𝘪𝘭𝘮 𝘕𝘰𝘪𝘳 𝘢𝘴 𝘊𝘰𝘯𝘵𝘦𝘮𝘱𝘰𝘳𝘢𝘳𝘺 𝘔𝘪𝘳𝘳𝘰𝘳 is on view April 11–July 18, 2026.
📸: Photography by @todoraphotography
@cluvie @jamescohangallery #naudlinepierre#thewarehouse #contemporaryart #dallas
—
Naudline Pierre
American, born 1989
𝘛𝘩𝘦 𝘖𝘯𝘭𝘺 𝘞𝘢𝘺 𝘖𝘶𝘵 𝘐𝘴 𝘐𝘯, 2023
Oil and oil stick on canvas
96 x 120 inches (243.8 x 304.8 cm)
The Rachofsky Collection
Lee Mullican
American, 1919–1998
𝘈𝘴𝘤𝘦𝘯𝘴𝘪𝘰𝘯, 1967
Oil on canvas
50 x 34 7/8 inches (127 x 88.6 cm)
The Rachofsky Collection
“I’m constantly aware of the fact that there’s always more than the eye can see. . . I’m especially inspired by moments that transcend the everyday. I’m looking for transcendence, always.” – Naudline Pierre
Naudline Pierre’s work creates a mythological alternate universe, saturated and dynamic, where an alter-ego protagonist navigates otherworldly scenes. Inspired by the religious iconography of the Renaissance, Pierre re-animates this history through her personal exploration of Black female subjectivity and spirituality.
Pierre’s painting 𝘛𝘩𝘦 𝘖𝘯𝘭𝘺 𝘞𝘢𝘺 𝘖𝘶𝘵 𝘐𝘴 𝘐𝘯 is currently on view in 𝘊𝘩𝘢𝘴𝘦 𝘢 𝘊𝘳𝘰𝘰𝘬𝘦𝘥 𝘚𝘩𝘢𝘥𝘰𝘸: 𝘍𝘪𝘭𝘮 𝘕𝘰𝘪𝘳 𝘢𝘴 𝘊𝘰𝘯𝘵𝘦𝘮𝘱𝘰𝘳𝘢𝘳𝘺 𝘔𝘪𝘳𝘳𝘰𝘳, curated by @alexandra_terry.
𝘊𝘩𝘢𝘴𝘦 𝘢 𝘊𝘳𝘰𝘰𝘬𝘦𝘥 𝘚𝘩𝘢𝘥𝘰𝘸: 𝘍𝘪𝘭𝘮 𝘕𝘰𝘪𝘳 𝘢𝘴 𝘊𝘰𝘯𝘵𝘦𝘮𝘱𝘰𝘳𝘢𝘳𝘺 𝘔𝘪𝘳𝘳𝘰𝘳 is on view April 11–July 18, 2026.
📸: Photography by @todoraphotography
@cluvie @jamescohangallery #naudlinepierre#thewarehouse #contemporaryart #dallas
—
Naudline Pierre
American, born 1989
𝘛𝘩𝘦 𝘖𝘯𝘭𝘺 𝘞𝘢𝘺 𝘖𝘶𝘵 𝘐𝘴 𝘐𝘯, 2023
Oil and oil stick on canvas
96 x 120 inches (243.8 x 304.8 cm)
The Rachofsky Collection
Lee Mullican
American, 1919–1998
𝘈𝘴𝘤𝘦𝘯𝘴𝘪𝘰𝘯, 1967
Oil on canvas
50 x 34 7/8 inches (127 x 88.6 cm)
The Rachofsky Collection
“I think violence is a part of everyday [life] for a lot of people . . . to not live in violence is a privilege.” – Diamond Stingily
In film noir, chance, necessity, and desire pull individuals into irreversible acts, blurring the line between victim and perpetrator. The scene of the crime becomes less a physical location than a psychological threshold—the moment when intent crystallizes, and accountability can no longer be deferred. 𝘊𝘩𝘢𝘴𝘦 𝘢 𝘊𝘳𝘰𝘰𝘬𝘦𝘥 𝘚𝘩𝘢𝘥𝘰𝘸: 𝘍𝘪𝘭𝘮 𝘕𝘰𝘪𝘳 𝘢𝘴 𝘊𝘰𝘯𝘵𝘦𝘮𝘱𝘰𝘳𝘢𝘳𝘺 𝘔𝘪𝘳𝘳𝘰𝘳, curated by @alexandra_terry, gathers works that evoke film noir’s investigation of the fragile condition of ordinary life in a morally compromised world. In these works, figures shimmer with possibility while concealing inevitable collapse, and violence can erupt in even the most familiar places.
𝘊𝘩𝘢𝘴𝘦 𝘢 𝘊𝘳𝘰𝘰𝘬𝘦𝘥 𝘚𝘩𝘢𝘥𝘰𝘸: 𝘍𝘪𝘭𝘮 𝘕𝘰𝘪𝘳 𝘢𝘴 𝘊𝘰𝘯𝘵𝘦𝘮𝘱𝘰𝘳𝘢𝘳𝘺 𝘔𝘪𝘳𝘳𝘰𝘳 is on view April 11–July 18, 2026.
📸: Photography by @todoraphotography
@nigelcookestudio @pacegallery @crewdsonstudio @houkgallery @shuriyadavis @louisagagliardi @galerieevapresenhuber @dawidradziszewskigallery @rodolphejanssen @tomoogokita @petzelgallery @massimodecarlogallery @takaishiigallery @sterlingruby @takaishiigallery @spruethmagers @gagosian @ima_beat_yo_ass_on_dis_train @greenenaftali @isabellabortolozzi
#thewarehouse #contemporaryart #dallas
“I think violence is a part of everyday [life] for a lot of people . . . to not live in violence is a privilege.” – Diamond Stingily
In film noir, chance, necessity, and desire pull individuals into irreversible acts, blurring the line between victim and perpetrator. The scene of the crime becomes less a physical location than a psychological threshold—the moment when intent crystallizes, and accountability can no longer be deferred. 𝘊𝘩𝘢𝘴𝘦 𝘢 𝘊𝘳𝘰𝘰𝘬𝘦𝘥 𝘚𝘩𝘢𝘥𝘰𝘸: 𝘍𝘪𝘭𝘮 𝘕𝘰𝘪𝘳 𝘢𝘴 𝘊𝘰𝘯𝘵𝘦𝘮𝘱𝘰𝘳𝘢𝘳𝘺 𝘔𝘪𝘳𝘳𝘰𝘳, curated by @alexandra_terry, gathers works that evoke film noir’s investigation of the fragile condition of ordinary life in a morally compromised world. In these works, figures shimmer with possibility while concealing inevitable collapse, and violence can erupt in even the most familiar places.
𝘊𝘩𝘢𝘴𝘦 𝘢 𝘊𝘳𝘰𝘰𝘬𝘦𝘥 𝘚𝘩𝘢𝘥𝘰𝘸: 𝘍𝘪𝘭𝘮 𝘕𝘰𝘪𝘳 𝘢𝘴 𝘊𝘰𝘯𝘵𝘦𝘮𝘱𝘰𝘳𝘢𝘳𝘺 𝘔𝘪𝘳𝘳𝘰𝘳 is on view April 11–July 18, 2026.
📸: Photography by @todoraphotography
@nigelcookestudio @pacegallery @crewdsonstudio @houkgallery @shuriyadavis @louisagagliardi @galerieevapresenhuber @dawidradziszewskigallery @rodolphejanssen @tomoogokita @petzelgallery @massimodecarlogallery @takaishiigallery @sterlingruby @takaishiigallery @spruethmagers @gagosian @ima_beat_yo_ass_on_dis_train @greenenaftali @isabellabortolozzi
#thewarehouse #contemporaryart #dallas
“I think violence is a part of everyday [life] for a lot of people . . . to not live in violence is a privilege.” – Diamond Stingily
In film noir, chance, necessity, and desire pull individuals into irreversible acts, blurring the line between victim and perpetrator. The scene of the crime becomes less a physical location than a psychological threshold—the moment when intent crystallizes, and accountability can no longer be deferred. 𝘊𝘩𝘢𝘴𝘦 𝘢 𝘊𝘳𝘰𝘰𝘬𝘦𝘥 𝘚𝘩𝘢𝘥𝘰𝘸: 𝘍𝘪𝘭𝘮 𝘕𝘰𝘪𝘳 𝘢𝘴 𝘊𝘰𝘯𝘵𝘦𝘮𝘱𝘰𝘳𝘢𝘳𝘺 𝘔𝘪𝘳𝘳𝘰𝘳, curated by @alexandra_terry, gathers works that evoke film noir’s investigation of the fragile condition of ordinary life in a morally compromised world. In these works, figures shimmer with possibility while concealing inevitable collapse, and violence can erupt in even the most familiar places.
𝘊𝘩𝘢𝘴𝘦 𝘢 𝘊𝘳𝘰𝘰𝘬𝘦𝘥 𝘚𝘩𝘢𝘥𝘰𝘸: 𝘍𝘪𝘭𝘮 𝘕𝘰𝘪𝘳 𝘢𝘴 𝘊𝘰𝘯𝘵𝘦𝘮𝘱𝘰𝘳𝘢𝘳𝘺 𝘔𝘪𝘳𝘳𝘰𝘳 is on view April 11–July 18, 2026.
📸: Photography by @todoraphotography
@nigelcookestudio @pacegallery @crewdsonstudio @houkgallery @shuriyadavis @louisagagliardi @galerieevapresenhuber @dawidradziszewskigallery @rodolphejanssen @tomoogokita @petzelgallery @massimodecarlogallery @takaishiigallery @sterlingruby @takaishiigallery @spruethmagers @gagosian @ima_beat_yo_ass_on_dis_train @greenenaftali @isabellabortolozzi
#thewarehouse #contemporaryart #dallas
“I think violence is a part of everyday [life] for a lot of people . . . to not live in violence is a privilege.” – Diamond Stingily
In film noir, chance, necessity, and desire pull individuals into irreversible acts, blurring the line between victim and perpetrator. The scene of the crime becomes less a physical location than a psychological threshold—the moment when intent crystallizes, and accountability can no longer be deferred. 𝘊𝘩𝘢𝘴𝘦 𝘢 𝘊𝘳𝘰𝘰𝘬𝘦𝘥 𝘚𝘩𝘢𝘥𝘰𝘸: 𝘍𝘪𝘭𝘮 𝘕𝘰𝘪𝘳 𝘢𝘴 𝘊𝘰𝘯𝘵𝘦𝘮𝘱𝘰𝘳𝘢𝘳𝘺 𝘔𝘪𝘳𝘳𝘰𝘳, curated by @alexandra_terry, gathers works that evoke film noir’s investigation of the fragile condition of ordinary life in a morally compromised world. In these works, figures shimmer with possibility while concealing inevitable collapse, and violence can erupt in even the most familiar places.
𝘊𝘩𝘢𝘴𝘦 𝘢 𝘊𝘳𝘰𝘰𝘬𝘦𝘥 𝘚𝘩𝘢𝘥𝘰𝘸: 𝘍𝘪𝘭𝘮 𝘕𝘰𝘪𝘳 𝘢𝘴 𝘊𝘰𝘯𝘵𝘦𝘮𝘱𝘰𝘳𝘢𝘳𝘺 𝘔𝘪𝘳𝘳𝘰𝘳 is on view April 11–July 18, 2026.
📸: Photography by @todoraphotography
@nigelcookestudio @pacegallery @crewdsonstudio @houkgallery @shuriyadavis @louisagagliardi @galerieevapresenhuber @dawidradziszewskigallery @rodolphejanssen @tomoogokita @petzelgallery @massimodecarlogallery @takaishiigallery @sterlingruby @takaishiigallery @spruethmagers @gagosian @ima_beat_yo_ass_on_dis_train @greenenaftali @isabellabortolozzi
#thewarehouse #contemporaryart #dallas
“I think violence is a part of everyday [life] for a lot of people . . . to not live in violence is a privilege.” – Diamond Stingily
In film noir, chance, necessity, and desire pull individuals into irreversible acts, blurring the line between victim and perpetrator. The scene of the crime becomes less a physical location than a psychological threshold—the moment when intent crystallizes, and accountability can no longer be deferred. 𝘊𝘩𝘢𝘴𝘦 𝘢 𝘊𝘳𝘰𝘰𝘬𝘦𝘥 𝘚𝘩𝘢𝘥𝘰𝘸: 𝘍𝘪𝘭𝘮 𝘕𝘰𝘪𝘳 𝘢𝘴 𝘊𝘰𝘯𝘵𝘦𝘮𝘱𝘰𝘳𝘢𝘳𝘺 𝘔𝘪𝘳𝘳𝘰𝘳, curated by @alexandra_terry, gathers works that evoke film noir’s investigation of the fragile condition of ordinary life in a morally compromised world. In these works, figures shimmer with possibility while concealing inevitable collapse, and violence can erupt in even the most familiar places.
𝘊𝘩𝘢𝘴𝘦 𝘢 𝘊𝘳𝘰𝘰𝘬𝘦𝘥 𝘚𝘩𝘢𝘥𝘰𝘸: 𝘍𝘪𝘭𝘮 𝘕𝘰𝘪𝘳 𝘢𝘴 𝘊𝘰𝘯𝘵𝘦𝘮𝘱𝘰𝘳𝘢𝘳𝘺 𝘔𝘪𝘳𝘳𝘰𝘳 is on view April 11–July 18, 2026.
📸: Photography by @todoraphotography
@nigelcookestudio @pacegallery @crewdsonstudio @houkgallery @shuriyadavis @louisagagliardi @galerieevapresenhuber @dawidradziszewskigallery @rodolphejanssen @tomoogokita @petzelgallery @massimodecarlogallery @takaishiigallery @sterlingruby @takaishiigallery @spruethmagers @gagosian @ima_beat_yo_ass_on_dis_train @greenenaftali @isabellabortolozzi
#thewarehouse #contemporaryart #dallas
“I think violence is a part of everyday [life] for a lot of people . . . to not live in violence is a privilege.” – Diamond Stingily
In film noir, chance, necessity, and desire pull individuals into irreversible acts, blurring the line between victim and perpetrator. The scene of the crime becomes less a physical location than a psychological threshold—the moment when intent crystallizes, and accountability can no longer be deferred. 𝘊𝘩𝘢𝘴𝘦 𝘢 𝘊𝘳𝘰𝘰𝘬𝘦𝘥 𝘚𝘩𝘢𝘥𝘰𝘸: 𝘍𝘪𝘭𝘮 𝘕𝘰𝘪𝘳 𝘢𝘴 𝘊𝘰𝘯𝘵𝘦𝘮𝘱𝘰𝘳𝘢𝘳𝘺 𝘔𝘪𝘳𝘳𝘰𝘳, curated by @alexandra_terry, gathers works that evoke film noir’s investigation of the fragile condition of ordinary life in a morally compromised world. In these works, figures shimmer with possibility while concealing inevitable collapse, and violence can erupt in even the most familiar places.
𝘊𝘩𝘢𝘴𝘦 𝘢 𝘊𝘳𝘰𝘰𝘬𝘦𝘥 𝘚𝘩𝘢𝘥𝘰𝘸: 𝘍𝘪𝘭𝘮 𝘕𝘰𝘪𝘳 𝘢𝘴 𝘊𝘰𝘯𝘵𝘦𝘮𝘱𝘰𝘳𝘢𝘳𝘺 𝘔𝘪𝘳𝘳𝘰𝘳 is on view April 11–July 18, 2026.
📸: Photography by @todoraphotography
@nigelcookestudio @pacegallery @crewdsonstudio @houkgallery @shuriyadavis @louisagagliardi @galerieevapresenhuber @dawidradziszewskigallery @rodolphejanssen @tomoogokita @petzelgallery @massimodecarlogallery @takaishiigallery @sterlingruby @takaishiigallery @spruethmagers @gagosian @ima_beat_yo_ass_on_dis_train @greenenaftali @isabellabortolozzi
#thewarehouse #contemporaryart #dallas
“I think violence is a part of everyday [life] for a lot of people . . . to not live in violence is a privilege.” – Diamond Stingily
In film noir, chance, necessity, and desire pull individuals into irreversible acts, blurring the line between victim and perpetrator. The scene of the crime becomes less a physical location than a psychological threshold—the moment when intent crystallizes, and accountability can no longer be deferred. 𝘊𝘩𝘢𝘴𝘦 𝘢 𝘊𝘳𝘰𝘰𝘬𝘦𝘥 𝘚𝘩𝘢𝘥𝘰𝘸: 𝘍𝘪𝘭𝘮 𝘕𝘰𝘪𝘳 𝘢𝘴 𝘊𝘰𝘯𝘵𝘦𝘮𝘱𝘰𝘳𝘢𝘳𝘺 𝘔𝘪𝘳𝘳𝘰𝘳, curated by @alexandra_terry, gathers works that evoke film noir’s investigation of the fragile condition of ordinary life in a morally compromised world. In these works, figures shimmer with possibility while concealing inevitable collapse, and violence can erupt in even the most familiar places.
𝘊𝘩𝘢𝘴𝘦 𝘢 𝘊𝘳𝘰𝘰𝘬𝘦𝘥 𝘚𝘩𝘢𝘥𝘰𝘸: 𝘍𝘪𝘭𝘮 𝘕𝘰𝘪𝘳 𝘢𝘴 𝘊𝘰𝘯𝘵𝘦𝘮𝘱𝘰𝘳𝘢𝘳𝘺 𝘔𝘪𝘳𝘳𝘰𝘳 is on view April 11–July 18, 2026.
📸: Photography by @todoraphotography
@nigelcookestudio @pacegallery @crewdsonstudio @houkgallery @shuriyadavis @louisagagliardi @galerieevapresenhuber @dawidradziszewskigallery @rodolphejanssen @tomoogokita @petzelgallery @massimodecarlogallery @takaishiigallery @sterlingruby @takaishiigallery @spruethmagers @gagosian @ima_beat_yo_ass_on_dis_train @greenenaftali @isabellabortolozzi
#thewarehouse #contemporaryart #dallas
“I think violence is a part of everyday [life] for a lot of people . . . to not live in violence is a privilege.” – Diamond Stingily
In film noir, chance, necessity, and desire pull individuals into irreversible acts, blurring the line between victim and perpetrator. The scene of the crime becomes less a physical location than a psychological threshold—the moment when intent crystallizes, and accountability can no longer be deferred. 𝘊𝘩𝘢𝘴𝘦 𝘢 𝘊𝘳𝘰𝘰𝘬𝘦𝘥 𝘚𝘩𝘢𝘥𝘰𝘸: 𝘍𝘪𝘭𝘮 𝘕𝘰𝘪𝘳 𝘢𝘴 𝘊𝘰𝘯𝘵𝘦𝘮𝘱𝘰𝘳𝘢𝘳𝘺 𝘔𝘪𝘳𝘳𝘰𝘳, curated by @alexandra_terry, gathers works that evoke film noir’s investigation of the fragile condition of ordinary life in a morally compromised world. In these works, figures shimmer with possibility while concealing inevitable collapse, and violence can erupt in even the most familiar places.
𝘊𝘩𝘢𝘴𝘦 𝘢 𝘊𝘳𝘰𝘰𝘬𝘦𝘥 𝘚𝘩𝘢𝘥𝘰𝘸: 𝘍𝘪𝘭𝘮 𝘕𝘰𝘪𝘳 𝘢𝘴 𝘊𝘰𝘯𝘵𝘦𝘮𝘱𝘰𝘳𝘢𝘳𝘺 𝘔𝘪𝘳𝘳𝘰𝘳 is on view April 11–July 18, 2026.
📸: Photography by @todoraphotography
@nigelcookestudio @pacegallery @crewdsonstudio @houkgallery @shuriyadavis @louisagagliardi @galerieevapresenhuber @dawidradziszewskigallery @rodolphejanssen @tomoogokita @petzelgallery @massimodecarlogallery @takaishiigallery @sterlingruby @takaishiigallery @spruethmagers @gagosian @ima_beat_yo_ass_on_dis_train @greenenaftali @isabellabortolozzi
#thewarehouse #contemporaryart #dallas
Film noir was born from a profound rupture in the American psyche. While the end of World War II was publicly marked by celebration and triumph, it also ushered in an era defined by anxiety, suspicion, and dread.
The first gallery in 𝘊𝘩𝘢𝘴𝘦 𝘢 𝘊𝘳𝘰𝘰𝘬𝘦𝘥 𝘚𝘩𝘢𝘥𝘰𝘸: 𝘍𝘪𝘭𝘮 𝘕𝘰𝘪𝘳 𝘢𝘴 𝘊𝘰𝘯𝘵𝘦𝘮𝘱𝘰𝘳𝘢𝘳𝘺 𝘔𝘪𝘳𝘳𝘰𝘳, curated by @alexandra_terry, explores how the post-war atmosphere of fear, loss, and disillusionment continues to resonate in contemporary art.
Danh Vo’s 𝘐𝘯 𝘎𝘰𝘥 𝘞𝘦 𝘛𝘳𝘶𝘴𝘵 functions as an allegory for the fragility of democratic ideals. By reimagining the American flag as a structure destined to be dismantled, Vo exposes national identity as impermanent and vulnerable, especially when fear governs political life.
Kathleen Ryan exposes the decay of opulence in her gemstone-covered cherries that are beginning to rot. Delfin Finley’s figure wrestles against the weight of red, white, and blue ropes that tangle and confine him. Sherrill Roland's “168.807” transforms wrongful incarceration into a study of endurance. Using some of the materials available to him in prison, he reconstructs the cinderblock forms of his cell: shapes he once traced to pass time.
Yngve Holen’s use of industrial forms and security infrastructures in 𝘝𝘌𝘙𝘛𝘐𝘊𝘈𝘓𝘚𝘌𝘈𝘛 evokes a society fixated on control and separation. What appears as security reveals itself as confinement, recalling a Cold War logic in which fear justified exclusion, surveillance, and fortified boundaries, echoing present-day immigration sweeps and the capture of individuals across the country.
𝘊𝘩𝘢𝘴𝘦 𝘢 𝘊𝘳𝘰𝘰𝘬𝘦𝘥 𝘚𝘩𝘢𝘥𝘰𝘸: 𝘍𝘪𝘭𝘮 𝘕𝘰𝘪𝘳 𝘢𝘴 𝘊𝘰𝘯𝘵𝘦𝘮𝘱𝘰𝘳𝘢𝘳𝘺 𝘔𝘪𝘳𝘳𝘰𝘳 is on view April 11–July 18, 2026.
@delfin @davidkordanskygallery @yngveholen @galerieneu @stuartshavemodernart @sherrillroland @tanyabonakdargallery @katieryankatieryan @karmakarma9 @gagosian @votrungkydanh @whitecube @mariangoodmangallery @kurimanzutto @massimodecarlogallery @galeriechantalcrousel @takeninagawa
📸: Photography by @exploredinary & @todoraphotography
Film noir was born from a profound rupture in the American psyche. While the end of World War II was publicly marked by celebration and triumph, it also ushered in an era defined by anxiety, suspicion, and dread.
The first gallery in 𝘊𝘩𝘢𝘴𝘦 𝘢 𝘊𝘳𝘰𝘰𝘬𝘦𝘥 𝘚𝘩𝘢𝘥𝘰𝘸: 𝘍𝘪𝘭𝘮 𝘕𝘰𝘪𝘳 𝘢𝘴 𝘊𝘰𝘯𝘵𝘦𝘮𝘱𝘰𝘳𝘢𝘳𝘺 𝘔𝘪𝘳𝘳𝘰𝘳, curated by @alexandra_terry, explores how the post-war atmosphere of fear, loss, and disillusionment continues to resonate in contemporary art.
Danh Vo’s 𝘐𝘯 𝘎𝘰𝘥 𝘞𝘦 𝘛𝘳𝘶𝘴𝘵 functions as an allegory for the fragility of democratic ideals. By reimagining the American flag as a structure destined to be dismantled, Vo exposes national identity as impermanent and vulnerable, especially when fear governs political life.
Kathleen Ryan exposes the decay of opulence in her gemstone-covered cherries that are beginning to rot. Delfin Finley’s figure wrestles against the weight of red, white, and blue ropes that tangle and confine him. Sherrill Roland's “168.807” transforms wrongful incarceration into a study of endurance. Using some of the materials available to him in prison, he reconstructs the cinderblock forms of his cell: shapes he once traced to pass time.
Yngve Holen’s use of industrial forms and security infrastructures in 𝘝𝘌𝘙𝘛𝘐𝘊𝘈𝘓𝘚𝘌𝘈𝘛 evokes a society fixated on control and separation. What appears as security reveals itself as confinement, recalling a Cold War logic in which fear justified exclusion, surveillance, and fortified boundaries, echoing present-day immigration sweeps and the capture of individuals across the country.
𝘊𝘩𝘢𝘴𝘦 𝘢 𝘊𝘳𝘰𝘰𝘬𝘦𝘥 𝘚𝘩𝘢𝘥𝘰𝘸: 𝘍𝘪𝘭𝘮 𝘕𝘰𝘪𝘳 𝘢𝘴 𝘊𝘰𝘯𝘵𝘦𝘮𝘱𝘰𝘳𝘢𝘳𝘺 𝘔𝘪𝘳𝘳𝘰𝘳 is on view April 11–July 18, 2026.
@delfin @davidkordanskygallery @yngveholen @galerieneu @stuartshavemodernart @sherrillroland @tanyabonakdargallery @katieryankatieryan @karmakarma9 @gagosian @votrungkydanh @whitecube @mariangoodmangallery @kurimanzutto @massimodecarlogallery @galeriechantalcrousel @takeninagawa
📸: Photography by @exploredinary & @todoraphotography
Film noir was born from a profound rupture in the American psyche. While the end of World War II was publicly marked by celebration and triumph, it also ushered in an era defined by anxiety, suspicion, and dread.
The first gallery in 𝘊𝘩𝘢𝘴𝘦 𝘢 𝘊𝘳𝘰𝘰𝘬𝘦𝘥 𝘚𝘩𝘢𝘥𝘰𝘸: 𝘍𝘪𝘭𝘮 𝘕𝘰𝘪𝘳 𝘢𝘴 𝘊𝘰𝘯𝘵𝘦𝘮𝘱𝘰𝘳𝘢𝘳𝘺 𝘔𝘪𝘳𝘳𝘰𝘳, curated by @alexandra_terry, explores how the post-war atmosphere of fear, loss, and disillusionment continues to resonate in contemporary art.
Danh Vo’s 𝘐𝘯 𝘎𝘰𝘥 𝘞𝘦 𝘛𝘳𝘶𝘴𝘵 functions as an allegory for the fragility of democratic ideals. By reimagining the American flag as a structure destined to be dismantled, Vo exposes national identity as impermanent and vulnerable, especially when fear governs political life.
Kathleen Ryan exposes the decay of opulence in her gemstone-covered cherries that are beginning to rot. Delfin Finley’s figure wrestles against the weight of red, white, and blue ropes that tangle and confine him. Sherrill Roland's “168.807” transforms wrongful incarceration into a study of endurance. Using some of the materials available to him in prison, he reconstructs the cinderblock forms of his cell: shapes he once traced to pass time.
Yngve Holen’s use of industrial forms and security infrastructures in 𝘝𝘌𝘙𝘛𝘐𝘊𝘈𝘓𝘚𝘌𝘈𝘛 evokes a society fixated on control and separation. What appears as security reveals itself as confinement, recalling a Cold War logic in which fear justified exclusion, surveillance, and fortified boundaries, echoing present-day immigration sweeps and the capture of individuals across the country.
𝘊𝘩𝘢𝘴𝘦 𝘢 𝘊𝘳𝘰𝘰𝘬𝘦𝘥 𝘚𝘩𝘢𝘥𝘰𝘸: 𝘍𝘪𝘭𝘮 𝘕𝘰𝘪𝘳 𝘢𝘴 𝘊𝘰𝘯𝘵𝘦𝘮𝘱𝘰𝘳𝘢𝘳𝘺 𝘔𝘪𝘳𝘳𝘰𝘳 is on view April 11–July 18, 2026.
@delfin @davidkordanskygallery @yngveholen @galerieneu @stuartshavemodernart @sherrillroland @tanyabonakdargallery @katieryankatieryan @karmakarma9 @gagosian @votrungkydanh @whitecube @mariangoodmangallery @kurimanzutto @massimodecarlogallery @galeriechantalcrousel @takeninagawa
📸: Photography by @exploredinary & @todoraphotography
Film noir was born from a profound rupture in the American psyche. While the end of World War II was publicly marked by celebration and triumph, it also ushered in an era defined by anxiety, suspicion, and dread.
The first gallery in 𝘊𝘩𝘢𝘴𝘦 𝘢 𝘊𝘳𝘰𝘰𝘬𝘦𝘥 𝘚𝘩𝘢𝘥𝘰𝘸: 𝘍𝘪𝘭𝘮 𝘕𝘰𝘪𝘳 𝘢𝘴 𝘊𝘰𝘯𝘵𝘦𝘮𝘱𝘰𝘳𝘢𝘳𝘺 𝘔𝘪𝘳𝘳𝘰𝘳, curated by @alexandra_terry, explores how the post-war atmosphere of fear, loss, and disillusionment continues to resonate in contemporary art.
Danh Vo’s 𝘐𝘯 𝘎𝘰𝘥 𝘞𝘦 𝘛𝘳𝘶𝘴𝘵 functions as an allegory for the fragility of democratic ideals. By reimagining the American flag as a structure destined to be dismantled, Vo exposes national identity as impermanent and vulnerable, especially when fear governs political life.
Kathleen Ryan exposes the decay of opulence in her gemstone-covered cherries that are beginning to rot. Delfin Finley’s figure wrestles against the weight of red, white, and blue ropes that tangle and confine him. Sherrill Roland's “168.807” transforms wrongful incarceration into a study of endurance. Using some of the materials available to him in prison, he reconstructs the cinderblock forms of his cell: shapes he once traced to pass time.
Yngve Holen’s use of industrial forms and security infrastructures in 𝘝𝘌𝘙𝘛𝘐𝘊𝘈𝘓𝘚𝘌𝘈𝘛 evokes a society fixated on control and separation. What appears as security reveals itself as confinement, recalling a Cold War logic in which fear justified exclusion, surveillance, and fortified boundaries, echoing present-day immigration sweeps and the capture of individuals across the country.
𝘊𝘩𝘢𝘴𝘦 𝘢 𝘊𝘳𝘰𝘰𝘬𝘦𝘥 𝘚𝘩𝘢𝘥𝘰𝘸: 𝘍𝘪𝘭𝘮 𝘕𝘰𝘪𝘳 𝘢𝘴 𝘊𝘰𝘯𝘵𝘦𝘮𝘱𝘰𝘳𝘢𝘳𝘺 𝘔𝘪𝘳𝘳𝘰𝘳 is on view April 11–July 18, 2026.
@delfin @davidkordanskygallery @yngveholen @galerieneu @stuartshavemodernart @sherrillroland @tanyabonakdargallery @katieryankatieryan @karmakarma9 @gagosian @votrungkydanh @whitecube @mariangoodmangallery @kurimanzutto @massimodecarlogallery @galeriechantalcrousel @takeninagawa
📸: Photography by @exploredinary & @todoraphotography
Film noir was born from a profound rupture in the American psyche. While the end of World War II was publicly marked by celebration and triumph, it also ushered in an era defined by anxiety, suspicion, and dread.
The first gallery in 𝘊𝘩𝘢𝘴𝘦 𝘢 𝘊𝘳𝘰𝘰𝘬𝘦𝘥 𝘚𝘩𝘢𝘥𝘰𝘸: 𝘍𝘪𝘭𝘮 𝘕𝘰𝘪𝘳 𝘢𝘴 𝘊𝘰𝘯𝘵𝘦𝘮𝘱𝘰𝘳𝘢𝘳𝘺 𝘔𝘪𝘳𝘳𝘰𝘳, curated by @alexandra_terry, explores how the post-war atmosphere of fear, loss, and disillusionment continues to resonate in contemporary art.
Danh Vo’s 𝘐𝘯 𝘎𝘰𝘥 𝘞𝘦 𝘛𝘳𝘶𝘴𝘵 functions as an allegory for the fragility of democratic ideals. By reimagining the American flag as a structure destined to be dismantled, Vo exposes national identity as impermanent and vulnerable, especially when fear governs political life.
Kathleen Ryan exposes the decay of opulence in her gemstone-covered cherries that are beginning to rot. Delfin Finley’s figure wrestles against the weight of red, white, and blue ropes that tangle and confine him. Sherrill Roland's “168.807” transforms wrongful incarceration into a study of endurance. Using some of the materials available to him in prison, he reconstructs the cinderblock forms of his cell: shapes he once traced to pass time.
Yngve Holen’s use of industrial forms and security infrastructures in 𝘝𝘌𝘙𝘛𝘐𝘊𝘈𝘓𝘚𝘌𝘈𝘛 evokes a society fixated on control and separation. What appears as security reveals itself as confinement, recalling a Cold War logic in which fear justified exclusion, surveillance, and fortified boundaries, echoing present-day immigration sweeps and the capture of individuals across the country.
𝘊𝘩𝘢𝘴𝘦 𝘢 𝘊𝘳𝘰𝘰𝘬𝘦𝘥 𝘚𝘩𝘢𝘥𝘰𝘸: 𝘍𝘪𝘭𝘮 𝘕𝘰𝘪𝘳 𝘢𝘴 𝘊𝘰𝘯𝘵𝘦𝘮𝘱𝘰𝘳𝘢𝘳𝘺 𝘔𝘪𝘳𝘳𝘰𝘳 is on view April 11–July 18, 2026.
@delfin @davidkordanskygallery @yngveholen @galerieneu @stuartshavemodernart @sherrillroland @tanyabonakdargallery @katieryankatieryan @karmakarma9 @gagosian @votrungkydanh @whitecube @mariangoodmangallery @kurimanzutto @massimodecarlogallery @galeriechantalcrousel @takeninagawa
📸: Photography by @exploredinary & @todoraphotography
Join us at The Warehouse to experience 𝘊𝘩𝘢𝘴𝘦 𝘢 𝘊𝘳𝘰𝘰𝘬𝘦𝘥 𝘚𝘩𝘢𝘥𝘰𝘸: 𝘍𝘪𝘭𝘮 𝘕𝘰𝘪𝘳 𝘢𝘴 𝘊𝘰𝘯𝘵𝘦𝘮𝘱𝘰𝘳𝘢𝘳𝘺 𝘔𝘪𝘳𝘳𝘰𝘳 and WAREHOUSE:01 𝘠𝘰𝘴𝘩𝘪𝘵𝘢𝘬𝘢 𝘈𝘮𝘢𝘯𝘰, on view through July 18, 2026.
Curated by Alexandra Terry (@alexandra_terry), 𝘊𝘩𝘢𝘴𝘦 𝘢 𝘊𝘳𝘰𝘰𝘬𝘦𝘥 𝘚𝘩𝘢𝘥𝘰𝘸 approaches film noir as a visual, psychological, and ethical framework that continues to resonate today. Across more than 100 works, the exhibition considers noir as an enduring lens that traces shifting power dynamics, moral ambiguity, and the instability of perception.
Presented concurrently, the fifth iteration of WAREHOUSE:01 focuses on Japanese artist Yoshitaka Amano. Spanning nearly three decades of work, the two-part exhibition explores Amano’s expansive practice, from art historically inflected compositions to his influential role as an illustrator and character designer shaping global visual culture.
The Warehouse is open every Saturday from 12–5 PM during our exhibitions. Guided tours and gallery talks led by The Warehouse team take place at 2 PM during Open Hours and focus on the current exhibitions.
🔗 Visit the link in bio to learn more and sign up for our newsletter.
📸: Video by @exploredinary
Featuring works by
@delfin @yngveholen @anamibia @josephinemeckseper @trevorpaglen @sherrillroland @katieryankatieryan @nowhereboogie @nigelcookestudio @crewdsonstudio @louisagagliardi @tomoogokita @skantily @sterlingruby @ima_beat_yo_ass_on_dis_train @gertuwetobias @osnofla33 @crewdsonstudio @lol_prosciutto @toddgrayla @sterlingruby @majaruz @giuseppe.boccassini @janine_antoni @huthhayden @palomavargaweisz @annaconwaystudio @henrygunderson.online @nicnicosia @jenguidi @zaamarif @gordonparksfoundation @kim.tschangyeul @alessandropessoli @cluvie @iqwnadjcvnaliuf @michaelchiyanho @woodyothello @archiviocarolrama @hennialftan @annaparkart @juliecurtissartist @hannahslevy @danielle_mckinney_ @iqwnadjcvnaliuf @mosherhall @chasmsweet_ @guillermokuitca @yoshitaka_amano
“I don’t remember a time when I wasn’t making drawings.” – @yoshitaka_amano
For more than fifty years, Japanese artist Yoshitaka Amano has defied and transcended expectations of genre, style, medium, audience, and geography. Amano is credited with the look and design of some of the most internationally recognizable popular culture franchises in recent decades, among them Speed Racer, Gatchaman (called G-Force in the U.S.), Final Fantasy, and Vampire Hunter D. Propelled by an unyielding pursuit of creative evolution, Amano’s output forms a vast universe in which narratives and motifs interweave, converse, and come apart across a variety of media.
Come enjoy the first part of a two-part exhibition, 𝘠𝘰𝘴𝘩𝘪𝘵𝘢𝘬𝘢 𝘈𝘮𝘢𝘯𝘰, the fifth iteration of WAREHOUSE:01.
Part 1 of 𝘠𝘰𝘴𝘩𝘪𝘵𝘢𝘬𝘢 𝘈𝘮𝘢𝘯𝘰 is on view April 11 – June 6, 2026.
Part 2 is on view June 13 – July 18, 2026.
🔗 Sign up for our newsletter to receive the latest on upcoming programs, gallery talks, and more.
📸: Installation photography courtesy of @exploredinary
Full checklist available online
@yoshitaka_amano @lomexgallery #yoshitakaamano #thewarehouse #contemporaryart #dallas
“I don’t remember a time when I wasn’t making drawings.” – @yoshitaka_amano
For more than fifty years, Japanese artist Yoshitaka Amano has defied and transcended expectations of genre, style, medium, audience, and geography. Amano is credited with the look and design of some of the most internationally recognizable popular culture franchises in recent decades, among them Speed Racer, Gatchaman (called G-Force in the U.S.), Final Fantasy, and Vampire Hunter D. Propelled by an unyielding pursuit of creative evolution, Amano’s output forms a vast universe in which narratives and motifs interweave, converse, and come apart across a variety of media.
Come enjoy the first part of a two-part exhibition, 𝘠𝘰𝘴𝘩𝘪𝘵𝘢𝘬𝘢 𝘈𝘮𝘢𝘯𝘰, the fifth iteration of WAREHOUSE:01.
Part 1 of 𝘠𝘰𝘴𝘩𝘪𝘵𝘢𝘬𝘢 𝘈𝘮𝘢𝘯𝘰 is on view April 11 – June 6, 2026.
Part 2 is on view June 13 – July 18, 2026.
🔗 Sign up for our newsletter to receive the latest on upcoming programs, gallery talks, and more.
📸: Installation photography courtesy of @exploredinary
Full checklist available online
@yoshitaka_amano @lomexgallery #yoshitakaamano #thewarehouse #contemporaryart #dallas
“I don’t remember a time when I wasn’t making drawings.” – @yoshitaka_amano
For more than fifty years, Japanese artist Yoshitaka Amano has defied and transcended expectations of genre, style, medium, audience, and geography. Amano is credited with the look and design of some of the most internationally recognizable popular culture franchises in recent decades, among them Speed Racer, Gatchaman (called G-Force in the U.S.), Final Fantasy, and Vampire Hunter D. Propelled by an unyielding pursuit of creative evolution, Amano’s output forms a vast universe in which narratives and motifs interweave, converse, and come apart across a variety of media.
Come enjoy the first part of a two-part exhibition, 𝘠𝘰𝘴𝘩𝘪𝘵𝘢𝘬𝘢 𝘈𝘮𝘢𝘯𝘰, the fifth iteration of WAREHOUSE:01.
Part 1 of 𝘠𝘰𝘴𝘩𝘪𝘵𝘢𝘬𝘢 𝘈𝘮𝘢𝘯𝘰 is on view April 11 – June 6, 2026.
Part 2 is on view June 13 – July 18, 2026.
🔗 Sign up for our newsletter to receive the latest on upcoming programs, gallery talks, and more.
📸: Installation photography courtesy of @exploredinary
Full checklist available online
@yoshitaka_amano @lomexgallery #yoshitakaamano #thewarehouse #contemporaryart #dallas
“I don’t remember a time when I wasn’t making drawings.” – @yoshitaka_amano
For more than fifty years, Japanese artist Yoshitaka Amano has defied and transcended expectations of genre, style, medium, audience, and geography. Amano is credited with the look and design of some of the most internationally recognizable popular culture franchises in recent decades, among them Speed Racer, Gatchaman (called G-Force in the U.S.), Final Fantasy, and Vampire Hunter D. Propelled by an unyielding pursuit of creative evolution, Amano’s output forms a vast universe in which narratives and motifs interweave, converse, and come apart across a variety of media.
Come enjoy the first part of a two-part exhibition, 𝘠𝘰𝘴𝘩𝘪𝘵𝘢𝘬𝘢 𝘈𝘮𝘢𝘯𝘰, the fifth iteration of WAREHOUSE:01.
Part 1 of 𝘠𝘰𝘴𝘩𝘪𝘵𝘢𝘬𝘢 𝘈𝘮𝘢𝘯𝘰 is on view April 11 – June 6, 2026.
Part 2 is on view June 13 – July 18, 2026.
🔗 Sign up for our newsletter to receive the latest on upcoming programs, gallery talks, and more.
📸: Installation photography courtesy of @exploredinary
Full checklist available online
@yoshitaka_amano @lomexgallery #yoshitakaamano #thewarehouse #contemporaryart #dallas
“I don’t remember a time when I wasn’t making drawings.” – @yoshitaka_amano
For more than fifty years, Japanese artist Yoshitaka Amano has defied and transcended expectations of genre, style, medium, audience, and geography. Amano is credited with the look and design of some of the most internationally recognizable popular culture franchises in recent decades, among them Speed Racer, Gatchaman (called G-Force in the U.S.), Final Fantasy, and Vampire Hunter D. Propelled by an unyielding pursuit of creative evolution, Amano’s output forms a vast universe in which narratives and motifs interweave, converse, and come apart across a variety of media.
Come enjoy the first part of a two-part exhibition, 𝘠𝘰𝘴𝘩𝘪𝘵𝘢𝘬𝘢 𝘈𝘮𝘢𝘯𝘰, the fifth iteration of WAREHOUSE:01.
Part 1 of 𝘠𝘰𝘴𝘩𝘪𝘵𝘢𝘬𝘢 𝘈𝘮𝘢𝘯𝘰 is on view April 11 – June 6, 2026.
Part 2 is on view June 13 – July 18, 2026.
🔗 Sign up for our newsletter to receive the latest on upcoming programs, gallery talks, and more.
📸: Installation photography courtesy of @exploredinary
Full checklist available online
@yoshitaka_amano @lomexgallery #yoshitakaamano #thewarehouse #contemporaryart #dallas
“I don’t remember a time when I wasn’t making drawings.” – @yoshitaka_amano
For more than fifty years, Japanese artist Yoshitaka Amano has defied and transcended expectations of genre, style, medium, audience, and geography. Amano is credited with the look and design of some of the most internationally recognizable popular culture franchises in recent decades, among them Speed Racer, Gatchaman (called G-Force in the U.S.), Final Fantasy, and Vampire Hunter D. Propelled by an unyielding pursuit of creative evolution, Amano’s output forms a vast universe in which narratives and motifs interweave, converse, and come apart across a variety of media.
Come enjoy the first part of a two-part exhibition, 𝘠𝘰𝘴𝘩𝘪𝘵𝘢𝘬𝘢 𝘈𝘮𝘢𝘯𝘰, the fifth iteration of WAREHOUSE:01.
Part 1 of 𝘠𝘰𝘴𝘩𝘪𝘵𝘢𝘬𝘢 𝘈𝘮𝘢𝘯𝘰 is on view April 11 – June 6, 2026.
Part 2 is on view June 13 – July 18, 2026.
🔗 Sign up for our newsletter to receive the latest on upcoming programs, gallery talks, and more.
📸: Installation photography courtesy of @exploredinary
Full checklist available online
@yoshitaka_amano @lomexgallery #yoshitakaamano #thewarehouse #contemporaryart #dallas
“I don’t remember a time when I wasn’t making drawings.” – @yoshitaka_amano
For more than fifty years, Japanese artist Yoshitaka Amano has defied and transcended expectations of genre, style, medium, audience, and geography. Amano is credited with the look and design of some of the most internationally recognizable popular culture franchises in recent decades, among them Speed Racer, Gatchaman (called G-Force in the U.S.), Final Fantasy, and Vampire Hunter D. Propelled by an unyielding pursuit of creative evolution, Amano’s output forms a vast universe in which narratives and motifs interweave, converse, and come apart across a variety of media.
Come enjoy the first part of a two-part exhibition, 𝘠𝘰𝘴𝘩𝘪𝘵𝘢𝘬𝘢 𝘈𝘮𝘢𝘯𝘰, the fifth iteration of WAREHOUSE:01.
Part 1 of 𝘠𝘰𝘴𝘩𝘪𝘵𝘢𝘬𝘢 𝘈𝘮𝘢𝘯𝘰 is on view April 11 – June 6, 2026.
Part 2 is on view June 13 – July 18, 2026.
🔗 Sign up for our newsletter to receive the latest on upcoming programs, gallery talks, and more.
📸: Installation photography courtesy of @exploredinary
Full checklist available online
@yoshitaka_amano @lomexgallery #yoshitakaamano #thewarehouse #contemporaryart #dallas
“I don’t remember a time when I wasn’t making drawings.” – @yoshitaka_amano
For more than fifty years, Japanese artist Yoshitaka Amano has defied and transcended expectations of genre, style, medium, audience, and geography. Amano is credited with the look and design of some of the most internationally recognizable popular culture franchises in recent decades, among them Speed Racer, Gatchaman (called G-Force in the U.S.), Final Fantasy, and Vampire Hunter D. Propelled by an unyielding pursuit of creative evolution, Amano’s output forms a vast universe in which narratives and motifs interweave, converse, and come apart across a variety of media.
Come enjoy the first part of a two-part exhibition, 𝘠𝘰𝘴𝘩𝘪𝘵𝘢𝘬𝘢 𝘈𝘮𝘢𝘯𝘰, the fifth iteration of WAREHOUSE:01.
Part 1 of 𝘠𝘰𝘴𝘩𝘪𝘵𝘢𝘬𝘢 𝘈𝘮𝘢𝘯𝘰 is on view April 11 – June 6, 2026.
Part 2 is on view June 13 – July 18, 2026.
🔗 Sign up for our newsletter to receive the latest on upcoming programs, gallery talks, and more.
📸: Installation photography courtesy of @exploredinary
Full checklist available online
@yoshitaka_amano @lomexgallery #yoshitakaamano #thewarehouse #contemporaryart #dallas
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