인스타그램 스토리 저장

Up next 💥 De(Generates), a screening of works by artists across generations, exploring relationships to digital tools and the internet.

Tuesday, April 28th at 7pm at The Gallery, 1000 Dean Street

I’ve been thinking a lot lately about my relationship with the internet as a younger-ish millennial who spent a lot of time on the internet growing up (yet a very different version of the internet than we know now) and who has decades-long friendships forged through forums and fandom subcultures.

With one eye toward nostalgia for a pre-smartphone and social media world and the other toward the hyper-networked present, this screening brings together digitally native works of time-based media across several generations of artists, ranging in birth year from 1967 to 1996, exploring their varying relationships to digital tools. The works will be screened in order of artist birth year, and are around 5 minutes each in duration.

Participating artists:
Maya Man @mayaontheinternet
Mark Fingerhut @gentle_virus
Sean Morgan @seandavidmorgan
David Muenzer @bilimek_pulque_vessel_666
Mitch Patrick @mtchptrck
Adam Basanta @adambasanta
Viktor Timofeev & Jaakko Pallasvuo @viktortimofeev
@avocado_ibuprofen
Siebren Versteeg @nihil_diamond
Carla Ganis @carlagannis
Jennifer & Kevin McCoy @jennmccoyspace @mccoyspace

BYOB please! (Though we will also probably have some).

Thanks to @nihil_diamond for the perfect title, @lustannen for the flyer, and @florian_meisenberg for the invitation!

RSVP via ITM — Link in bio

I used to make an Instagram post about art I was seeing every day — in retrospect, I truly don’t know how I did it! I wish I had the time to these days, and feel so out of practice writing about art in a short-form voicey way. I’ve also had the experience several times recently where friends who I mostly know through the internet don’t actually know what kind of art I like when I have pretty specific taste and criteria. So here we go, 5 shows I liked recently, most of which end this weekend.

1-4. Isa Genzken at Buchholz. What a delight to see an entirely distinctive body of work by an artist who is often overly familiar while still a tough nut to crack! “Projects for Outside: ISA USA” focuses on the architectural models for Genzken’s public art projects and uses the novel display method of sticking photos onto the pedestals for the projects that were realized. Interwoven with more classic works and works by artist friends of hers including Wolfgang Tillmans and Kai Altoff. Spans the entire 3 floors of Buchholz’s new location, directly behind MoMA! Through April 25

5-8. Matt Mullican at Peter Freeman. It should surprise exactly no one that I am exactly the target audience for a show about grids and organization and encyclopedic thought and how that can descend into madness and excess. Thinking about that Rosalind Krauss “Grids” essay (when am I not)...and also that excellent Met Breuer show “Delirious: Art at the Limits of Reason” from 2017...Through April 11

9-12. Sascha Braunig at Magenta Plains. Some of y’all have heard my controversial thesis that representation and abstraction are ultimately the same thing, and Sascha Braunig is an artist whose work comes to mind for me as really pulling on that thread by both representing and abstracting figures in her work. The colors and weird and wonky and shouldn’t make sense yet somehow do thanks to her high level of technical precision and execution. Upstairs are smaller versions of / studies for the larger works, and it’s great to see the same motifs and ideas play out across multiple scales (I think they actually work better big!). Through April 18

(Continued in comments)

I used to make an Instagram post about art I was seeing every day — in retrospect, I truly don’t know how I did it! I wish I had the time to these days, and feel so out of practice writing about art in a short-form voicey way. I’ve also had the experience several times recently where friends who I mostly know through the internet don’t actually know what kind of art I like when I have pretty specific taste and criteria. So here we go, 5 shows I liked recently, most of which end this weekend.

1-4. Isa Genzken at Buchholz. What a delight to see an entirely distinctive body of work by an artist who is often overly familiar while still a tough nut to crack! “Projects for Outside: ISA USA” focuses on the architectural models for Genzken’s public art projects and uses the novel display method of sticking photos onto the pedestals for the projects that were realized. Interwoven with more classic works and works by artist friends of hers including Wolfgang Tillmans and Kai Altoff. Spans the entire 3 floors of Buchholz’s new location, directly behind MoMA! Through April 25

5-8. Matt Mullican at Peter Freeman. It should surprise exactly no one that I am exactly the target audience for a show about grids and organization and encyclopedic thought and how that can descend into madness and excess. Thinking about that Rosalind Krauss “Grids” essay (when am I not)...and also that excellent Met Breuer show “Delirious: Art at the Limits of Reason” from 2017...Through April 11

9-12. Sascha Braunig at Magenta Plains. Some of y’all have heard my controversial thesis that representation and abstraction are ultimately the same thing, and Sascha Braunig is an artist whose work comes to mind for me as really pulling on that thread by both representing and abstracting figures in her work. The colors and weird and wonky and shouldn’t make sense yet somehow do thanks to her high level of technical precision and execution. Upstairs are smaller versions of / studies for the larger works, and it’s great to see the same motifs and ideas play out across multiple scales (I think they actually work better big!). Through April 18

(Continued in comments)

I used to make an Instagram post about art I was seeing every day — in retrospect, I truly don’t know how I did it! I wish I had the time to these days, and feel so out of practice writing about art in a short-form voicey way. I’ve also had the experience several times recently where friends who I mostly know through the internet don’t actually know what kind of art I like when I have pretty specific taste and criteria. So here we go, 5 shows I liked recently, most of which end this weekend.

1-4. Isa Genzken at Buchholz. What a delight to see an entirely distinctive body of work by an artist who is often overly familiar while still a tough nut to crack! “Projects for Outside: ISA USA” focuses on the architectural models for Genzken’s public art projects and uses the novel display method of sticking photos onto the pedestals for the projects that were realized. Interwoven with more classic works and works by artist friends of hers including Wolfgang Tillmans and Kai Altoff. Spans the entire 3 floors of Buchholz’s new location, directly behind MoMA! Through April 25

5-8. Matt Mullican at Peter Freeman. It should surprise exactly no one that I am exactly the target audience for a show about grids and organization and encyclopedic thought and how that can descend into madness and excess. Thinking about that Rosalind Krauss “Grids” essay (when am I not)...and also that excellent Met Breuer show “Delirious: Art at the Limits of Reason” from 2017...Through April 11

9-12. Sascha Braunig at Magenta Plains. Some of y’all have heard my controversial thesis that representation and abstraction are ultimately the same thing, and Sascha Braunig is an artist whose work comes to mind for me as really pulling on that thread by both representing and abstracting figures in her work. The colors and weird and wonky and shouldn’t make sense yet somehow do thanks to her high level of technical precision and execution. Upstairs are smaller versions of / studies for the larger works, and it’s great to see the same motifs and ideas play out across multiple scales (I think they actually work better big!). Through April 18

(Continued in comments)

I used to make an Instagram post about art I was seeing every day — in retrospect, I truly don’t know how I did it! I wish I had the time to these days, and feel so out of practice writing about art in a short-form voicey way. I’ve also had the experience several times recently where friends who I mostly know through the internet don’t actually know what kind of art I like when I have pretty specific taste and criteria. So here we go, 5 shows I liked recently, most of which end this weekend.

1-4. Isa Genzken at Buchholz. What a delight to see an entirely distinctive body of work by an artist who is often overly familiar while still a tough nut to crack! “Projects for Outside: ISA USA” focuses on the architectural models for Genzken’s public art projects and uses the novel display method of sticking photos onto the pedestals for the projects that were realized. Interwoven with more classic works and works by artist friends of hers including Wolfgang Tillmans and Kai Altoff. Spans the entire 3 floors of Buchholz’s new location, directly behind MoMA! Through April 25

5-8. Matt Mullican at Peter Freeman. It should surprise exactly no one that I am exactly the target audience for a show about grids and organization and encyclopedic thought and how that can descend into madness and excess. Thinking about that Rosalind Krauss “Grids” essay (when am I not)...and also that excellent Met Breuer show “Delirious: Art at the Limits of Reason” from 2017...Through April 11

9-12. Sascha Braunig at Magenta Plains. Some of y’all have heard my controversial thesis that representation and abstraction are ultimately the same thing, and Sascha Braunig is an artist whose work comes to mind for me as really pulling on that thread by both representing and abstracting figures in her work. The colors and weird and wonky and shouldn’t make sense yet somehow do thanks to her high level of technical precision and execution. Upstairs are smaller versions of / studies for the larger works, and it’s great to see the same motifs and ideas play out across multiple scales (I think they actually work better big!). Through April 18

(Continued in comments)

I used to make an Instagram post about art I was seeing every day — in retrospect, I truly don’t know how I did it! I wish I had the time to these days, and feel so out of practice writing about art in a short-form voicey way. I’ve also had the experience several times recently where friends who I mostly know through the internet don’t actually know what kind of art I like when I have pretty specific taste and criteria. So here we go, 5 shows I liked recently, most of which end this weekend.

1-4. Isa Genzken at Buchholz. What a delight to see an entirely distinctive body of work by an artist who is often overly familiar while still a tough nut to crack! “Projects for Outside: ISA USA” focuses on the architectural models for Genzken’s public art projects and uses the novel display method of sticking photos onto the pedestals for the projects that were realized. Interwoven with more classic works and works by artist friends of hers including Wolfgang Tillmans and Kai Altoff. Spans the entire 3 floors of Buchholz’s new location, directly behind MoMA! Through April 25

5-8. Matt Mullican at Peter Freeman. It should surprise exactly no one that I am exactly the target audience for a show about grids and organization and encyclopedic thought and how that can descend into madness and excess. Thinking about that Rosalind Krauss “Grids” essay (when am I not)...and also that excellent Met Breuer show “Delirious: Art at the Limits of Reason” from 2017...Through April 11

9-12. Sascha Braunig at Magenta Plains. Some of y’all have heard my controversial thesis that representation and abstraction are ultimately the same thing, and Sascha Braunig is an artist whose work comes to mind for me as really pulling on that thread by both representing and abstracting figures in her work. The colors and weird and wonky and shouldn’t make sense yet somehow do thanks to her high level of technical precision and execution. Upstairs are smaller versions of / studies for the larger works, and it’s great to see the same motifs and ideas play out across multiple scales (I think they actually work better big!). Through April 18

(Continued in comments)

I used to make an Instagram post about art I was seeing every day — in retrospect, I truly don’t know how I did it! I wish I had the time to these days, and feel so out of practice writing about art in a short-form voicey way. I’ve also had the experience several times recently where friends who I mostly know through the internet don’t actually know what kind of art I like when I have pretty specific taste and criteria. So here we go, 5 shows I liked recently, most of which end this weekend.

1-4. Isa Genzken at Buchholz. What a delight to see an entirely distinctive body of work by an artist who is often overly familiar while still a tough nut to crack! “Projects for Outside: ISA USA” focuses on the architectural models for Genzken’s public art projects and uses the novel display method of sticking photos onto the pedestals for the projects that were realized. Interwoven with more classic works and works by artist friends of hers including Wolfgang Tillmans and Kai Altoff. Spans the entire 3 floors of Buchholz’s new location, directly behind MoMA! Through April 25

5-8. Matt Mullican at Peter Freeman. It should surprise exactly no one that I am exactly the target audience for a show about grids and organization and encyclopedic thought and how that can descend into madness and excess. Thinking about that Rosalind Krauss “Grids” essay (when am I not)...and also that excellent Met Breuer show “Delirious: Art at the Limits of Reason” from 2017...Through April 11

9-12. Sascha Braunig at Magenta Plains. Some of y’all have heard my controversial thesis that representation and abstraction are ultimately the same thing, and Sascha Braunig is an artist whose work comes to mind for me as really pulling on that thread by both representing and abstracting figures in her work. The colors and weird and wonky and shouldn’t make sense yet somehow do thanks to her high level of technical precision and execution. Upstairs are smaller versions of / studies for the larger works, and it’s great to see the same motifs and ideas play out across multiple scales (I think they actually work better big!). Through April 18

(Continued in comments)

I used to make an Instagram post about art I was seeing every day — in retrospect, I truly don’t know how I did it! I wish I had the time to these days, and feel so out of practice writing about art in a short-form voicey way. I’ve also had the experience several times recently where friends who I mostly know through the internet don’t actually know what kind of art I like when I have pretty specific taste and criteria. So here we go, 5 shows I liked recently, most of which end this weekend.

1-4. Isa Genzken at Buchholz. What a delight to see an entirely distinctive body of work by an artist who is often overly familiar while still a tough nut to crack! “Projects for Outside: ISA USA” focuses on the architectural models for Genzken’s public art projects and uses the novel display method of sticking photos onto the pedestals for the projects that were realized. Interwoven with more classic works and works by artist friends of hers including Wolfgang Tillmans and Kai Altoff. Spans the entire 3 floors of Buchholz’s new location, directly behind MoMA! Through April 25

5-8. Matt Mullican at Peter Freeman. It should surprise exactly no one that I am exactly the target audience for a show about grids and organization and encyclopedic thought and how that can descend into madness and excess. Thinking about that Rosalind Krauss “Grids” essay (when am I not)...and also that excellent Met Breuer show “Delirious: Art at the Limits of Reason” from 2017...Through April 11

9-12. Sascha Braunig at Magenta Plains. Some of y’all have heard my controversial thesis that representation and abstraction are ultimately the same thing, and Sascha Braunig is an artist whose work comes to mind for me as really pulling on that thread by both representing and abstracting figures in her work. The colors and weird and wonky and shouldn’t make sense yet somehow do thanks to her high level of technical precision and execution. Upstairs are smaller versions of / studies for the larger works, and it’s great to see the same motifs and ideas play out across multiple scales (I think they actually work better big!). Through April 18

(Continued in comments)

I used to make an Instagram post about art I was seeing every day — in retrospect, I truly don’t know how I did it! I wish I had the time to these days, and feel so out of practice writing about art in a short-form voicey way. I’ve also had the experience several times recently where friends who I mostly know through the internet don’t actually know what kind of art I like when I have pretty specific taste and criteria. So here we go, 5 shows I liked recently, most of which end this weekend.

1-4. Isa Genzken at Buchholz. What a delight to see an entirely distinctive body of work by an artist who is often overly familiar while still a tough nut to crack! “Projects for Outside: ISA USA” focuses on the architectural models for Genzken’s public art projects and uses the novel display method of sticking photos onto the pedestals for the projects that were realized. Interwoven with more classic works and works by artist friends of hers including Wolfgang Tillmans and Kai Altoff. Spans the entire 3 floors of Buchholz’s new location, directly behind MoMA! Through April 25

5-8. Matt Mullican at Peter Freeman. It should surprise exactly no one that I am exactly the target audience for a show about grids and organization and encyclopedic thought and how that can descend into madness and excess. Thinking about that Rosalind Krauss “Grids” essay (when am I not)...and also that excellent Met Breuer show “Delirious: Art at the Limits of Reason” from 2017...Through April 11

9-12. Sascha Braunig at Magenta Plains. Some of y’all have heard my controversial thesis that representation and abstraction are ultimately the same thing, and Sascha Braunig is an artist whose work comes to mind for me as really pulling on that thread by both representing and abstracting figures in her work. The colors and weird and wonky and shouldn’t make sense yet somehow do thanks to her high level of technical precision and execution. Upstairs are smaller versions of / studies for the larger works, and it’s great to see the same motifs and ideas play out across multiple scales (I think they actually work better big!). Through April 18

(Continued in comments)

I used to make an Instagram post about art I was seeing every day — in retrospect, I truly don’t know how I did it! I wish I had the time to these days, and feel so out of practice writing about art in a short-form voicey way. I’ve also had the experience several times recently where friends who I mostly know through the internet don’t actually know what kind of art I like when I have pretty specific taste and criteria. So here we go, 5 shows I liked recently, most of which end this weekend.

1-4. Isa Genzken at Buchholz. What a delight to see an entirely distinctive body of work by an artist who is often overly familiar while still a tough nut to crack! “Projects for Outside: ISA USA” focuses on the architectural models for Genzken’s public art projects and uses the novel display method of sticking photos onto the pedestals for the projects that were realized. Interwoven with more classic works and works by artist friends of hers including Wolfgang Tillmans and Kai Altoff. Spans the entire 3 floors of Buchholz’s new location, directly behind MoMA! Through April 25

5-8. Matt Mullican at Peter Freeman. It should surprise exactly no one that I am exactly the target audience for a show about grids and organization and encyclopedic thought and how that can descend into madness and excess. Thinking about that Rosalind Krauss “Grids” essay (when am I not)...and also that excellent Met Breuer show “Delirious: Art at the Limits of Reason” from 2017...Through April 11

9-12. Sascha Braunig at Magenta Plains. Some of y’all have heard my controversial thesis that representation and abstraction are ultimately the same thing, and Sascha Braunig is an artist whose work comes to mind for me as really pulling on that thread by both representing and abstracting figures in her work. The colors and weird and wonky and shouldn’t make sense yet somehow do thanks to her high level of technical precision and execution. Upstairs are smaller versions of / studies for the larger works, and it’s great to see the same motifs and ideas play out across multiple scales (I think they actually work better big!). Through April 18

(Continued in comments)

I used to make an Instagram post about art I was seeing every day — in retrospect, I truly don’t know how I did it! I wish I had the time to these days, and feel so out of practice writing about art in a short-form voicey way. I’ve also had the experience several times recently where friends who I mostly know through the internet don’t actually know what kind of art I like when I have pretty specific taste and criteria. So here we go, 5 shows I liked recently, most of which end this weekend.

1-4. Isa Genzken at Buchholz. What a delight to see an entirely distinctive body of work by an artist who is often overly familiar while still a tough nut to crack! “Projects for Outside: ISA USA” focuses on the architectural models for Genzken’s public art projects and uses the novel display method of sticking photos onto the pedestals for the projects that were realized. Interwoven with more classic works and works by artist friends of hers including Wolfgang Tillmans and Kai Altoff. Spans the entire 3 floors of Buchholz’s new location, directly behind MoMA! Through April 25

5-8. Matt Mullican at Peter Freeman. It should surprise exactly no one that I am exactly the target audience for a show about grids and organization and encyclopedic thought and how that can descend into madness and excess. Thinking about that Rosalind Krauss “Grids” essay (when am I not)...and also that excellent Met Breuer show “Delirious: Art at the Limits of Reason” from 2017...Through April 11

9-12. Sascha Braunig at Magenta Plains. Some of y’all have heard my controversial thesis that representation and abstraction are ultimately the same thing, and Sascha Braunig is an artist whose work comes to mind for me as really pulling on that thread by both representing and abstracting figures in her work. The colors and weird and wonky and shouldn’t make sense yet somehow do thanks to her high level of technical precision and execution. Upstairs are smaller versions of / studies for the larger works, and it’s great to see the same motifs and ideas play out across multiple scales (I think they actually work better big!). Through April 18

(Continued in comments)

I used to make an Instagram post about art I was seeing every day — in retrospect, I truly don’t know how I did it! I wish I had the time to these days, and feel so out of practice writing about art in a short-form voicey way. I’ve also had the experience several times recently where friends who I mostly know through the internet don’t actually know what kind of art I like when I have pretty specific taste and criteria. So here we go, 5 shows I liked recently, most of which end this weekend.

1-4. Isa Genzken at Buchholz. What a delight to see an entirely distinctive body of work by an artist who is often overly familiar while still a tough nut to crack! “Projects for Outside: ISA USA” focuses on the architectural models for Genzken’s public art projects and uses the novel display method of sticking photos onto the pedestals for the projects that were realized. Interwoven with more classic works and works by artist friends of hers including Wolfgang Tillmans and Kai Altoff. Spans the entire 3 floors of Buchholz’s new location, directly behind MoMA! Through April 25

5-8. Matt Mullican at Peter Freeman. It should surprise exactly no one that I am exactly the target audience for a show about grids and organization and encyclopedic thought and how that can descend into madness and excess. Thinking about that Rosalind Krauss “Grids” essay (when am I not)...and also that excellent Met Breuer show “Delirious: Art at the Limits of Reason” from 2017...Through April 11

9-12. Sascha Braunig at Magenta Plains. Some of y’all have heard my controversial thesis that representation and abstraction are ultimately the same thing, and Sascha Braunig is an artist whose work comes to mind for me as really pulling on that thread by both representing and abstracting figures in her work. The colors and weird and wonky and shouldn’t make sense yet somehow do thanks to her high level of technical precision and execution. Upstairs are smaller versions of / studies for the larger works, and it’s great to see the same motifs and ideas play out across multiple scales (I think they actually work better big!). Through April 18

(Continued in comments)

I used to make an Instagram post about art I was seeing every day — in retrospect, I truly don’t know how I did it! I wish I had the time to these days, and feel so out of practice writing about art in a short-form voicey way. I’ve also had the experience several times recently where friends who I mostly know through the internet don’t actually know what kind of art I like when I have pretty specific taste and criteria. So here we go, 5 shows I liked recently, most of which end this weekend.

1-4. Isa Genzken at Buchholz. What a delight to see an entirely distinctive body of work by an artist who is often overly familiar while still a tough nut to crack! “Projects for Outside: ISA USA” focuses on the architectural models for Genzken’s public art projects and uses the novel display method of sticking photos onto the pedestals for the projects that were realized. Interwoven with more classic works and works by artist friends of hers including Wolfgang Tillmans and Kai Altoff. Spans the entire 3 floors of Buchholz’s new location, directly behind MoMA! Through April 25

5-8. Matt Mullican at Peter Freeman. It should surprise exactly no one that I am exactly the target audience for a show about grids and organization and encyclopedic thought and how that can descend into madness and excess. Thinking about that Rosalind Krauss “Grids” essay (when am I not)...and also that excellent Met Breuer show “Delirious: Art at the Limits of Reason” from 2017...Through April 11

9-12. Sascha Braunig at Magenta Plains. Some of y’all have heard my controversial thesis that representation and abstraction are ultimately the same thing, and Sascha Braunig is an artist whose work comes to mind for me as really pulling on that thread by both representing and abstracting figures in her work. The colors and weird and wonky and shouldn’t make sense yet somehow do thanks to her high level of technical precision and execution. Upstairs are smaller versions of / studies for the larger works, and it’s great to see the same motifs and ideas play out across multiple scales (I think they actually work better big!). Through April 18

(Continued in comments)

I used to make an Instagram post about art I was seeing every day — in retrospect, I truly don’t know how I did it! I wish I had the time to these days, and feel so out of practice writing about art in a short-form voicey way. I’ve also had the experience several times recently where friends who I mostly know through the internet don’t actually know what kind of art I like when I have pretty specific taste and criteria. So here we go, 5 shows I liked recently, most of which end this weekend.

1-4. Isa Genzken at Buchholz. What a delight to see an entirely distinctive body of work by an artist who is often overly familiar while still a tough nut to crack! “Projects for Outside: ISA USA” focuses on the architectural models for Genzken’s public art projects and uses the novel display method of sticking photos onto the pedestals for the projects that were realized. Interwoven with more classic works and works by artist friends of hers including Wolfgang Tillmans and Kai Altoff. Spans the entire 3 floors of Buchholz’s new location, directly behind MoMA! Through April 25

5-8. Matt Mullican at Peter Freeman. It should surprise exactly no one that I am exactly the target audience for a show about grids and organization and encyclopedic thought and how that can descend into madness and excess. Thinking about that Rosalind Krauss “Grids” essay (when am I not)...and also that excellent Met Breuer show “Delirious: Art at the Limits of Reason” from 2017...Through April 11

9-12. Sascha Braunig at Magenta Plains. Some of y’all have heard my controversial thesis that representation and abstraction are ultimately the same thing, and Sascha Braunig is an artist whose work comes to mind for me as really pulling on that thread by both representing and abstracting figures in her work. The colors and weird and wonky and shouldn’t make sense yet somehow do thanks to her high level of technical precision and execution. Upstairs are smaller versions of / studies for the larger works, and it’s great to see the same motifs and ideas play out across multiple scales (I think they actually work better big!). Through April 18

(Continued in comments)

I used to make an Instagram post about art I was seeing every day — in retrospect, I truly don’t know how I did it! I wish I had the time to these days, and feel so out of practice writing about art in a short-form voicey way. I’ve also had the experience several times recently where friends who I mostly know through the internet don’t actually know what kind of art I like when I have pretty specific taste and criteria. So here we go, 5 shows I liked recently, most of which end this weekend.

1-4. Isa Genzken at Buchholz. What a delight to see an entirely distinctive body of work by an artist who is often overly familiar while still a tough nut to crack! “Projects for Outside: ISA USA” focuses on the architectural models for Genzken’s public art projects and uses the novel display method of sticking photos onto the pedestals for the projects that were realized. Interwoven with more classic works and works by artist friends of hers including Wolfgang Tillmans and Kai Altoff. Spans the entire 3 floors of Buchholz’s new location, directly behind MoMA! Through April 25

5-8. Matt Mullican at Peter Freeman. It should surprise exactly no one that I am exactly the target audience for a show about grids and organization and encyclopedic thought and how that can descend into madness and excess. Thinking about that Rosalind Krauss “Grids” essay (when am I not)...and also that excellent Met Breuer show “Delirious: Art at the Limits of Reason” from 2017...Through April 11

9-12. Sascha Braunig at Magenta Plains. Some of y’all have heard my controversial thesis that representation and abstraction are ultimately the same thing, and Sascha Braunig is an artist whose work comes to mind for me as really pulling on that thread by both representing and abstracting figures in her work. The colors and weird and wonky and shouldn’t make sense yet somehow do thanks to her high level of technical precision and execution. Upstairs are smaller versions of / studies for the larger works, and it’s great to see the same motifs and ideas play out across multiple scales (I think they actually work better big!). Through April 18

(Continued in comments)

I used to make an Instagram post about art I was seeing every day — in retrospect, I truly don’t know how I did it! I wish I had the time to these days, and feel so out of practice writing about art in a short-form voicey way. I’ve also had the experience several times recently where friends who I mostly know through the internet don’t actually know what kind of art I like when I have pretty specific taste and criteria. So here we go, 5 shows I liked recently, most of which end this weekend.

1-4. Isa Genzken at Buchholz. What a delight to see an entirely distinctive body of work by an artist who is often overly familiar while still a tough nut to crack! “Projects for Outside: ISA USA” focuses on the architectural models for Genzken’s public art projects and uses the novel display method of sticking photos onto the pedestals for the projects that were realized. Interwoven with more classic works and works by artist friends of hers including Wolfgang Tillmans and Kai Altoff. Spans the entire 3 floors of Buchholz’s new location, directly behind MoMA! Through April 25

5-8. Matt Mullican at Peter Freeman. It should surprise exactly no one that I am exactly the target audience for a show about grids and organization and encyclopedic thought and how that can descend into madness and excess. Thinking about that Rosalind Krauss “Grids” essay (when am I not)...and also that excellent Met Breuer show “Delirious: Art at the Limits of Reason” from 2017...Through April 11

9-12. Sascha Braunig at Magenta Plains. Some of y’all have heard my controversial thesis that representation and abstraction are ultimately the same thing, and Sascha Braunig is an artist whose work comes to mind for me as really pulling on that thread by both representing and abstracting figures in her work. The colors and weird and wonky and shouldn’t make sense yet somehow do thanks to her high level of technical precision and execution. Upstairs are smaller versions of / studies for the larger works, and it’s great to see the same motifs and ideas play out across multiple scales (I think they actually work better big!). Through April 18

(Continued in comments)

I used to make an Instagram post about art I was seeing every day — in retrospect, I truly don’t know how I did it! I wish I had the time to these days, and feel so out of practice writing about art in a short-form voicey way. I’ve also had the experience several times recently where friends who I mostly know through the internet don’t actually know what kind of art I like when I have pretty specific taste and criteria. So here we go, 5 shows I liked recently, most of which end this weekend.

1-4. Isa Genzken at Buchholz. What a delight to see an entirely distinctive body of work by an artist who is often overly familiar while still a tough nut to crack! “Projects for Outside: ISA USA” focuses on the architectural models for Genzken’s public art projects and uses the novel display method of sticking photos onto the pedestals for the projects that were realized. Interwoven with more classic works and works by artist friends of hers including Wolfgang Tillmans and Kai Altoff. Spans the entire 3 floors of Buchholz’s new location, directly behind MoMA! Through April 25

5-8. Matt Mullican at Peter Freeman. It should surprise exactly no one that I am exactly the target audience for a show about grids and organization and encyclopedic thought and how that can descend into madness and excess. Thinking about that Rosalind Krauss “Grids” essay (when am I not)...and also that excellent Met Breuer show “Delirious: Art at the Limits of Reason” from 2017...Through April 11

9-12. Sascha Braunig at Magenta Plains. Some of y’all have heard my controversial thesis that representation and abstraction are ultimately the same thing, and Sascha Braunig is an artist whose work comes to mind for me as really pulling on that thread by both representing and abstracting figures in her work. The colors and weird and wonky and shouldn’t make sense yet somehow do thanks to her high level of technical precision and execution. Upstairs are smaller versions of / studies for the larger works, and it’s great to see the same motifs and ideas play out across multiple scales (I think they actually work better big!). Through April 18

(Continued in comments)

I used to make an Instagram post about art I was seeing every day — in retrospect, I truly don’t know how I did it! I wish I had the time to these days, and feel so out of practice writing about art in a short-form voicey way. I’ve also had the experience several times recently where friends who I mostly know through the internet don’t actually know what kind of art I like when I have pretty specific taste and criteria. So here we go, 5 shows I liked recently, most of which end this weekend.

1-4. Isa Genzken at Buchholz. What a delight to see an entirely distinctive body of work by an artist who is often overly familiar while still a tough nut to crack! “Projects for Outside: ISA USA” focuses on the architectural models for Genzken’s public art projects and uses the novel display method of sticking photos onto the pedestals for the projects that were realized. Interwoven with more classic works and works by artist friends of hers including Wolfgang Tillmans and Kai Altoff. Spans the entire 3 floors of Buchholz’s new location, directly behind MoMA! Through April 25

5-8. Matt Mullican at Peter Freeman. It should surprise exactly no one that I am exactly the target audience for a show about grids and organization and encyclopedic thought and how that can descend into madness and excess. Thinking about that Rosalind Krauss “Grids” essay (when am I not)...and also that excellent Met Breuer show “Delirious: Art at the Limits of Reason” from 2017...Through April 11

9-12. Sascha Braunig at Magenta Plains. Some of y’all have heard my controversial thesis that representation and abstraction are ultimately the same thing, and Sascha Braunig is an artist whose work comes to mind for me as really pulling on that thread by both representing and abstracting figures in her work. The colors and weird and wonky and shouldn’t make sense yet somehow do thanks to her high level of technical precision and execution. Upstairs are smaller versions of / studies for the larger works, and it’s great to see the same motifs and ideas play out across multiple scales (I think they actually work better big!). Through April 18

(Continued in comments)

I used to make an Instagram post about art I was seeing every day — in retrospect, I truly don’t know how I did it! I wish I had the time to these days, and feel so out of practice writing about art in a short-form voicey way. I’ve also had the experience several times recently where friends who I mostly know through the internet don’t actually know what kind of art I like when I have pretty specific taste and criteria. So here we go, 5 shows I liked recently, most of which end this weekend.

1-4. Isa Genzken at Buchholz. What a delight to see an entirely distinctive body of work by an artist who is often overly familiar while still a tough nut to crack! “Projects for Outside: ISA USA” focuses on the architectural models for Genzken’s public art projects and uses the novel display method of sticking photos onto the pedestals for the projects that were realized. Interwoven with more classic works and works by artist friends of hers including Wolfgang Tillmans and Kai Altoff. Spans the entire 3 floors of Buchholz’s new location, directly behind MoMA! Through April 25

5-8. Matt Mullican at Peter Freeman. It should surprise exactly no one that I am exactly the target audience for a show about grids and organization and encyclopedic thought and how that can descend into madness and excess. Thinking about that Rosalind Krauss “Grids” essay (when am I not)...and also that excellent Met Breuer show “Delirious: Art at the Limits of Reason” from 2017...Through April 11

9-12. Sascha Braunig at Magenta Plains. Some of y’all have heard my controversial thesis that representation and abstraction are ultimately the same thing, and Sascha Braunig is an artist whose work comes to mind for me as really pulling on that thread by both representing and abstracting figures in her work. The colors and weird and wonky and shouldn’t make sense yet somehow do thanks to her high level of technical precision and execution. Upstairs are smaller versions of / studies for the larger works, and it’s great to see the same motifs and ideas play out across multiple scales (I think they actually work better big!). Through April 18

(Continued in comments)

I used to make an Instagram post about art I was seeing every day — in retrospect, I truly don’t know how I did it! I wish I had the time to these days, and feel so out of practice writing about art in a short-form voicey way. I’ve also had the experience several times recently where friends who I mostly know through the internet don’t actually know what kind of art I like when I have pretty specific taste and criteria. So here we go, 5 shows I liked recently, most of which end this weekend.

1-4. Isa Genzken at Buchholz. What a delight to see an entirely distinctive body of work by an artist who is often overly familiar while still a tough nut to crack! “Projects for Outside: ISA USA” focuses on the architectural models for Genzken’s public art projects and uses the novel display method of sticking photos onto the pedestals for the projects that were realized. Interwoven with more classic works and works by artist friends of hers including Wolfgang Tillmans and Kai Altoff. Spans the entire 3 floors of Buchholz’s new location, directly behind MoMA! Through April 25

5-8. Matt Mullican at Peter Freeman. It should surprise exactly no one that I am exactly the target audience for a show about grids and organization and encyclopedic thought and how that can descend into madness and excess. Thinking about that Rosalind Krauss “Grids” essay (when am I not)...and also that excellent Met Breuer show “Delirious: Art at the Limits of Reason” from 2017...Through April 11

9-12. Sascha Braunig at Magenta Plains. Some of y’all have heard my controversial thesis that representation and abstraction are ultimately the same thing, and Sascha Braunig is an artist whose work comes to mind for me as really pulling on that thread by both representing and abstracting figures in her work. The colors and weird and wonky and shouldn’t make sense yet somehow do thanks to her high level of technical precision and execution. Upstairs are smaller versions of / studies for the larger works, and it’s great to see the same motifs and ideas play out across multiple scales (I think they actually work better big!). Through April 18

(Continued in comments)

I used to make an Instagram post about art I was seeing every day — in retrospect, I truly don’t know how I did it! I wish I had the time to these days, and feel so out of practice writing about art in a short-form voicey way. I’ve also had the experience several times recently where friends who I mostly know through the internet don’t actually know what kind of art I like when I have pretty specific taste and criteria. So here we go, 5 shows I liked recently, most of which end this weekend.

1-4. Isa Genzken at Buchholz. What a delight to see an entirely distinctive body of work by an artist who is often overly familiar while still a tough nut to crack! “Projects for Outside: ISA USA” focuses on the architectural models for Genzken’s public art projects and uses the novel display method of sticking photos onto the pedestals for the projects that were realized. Interwoven with more classic works and works by artist friends of hers including Wolfgang Tillmans and Kai Altoff. Spans the entire 3 floors of Buchholz’s new location, directly behind MoMA! Through April 25

5-8. Matt Mullican at Peter Freeman. It should surprise exactly no one that I am exactly the target audience for a show about grids and organization and encyclopedic thought and how that can descend into madness and excess. Thinking about that Rosalind Krauss “Grids” essay (when am I not)...and also that excellent Met Breuer show “Delirious: Art at the Limits of Reason” from 2017...Through April 11

9-12. Sascha Braunig at Magenta Plains. Some of y’all have heard my controversial thesis that representation and abstraction are ultimately the same thing, and Sascha Braunig is an artist whose work comes to mind for me as really pulling on that thread by both representing and abstracting figures in her work. The colors and weird and wonky and shouldn’t make sense yet somehow do thanks to her high level of technical precision and execution. Upstairs are smaller versions of / studies for the larger works, and it’s great to see the same motifs and ideas play out across multiple scales (I think they actually work better big!). Through April 18

(Continued in comments)

Found sculpture & text, beacons from above, and dogs seen on streets in 2025 ⚡️

Found sculpture & text, beacons from above, and dogs seen on streets in 2025 ⚡️

Found sculpture & text, beacons from above, and dogs seen on streets in 2025 ⚡️

Found sculpture & text, beacons from above, and dogs seen on streets in 2025 ⚡️

Found sculpture & text, beacons from above, and dogs seen on streets in 2025 ⚡️

Found sculpture & text, beacons from above, and dogs seen on streets in 2025 ⚡️

Found sculpture & text, beacons from above, and dogs seen on streets in 2025 ⚡️

Found sculpture & text, beacons from above, and dogs seen on streets in 2025 ⚡️

Found sculpture & text, beacons from above, and dogs seen on streets in 2025 ⚡️

Found sculpture & text, beacons from above, and dogs seen on streets in 2025 ⚡️

Found sculpture & text, beacons from above, and dogs seen on streets in 2025 ⚡️

Found sculpture & text, beacons from above, and dogs seen on streets in 2025 ⚡️

Found sculpture & text, beacons from above, and dogs seen on streets in 2025 ⚡️

Found sculpture & text, beacons from above, and dogs seen on streets in 2025 ⚡️

Found sculpture & text, beacons from above, and dogs seen on streets in 2025 ⚡️

Found sculpture & text, beacons from above, and dogs seen on streets in 2025 ⚡️

Found sculpture & text, beacons from above, and dogs seen on streets in 2025 ⚡️

Found sculpture & text, beacons from above, and dogs seen on streets in 2025 ⚡️

Found sculpture & text, beacons from above, and dogs seen on streets in 2025 ⚡️

Light and texture that’s mostly not art in Mexico City ✨

Light and texture that’s mostly not art in Mexico City ✨

Light and texture that’s mostly not art in Mexico City ✨

Light and texture that’s mostly not art in Mexico City ✨

Light and texture that’s mostly not art in Mexico City ✨

Light and texture that’s mostly not art in Mexico City ✨

Light and texture that’s mostly not art in Mexico City ✨

Light and texture that’s mostly not art in Mexico City ✨

Light and texture that’s mostly not art in Mexico City ✨

Light and texture that’s mostly not art in Mexico City ✨

Light and texture that’s mostly not art in Mexico City ✨

Light and texture that’s mostly not art in Mexico City ✨

Light and texture that’s mostly not art in Mexico City ✨

Light and texture that’s mostly not art in Mexico City ✨

Light and texture that’s mostly not art in Mexico City ✨

I did all the things I try not to do before seeing an exhibition. I looked at all the installation images, I read the catalogue essay, and I had a predetermined opinion of what I would think of this exhibition. And yet, none of this in any way took away from seeing Kerry James Marshall: The Histories at the Royal Academy of Art. The most vital art demands to be seen in person, and looks different (and ideally better) than in reproductions, and KJM’s work absolutely stands up to that test.

The other test it stands up to — sort of singularly in the realm of figurative painting, in my opinion — is the universality found in the works, while still asking quite a lot of their viewers and never settling down to a simple or final reading.

In the long catalog essay curator Mark Godfey recounts how a 2012 encounter with Kerry in his studio in Chicago was the first time he saw his work in person, and that in that moment he was schooled on his skepticism toward figuration as a critical strategy in contemporary art. In reading that passage, it came flashing back to me that my first encounter with his work came but 4 years later in 2016 through Mastry, the major American retrospective when it was at the Met Breuer, which I saw sort of on a whim at the recommendation of one of my professors. Barely out of grad school at that point and still deeply steeped in critical theory and cynicism toward the vast majority of painting, I sort of didn’t have the tools or context to fully understand the work and its importance but could nonetheless read it as serious and significant painting.

It’s been just under 10 years since I saw that exhibition, and it’s truly wonderful to have a “do-over” of seeing a large volume of his works, many of which I’ve seen in major museums over the years since. Many other of the most triumphant ones — particularly some of the most meta ones about art history and conventions of looking at art within museums — hadn’t been made yet! (continued in comments) #kerryjamesmarshall #kerryjamesmarshallthehistories #royalacademyofarts #contemporaryart #contemporarypainting

I did all the things I try not to do before seeing an exhibition. I looked at all the installation images, I read the catalogue essay, and I had a predetermined opinion of what I would think of this exhibition. And yet, none of this in any way took away from seeing Kerry James Marshall: The Histories at the Royal Academy of Art. The most vital art demands to be seen in person, and looks different (and ideally better) than in reproductions, and KJM’s work absolutely stands up to that test.

The other test it stands up to — sort of singularly in the realm of figurative painting, in my opinion — is the universality found in the works, while still asking quite a lot of their viewers and never settling down to a simple or final reading.

In the long catalog essay curator Mark Godfey recounts how a 2012 encounter with Kerry in his studio in Chicago was the first time he saw his work in person, and that in that moment he was schooled on his skepticism toward figuration as a critical strategy in contemporary art. In reading that passage, it came flashing back to me that my first encounter with his work came but 4 years later in 2016 through Mastry, the major American retrospective when it was at the Met Breuer, which I saw sort of on a whim at the recommendation of one of my professors. Barely out of grad school at that point and still deeply steeped in critical theory and cynicism toward the vast majority of painting, I sort of didn’t have the tools or context to fully understand the work and its importance but could nonetheless read it as serious and significant painting.

It’s been just under 10 years since I saw that exhibition, and it’s truly wonderful to have a “do-over” of seeing a large volume of his works, many of which I’ve seen in major museums over the years since. Many other of the most triumphant ones — particularly some of the most meta ones about art history and conventions of looking at art within museums — hadn’t been made yet! (continued in comments) #kerryjamesmarshall #kerryjamesmarshallthehistories #royalacademyofarts #contemporaryart #contemporarypainting

I did all the things I try not to do before seeing an exhibition. I looked at all the installation images, I read the catalogue essay, and I had a predetermined opinion of what I would think of this exhibition. And yet, none of this in any way took away from seeing Kerry James Marshall: The Histories at the Royal Academy of Art. The most vital art demands to be seen in person, and looks different (and ideally better) than in reproductions, and KJM’s work absolutely stands up to that test.

The other test it stands up to — sort of singularly in the realm of figurative painting, in my opinion — is the universality found in the works, while still asking quite a lot of their viewers and never settling down to a simple or final reading.

In the long catalog essay curator Mark Godfey recounts how a 2012 encounter with Kerry in his studio in Chicago was the first time he saw his work in person, and that in that moment he was schooled on his skepticism toward figuration as a critical strategy in contemporary art. In reading that passage, it came flashing back to me that my first encounter with his work came but 4 years later in 2016 through Mastry, the major American retrospective when it was at the Met Breuer, which I saw sort of on a whim at the recommendation of one of my professors. Barely out of grad school at that point and still deeply steeped in critical theory and cynicism toward the vast majority of painting, I sort of didn’t have the tools or context to fully understand the work and its importance but could nonetheless read it as serious and significant painting.

It’s been just under 10 years since I saw that exhibition, and it’s truly wonderful to have a “do-over” of seeing a large volume of his works, many of which I’ve seen in major museums over the years since. Many other of the most triumphant ones — particularly some of the most meta ones about art history and conventions of looking at art within museums — hadn’t been made yet! (continued in comments) #kerryjamesmarshall #kerryjamesmarshallthehistories #royalacademyofarts #contemporaryart #contemporarypainting

I did all the things I try not to do before seeing an exhibition. I looked at all the installation images, I read the catalogue essay, and I had a predetermined opinion of what I would think of this exhibition. And yet, none of this in any way took away from seeing Kerry James Marshall: The Histories at the Royal Academy of Art. The most vital art demands to be seen in person, and looks different (and ideally better) than in reproductions, and KJM’s work absolutely stands up to that test.

The other test it stands up to — sort of singularly in the realm of figurative painting, in my opinion — is the universality found in the works, while still asking quite a lot of their viewers and never settling down to a simple or final reading.

In the long catalog essay curator Mark Godfey recounts how a 2012 encounter with Kerry in his studio in Chicago was the first time he saw his work in person, and that in that moment he was schooled on his skepticism toward figuration as a critical strategy in contemporary art. In reading that passage, it came flashing back to me that my first encounter with his work came but 4 years later in 2016 through Mastry, the major American retrospective when it was at the Met Breuer, which I saw sort of on a whim at the recommendation of one of my professors. Barely out of grad school at that point and still deeply steeped in critical theory and cynicism toward the vast majority of painting, I sort of didn’t have the tools or context to fully understand the work and its importance but could nonetheless read it as serious and significant painting.

It’s been just under 10 years since I saw that exhibition, and it’s truly wonderful to have a “do-over” of seeing a large volume of his works, many of which I’ve seen in major museums over the years since. Many other of the most triumphant ones — particularly some of the most meta ones about art history and conventions of looking at art within museums — hadn’t been made yet! (continued in comments) #kerryjamesmarshall #kerryjamesmarshallthehistories #royalacademyofarts #contemporaryart #contemporarypainting

I did all the things I try not to do before seeing an exhibition. I looked at all the installation images, I read the catalogue essay, and I had a predetermined opinion of what I would think of this exhibition. And yet, none of this in any way took away from seeing Kerry James Marshall: The Histories at the Royal Academy of Art. The most vital art demands to be seen in person, and looks different (and ideally better) than in reproductions, and KJM’s work absolutely stands up to that test.

The other test it stands up to — sort of singularly in the realm of figurative painting, in my opinion — is the universality found in the works, while still asking quite a lot of their viewers and never settling down to a simple or final reading.

In the long catalog essay curator Mark Godfey recounts how a 2012 encounter with Kerry in his studio in Chicago was the first time he saw his work in person, and that in that moment he was schooled on his skepticism toward figuration as a critical strategy in contemporary art. In reading that passage, it came flashing back to me that my first encounter with his work came but 4 years later in 2016 through Mastry, the major American retrospective when it was at the Met Breuer, which I saw sort of on a whim at the recommendation of one of my professors. Barely out of grad school at that point and still deeply steeped in critical theory and cynicism toward the vast majority of painting, I sort of didn’t have the tools or context to fully understand the work and its importance but could nonetheless read it as serious and significant painting.

It’s been just under 10 years since I saw that exhibition, and it’s truly wonderful to have a “do-over” of seeing a large volume of his works, many of which I’ve seen in major museums over the years since. Many other of the most triumphant ones — particularly some of the most meta ones about art history and conventions of looking at art within museums — hadn’t been made yet! (continued in comments) #kerryjamesmarshall #kerryjamesmarshallthehistories #royalacademyofarts #contemporaryart #contemporarypainting

I did all the things I try not to do before seeing an exhibition. I looked at all the installation images, I read the catalogue essay, and I had a predetermined opinion of what I would think of this exhibition. And yet, none of this in any way took away from seeing Kerry James Marshall: The Histories at the Royal Academy of Art. The most vital art demands to be seen in person, and looks different (and ideally better) than in reproductions, and KJM’s work absolutely stands up to that test.

The other test it stands up to — sort of singularly in the realm of figurative painting, in my opinion — is the universality found in the works, while still asking quite a lot of their viewers and never settling down to a simple or final reading.

In the long catalog essay curator Mark Godfey recounts how a 2012 encounter with Kerry in his studio in Chicago was the first time he saw his work in person, and that in that moment he was schooled on his skepticism toward figuration as a critical strategy in contemporary art. In reading that passage, it came flashing back to me that my first encounter with his work came but 4 years later in 2016 through Mastry, the major American retrospective when it was at the Met Breuer, which I saw sort of on a whim at the recommendation of one of my professors. Barely out of grad school at that point and still deeply steeped in critical theory and cynicism toward the vast majority of painting, I sort of didn’t have the tools or context to fully understand the work and its importance but could nonetheless read it as serious and significant painting.

It’s been just under 10 years since I saw that exhibition, and it’s truly wonderful to have a “do-over” of seeing a large volume of his works, many of which I’ve seen in major museums over the years since. Many other of the most triumphant ones — particularly some of the most meta ones about art history and conventions of looking at art within museums — hadn’t been made yet! (continued in comments) #kerryjamesmarshall #kerryjamesmarshallthehistories #royalacademyofarts #contemporaryart #contemporarypainting

I did all the things I try not to do before seeing an exhibition. I looked at all the installation images, I read the catalogue essay, and I had a predetermined opinion of what I would think of this exhibition. And yet, none of this in any way took away from seeing Kerry James Marshall: The Histories at the Royal Academy of Art. The most vital art demands to be seen in person, and looks different (and ideally better) than in reproductions, and KJM’s work absolutely stands up to that test.

The other test it stands up to — sort of singularly in the realm of figurative painting, in my opinion — is the universality found in the works, while still asking quite a lot of their viewers and never settling down to a simple or final reading.

In the long catalog essay curator Mark Godfey recounts how a 2012 encounter with Kerry in his studio in Chicago was the first time he saw his work in person, and that in that moment he was schooled on his skepticism toward figuration as a critical strategy in contemporary art. In reading that passage, it came flashing back to me that my first encounter with his work came but 4 years later in 2016 through Mastry, the major American retrospective when it was at the Met Breuer, which I saw sort of on a whim at the recommendation of one of my professors. Barely out of grad school at that point and still deeply steeped in critical theory and cynicism toward the vast majority of painting, I sort of didn’t have the tools or context to fully understand the work and its importance but could nonetheless read it as serious and significant painting.

It’s been just under 10 years since I saw that exhibition, and it’s truly wonderful to have a “do-over” of seeing a large volume of his works, many of which I’ve seen in major museums over the years since. Many other of the most triumphant ones — particularly some of the most meta ones about art history and conventions of looking at art within museums — hadn’t been made yet! (continued in comments) #kerryjamesmarshall #kerryjamesmarshallthehistories #royalacademyofarts #contemporaryart #contemporarypainting

I did all the things I try not to do before seeing an exhibition. I looked at all the installation images, I read the catalogue essay, and I had a predetermined opinion of what I would think of this exhibition. And yet, none of this in any way took away from seeing Kerry James Marshall: The Histories at the Royal Academy of Art. The most vital art demands to be seen in person, and looks different (and ideally better) than in reproductions, and KJM’s work absolutely stands up to that test.

The other test it stands up to — sort of singularly in the realm of figurative painting, in my opinion — is the universality found in the works, while still asking quite a lot of their viewers and never settling down to a simple or final reading.

In the long catalog essay curator Mark Godfey recounts how a 2012 encounter with Kerry in his studio in Chicago was the first time he saw his work in person, and that in that moment he was schooled on his skepticism toward figuration as a critical strategy in contemporary art. In reading that passage, it came flashing back to me that my first encounter with his work came but 4 years later in 2016 through Mastry, the major American retrospective when it was at the Met Breuer, which I saw sort of on a whim at the recommendation of one of my professors. Barely out of grad school at that point and still deeply steeped in critical theory and cynicism toward the vast majority of painting, I sort of didn’t have the tools or context to fully understand the work and its importance but could nonetheless read it as serious and significant painting.

It’s been just under 10 years since I saw that exhibition, and it’s truly wonderful to have a “do-over” of seeing a large volume of his works, many of which I’ve seen in major museums over the years since. Many other of the most triumphant ones — particularly some of the most meta ones about art history and conventions of looking at art within museums — hadn’t been made yet! (continued in comments) #kerryjamesmarshall #kerryjamesmarshallthehistories #royalacademyofarts #contemporaryart #contemporarypainting

I did all the things I try not to do before seeing an exhibition. I looked at all the installation images, I read the catalogue essay, and I had a predetermined opinion of what I would think of this exhibition. And yet, none of this in any way took away from seeing Kerry James Marshall: The Histories at the Royal Academy of Art. The most vital art demands to be seen in person, and looks different (and ideally better) than in reproductions, and KJM’s work absolutely stands up to that test.

The other test it stands up to — sort of singularly in the realm of figurative painting, in my opinion — is the universality found in the works, while still asking quite a lot of their viewers and never settling down to a simple or final reading.

In the long catalog essay curator Mark Godfey recounts how a 2012 encounter with Kerry in his studio in Chicago was the first time he saw his work in person, and that in that moment he was schooled on his skepticism toward figuration as a critical strategy in contemporary art. In reading that passage, it came flashing back to me that my first encounter with his work came but 4 years later in 2016 through Mastry, the major American retrospective when it was at the Met Breuer, which I saw sort of on a whim at the recommendation of one of my professors. Barely out of grad school at that point and still deeply steeped in critical theory and cynicism toward the vast majority of painting, I sort of didn’t have the tools or context to fully understand the work and its importance but could nonetheless read it as serious and significant painting.

It’s been just under 10 years since I saw that exhibition, and it’s truly wonderful to have a “do-over” of seeing a large volume of his works, many of which I’ve seen in major museums over the years since. Many other of the most triumphant ones — particularly some of the most meta ones about art history and conventions of looking at art within museums — hadn’t been made yet! (continued in comments) #kerryjamesmarshall #kerryjamesmarshallthehistories #royalacademyofarts #contemporaryart #contemporarypainting

I did all the things I try not to do before seeing an exhibition. I looked at all the installation images, I read the catalogue essay, and I had a predetermined opinion of what I would think of this exhibition. And yet, none of this in any way took away from seeing Kerry James Marshall: The Histories at the Royal Academy of Art. The most vital art demands to be seen in person, and looks different (and ideally better) than in reproductions, and KJM’s work absolutely stands up to that test.

The other test it stands up to — sort of singularly in the realm of figurative painting, in my opinion — is the universality found in the works, while still asking quite a lot of their viewers and never settling down to a simple or final reading.

In the long catalog essay curator Mark Godfey recounts how a 2012 encounter with Kerry in his studio in Chicago was the first time he saw his work in person, and that in that moment he was schooled on his skepticism toward figuration as a critical strategy in contemporary art. In reading that passage, it came flashing back to me that my first encounter with his work came but 4 years later in 2016 through Mastry, the major American retrospective when it was at the Met Breuer, which I saw sort of on a whim at the recommendation of one of my professors. Barely out of grad school at that point and still deeply steeped in critical theory and cynicism toward the vast majority of painting, I sort of didn’t have the tools or context to fully understand the work and its importance but could nonetheless read it as serious and significant painting.

It’s been just under 10 years since I saw that exhibition, and it’s truly wonderful to have a “do-over” of seeing a large volume of his works, many of which I’ve seen in major museums over the years since. Many other of the most triumphant ones — particularly some of the most meta ones about art history and conventions of looking at art within museums — hadn’t been made yet! (continued in comments) #kerryjamesmarshall #kerryjamesmarshallthehistories #royalacademyofarts #contemporaryart #contemporarypainting

I did all the things I try not to do before seeing an exhibition. I looked at all the installation images, I read the catalogue essay, and I had a predetermined opinion of what I would think of this exhibition. And yet, none of this in any way took away from seeing Kerry James Marshall: The Histories at the Royal Academy of Art. The most vital art demands to be seen in person, and looks different (and ideally better) than in reproductions, and KJM’s work absolutely stands up to that test.

The other test it stands up to — sort of singularly in the realm of figurative painting, in my opinion — is the universality found in the works, while still asking quite a lot of their viewers and never settling down to a simple or final reading.

In the long catalog essay curator Mark Godfey recounts how a 2012 encounter with Kerry in his studio in Chicago was the first time he saw his work in person, and that in that moment he was schooled on his skepticism toward figuration as a critical strategy in contemporary art. In reading that passage, it came flashing back to me that my first encounter with his work came but 4 years later in 2016 through Mastry, the major American retrospective when it was at the Met Breuer, which I saw sort of on a whim at the recommendation of one of my professors. Barely out of grad school at that point and still deeply steeped in critical theory and cynicism toward the vast majority of painting, I sort of didn’t have the tools or context to fully understand the work and its importance but could nonetheless read it as serious and significant painting.

It’s been just under 10 years since I saw that exhibition, and it’s truly wonderful to have a “do-over” of seeing a large volume of his works, many of which I’ve seen in major museums over the years since. Many other of the most triumphant ones — particularly some of the most meta ones about art history and conventions of looking at art within museums — hadn’t been made yet! (continued in comments) #kerryjamesmarshall #kerryjamesmarshallthehistories #royalacademyofarts #contemporaryart #contemporarypainting

I did all the things I try not to do before seeing an exhibition. I looked at all the installation images, I read the catalogue essay, and I had a predetermined opinion of what I would think of this exhibition. And yet, none of this in any way took away from seeing Kerry James Marshall: The Histories at the Royal Academy of Art. The most vital art demands to be seen in person, and looks different (and ideally better) than in reproductions, and KJM’s work absolutely stands up to that test.

The other test it stands up to — sort of singularly in the realm of figurative painting, in my opinion — is the universality found in the works, while still asking quite a lot of their viewers and never settling down to a simple or final reading.

In the long catalog essay curator Mark Godfey recounts how a 2012 encounter with Kerry in his studio in Chicago was the first time he saw his work in person, and that in that moment he was schooled on his skepticism toward figuration as a critical strategy in contemporary art. In reading that passage, it came flashing back to me that my first encounter with his work came but 4 years later in 2016 through Mastry, the major American retrospective when it was at the Met Breuer, which I saw sort of on a whim at the recommendation of one of my professors. Barely out of grad school at that point and still deeply steeped in critical theory and cynicism toward the vast majority of painting, I sort of didn’t have the tools or context to fully understand the work and its importance but could nonetheless read it as serious and significant painting.

It’s been just under 10 years since I saw that exhibition, and it’s truly wonderful to have a “do-over” of seeing a large volume of his works, many of which I’ve seen in major museums over the years since. Many other of the most triumphant ones — particularly some of the most meta ones about art history and conventions of looking at art within museums — hadn’t been made yet! (continued in comments) #kerryjamesmarshall #kerryjamesmarshallthehistories #royalacademyofarts #contemporaryart #contemporarypainting

I did all the things I try not to do before seeing an exhibition. I looked at all the installation images, I read the catalogue essay, and I had a predetermined opinion of what I would think of this exhibition. And yet, none of this in any way took away from seeing Kerry James Marshall: The Histories at the Royal Academy of Art. The most vital art demands to be seen in person, and looks different (and ideally better) than in reproductions, and KJM’s work absolutely stands up to that test.

The other test it stands up to — sort of singularly in the realm of figurative painting, in my opinion — is the universality found in the works, while still asking quite a lot of their viewers and never settling down to a simple or final reading.

In the long catalog essay curator Mark Godfey recounts how a 2012 encounter with Kerry in his studio in Chicago was the first time he saw his work in person, and that in that moment he was schooled on his skepticism toward figuration as a critical strategy in contemporary art. In reading that passage, it came flashing back to me that my first encounter with his work came but 4 years later in 2016 through Mastry, the major American retrospective when it was at the Met Breuer, which I saw sort of on a whim at the recommendation of one of my professors. Barely out of grad school at that point and still deeply steeped in critical theory and cynicism toward the vast majority of painting, I sort of didn’t have the tools or context to fully understand the work and its importance but could nonetheless read it as serious and significant painting.

It’s been just under 10 years since I saw that exhibition, and it’s truly wonderful to have a “do-over” of seeing a large volume of his works, many of which I’ve seen in major museums over the years since. Many other of the most triumphant ones — particularly some of the most meta ones about art history and conventions of looking at art within museums — hadn’t been made yet! (continued in comments) #kerryjamesmarshall #kerryjamesmarshallthehistories #royalacademyofarts #contemporaryart #contemporarypainting

I did all the things I try not to do before seeing an exhibition. I looked at all the installation images, I read the catalogue essay, and I had a predetermined opinion of what I would think of this exhibition. And yet, none of this in any way took away from seeing Kerry James Marshall: The Histories at the Royal Academy of Art. The most vital art demands to be seen in person, and looks different (and ideally better) than in reproductions, and KJM’s work absolutely stands up to that test.

The other test it stands up to — sort of singularly in the realm of figurative painting, in my opinion — is the universality found in the works, while still asking quite a lot of their viewers and never settling down to a simple or final reading.

In the long catalog essay curator Mark Godfey recounts how a 2012 encounter with Kerry in his studio in Chicago was the first time he saw his work in person, and that in that moment he was schooled on his skepticism toward figuration as a critical strategy in contemporary art. In reading that passage, it came flashing back to me that my first encounter with his work came but 4 years later in 2016 through Mastry, the major American retrospective when it was at the Met Breuer, which I saw sort of on a whim at the recommendation of one of my professors. Barely out of grad school at that point and still deeply steeped in critical theory and cynicism toward the vast majority of painting, I sort of didn’t have the tools or context to fully understand the work and its importance but could nonetheless read it as serious and significant painting.

It’s been just under 10 years since I saw that exhibition, and it’s truly wonderful to have a “do-over” of seeing a large volume of his works, many of which I’ve seen in major museums over the years since. Many other of the most triumphant ones — particularly some of the most meta ones about art history and conventions of looking at art within museums — hadn’t been made yet! (continued in comments) #kerryjamesmarshall #kerryjamesmarshallthehistories #royalacademyofarts #contemporaryart #contemporarypainting

I did all the things I try not to do before seeing an exhibition. I looked at all the installation images, I read the catalogue essay, and I had a predetermined opinion of what I would think of this exhibition. And yet, none of this in any way took away from seeing Kerry James Marshall: The Histories at the Royal Academy of Art. The most vital art demands to be seen in person, and looks different (and ideally better) than in reproductions, and KJM’s work absolutely stands up to that test.

The other test it stands up to — sort of singularly in the realm of figurative painting, in my opinion — is the universality found in the works, while still asking quite a lot of their viewers and never settling down to a simple or final reading.

In the long catalog essay curator Mark Godfey recounts how a 2012 encounter with Kerry in his studio in Chicago was the first time he saw his work in person, and that in that moment he was schooled on his skepticism toward figuration as a critical strategy in contemporary art. In reading that passage, it came flashing back to me that my first encounter with his work came but 4 years later in 2016 through Mastry, the major American retrospective when it was at the Met Breuer, which I saw sort of on a whim at the recommendation of one of my professors. Barely out of grad school at that point and still deeply steeped in critical theory and cynicism toward the vast majority of painting, I sort of didn’t have the tools or context to fully understand the work and its importance but could nonetheless read it as serious and significant painting.

It’s been just under 10 years since I saw that exhibition, and it’s truly wonderful to have a “do-over” of seeing a large volume of his works, many of which I’ve seen in major museums over the years since. Many other of the most triumphant ones — particularly some of the most meta ones about art history and conventions of looking at art within museums — hadn’t been made yet! (continued in comments) #kerryjamesmarshall #kerryjamesmarshallthehistories #royalacademyofarts #contemporaryart #contemporarypainting

I did all the things I try not to do before seeing an exhibition. I looked at all the installation images, I read the catalogue essay, and I had a predetermined opinion of what I would think of this exhibition. And yet, none of this in any way took away from seeing Kerry James Marshall: The Histories at the Royal Academy of Art. The most vital art demands to be seen in person, and looks different (and ideally better) than in reproductions, and KJM’s work absolutely stands up to that test.

The other test it stands up to — sort of singularly in the realm of figurative painting, in my opinion — is the universality found in the works, while still asking quite a lot of their viewers and never settling down to a simple or final reading.

In the long catalog essay curator Mark Godfey recounts how a 2012 encounter with Kerry in his studio in Chicago was the first time he saw his work in person, and that in that moment he was schooled on his skepticism toward figuration as a critical strategy in contemporary art. In reading that passage, it came flashing back to me that my first encounter with his work came but 4 years later in 2016 through Mastry, the major American retrospective when it was at the Met Breuer, which I saw sort of on a whim at the recommendation of one of my professors. Barely out of grad school at that point and still deeply steeped in critical theory and cynicism toward the vast majority of painting, I sort of didn’t have the tools or context to fully understand the work and its importance but could nonetheless read it as serious and significant painting.

It’s been just under 10 years since I saw that exhibition, and it’s truly wonderful to have a “do-over” of seeing a large volume of his works, many of which I’ve seen in major museums over the years since. Many other of the most triumphant ones — particularly some of the most meta ones about art history and conventions of looking at art within museums — hadn’t been made yet! (continued in comments) #kerryjamesmarshall #kerryjamesmarshallthehistories #royalacademyofarts #contemporaryart #contemporarypainting

I did all the things I try not to do before seeing an exhibition. I looked at all the installation images, I read the catalogue essay, and I had a predetermined opinion of what I would think of this exhibition. And yet, none of this in any way took away from seeing Kerry James Marshall: The Histories at the Royal Academy of Art. The most vital art demands to be seen in person, and looks different (and ideally better) than in reproductions, and KJM’s work absolutely stands up to that test.

The other test it stands up to — sort of singularly in the realm of figurative painting, in my opinion — is the universality found in the works, while still asking quite a lot of their viewers and never settling down to a simple or final reading.

In the long catalog essay curator Mark Godfey recounts how a 2012 encounter with Kerry in his studio in Chicago was the first time he saw his work in person, and that in that moment he was schooled on his skepticism toward figuration as a critical strategy in contemporary art. In reading that passage, it came flashing back to me that my first encounter with his work came but 4 years later in 2016 through Mastry, the major American retrospective when it was at the Met Breuer, which I saw sort of on a whim at the recommendation of one of my professors. Barely out of grad school at that point and still deeply steeped in critical theory and cynicism toward the vast majority of painting, I sort of didn’t have the tools or context to fully understand the work and its importance but could nonetheless read it as serious and significant painting.

It’s been just under 10 years since I saw that exhibition, and it’s truly wonderful to have a “do-over” of seeing a large volume of his works, many of which I’ve seen in major museums over the years since. Many other of the most triumphant ones — particularly some of the most meta ones about art history and conventions of looking at art within museums — hadn’t been made yet! (continued in comments) #kerryjamesmarshall #kerryjamesmarshallthehistories #royalacademyofarts #contemporaryart #contemporarypainting

I did all the things I try not to do before seeing an exhibition. I looked at all the installation images, I read the catalogue essay, and I had a predetermined opinion of what I would think of this exhibition. And yet, none of this in any way took away from seeing Kerry James Marshall: The Histories at the Royal Academy of Art. The most vital art demands to be seen in person, and looks different (and ideally better) than in reproductions, and KJM’s work absolutely stands up to that test.

The other test it stands up to — sort of singularly in the realm of figurative painting, in my opinion — is the universality found in the works, while still asking quite a lot of their viewers and never settling down to a simple or final reading.

In the long catalog essay curator Mark Godfey recounts how a 2012 encounter with Kerry in his studio in Chicago was the first time he saw his work in person, and that in that moment he was schooled on his skepticism toward figuration as a critical strategy in contemporary art. In reading that passage, it came flashing back to me that my first encounter with his work came but 4 years later in 2016 through Mastry, the major American retrospective when it was at the Met Breuer, which I saw sort of on a whim at the recommendation of one of my professors. Barely out of grad school at that point and still deeply steeped in critical theory and cynicism toward the vast majority of painting, I sort of didn’t have the tools or context to fully understand the work and its importance but could nonetheless read it as serious and significant painting.

It’s been just under 10 years since I saw that exhibition, and it’s truly wonderful to have a “do-over” of seeing a large volume of his works, many of which I’ve seen in major museums over the years since. Many other of the most triumphant ones — particularly some of the most meta ones about art history and conventions of looking at art within museums — hadn’t been made yet! (continued in comments) #kerryjamesmarshall #kerryjamesmarshallthehistories #royalacademyofarts #contemporaryart #contemporarypainting

I know we all talk about New York as a painting town, but I’m hereby declaring it stellar sculpture Fall! Most of these closed recently, really trying to be better about posting things when they are open. It was of course a futile task to choose but one image per exhibition, and something of a violence to the works whose dimensionality resists our image saturated moment of everything being always already mediated.

1. Bettina @ Ulrik
2. Ken Price @ Matthew Marks
3. Jairo Sosa @ Galerie Timonier
4. Ohad Meroni @ 56 Henry
5. Jean-Luc Moulene @ Miguel Abreu - through Nov 5
6. Nayland Blake @ Matthew Marks
7. Joel Shapiro @ Paula Cooper
8. Khalil Robert Irving @ Canada
9. D.W. Fitzpatrick @ Gordon Robichaux
10. Jonathan Baldock @ Nicelle Beauchene
11. Donald Moffett @ Alexander Gray
12. Max Hooper Schneider @ 125 Newbury
13. Elizabeth Englander @ Theta
14. Patrick Carlin Mohundro + Nathaniel de Large @ International Waters - through Dec 14
15. Jan Hüskes @ Gratin
16. Roman Ondak @ Peter Freeman
17. Mona Kowalska @ Kerry Schuss
18. Beca Acosta & Marcy Chevali @ Underdonk
19. Alan Saret @ Karma
20. Meredith James @ Marinaro - through Dec 13

#contemporaryart #nycgalleries #contemporarysculpture

I know we all talk about New York as a painting town, but I’m hereby declaring it stellar sculpture Fall! Most of these closed recently, really trying to be better about posting things when they are open. It was of course a futile task to choose but one image per exhibition, and something of a violence to the works whose dimensionality resists our image saturated moment of everything being always already mediated.

1. Bettina @ Ulrik
2. Ken Price @ Matthew Marks
3. Jairo Sosa @ Galerie Timonier
4. Ohad Meroni @ 56 Henry
5. Jean-Luc Moulene @ Miguel Abreu - through Nov 5
6. Nayland Blake @ Matthew Marks
7. Joel Shapiro @ Paula Cooper
8. Khalil Robert Irving @ Canada
9. D.W. Fitzpatrick @ Gordon Robichaux
10. Jonathan Baldock @ Nicelle Beauchene
11. Donald Moffett @ Alexander Gray
12. Max Hooper Schneider @ 125 Newbury
13. Elizabeth Englander @ Theta
14. Patrick Carlin Mohundro + Nathaniel de Large @ International Waters - through Dec 14
15. Jan Hüskes @ Gratin
16. Roman Ondak @ Peter Freeman
17. Mona Kowalska @ Kerry Schuss
18. Beca Acosta & Marcy Chevali @ Underdonk
19. Alan Saret @ Karma
20. Meredith James @ Marinaro - through Dec 13

#contemporaryart #nycgalleries #contemporarysculpture

I know we all talk about New York as a painting town, but I’m hereby declaring it stellar sculpture Fall! Most of these closed recently, really trying to be better about posting things when they are open. It was of course a futile task to choose but one image per exhibition, and something of a violence to the works whose dimensionality resists our image saturated moment of everything being always already mediated.

1. Bettina @ Ulrik
2. Ken Price @ Matthew Marks
3. Jairo Sosa @ Galerie Timonier
4. Ohad Meroni @ 56 Henry
5. Jean-Luc Moulene @ Miguel Abreu - through Nov 5
6. Nayland Blake @ Matthew Marks
7. Joel Shapiro @ Paula Cooper
8. Khalil Robert Irving @ Canada
9. D.W. Fitzpatrick @ Gordon Robichaux
10. Jonathan Baldock @ Nicelle Beauchene
11. Donald Moffett @ Alexander Gray
12. Max Hooper Schneider @ 125 Newbury
13. Elizabeth Englander @ Theta
14. Patrick Carlin Mohundro + Nathaniel de Large @ International Waters - through Dec 14
15. Jan Hüskes @ Gratin
16. Roman Ondak @ Peter Freeman
17. Mona Kowalska @ Kerry Schuss
18. Beca Acosta & Marcy Chevali @ Underdonk
19. Alan Saret @ Karma
20. Meredith James @ Marinaro - through Dec 13

#contemporaryart #nycgalleries #contemporarysculpture

I know we all talk about New York as a painting town, but I’m hereby declaring it stellar sculpture Fall! Most of these closed recently, really trying to be better about posting things when they are open. It was of course a futile task to choose but one image per exhibition, and something of a violence to the works whose dimensionality resists our image saturated moment of everything being always already mediated.

1. Bettina @ Ulrik
2. Ken Price @ Matthew Marks
3. Jairo Sosa @ Galerie Timonier
4. Ohad Meroni @ 56 Henry
5. Jean-Luc Moulene @ Miguel Abreu - through Nov 5
6. Nayland Blake @ Matthew Marks
7. Joel Shapiro @ Paula Cooper
8. Khalil Robert Irving @ Canada
9. D.W. Fitzpatrick @ Gordon Robichaux
10. Jonathan Baldock @ Nicelle Beauchene
11. Donald Moffett @ Alexander Gray
12. Max Hooper Schneider @ 125 Newbury
13. Elizabeth Englander @ Theta
14. Patrick Carlin Mohundro + Nathaniel de Large @ International Waters - through Dec 14
15. Jan Hüskes @ Gratin
16. Roman Ondak @ Peter Freeman
17. Mona Kowalska @ Kerry Schuss
18. Beca Acosta & Marcy Chevali @ Underdonk
19. Alan Saret @ Karma
20. Meredith James @ Marinaro - through Dec 13

#contemporaryart #nycgalleries #contemporarysculpture

I know we all talk about New York as a painting town, but I’m hereby declaring it stellar sculpture Fall! Most of these closed recently, really trying to be better about posting things when they are open. It was of course a futile task to choose but one image per exhibition, and something of a violence to the works whose dimensionality resists our image saturated moment of everything being always already mediated.

1. Bettina @ Ulrik
2. Ken Price @ Matthew Marks
3. Jairo Sosa @ Galerie Timonier
4. Ohad Meroni @ 56 Henry
5. Jean-Luc Moulene @ Miguel Abreu - through Nov 5
6. Nayland Blake @ Matthew Marks
7. Joel Shapiro @ Paula Cooper
8. Khalil Robert Irving @ Canada
9. D.W. Fitzpatrick @ Gordon Robichaux
10. Jonathan Baldock @ Nicelle Beauchene
11. Donald Moffett @ Alexander Gray
12. Max Hooper Schneider @ 125 Newbury
13. Elizabeth Englander @ Theta
14. Patrick Carlin Mohundro + Nathaniel de Large @ International Waters - through Dec 14
15. Jan Hüskes @ Gratin
16. Roman Ondak @ Peter Freeman
17. Mona Kowalska @ Kerry Schuss
18. Beca Acosta & Marcy Chevali @ Underdonk
19. Alan Saret @ Karma
20. Meredith James @ Marinaro - through Dec 13

#contemporaryart #nycgalleries #contemporarysculpture

I know we all talk about New York as a painting town, but I’m hereby declaring it stellar sculpture Fall! Most of these closed recently, really trying to be better about posting things when they are open. It was of course a futile task to choose but one image per exhibition, and something of a violence to the works whose dimensionality resists our image saturated moment of everything being always already mediated.

1. Bettina @ Ulrik
2. Ken Price @ Matthew Marks
3. Jairo Sosa @ Galerie Timonier
4. Ohad Meroni @ 56 Henry
5. Jean-Luc Moulene @ Miguel Abreu - through Nov 5
6. Nayland Blake @ Matthew Marks
7. Joel Shapiro @ Paula Cooper
8. Khalil Robert Irving @ Canada
9. D.W. Fitzpatrick @ Gordon Robichaux
10. Jonathan Baldock @ Nicelle Beauchene
11. Donald Moffett @ Alexander Gray
12. Max Hooper Schneider @ 125 Newbury
13. Elizabeth Englander @ Theta
14. Patrick Carlin Mohundro + Nathaniel de Large @ International Waters - through Dec 14
15. Jan Hüskes @ Gratin
16. Roman Ondak @ Peter Freeman
17. Mona Kowalska @ Kerry Schuss
18. Beca Acosta & Marcy Chevali @ Underdonk
19. Alan Saret @ Karma
20. Meredith James @ Marinaro - through Dec 13

#contemporaryart #nycgalleries #contemporarysculpture

I know we all talk about New York as a painting town, but I’m hereby declaring it stellar sculpture Fall! Most of these closed recently, really trying to be better about posting things when they are open. It was of course a futile task to choose but one image per exhibition, and something of a violence to the works whose dimensionality resists our image saturated moment of everything being always already mediated.

1. Bettina @ Ulrik
2. Ken Price @ Matthew Marks
3. Jairo Sosa @ Galerie Timonier
4. Ohad Meroni @ 56 Henry
5. Jean-Luc Moulene @ Miguel Abreu - through Nov 5
6. Nayland Blake @ Matthew Marks
7. Joel Shapiro @ Paula Cooper
8. Khalil Robert Irving @ Canada
9. D.W. Fitzpatrick @ Gordon Robichaux
10. Jonathan Baldock @ Nicelle Beauchene
11. Donald Moffett @ Alexander Gray
12. Max Hooper Schneider @ 125 Newbury
13. Elizabeth Englander @ Theta
14. Patrick Carlin Mohundro + Nathaniel de Large @ International Waters - through Dec 14
15. Jan Hüskes @ Gratin
16. Roman Ondak @ Peter Freeman
17. Mona Kowalska @ Kerry Schuss
18. Beca Acosta & Marcy Chevali @ Underdonk
19. Alan Saret @ Karma
20. Meredith James @ Marinaro - through Dec 13

#contemporaryart #nycgalleries #contemporarysculpture

I know we all talk about New York as a painting town, but I’m hereby declaring it stellar sculpture Fall! Most of these closed recently, really trying to be better about posting things when they are open. It was of course a futile task to choose but one image per exhibition, and something of a violence to the works whose dimensionality resists our image saturated moment of everything being always already mediated.

1. Bettina @ Ulrik
2. Ken Price @ Matthew Marks
3. Jairo Sosa @ Galerie Timonier
4. Ohad Meroni @ 56 Henry
5. Jean-Luc Moulene @ Miguel Abreu - through Nov 5
6. Nayland Blake @ Matthew Marks
7. Joel Shapiro @ Paula Cooper
8. Khalil Robert Irving @ Canada
9. D.W. Fitzpatrick @ Gordon Robichaux
10. Jonathan Baldock @ Nicelle Beauchene
11. Donald Moffett @ Alexander Gray
12. Max Hooper Schneider @ 125 Newbury
13. Elizabeth Englander @ Theta
14. Patrick Carlin Mohundro + Nathaniel de Large @ International Waters - through Dec 14
15. Jan Hüskes @ Gratin
16. Roman Ondak @ Peter Freeman
17. Mona Kowalska @ Kerry Schuss
18. Beca Acosta & Marcy Chevali @ Underdonk
19. Alan Saret @ Karma
20. Meredith James @ Marinaro - through Dec 13

#contemporaryart #nycgalleries #contemporarysculpture

I know we all talk about New York as a painting town, but I’m hereby declaring it stellar sculpture Fall! Most of these closed recently, really trying to be better about posting things when they are open. It was of course a futile task to choose but one image per exhibition, and something of a violence to the works whose dimensionality resists our image saturated moment of everything being always already mediated.

1. Bettina @ Ulrik
2. Ken Price @ Matthew Marks
3. Jairo Sosa @ Galerie Timonier
4. Ohad Meroni @ 56 Henry
5. Jean-Luc Moulene @ Miguel Abreu - through Nov 5
6. Nayland Blake @ Matthew Marks
7. Joel Shapiro @ Paula Cooper
8. Khalil Robert Irving @ Canada
9. D.W. Fitzpatrick @ Gordon Robichaux
10. Jonathan Baldock @ Nicelle Beauchene
11. Donald Moffett @ Alexander Gray
12. Max Hooper Schneider @ 125 Newbury
13. Elizabeth Englander @ Theta
14. Patrick Carlin Mohundro + Nathaniel de Large @ International Waters - through Dec 14
15. Jan Hüskes @ Gratin
16. Roman Ondak @ Peter Freeman
17. Mona Kowalska @ Kerry Schuss
18. Beca Acosta & Marcy Chevali @ Underdonk
19. Alan Saret @ Karma
20. Meredith James @ Marinaro - through Dec 13

#contemporaryart #nycgalleries #contemporarysculpture

I know we all talk about New York as a painting town, but I’m hereby declaring it stellar sculpture Fall! Most of these closed recently, really trying to be better about posting things when they are open. It was of course a futile task to choose but one image per exhibition, and something of a violence to the works whose dimensionality resists our image saturated moment of everything being always already mediated.

1. Bettina @ Ulrik
2. Ken Price @ Matthew Marks
3. Jairo Sosa @ Galerie Timonier
4. Ohad Meroni @ 56 Henry
5. Jean-Luc Moulene @ Miguel Abreu - through Nov 5
6. Nayland Blake @ Matthew Marks
7. Joel Shapiro @ Paula Cooper
8. Khalil Robert Irving @ Canada
9. D.W. Fitzpatrick @ Gordon Robichaux
10. Jonathan Baldock @ Nicelle Beauchene
11. Donald Moffett @ Alexander Gray
12. Max Hooper Schneider @ 125 Newbury
13. Elizabeth Englander @ Theta
14. Patrick Carlin Mohundro + Nathaniel de Large @ International Waters - through Dec 14
15. Jan Hüskes @ Gratin
16. Roman Ondak @ Peter Freeman
17. Mona Kowalska @ Kerry Schuss
18. Beca Acosta & Marcy Chevali @ Underdonk
19. Alan Saret @ Karma
20. Meredith James @ Marinaro - through Dec 13

#contemporaryart #nycgalleries #contemporarysculpture

I know we all talk about New York as a painting town, but I’m hereby declaring it stellar sculpture Fall! Most of these closed recently, really trying to be better about posting things when they are open. It was of course a futile task to choose but one image per exhibition, and something of a violence to the works whose dimensionality resists our image saturated moment of everything being always already mediated.

1. Bettina @ Ulrik
2. Ken Price @ Matthew Marks
3. Jairo Sosa @ Galerie Timonier
4. Ohad Meroni @ 56 Henry
5. Jean-Luc Moulene @ Miguel Abreu - through Nov 5
6. Nayland Blake @ Matthew Marks
7. Joel Shapiro @ Paula Cooper
8. Khalil Robert Irving @ Canada
9. D.W. Fitzpatrick @ Gordon Robichaux
10. Jonathan Baldock @ Nicelle Beauchene
11. Donald Moffett @ Alexander Gray
12. Max Hooper Schneider @ 125 Newbury
13. Elizabeth Englander @ Theta
14. Patrick Carlin Mohundro + Nathaniel de Large @ International Waters - through Dec 14
15. Jan Hüskes @ Gratin
16. Roman Ondak @ Peter Freeman
17. Mona Kowalska @ Kerry Schuss
18. Beca Acosta & Marcy Chevali @ Underdonk
19. Alan Saret @ Karma
20. Meredith James @ Marinaro - through Dec 13

#contemporaryart #nycgalleries #contemporarysculpture

I know we all talk about New York as a painting town, but I’m hereby declaring it stellar sculpture Fall! Most of these closed recently, really trying to be better about posting things when they are open. It was of course a futile task to choose but one image per exhibition, and something of a violence to the works whose dimensionality resists our image saturated moment of everything being always already mediated.

1. Bettina @ Ulrik
2. Ken Price @ Matthew Marks
3. Jairo Sosa @ Galerie Timonier
4. Ohad Meroni @ 56 Henry
5. Jean-Luc Moulene @ Miguel Abreu - through Nov 5
6. Nayland Blake @ Matthew Marks
7. Joel Shapiro @ Paula Cooper
8. Khalil Robert Irving @ Canada
9. D.W. Fitzpatrick @ Gordon Robichaux
10. Jonathan Baldock @ Nicelle Beauchene
11. Donald Moffett @ Alexander Gray
12. Max Hooper Schneider @ 125 Newbury
13. Elizabeth Englander @ Theta
14. Patrick Carlin Mohundro + Nathaniel de Large @ International Waters - through Dec 14
15. Jan Hüskes @ Gratin
16. Roman Ondak @ Peter Freeman
17. Mona Kowalska @ Kerry Schuss
18. Beca Acosta & Marcy Chevali @ Underdonk
19. Alan Saret @ Karma
20. Meredith James @ Marinaro - through Dec 13

#contemporaryart #nycgalleries #contemporarysculpture

I know we all talk about New York as a painting town, but I’m hereby declaring it stellar sculpture Fall! Most of these closed recently, really trying to be better about posting things when they are open. It was of course a futile task to choose but one image per exhibition, and something of a violence to the works whose dimensionality resists our image saturated moment of everything being always already mediated.

1. Bettina @ Ulrik
2. Ken Price @ Matthew Marks
3. Jairo Sosa @ Galerie Timonier
4. Ohad Meroni @ 56 Henry
5. Jean-Luc Moulene @ Miguel Abreu - through Nov 5
6. Nayland Blake @ Matthew Marks
7. Joel Shapiro @ Paula Cooper
8. Khalil Robert Irving @ Canada
9. D.W. Fitzpatrick @ Gordon Robichaux
10. Jonathan Baldock @ Nicelle Beauchene
11. Donald Moffett @ Alexander Gray
12. Max Hooper Schneider @ 125 Newbury
13. Elizabeth Englander @ Theta
14. Patrick Carlin Mohundro + Nathaniel de Large @ International Waters - through Dec 14
15. Jan Hüskes @ Gratin
16. Roman Ondak @ Peter Freeman
17. Mona Kowalska @ Kerry Schuss
18. Beca Acosta & Marcy Chevali @ Underdonk
19. Alan Saret @ Karma
20. Meredith James @ Marinaro - through Dec 13

#contemporaryart #nycgalleries #contemporarysculpture

I know we all talk about New York as a painting town, but I’m hereby declaring it stellar sculpture Fall! Most of these closed recently, really trying to be better about posting things when they are open. It was of course a futile task to choose but one image per exhibition, and something of a violence to the works whose dimensionality resists our image saturated moment of everything being always already mediated.

1. Bettina @ Ulrik
2. Ken Price @ Matthew Marks
3. Jairo Sosa @ Galerie Timonier
4. Ohad Meroni @ 56 Henry
5. Jean-Luc Moulene @ Miguel Abreu - through Nov 5
6. Nayland Blake @ Matthew Marks
7. Joel Shapiro @ Paula Cooper
8. Khalil Robert Irving @ Canada
9. D.W. Fitzpatrick @ Gordon Robichaux
10. Jonathan Baldock @ Nicelle Beauchene
11. Donald Moffett @ Alexander Gray
12. Max Hooper Schneider @ 125 Newbury
13. Elizabeth Englander @ Theta
14. Patrick Carlin Mohundro + Nathaniel de Large @ International Waters - through Dec 14
15. Jan Hüskes @ Gratin
16. Roman Ondak @ Peter Freeman
17. Mona Kowalska @ Kerry Schuss
18. Beca Acosta & Marcy Chevali @ Underdonk
19. Alan Saret @ Karma
20. Meredith James @ Marinaro - through Dec 13

#contemporaryart #nycgalleries #contemporarysculpture

I know we all talk about New York as a painting town, but I’m hereby declaring it stellar sculpture Fall! Most of these closed recently, really trying to be better about posting things when they are open. It was of course a futile task to choose but one image per exhibition, and something of a violence to the works whose dimensionality resists our image saturated moment of everything being always already mediated.

1. Bettina @ Ulrik
2. Ken Price @ Matthew Marks
3. Jairo Sosa @ Galerie Timonier
4. Ohad Meroni @ 56 Henry
5. Jean-Luc Moulene @ Miguel Abreu - through Nov 5
6. Nayland Blake @ Matthew Marks
7. Joel Shapiro @ Paula Cooper
8. Khalil Robert Irving @ Canada
9. D.W. Fitzpatrick @ Gordon Robichaux
10. Jonathan Baldock @ Nicelle Beauchene
11. Donald Moffett @ Alexander Gray
12. Max Hooper Schneider @ 125 Newbury
13. Elizabeth Englander @ Theta
14. Patrick Carlin Mohundro + Nathaniel de Large @ International Waters - through Dec 14
15. Jan Hüskes @ Gratin
16. Roman Ondak @ Peter Freeman
17. Mona Kowalska @ Kerry Schuss
18. Beca Acosta & Marcy Chevali @ Underdonk
19. Alan Saret @ Karma
20. Meredith James @ Marinaro - through Dec 13

#contemporaryart #nycgalleries #contemporarysculpture

I know we all talk about New York as a painting town, but I’m hereby declaring it stellar sculpture Fall! Most of these closed recently, really trying to be better about posting things when they are open. It was of course a futile task to choose but one image per exhibition, and something of a violence to the works whose dimensionality resists our image saturated moment of everything being always already mediated.

1. Bettina @ Ulrik
2. Ken Price @ Matthew Marks
3. Jairo Sosa @ Galerie Timonier
4. Ohad Meroni @ 56 Henry
5. Jean-Luc Moulene @ Miguel Abreu - through Nov 5
6. Nayland Blake @ Matthew Marks
7. Joel Shapiro @ Paula Cooper
8. Khalil Robert Irving @ Canada
9. D.W. Fitzpatrick @ Gordon Robichaux
10. Jonathan Baldock @ Nicelle Beauchene
11. Donald Moffett @ Alexander Gray
12. Max Hooper Schneider @ 125 Newbury
13. Elizabeth Englander @ Theta
14. Patrick Carlin Mohundro + Nathaniel de Large @ International Waters - through Dec 14
15. Jan Hüskes @ Gratin
16. Roman Ondak @ Peter Freeman
17. Mona Kowalska @ Kerry Schuss
18. Beca Acosta & Marcy Chevali @ Underdonk
19. Alan Saret @ Karma
20. Meredith James @ Marinaro - through Dec 13

#contemporaryart #nycgalleries #contemporarysculpture

I know we all talk about New York as a painting town, but I’m hereby declaring it stellar sculpture Fall! Most of these closed recently, really trying to be better about posting things when they are open. It was of course a futile task to choose but one image per exhibition, and something of a violence to the works whose dimensionality resists our image saturated moment of everything being always already mediated.

1. Bettina @ Ulrik
2. Ken Price @ Matthew Marks
3. Jairo Sosa @ Galerie Timonier
4. Ohad Meroni @ 56 Henry
5. Jean-Luc Moulene @ Miguel Abreu - through Nov 5
6. Nayland Blake @ Matthew Marks
7. Joel Shapiro @ Paula Cooper
8. Khalil Robert Irving @ Canada
9. D.W. Fitzpatrick @ Gordon Robichaux
10. Jonathan Baldock @ Nicelle Beauchene
11. Donald Moffett @ Alexander Gray
12. Max Hooper Schneider @ 125 Newbury
13. Elizabeth Englander @ Theta
14. Patrick Carlin Mohundro + Nathaniel de Large @ International Waters - through Dec 14
15. Jan Hüskes @ Gratin
16. Roman Ondak @ Peter Freeman
17. Mona Kowalska @ Kerry Schuss
18. Beca Acosta & Marcy Chevali @ Underdonk
19. Alan Saret @ Karma
20. Meredith James @ Marinaro - through Dec 13

#contemporaryart #nycgalleries #contemporarysculpture

I know we all talk about New York as a painting town, but I’m hereby declaring it stellar sculpture Fall! Most of these closed recently, really trying to be better about posting things when they are open. It was of course a futile task to choose but one image per exhibition, and something of a violence to the works whose dimensionality resists our image saturated moment of everything being always already mediated.

1. Bettina @ Ulrik
2. Ken Price @ Matthew Marks
3. Jairo Sosa @ Galerie Timonier
4. Ohad Meroni @ 56 Henry
5. Jean-Luc Moulene @ Miguel Abreu - through Nov 5
6. Nayland Blake @ Matthew Marks
7. Joel Shapiro @ Paula Cooper
8. Khalil Robert Irving @ Canada
9. D.W. Fitzpatrick @ Gordon Robichaux
10. Jonathan Baldock @ Nicelle Beauchene
11. Donald Moffett @ Alexander Gray
12. Max Hooper Schneider @ 125 Newbury
13. Elizabeth Englander @ Theta
14. Patrick Carlin Mohundro + Nathaniel de Large @ International Waters - through Dec 14
15. Jan Hüskes @ Gratin
16. Roman Ondak @ Peter Freeman
17. Mona Kowalska @ Kerry Schuss
18. Beca Acosta & Marcy Chevali @ Underdonk
19. Alan Saret @ Karma
20. Meredith James @ Marinaro - through Dec 13

#contemporaryart #nycgalleries #contemporarysculpture

I know we all talk about New York as a painting town, but I’m hereby declaring it stellar sculpture Fall! Most of these closed recently, really trying to be better about posting things when they are open. It was of course a futile task to choose but one image per exhibition, and something of a violence to the works whose dimensionality resists our image saturated moment of everything being always already mediated.

1. Bettina @ Ulrik
2. Ken Price @ Matthew Marks
3. Jairo Sosa @ Galerie Timonier
4. Ohad Meroni @ 56 Henry
5. Jean-Luc Moulene @ Miguel Abreu - through Nov 5
6. Nayland Blake @ Matthew Marks
7. Joel Shapiro @ Paula Cooper
8. Khalil Robert Irving @ Canada
9. D.W. Fitzpatrick @ Gordon Robichaux
10. Jonathan Baldock @ Nicelle Beauchene
11. Donald Moffett @ Alexander Gray
12. Max Hooper Schneider @ 125 Newbury
13. Elizabeth Englander @ Theta
14. Patrick Carlin Mohundro + Nathaniel de Large @ International Waters - through Dec 14
15. Jan Hüskes @ Gratin
16. Roman Ondak @ Peter Freeman
17. Mona Kowalska @ Kerry Schuss
18. Beca Acosta & Marcy Chevali @ Underdonk
19. Alan Saret @ Karma
20. Meredith James @ Marinaro - through Dec 13

#contemporaryart #nycgalleries #contemporarysculpture

I know we all talk about New York as a painting town, but I’m hereby declaring it stellar sculpture Fall! Most of these closed recently, really trying to be better about posting things when they are open. It was of course a futile task to choose but one image per exhibition, and something of a violence to the works whose dimensionality resists our image saturated moment of everything being always already mediated.

1. Bettina @ Ulrik
2. Ken Price @ Matthew Marks
3. Jairo Sosa @ Galerie Timonier
4. Ohad Meroni @ 56 Henry
5. Jean-Luc Moulene @ Miguel Abreu - through Nov 5
6. Nayland Blake @ Matthew Marks
7. Joel Shapiro @ Paula Cooper
8. Khalil Robert Irving @ Canada
9. D.W. Fitzpatrick @ Gordon Robichaux
10. Jonathan Baldock @ Nicelle Beauchene
11. Donald Moffett @ Alexander Gray
12. Max Hooper Schneider @ 125 Newbury
13. Elizabeth Englander @ Theta
14. Patrick Carlin Mohundro + Nathaniel de Large @ International Waters - through Dec 14
15. Jan Hüskes @ Gratin
16. Roman Ondak @ Peter Freeman
17. Mona Kowalska @ Kerry Schuss
18. Beca Acosta & Marcy Chevali @ Underdonk
19. Alan Saret @ Karma
20. Meredith James @ Marinaro - through Dec 13

#contemporaryart #nycgalleries #contemporarysculpture

If you think the avant-garde is dead, you probably didn’t spend a Sunday afternoon going to an opening at a laundromat, an art robot rumble with chamber music, and a gallery transformed into a 1980s living room, playing television clips from that era!

1 - 5. Scenes from “Manhattan Provisional Robo Theater,” a one-day event at Earth

6 - 7. After the Watershed | Late-Nite TV from Britain at Various Artists

8 - 9. Gloria Maximo: Service, presented by Desnivel at JJ Cleaners & Laundromat

If you think the avant-garde is dead, you probably didn’t spend a Sunday afternoon going to an opening at a laundromat, an art robot rumble with chamber music, and a gallery transformed into a 1980s living room, playing television clips from that era!

1 - 5. Scenes from “Manhattan Provisional Robo Theater,” a one-day event at Earth

6 - 7. After the Watershed | Late-Nite TV from Britain at Various Artists

8 - 9. Gloria Maximo: Service, presented by Desnivel at JJ Cleaners & Laundromat

If you think the avant-garde is dead, you probably didn’t spend a Sunday afternoon going to an opening at a laundromat, an art robot rumble with chamber music, and a gallery transformed into a 1980s living room, playing television clips from that era!

1 - 5. Scenes from “Manhattan Provisional Robo Theater,” a one-day event at Earth

6 - 7. After the Watershed | Late-Nite TV from Britain at Various Artists

8 - 9. Gloria Maximo: Service, presented by Desnivel at JJ Cleaners & Laundromat

If you think the avant-garde is dead, you probably didn’t spend a Sunday afternoon going to an opening at a laundromat, an art robot rumble with chamber music, and a gallery transformed into a 1980s living room, playing television clips from that era!

1 - 5. Scenes from “Manhattan Provisional Robo Theater,” a one-day event at Earth

6 - 7. After the Watershed | Late-Nite TV from Britain at Various Artists

8 - 9. Gloria Maximo: Service, presented by Desnivel at JJ Cleaners & Laundromat

If you think the avant-garde is dead, you probably didn’t spend a Sunday afternoon going to an opening at a laundromat, an art robot rumble with chamber music, and a gallery transformed into a 1980s living room, playing television clips from that era!

1 - 5. Scenes from “Manhattan Provisional Robo Theater,” a one-day event at Earth

6 - 7. After the Watershed | Late-Nite TV from Britain at Various Artists

8 - 9. Gloria Maximo: Service, presented by Desnivel at JJ Cleaners & Laundromat

If you think the avant-garde is dead, you probably didn’t spend a Sunday afternoon going to an opening at a laundromat, an art robot rumble with chamber music, and a gallery transformed into a 1980s living room, playing television clips from that era!

1 - 5. Scenes from “Manhattan Provisional Robo Theater,” a one-day event at Earth

6 - 7. After the Watershed | Late-Nite TV from Britain at Various Artists

8 - 9. Gloria Maximo: Service, presented by Desnivel at JJ Cleaners & Laundromat

If you think the avant-garde is dead, you probably didn’t spend a Sunday afternoon going to an opening at a laundromat, an art robot rumble with chamber music, and a gallery transformed into a 1980s living room, playing television clips from that era!

1 - 5. Scenes from “Manhattan Provisional Robo Theater,” a one-day event at Earth

6 - 7. After the Watershed | Late-Nite TV from Britain at Various Artists

8 - 9. Gloria Maximo: Service, presented by Desnivel at JJ Cleaners & Laundromat

If you think the avant-garde is dead, you probably didn’t spend a Sunday afternoon going to an opening at a laundromat, an art robot rumble with chamber music, and a gallery transformed into a 1980s living room, playing television clips from that era!

1 - 5. Scenes from “Manhattan Provisional Robo Theater,” a one-day event at Earth

6 - 7. After the Watershed | Late-Nite TV from Britain at Various Artists

8 - 9. Gloria Maximo: Service, presented by Desnivel at JJ Cleaners & Laundromat

If you think the avant-garde is dead, you probably didn’t spend a Sunday afternoon going to an opening at a laundromat, an art robot rumble with chamber music, and a gallery transformed into a 1980s living room, playing television clips from that era!

1 - 5. Scenes from “Manhattan Provisional Robo Theater,” a one-day event at Earth

6 - 7. After the Watershed | Late-Nite TV from Britain at Various Artists

8 - 9. Gloria Maximo: Service, presented by Desnivel at JJ Cleaners & Laundromat

There are more than 300 exhibitions opening in New York in September.I’ve been tracking them diligently and obsessively, and you can preview them in the Artwrld app, which is available on iOS and coming soon to Android.

I’ve been working with the team at Artwrld since the beginning of the year, and I’m so proud of what we’ve built and even more excited for what’s still to come. Working at startups earlier in my career, being more of a digital native than most of my age cohort as well as an apologist for how much the internet positively shaped my teen and early adult years feels like it’s really led to this.

We’re adding new exhibitions and updated information every day, and have built this app with both those native to and knowledgable about the art world and those new to it who want to discover and dive deeper in mind. It’s a strange and complicated system, and we couldn’t be more excited to make it a bit easier to navigate and make sense of.

There’s no cost to galleries to be on the app, and no cost to users for the basic version. Also currently available in Los Angeles — you can toggle between cities on the homepage or the profile page.

If you have thoughts, feedback, want to be involved, or want us to bring Artwrld to your city, we want to hear from you! Link is in my bio to download the app.

There are more than 300 exhibitions opening in New York in September.I’ve been tracking them diligently and obsessively, and you can preview them in the Artwrld app, which is available on iOS and coming soon to Android.

I’ve been working with the team at Artwrld since the beginning of the year, and I’m so proud of what we’ve built and even more excited for what’s still to come. Working at startups earlier in my career, being more of a digital native than most of my age cohort as well as an apologist for how much the internet positively shaped my teen and early adult years feels like it’s really led to this.

We’re adding new exhibitions and updated information every day, and have built this app with both those native to and knowledgable about the art world and those new to it who want to discover and dive deeper in mind. It’s a strange and complicated system, and we couldn’t be more excited to make it a bit easier to navigate and make sense of.

There’s no cost to galleries to be on the app, and no cost to users for the basic version. Also currently available in Los Angeles — you can toggle between cities on the homepage or the profile page.

If you have thoughts, feedback, want to be involved, or want us to bring Artwrld to your city, we want to hear from you! Link is in my bio to download the app.

There are more than 300 exhibitions opening in New York in September.I’ve been tracking them diligently and obsessively, and you can preview them in the Artwrld app, which is available on iOS and coming soon to Android.

I’ve been working with the team at Artwrld since the beginning of the year, and I’m so proud of what we’ve built and even more excited for what’s still to come. Working at startups earlier in my career, being more of a digital native than most of my age cohort as well as an apologist for how much the internet positively shaped my teen and early adult years feels like it’s really led to this.

We’re adding new exhibitions and updated information every day, and have built this app with both those native to and knowledgable about the art world and those new to it who want to discover and dive deeper in mind. It’s a strange and complicated system, and we couldn’t be more excited to make it a bit easier to navigate and make sense of.

There’s no cost to galleries to be on the app, and no cost to users for the basic version. Also currently available in Los Angeles — you can toggle between cities on the homepage or the profile page.

If you have thoughts, feedback, want to be involved, or want us to bring Artwrld to your city, we want to hear from you! Link is in my bio to download the app.

There are more than 300 exhibitions opening in New York in September.I’ve been tracking them diligently and obsessively, and you can preview them in the Artwrld app, which is available on iOS and coming soon to Android.

I’ve been working with the team at Artwrld since the beginning of the year, and I’m so proud of what we’ve built and even more excited for what’s still to come. Working at startups earlier in my career, being more of a digital native than most of my age cohort as well as an apologist for how much the internet positively shaped my teen and early adult years feels like it’s really led to this.

We’re adding new exhibitions and updated information every day, and have built this app with both those native to and knowledgable about the art world and those new to it who want to discover and dive deeper in mind. It’s a strange and complicated system, and we couldn’t be more excited to make it a bit easier to navigate and make sense of.

There’s no cost to galleries to be on the app, and no cost to users for the basic version. Also currently available in Los Angeles — you can toggle between cities on the homepage or the profile page.

If you have thoughts, feedback, want to be involved, or want us to bring Artwrld to your city, we want to hear from you! Link is in my bio to download the app.

There are more than 300 exhibitions opening in New York in September.I’ve been tracking them diligently and obsessively, and you can preview them in the Artwrld app, which is available on iOS and coming soon to Android.

I’ve been working with the team at Artwrld since the beginning of the year, and I’m so proud of what we’ve built and even more excited for what’s still to come. Working at startups earlier in my career, being more of a digital native than most of my age cohort as well as an apologist for how much the internet positively shaped my teen and early adult years feels like it’s really led to this.

We’re adding new exhibitions and updated information every day, and have built this app with both those native to and knowledgable about the art world and those new to it who want to discover and dive deeper in mind. It’s a strange and complicated system, and we couldn’t be more excited to make it a bit easier to navigate and make sense of.

There’s no cost to galleries to be on the app, and no cost to users for the basic version. Also currently available in Los Angeles — you can toggle between cities on the homepage or the profile page.

If you have thoughts, feedback, want to be involved, or want us to bring Artwrld to your city, we want to hear from you! Link is in my bio to download the app.

There are more than 300 exhibitions opening in New York in September.I’ve been tracking them diligently and obsessively, and you can preview them in the Artwrld app, which is available on iOS and coming soon to Android.

I’ve been working with the team at Artwrld since the beginning of the year, and I’m so proud of what we’ve built and even more excited for what’s still to come. Working at startups earlier in my career, being more of a digital native than most of my age cohort as well as an apologist for how much the internet positively shaped my teen and early adult years feels like it’s really led to this.

We’re adding new exhibitions and updated information every day, and have built this app with both those native to and knowledgable about the art world and those new to it who want to discover and dive deeper in mind. It’s a strange and complicated system, and we couldn’t be more excited to make it a bit easier to navigate and make sense of.

There’s no cost to galleries to be on the app, and no cost to users for the basic version. Also currently available in Los Angeles — you can toggle between cities on the homepage or the profile page.

If you have thoughts, feedback, want to be involved, or want us to bring Artwrld to your city, we want to hear from you! Link is in my bio to download the app.

There are more than 300 exhibitions opening in New York in September.I’ve been tracking them diligently and obsessively, and you can preview them in the Artwrld app, which is available on iOS and coming soon to Android.

I’ve been working with the team at Artwrld since the beginning of the year, and I’m so proud of what we’ve built and even more excited for what’s still to come. Working at startups earlier in my career, being more of a digital native than most of my age cohort as well as an apologist for how much the internet positively shaped my teen and early adult years feels like it’s really led to this.

We’re adding new exhibitions and updated information every day, and have built this app with both those native to and knowledgable about the art world and those new to it who want to discover and dive deeper in mind. It’s a strange and complicated system, and we couldn’t be more excited to make it a bit easier to navigate and make sense of.

There’s no cost to galleries to be on the app, and no cost to users for the basic version. Also currently available in Los Angeles — you can toggle between cities on the homepage or the profile page.

If you have thoughts, feedback, want to be involved, or want us to bring Artwrld to your city, we want to hear from you! Link is in my bio to download the app.

There are more than 300 exhibitions opening in New York in September.I’ve been tracking them diligently and obsessively, and you can preview them in the Artwrld app, which is available on iOS and coming soon to Android.

I’ve been working with the team at Artwrld since the beginning of the year, and I’m so proud of what we’ve built and even more excited for what’s still to come. Working at startups earlier in my career, being more of a digital native than most of my age cohort as well as an apologist for how much the internet positively shaped my teen and early adult years feels like it’s really led to this.

We’re adding new exhibitions and updated information every day, and have built this app with both those native to and knowledgable about the art world and those new to it who want to discover and dive deeper in mind. It’s a strange and complicated system, and we couldn’t be more excited to make it a bit easier to navigate and make sense of.

There’s no cost to galleries to be on the app, and no cost to users for the basic version. Also currently available in Los Angeles — you can toggle between cities on the homepage or the profile page.

If you have thoughts, feedback, want to be involved, or want us to bring Artwrld to your city, we want to hear from you! Link is in my bio to download the app.

There are more than 300 exhibitions opening in New York in September.I’ve been tracking them diligently and obsessively, and you can preview them in the Artwrld app, which is available on iOS and coming soon to Android.

I’ve been working with the team at Artwrld since the beginning of the year, and I’m so proud of what we’ve built and even more excited for what’s still to come. Working at startups earlier in my career, being more of a digital native than most of my age cohort as well as an apologist for how much the internet positively shaped my teen and early adult years feels like it’s really led to this.

We’re adding new exhibitions and updated information every day, and have built this app with both those native to and knowledgable about the art world and those new to it who want to discover and dive deeper in mind. It’s a strange and complicated system, and we couldn’t be more excited to make it a bit easier to navigate and make sense of.

There’s no cost to galleries to be on the app, and no cost to users for the basic version. Also currently available in Los Angeles — you can toggle between cities on the homepage or the profile page.

If you have thoughts, feedback, want to be involved, or want us to bring Artwrld to your city, we want to hear from you! Link is in my bio to download the app.

There are more than 300 exhibitions opening in New York in September.I’ve been tracking them diligently and obsessively, and you can preview them in the Artwrld app, which is available on iOS and coming soon to Android.

I’ve been working with the team at Artwrld since the beginning of the year, and I’m so proud of what we’ve built and even more excited for what’s still to come. Working at startups earlier in my career, being more of a digital native than most of my age cohort as well as an apologist for how much the internet positively shaped my teen and early adult years feels like it’s really led to this.

We’re adding new exhibitions and updated information every day, and have built this app with both those native to and knowledgable about the art world and those new to it who want to discover and dive deeper in mind. It’s a strange and complicated system, and we couldn’t be more excited to make it a bit easier to navigate and make sense of.

There’s no cost to galleries to be on the app, and no cost to users for the basic version. Also currently available in Los Angeles — you can toggle between cities on the homepage or the profile page.

If you have thoughts, feedback, want to be involved, or want us to bring Artwrld to your city, we want to hear from you! Link is in my bio to download the app.

Drove around upstate (in the Hudson Valley), saw a lot of art! 2025 Upstate Art Weekend wrapped 🚙

1. Ming Fay @ The Campus
2 - 3. Liz Magor @ The Campus
4. Blinn and Lambert @ The Campus
5. Xylor Jane @ The Campus
6. Nancy Shaver @ The Campus
7. Daniel Buren @ The Campus
8. Katharina Grosse @ The Campus
9. Richard Tuttle @ The Campus
10. Adam Linn @ Turley
11. Rachel Rossin @ Roundabouts Now
12. Will Douglas @ The Caboose
13. Liz Nielsen @ Mother-In-Laws
14. Mystery galloping horse @ Sky High Farm Biennial
15: Install view @ Sky High Farm biennial
16. Michael Sailstorfer @ Sky High Farm biennial
17. Mark Armijo McKnight @ Sky High Farm biennial
18. Lauren Anais Hussey @ Mother Gallery
19. Shigeko Kubota foundation (stumbled upon it in the space that used to be Analog Diary)
20. Proof of life in a Shigeko Kubota 😴

#upstateartweekend #upstateartweekend2025 #contemporaryart

Drove around upstate (in the Hudson Valley), saw a lot of art! 2025 Upstate Art Weekend wrapped 🚙

1. Ming Fay @ The Campus
2 - 3. Liz Magor @ The Campus
4. Blinn and Lambert @ The Campus
5. Xylor Jane @ The Campus
6. Nancy Shaver @ The Campus
7. Daniel Buren @ The Campus
8. Katharina Grosse @ The Campus
9. Richard Tuttle @ The Campus
10. Adam Linn @ Turley
11. Rachel Rossin @ Roundabouts Now
12. Will Douglas @ The Caboose
13. Liz Nielsen @ Mother-In-Laws
14. Mystery galloping horse @ Sky High Farm Biennial
15: Install view @ Sky High Farm biennial
16. Michael Sailstorfer @ Sky High Farm biennial
17. Mark Armijo McKnight @ Sky High Farm biennial
18. Lauren Anais Hussey @ Mother Gallery
19. Shigeko Kubota foundation (stumbled upon it in the space that used to be Analog Diary)
20. Proof of life in a Shigeko Kubota 😴

#upstateartweekend #upstateartweekend2025 #contemporaryart

Drove around upstate (in the Hudson Valley), saw a lot of art! 2025 Upstate Art Weekend wrapped 🚙

1. Ming Fay @ The Campus
2 - 3. Liz Magor @ The Campus
4. Blinn and Lambert @ The Campus
5. Xylor Jane @ The Campus
6. Nancy Shaver @ The Campus
7. Daniel Buren @ The Campus
8. Katharina Grosse @ The Campus
9. Richard Tuttle @ The Campus
10. Adam Linn @ Turley
11. Rachel Rossin @ Roundabouts Now
12. Will Douglas @ The Caboose
13. Liz Nielsen @ Mother-In-Laws
14. Mystery galloping horse @ Sky High Farm Biennial
15: Install view @ Sky High Farm biennial
16. Michael Sailstorfer @ Sky High Farm biennial
17. Mark Armijo McKnight @ Sky High Farm biennial
18. Lauren Anais Hussey @ Mother Gallery
19. Shigeko Kubota foundation (stumbled upon it in the space that used to be Analog Diary)
20. Proof of life in a Shigeko Kubota 😴

#upstateartweekend #upstateartweekend2025 #contemporaryart

Drove around upstate (in the Hudson Valley), saw a lot of art! 2025 Upstate Art Weekend wrapped 🚙

1. Ming Fay @ The Campus
2 - 3. Liz Magor @ The Campus
4. Blinn and Lambert @ The Campus
5. Xylor Jane @ The Campus
6. Nancy Shaver @ The Campus
7. Daniel Buren @ The Campus
8. Katharina Grosse @ The Campus
9. Richard Tuttle @ The Campus
10. Adam Linn @ Turley
11. Rachel Rossin @ Roundabouts Now
12. Will Douglas @ The Caboose
13. Liz Nielsen @ Mother-In-Laws
14. Mystery galloping horse @ Sky High Farm Biennial
15: Install view @ Sky High Farm biennial
16. Michael Sailstorfer @ Sky High Farm biennial
17. Mark Armijo McKnight @ Sky High Farm biennial
18. Lauren Anais Hussey @ Mother Gallery
19. Shigeko Kubota foundation (stumbled upon it in the space that used to be Analog Diary)
20. Proof of life in a Shigeko Kubota 😴

#upstateartweekend #upstateartweekend2025 #contemporaryart

Drove around upstate (in the Hudson Valley), saw a lot of art! 2025 Upstate Art Weekend wrapped 🚙

1. Ming Fay @ The Campus
2 - 3. Liz Magor @ The Campus
4. Blinn and Lambert @ The Campus
5. Xylor Jane @ The Campus
6. Nancy Shaver @ The Campus
7. Daniel Buren @ The Campus
8. Katharina Grosse @ The Campus
9. Richard Tuttle @ The Campus
10. Adam Linn @ Turley
11. Rachel Rossin @ Roundabouts Now
12. Will Douglas @ The Caboose
13. Liz Nielsen @ Mother-In-Laws
14. Mystery galloping horse @ Sky High Farm Biennial
15: Install view @ Sky High Farm biennial
16. Michael Sailstorfer @ Sky High Farm biennial
17. Mark Armijo McKnight @ Sky High Farm biennial
18. Lauren Anais Hussey @ Mother Gallery
19. Shigeko Kubota foundation (stumbled upon it in the space that used to be Analog Diary)
20. Proof of life in a Shigeko Kubota 😴

#upstateartweekend #upstateartweekend2025 #contemporaryart

Drove around upstate (in the Hudson Valley), saw a lot of art! 2025 Upstate Art Weekend wrapped 🚙

1. Ming Fay @ The Campus
2 - 3. Liz Magor @ The Campus
4. Blinn and Lambert @ The Campus
5. Xylor Jane @ The Campus
6. Nancy Shaver @ The Campus
7. Daniel Buren @ The Campus
8. Katharina Grosse @ The Campus
9. Richard Tuttle @ The Campus
10. Adam Linn @ Turley
11. Rachel Rossin @ Roundabouts Now
12. Will Douglas @ The Caboose
13. Liz Nielsen @ Mother-In-Laws
14. Mystery galloping horse @ Sky High Farm Biennial
15: Install view @ Sky High Farm biennial
16. Michael Sailstorfer @ Sky High Farm biennial
17. Mark Armijo McKnight @ Sky High Farm biennial
18. Lauren Anais Hussey @ Mother Gallery
19. Shigeko Kubota foundation (stumbled upon it in the space that used to be Analog Diary)
20. Proof of life in a Shigeko Kubota 😴

#upstateartweekend #upstateartweekend2025 #contemporaryart

Drove around upstate (in the Hudson Valley), saw a lot of art! 2025 Upstate Art Weekend wrapped 🚙

1. Ming Fay @ The Campus
2 - 3. Liz Magor @ The Campus
4. Blinn and Lambert @ The Campus
5. Xylor Jane @ The Campus
6. Nancy Shaver @ The Campus
7. Daniel Buren @ The Campus
8. Katharina Grosse @ The Campus
9. Richard Tuttle @ The Campus
10. Adam Linn @ Turley
11. Rachel Rossin @ Roundabouts Now
12. Will Douglas @ The Caboose
13. Liz Nielsen @ Mother-In-Laws
14. Mystery galloping horse @ Sky High Farm Biennial
15: Install view @ Sky High Farm biennial
16. Michael Sailstorfer @ Sky High Farm biennial
17. Mark Armijo McKnight @ Sky High Farm biennial
18. Lauren Anais Hussey @ Mother Gallery
19. Shigeko Kubota foundation (stumbled upon it in the space that used to be Analog Diary)
20. Proof of life in a Shigeko Kubota 😴

#upstateartweekend #upstateartweekend2025 #contemporaryart

Drove around upstate (in the Hudson Valley), saw a lot of art! 2025 Upstate Art Weekend wrapped 🚙

1. Ming Fay @ The Campus
2 - 3. Liz Magor @ The Campus
4. Blinn and Lambert @ The Campus
5. Xylor Jane @ The Campus
6. Nancy Shaver @ The Campus
7. Daniel Buren @ The Campus
8. Katharina Grosse @ The Campus
9. Richard Tuttle @ The Campus
10. Adam Linn @ Turley
11. Rachel Rossin @ Roundabouts Now
12. Will Douglas @ The Caboose
13. Liz Nielsen @ Mother-In-Laws
14. Mystery galloping horse @ Sky High Farm Biennial
15: Install view @ Sky High Farm biennial
16. Michael Sailstorfer @ Sky High Farm biennial
17. Mark Armijo McKnight @ Sky High Farm biennial
18. Lauren Anais Hussey @ Mother Gallery
19. Shigeko Kubota foundation (stumbled upon it in the space that used to be Analog Diary)
20. Proof of life in a Shigeko Kubota 😴

#upstateartweekend #upstateartweekend2025 #contemporaryart

Drove around upstate (in the Hudson Valley), saw a lot of art! 2025 Upstate Art Weekend wrapped 🚙

1. Ming Fay @ The Campus
2 - 3. Liz Magor @ The Campus
4. Blinn and Lambert @ The Campus
5. Xylor Jane @ The Campus
6. Nancy Shaver @ The Campus
7. Daniel Buren @ The Campus
8. Katharina Grosse @ The Campus
9. Richard Tuttle @ The Campus
10. Adam Linn @ Turley
11. Rachel Rossin @ Roundabouts Now
12. Will Douglas @ The Caboose
13. Liz Nielsen @ Mother-In-Laws
14. Mystery galloping horse @ Sky High Farm Biennial
15: Install view @ Sky High Farm biennial
16. Michael Sailstorfer @ Sky High Farm biennial
17. Mark Armijo McKnight @ Sky High Farm biennial
18. Lauren Anais Hussey @ Mother Gallery
19. Shigeko Kubota foundation (stumbled upon it in the space that used to be Analog Diary)
20. Proof of life in a Shigeko Kubota 😴

#upstateartweekend #upstateartweekend2025 #contemporaryart

Drove around upstate (in the Hudson Valley), saw a lot of art! 2025 Upstate Art Weekend wrapped 🚙

1. Ming Fay @ The Campus
2 - 3. Liz Magor @ The Campus
4. Blinn and Lambert @ The Campus
5. Xylor Jane @ The Campus
6. Nancy Shaver @ The Campus
7. Daniel Buren @ The Campus
8. Katharina Grosse @ The Campus
9. Richard Tuttle @ The Campus
10. Adam Linn @ Turley
11. Rachel Rossin @ Roundabouts Now
12. Will Douglas @ The Caboose
13. Liz Nielsen @ Mother-In-Laws
14. Mystery galloping horse @ Sky High Farm Biennial
15: Install view @ Sky High Farm biennial
16. Michael Sailstorfer @ Sky High Farm biennial
17. Mark Armijo McKnight @ Sky High Farm biennial
18. Lauren Anais Hussey @ Mother Gallery
19. Shigeko Kubota foundation (stumbled upon it in the space that used to be Analog Diary)
20. Proof of life in a Shigeko Kubota 😴

#upstateartweekend #upstateartweekend2025 #contemporaryart

Drove around upstate (in the Hudson Valley), saw a lot of art! 2025 Upstate Art Weekend wrapped 🚙

1. Ming Fay @ The Campus
2 - 3. Liz Magor @ The Campus
4. Blinn and Lambert @ The Campus
5. Xylor Jane @ The Campus
6. Nancy Shaver @ The Campus
7. Daniel Buren @ The Campus
8. Katharina Grosse @ The Campus
9. Richard Tuttle @ The Campus
10. Adam Linn @ Turley
11. Rachel Rossin @ Roundabouts Now
12. Will Douglas @ The Caboose
13. Liz Nielsen @ Mother-In-Laws
14. Mystery galloping horse @ Sky High Farm Biennial
15: Install view @ Sky High Farm biennial
16. Michael Sailstorfer @ Sky High Farm biennial
17. Mark Armijo McKnight @ Sky High Farm biennial
18. Lauren Anais Hussey @ Mother Gallery
19. Shigeko Kubota foundation (stumbled upon it in the space that used to be Analog Diary)
20. Proof of life in a Shigeko Kubota 😴

#upstateartweekend #upstateartweekend2025 #contemporaryart

Drove around upstate (in the Hudson Valley), saw a lot of art! 2025 Upstate Art Weekend wrapped 🚙

1. Ming Fay @ The Campus
2 - 3. Liz Magor @ The Campus
4. Blinn and Lambert @ The Campus
5. Xylor Jane @ The Campus
6. Nancy Shaver @ The Campus
7. Daniel Buren @ The Campus
8. Katharina Grosse @ The Campus
9. Richard Tuttle @ The Campus
10. Adam Linn @ Turley
11. Rachel Rossin @ Roundabouts Now
12. Will Douglas @ The Caboose
13. Liz Nielsen @ Mother-In-Laws
14. Mystery galloping horse @ Sky High Farm Biennial
15: Install view @ Sky High Farm biennial
16. Michael Sailstorfer @ Sky High Farm biennial
17. Mark Armijo McKnight @ Sky High Farm biennial
18. Lauren Anais Hussey @ Mother Gallery
19. Shigeko Kubota foundation (stumbled upon it in the space that used to be Analog Diary)
20. Proof of life in a Shigeko Kubota 😴

#upstateartweekend #upstateartweekend2025 #contemporaryart

Drove around upstate (in the Hudson Valley), saw a lot of art! 2025 Upstate Art Weekend wrapped 🚙

1. Ming Fay @ The Campus
2 - 3. Liz Magor @ The Campus
4. Blinn and Lambert @ The Campus
5. Xylor Jane @ The Campus
6. Nancy Shaver @ The Campus
7. Daniel Buren @ The Campus
8. Katharina Grosse @ The Campus
9. Richard Tuttle @ The Campus
10. Adam Linn @ Turley
11. Rachel Rossin @ Roundabouts Now
12. Will Douglas @ The Caboose
13. Liz Nielsen @ Mother-In-Laws
14. Mystery galloping horse @ Sky High Farm Biennial
15: Install view @ Sky High Farm biennial
16. Michael Sailstorfer @ Sky High Farm biennial
17. Mark Armijo McKnight @ Sky High Farm biennial
18. Lauren Anais Hussey @ Mother Gallery
19. Shigeko Kubota foundation (stumbled upon it in the space that used to be Analog Diary)
20. Proof of life in a Shigeko Kubota 😴

#upstateartweekend #upstateartweekend2025 #contemporaryart

Drove around upstate (in the Hudson Valley), saw a lot of art! 2025 Upstate Art Weekend wrapped 🚙

1. Ming Fay @ The Campus
2 - 3. Liz Magor @ The Campus
4. Blinn and Lambert @ The Campus
5. Xylor Jane @ The Campus
6. Nancy Shaver @ The Campus
7. Daniel Buren @ The Campus
8. Katharina Grosse @ The Campus
9. Richard Tuttle @ The Campus
10. Adam Linn @ Turley
11. Rachel Rossin @ Roundabouts Now
12. Will Douglas @ The Caboose
13. Liz Nielsen @ Mother-In-Laws
14. Mystery galloping horse @ Sky High Farm Biennial
15: Install view @ Sky High Farm biennial
16. Michael Sailstorfer @ Sky High Farm biennial
17. Mark Armijo McKnight @ Sky High Farm biennial
18. Lauren Anais Hussey @ Mother Gallery
19. Shigeko Kubota foundation (stumbled upon it in the space that used to be Analog Diary)
20. Proof of life in a Shigeko Kubota 😴

#upstateartweekend #upstateartweekend2025 #contemporaryart

Drove around upstate (in the Hudson Valley), saw a lot of art! 2025 Upstate Art Weekend wrapped 🚙

1. Ming Fay @ The Campus
2 - 3. Liz Magor @ The Campus
4. Blinn and Lambert @ The Campus
5. Xylor Jane @ The Campus
6. Nancy Shaver @ The Campus
7. Daniel Buren @ The Campus
8. Katharina Grosse @ The Campus
9. Richard Tuttle @ The Campus
10. Adam Linn @ Turley
11. Rachel Rossin @ Roundabouts Now
12. Will Douglas @ The Caboose
13. Liz Nielsen @ Mother-In-Laws
14. Mystery galloping horse @ Sky High Farm Biennial
15: Install view @ Sky High Farm biennial
16. Michael Sailstorfer @ Sky High Farm biennial
17. Mark Armijo McKnight @ Sky High Farm biennial
18. Lauren Anais Hussey @ Mother Gallery
19. Shigeko Kubota foundation (stumbled upon it in the space that used to be Analog Diary)
20. Proof of life in a Shigeko Kubota 😴

#upstateartweekend #upstateartweekend2025 #contemporaryart

Drove around upstate (in the Hudson Valley), saw a lot of art! 2025 Upstate Art Weekend wrapped 🚙

1. Ming Fay @ The Campus
2 - 3. Liz Magor @ The Campus
4. Blinn and Lambert @ The Campus
5. Xylor Jane @ The Campus
6. Nancy Shaver @ The Campus
7. Daniel Buren @ The Campus
8. Katharina Grosse @ The Campus
9. Richard Tuttle @ The Campus
10. Adam Linn @ Turley
11. Rachel Rossin @ Roundabouts Now
12. Will Douglas @ The Caboose
13. Liz Nielsen @ Mother-In-Laws
14. Mystery galloping horse @ Sky High Farm Biennial
15: Install view @ Sky High Farm biennial
16. Michael Sailstorfer @ Sky High Farm biennial
17. Mark Armijo McKnight @ Sky High Farm biennial
18. Lauren Anais Hussey @ Mother Gallery
19. Shigeko Kubota foundation (stumbled upon it in the space that used to be Analog Diary)
20. Proof of life in a Shigeko Kubota 😴

#upstateartweekend #upstateartweekend2025 #contemporaryart

Drove around upstate (in the Hudson Valley), saw a lot of art! 2025 Upstate Art Weekend wrapped 🚙

1. Ming Fay @ The Campus
2 - 3. Liz Magor @ The Campus
4. Blinn and Lambert @ The Campus
5. Xylor Jane @ The Campus
6. Nancy Shaver @ The Campus
7. Daniel Buren @ The Campus
8. Katharina Grosse @ The Campus
9. Richard Tuttle @ The Campus
10. Adam Linn @ Turley
11. Rachel Rossin @ Roundabouts Now
12. Will Douglas @ The Caboose
13. Liz Nielsen @ Mother-In-Laws
14. Mystery galloping horse @ Sky High Farm Biennial
15: Install view @ Sky High Farm biennial
16. Michael Sailstorfer @ Sky High Farm biennial
17. Mark Armijo McKnight @ Sky High Farm biennial
18. Lauren Anais Hussey @ Mother Gallery
19. Shigeko Kubota foundation (stumbled upon it in the space that used to be Analog Diary)
20. Proof of life in a Shigeko Kubota 😴

#upstateartweekend #upstateartweekend2025 #contemporaryart

Drove around upstate (in the Hudson Valley), saw a lot of art! 2025 Upstate Art Weekend wrapped 🚙

1. Ming Fay @ The Campus
2 - 3. Liz Magor @ The Campus
4. Blinn and Lambert @ The Campus
5. Xylor Jane @ The Campus
6. Nancy Shaver @ The Campus
7. Daniel Buren @ The Campus
8. Katharina Grosse @ The Campus
9. Richard Tuttle @ The Campus
10. Adam Linn @ Turley
11. Rachel Rossin @ Roundabouts Now
12. Will Douglas @ The Caboose
13. Liz Nielsen @ Mother-In-Laws
14. Mystery galloping horse @ Sky High Farm Biennial
15: Install view @ Sky High Farm biennial
16. Michael Sailstorfer @ Sky High Farm biennial
17. Mark Armijo McKnight @ Sky High Farm biennial
18. Lauren Anais Hussey @ Mother Gallery
19. Shigeko Kubota foundation (stumbled upon it in the space that used to be Analog Diary)
20. Proof of life in a Shigeko Kubota 😴

#upstateartweekend #upstateartweekend2025 #contemporaryart

Drove around upstate (in the Hudson Valley), saw a lot of art! 2025 Upstate Art Weekend wrapped 🚙

1. Ming Fay @ The Campus
2 - 3. Liz Magor @ The Campus
4. Blinn and Lambert @ The Campus
5. Xylor Jane @ The Campus
6. Nancy Shaver @ The Campus
7. Daniel Buren @ The Campus
8. Katharina Grosse @ The Campus
9. Richard Tuttle @ The Campus
10. Adam Linn @ Turley
11. Rachel Rossin @ Roundabouts Now
12. Will Douglas @ The Caboose
13. Liz Nielsen @ Mother-In-Laws
14. Mystery galloping horse @ Sky High Farm Biennial
15: Install view @ Sky High Farm biennial
16. Michael Sailstorfer @ Sky High Farm biennial
17. Mark Armijo McKnight @ Sky High Farm biennial
18. Lauren Anais Hussey @ Mother Gallery
19. Shigeko Kubota foundation (stumbled upon it in the space that used to be Analog Diary)
20. Proof of life in a Shigeko Kubota 😴

#upstateartweekend #upstateartweekend2025 #contemporaryart

Drove around upstate (in the Hudson Valley), saw a lot of art! 2025 Upstate Art Weekend wrapped 🚙

1. Ming Fay @ The Campus
2 - 3. Liz Magor @ The Campus
4. Blinn and Lambert @ The Campus
5. Xylor Jane @ The Campus
6. Nancy Shaver @ The Campus
7. Daniel Buren @ The Campus
8. Katharina Grosse @ The Campus
9. Richard Tuttle @ The Campus
10. Adam Linn @ Turley
11. Rachel Rossin @ Roundabouts Now
12. Will Douglas @ The Caboose
13. Liz Nielsen @ Mother-In-Laws
14. Mystery galloping horse @ Sky High Farm Biennial
15: Install view @ Sky High Farm biennial
16. Michael Sailstorfer @ Sky High Farm biennial
17. Mark Armijo McKnight @ Sky High Farm biennial
18. Lauren Anais Hussey @ Mother Gallery
19. Shigeko Kubota foundation (stumbled upon it in the space that used to be Analog Diary)
20. Proof of life in a Shigeko Kubota 😴

#upstateartweekend #upstateartweekend2025 #contemporaryart

A roundup of exhibitions I’ve seen lately that are worth checking out, in no particular order:

1-3. R.H. Quaytman at Miguel Abreu. I sort of feel like I never need to see another painting exhibition again after seeing this, and I mean that in the best way possible. Every painting is unique visual puzzling, each more beguiling than the last. Through Jul 12

4-6. Joseph Greer at Hyacinth. I’ve seen a lot of found object art lately, and these works are among my favorite. It took me a little bit to put my finger on what feels distinctive about these sculptures, and I finally arrived at the answer, which is their poetic uncanniness. Domestic objects are alienated from their function and modified (though not fully beyond recognition) into something resembling relics salvaged from a post-apocalyptic future. Through Jul 20

7-9. Sigmar Polke at Michael Werner. Polke’s photographs are less well-known than his paintings, but they are equally as impressive in their strange, sort of trippy vision of the world. His photos are typically unique rather than editioned and make use of various experimental photochemical processes. Through Aug 27

10-13. No Diagnosis: Drawings by Painters at Reena Spaulings. Rarely have I seen so many stellar works by star artists in a gallery show, but Reena Spaulings is sort of singular in the kinds of exhibitions it can pull off. I loved the press release so much — “[drawing] as an image transmission straight from the subconscious” — that I included an image of it. Also included a Wade Guyton work for the friends who have made fun of me for liking him! Closed today

14-15. Will Yackulic at Gern en Regalia. Oblique views of the streets of New York rendered with romance but not sentimentality that seem to glow from within. Just opened!

16-17. Nicolas Kubail Kalousdian at Mery Gates. A single work exhibition is hard to execute well, but this one kind of does everything I want art to. An autonomous kinetic ball moves freely around the space, an entity seemingly both human and mechanical. There’s more to dig into if you want to, but there’s an arresting immediacy I get from relatively little work. Extended for a final viewing Jul 13th 2pm - 5pm!

A roundup of exhibitions I’ve seen lately that are worth checking out, in no particular order:

1-3. R.H. Quaytman at Miguel Abreu. I sort of feel like I never need to see another painting exhibition again after seeing this, and I mean that in the best way possible. Every painting is unique visual puzzling, each more beguiling than the last. Through Jul 12

4-6. Joseph Greer at Hyacinth. I’ve seen a lot of found object art lately, and these works are among my favorite. It took me a little bit to put my finger on what feels distinctive about these sculptures, and I finally arrived at the answer, which is their poetic uncanniness. Domestic objects are alienated from their function and modified (though not fully beyond recognition) into something resembling relics salvaged from a post-apocalyptic future. Through Jul 20

7-9. Sigmar Polke at Michael Werner. Polke’s photographs are less well-known than his paintings, but they are equally as impressive in their strange, sort of trippy vision of the world. His photos are typically unique rather than editioned and make use of various experimental photochemical processes. Through Aug 27

10-13. No Diagnosis: Drawings by Painters at Reena Spaulings. Rarely have I seen so many stellar works by star artists in a gallery show, but Reena Spaulings is sort of singular in the kinds of exhibitions it can pull off. I loved the press release so much — “[drawing] as an image transmission straight from the subconscious” — that I included an image of it. Also included a Wade Guyton work for the friends who have made fun of me for liking him! Closed today

14-15. Will Yackulic at Gern en Regalia. Oblique views of the streets of New York rendered with romance but not sentimentality that seem to glow from within. Just opened!

16-17. Nicolas Kubail Kalousdian at Mery Gates. A single work exhibition is hard to execute well, but this one kind of does everything I want art to. An autonomous kinetic ball moves freely around the space, an entity seemingly both human and mechanical. There’s more to dig into if you want to, but there’s an arresting immediacy I get from relatively little work. Extended for a final viewing Jul 13th 2pm - 5pm!

A roundup of exhibitions I’ve seen lately that are worth checking out, in no particular order:

1-3. R.H. Quaytman at Miguel Abreu. I sort of feel like I never need to see another painting exhibition again after seeing this, and I mean that in the best way possible. Every painting is unique visual puzzling, each more beguiling than the last. Through Jul 12

4-6. Joseph Greer at Hyacinth. I’ve seen a lot of found object art lately, and these works are among my favorite. It took me a little bit to put my finger on what feels distinctive about these sculptures, and I finally arrived at the answer, which is their poetic uncanniness. Domestic objects are alienated from their function and modified (though not fully beyond recognition) into something resembling relics salvaged from a post-apocalyptic future. Through Jul 20

7-9. Sigmar Polke at Michael Werner. Polke’s photographs are less well-known than his paintings, but they are equally as impressive in their strange, sort of trippy vision of the world. His photos are typically unique rather than editioned and make use of various experimental photochemical processes. Through Aug 27

10-13. No Diagnosis: Drawings by Painters at Reena Spaulings. Rarely have I seen so many stellar works by star artists in a gallery show, but Reena Spaulings is sort of singular in the kinds of exhibitions it can pull off. I loved the press release so much — “[drawing] as an image transmission straight from the subconscious” — that I included an image of it. Also included a Wade Guyton work for the friends who have made fun of me for liking him! Closed today

14-15. Will Yackulic at Gern en Regalia. Oblique views of the streets of New York rendered with romance but not sentimentality that seem to glow from within. Just opened!

16-17. Nicolas Kubail Kalousdian at Mery Gates. A single work exhibition is hard to execute well, but this one kind of does everything I want art to. An autonomous kinetic ball moves freely around the space, an entity seemingly both human and mechanical. There’s more to dig into if you want to, but there’s an arresting immediacy I get from relatively little work. Extended for a final viewing Jul 13th 2pm - 5pm!

A roundup of exhibitions I’ve seen lately that are worth checking out, in no particular order:

1-3. R.H. Quaytman at Miguel Abreu. I sort of feel like I never need to see another painting exhibition again after seeing this, and I mean that in the best way possible. Every painting is unique visual puzzling, each more beguiling than the last. Through Jul 12

4-6. Joseph Greer at Hyacinth. I’ve seen a lot of found object art lately, and these works are among my favorite. It took me a little bit to put my finger on what feels distinctive about these sculptures, and I finally arrived at the answer, which is their poetic uncanniness. Domestic objects are alienated from their function and modified (though not fully beyond recognition) into something resembling relics salvaged from a post-apocalyptic future. Through Jul 20

7-9. Sigmar Polke at Michael Werner. Polke’s photographs are less well-known than his paintings, but they are equally as impressive in their strange, sort of trippy vision of the world. His photos are typically unique rather than editioned and make use of various experimental photochemical processes. Through Aug 27

10-13. No Diagnosis: Drawings by Painters at Reena Spaulings. Rarely have I seen so many stellar works by star artists in a gallery show, but Reena Spaulings is sort of singular in the kinds of exhibitions it can pull off. I loved the press release so much — “[drawing] as an image transmission straight from the subconscious” — that I included an image of it. Also included a Wade Guyton work for the friends who have made fun of me for liking him! Closed today

14-15. Will Yackulic at Gern en Regalia. Oblique views of the streets of New York rendered with romance but not sentimentality that seem to glow from within. Just opened!

16-17. Nicolas Kubail Kalousdian at Mery Gates. A single work exhibition is hard to execute well, but this one kind of does everything I want art to. An autonomous kinetic ball moves freely around the space, an entity seemingly both human and mechanical. There’s more to dig into if you want to, but there’s an arresting immediacy I get from relatively little work. Extended for a final viewing Jul 13th 2pm - 5pm!

A roundup of exhibitions I’ve seen lately that are worth checking out, in no particular order:

1-3. R.H. Quaytman at Miguel Abreu. I sort of feel like I never need to see another painting exhibition again after seeing this, and I mean that in the best way possible. Every painting is unique visual puzzling, each more beguiling than the last. Through Jul 12

4-6. Joseph Greer at Hyacinth. I’ve seen a lot of found object art lately, and these works are among my favorite. It took me a little bit to put my finger on what feels distinctive about these sculptures, and I finally arrived at the answer, which is their poetic uncanniness. Domestic objects are alienated from their function and modified (though not fully beyond recognition) into something resembling relics salvaged from a post-apocalyptic future. Through Jul 20

7-9. Sigmar Polke at Michael Werner. Polke’s photographs are less well-known than his paintings, but they are equally as impressive in their strange, sort of trippy vision of the world. His photos are typically unique rather than editioned and make use of various experimental photochemical processes. Through Aug 27

10-13. No Diagnosis: Drawings by Painters at Reena Spaulings. Rarely have I seen so many stellar works by star artists in a gallery show, but Reena Spaulings is sort of singular in the kinds of exhibitions it can pull off. I loved the press release so much — “[drawing] as an image transmission straight from the subconscious” — that I included an image of it. Also included a Wade Guyton work for the friends who have made fun of me for liking him! Closed today

14-15. Will Yackulic at Gern en Regalia. Oblique views of the streets of New York rendered with romance but not sentimentality that seem to glow from within. Just opened!

16-17. Nicolas Kubail Kalousdian at Mery Gates. A single work exhibition is hard to execute well, but this one kind of does everything I want art to. An autonomous kinetic ball moves freely around the space, an entity seemingly both human and mechanical. There’s more to dig into if you want to, but there’s an arresting immediacy I get from relatively little work. Extended for a final viewing Jul 13th 2pm - 5pm!

A roundup of exhibitions I’ve seen lately that are worth checking out, in no particular order:

1-3. R.H. Quaytman at Miguel Abreu. I sort of feel like I never need to see another painting exhibition again after seeing this, and I mean that in the best way possible. Every painting is unique visual puzzling, each more beguiling than the last. Through Jul 12

4-6. Joseph Greer at Hyacinth. I’ve seen a lot of found object art lately, and these works are among my favorite. It took me a little bit to put my finger on what feels distinctive about these sculptures, and I finally arrived at the answer, which is their poetic uncanniness. Domestic objects are alienated from their function and modified (though not fully beyond recognition) into something resembling relics salvaged from a post-apocalyptic future. Through Jul 20

7-9. Sigmar Polke at Michael Werner. Polke’s photographs are less well-known than his paintings, but they are equally as impressive in their strange, sort of trippy vision of the world. His photos are typically unique rather than editioned and make use of various experimental photochemical processes. Through Aug 27

10-13. No Diagnosis: Drawings by Painters at Reena Spaulings. Rarely have I seen so many stellar works by star artists in a gallery show, but Reena Spaulings is sort of singular in the kinds of exhibitions it can pull off. I loved the press release so much — “[drawing] as an image transmission straight from the subconscious” — that I included an image of it. Also included a Wade Guyton work for the friends who have made fun of me for liking him! Closed today

14-15. Will Yackulic at Gern en Regalia. Oblique views of the streets of New York rendered with romance but not sentimentality that seem to glow from within. Just opened!

16-17. Nicolas Kubail Kalousdian at Mery Gates. A single work exhibition is hard to execute well, but this one kind of does everything I want art to. An autonomous kinetic ball moves freely around the space, an entity seemingly both human and mechanical. There’s more to dig into if you want to, but there’s an arresting immediacy I get from relatively little work. Extended for a final viewing Jul 13th 2pm - 5pm!

A roundup of exhibitions I’ve seen lately that are worth checking out, in no particular order:

1-3. R.H. Quaytman at Miguel Abreu. I sort of feel like I never need to see another painting exhibition again after seeing this, and I mean that in the best way possible. Every painting is unique visual puzzling, each more beguiling than the last. Through Jul 12

4-6. Joseph Greer at Hyacinth. I’ve seen a lot of found object art lately, and these works are among my favorite. It took me a little bit to put my finger on what feels distinctive about these sculptures, and I finally arrived at the answer, which is their poetic uncanniness. Domestic objects are alienated from their function and modified (though not fully beyond recognition) into something resembling relics salvaged from a post-apocalyptic future. Through Jul 20

7-9. Sigmar Polke at Michael Werner. Polke’s photographs are less well-known than his paintings, but they are equally as impressive in their strange, sort of trippy vision of the world. His photos are typically unique rather than editioned and make use of various experimental photochemical processes. Through Aug 27

10-13. No Diagnosis: Drawings by Painters at Reena Spaulings. Rarely have I seen so many stellar works by star artists in a gallery show, but Reena Spaulings is sort of singular in the kinds of exhibitions it can pull off. I loved the press release so much — “[drawing] as an image transmission straight from the subconscious” — that I included an image of it. Also included a Wade Guyton work for the friends who have made fun of me for liking him! Closed today

14-15. Will Yackulic at Gern en Regalia. Oblique views of the streets of New York rendered with romance but not sentimentality that seem to glow from within. Just opened!

16-17. Nicolas Kubail Kalousdian at Mery Gates. A single work exhibition is hard to execute well, but this one kind of does everything I want art to. An autonomous kinetic ball moves freely around the space, an entity seemingly both human and mechanical. There’s more to dig into if you want to, but there’s an arresting immediacy I get from relatively little work. Extended for a final viewing Jul 13th 2pm - 5pm!

A roundup of exhibitions I’ve seen lately that are worth checking out, in no particular order:

1-3. R.H. Quaytman at Miguel Abreu. I sort of feel like I never need to see another painting exhibition again after seeing this, and I mean that in the best way possible. Every painting is unique visual puzzling, each more beguiling than the last. Through Jul 12

4-6. Joseph Greer at Hyacinth. I’ve seen a lot of found object art lately, and these works are among my favorite. It took me a little bit to put my finger on what feels distinctive about these sculptures, and I finally arrived at the answer, which is their poetic uncanniness. Domestic objects are alienated from their function and modified (though not fully beyond recognition) into something resembling relics salvaged from a post-apocalyptic future. Through Jul 20

7-9. Sigmar Polke at Michael Werner. Polke’s photographs are less well-known than his paintings, but they are equally as impressive in their strange, sort of trippy vision of the world. His photos are typically unique rather than editioned and make use of various experimental photochemical processes. Through Aug 27

10-13. No Diagnosis: Drawings by Painters at Reena Spaulings. Rarely have I seen so many stellar works by star artists in a gallery show, but Reena Spaulings is sort of singular in the kinds of exhibitions it can pull off. I loved the press release so much — “[drawing] as an image transmission straight from the subconscious” — that I included an image of it. Also included a Wade Guyton work for the friends who have made fun of me for liking him! Closed today

14-15. Will Yackulic at Gern en Regalia. Oblique views of the streets of New York rendered with romance but not sentimentality that seem to glow from within. Just opened!

16-17. Nicolas Kubail Kalousdian at Mery Gates. A single work exhibition is hard to execute well, but this one kind of does everything I want art to. An autonomous kinetic ball moves freely around the space, an entity seemingly both human and mechanical. There’s more to dig into if you want to, but there’s an arresting immediacy I get from relatively little work. Extended for a final viewing Jul 13th 2pm - 5pm!

A roundup of exhibitions I’ve seen lately that are worth checking out, in no particular order:

1-3. R.H. Quaytman at Miguel Abreu. I sort of feel like I never need to see another painting exhibition again after seeing this, and I mean that in the best way possible. Every painting is unique visual puzzling, each more beguiling than the last. Through Jul 12

4-6. Joseph Greer at Hyacinth. I’ve seen a lot of found object art lately, and these works are among my favorite. It took me a little bit to put my finger on what feels distinctive about these sculptures, and I finally arrived at the answer, which is their poetic uncanniness. Domestic objects are alienated from their function and modified (though not fully beyond recognition) into something resembling relics salvaged from a post-apocalyptic future. Through Jul 20

7-9. Sigmar Polke at Michael Werner. Polke’s photographs are less well-known than his paintings, but they are equally as impressive in their strange, sort of trippy vision of the world. His photos are typically unique rather than editioned and make use of various experimental photochemical processes. Through Aug 27

10-13. No Diagnosis: Drawings by Painters at Reena Spaulings. Rarely have I seen so many stellar works by star artists in a gallery show, but Reena Spaulings is sort of singular in the kinds of exhibitions it can pull off. I loved the press release so much — “[drawing] as an image transmission straight from the subconscious” — that I included an image of it. Also included a Wade Guyton work for the friends who have made fun of me for liking him! Closed today

14-15. Will Yackulic at Gern en Regalia. Oblique views of the streets of New York rendered with romance but not sentimentality that seem to glow from within. Just opened!

16-17. Nicolas Kubail Kalousdian at Mery Gates. A single work exhibition is hard to execute well, but this one kind of does everything I want art to. An autonomous kinetic ball moves freely around the space, an entity seemingly both human and mechanical. There’s more to dig into if you want to, but there’s an arresting immediacy I get from relatively little work. Extended for a final viewing Jul 13th 2pm - 5pm!

A roundup of exhibitions I’ve seen lately that are worth checking out, in no particular order:

1-3. R.H. Quaytman at Miguel Abreu. I sort of feel like I never need to see another painting exhibition again after seeing this, and I mean that in the best way possible. Every painting is unique visual puzzling, each more beguiling than the last. Through Jul 12

4-6. Joseph Greer at Hyacinth. I’ve seen a lot of found object art lately, and these works are among my favorite. It took me a little bit to put my finger on what feels distinctive about these sculptures, and I finally arrived at the answer, which is their poetic uncanniness. Domestic objects are alienated from their function and modified (though not fully beyond recognition) into something resembling relics salvaged from a post-apocalyptic future. Through Jul 20

7-9. Sigmar Polke at Michael Werner. Polke’s photographs are less well-known than his paintings, but they are equally as impressive in their strange, sort of trippy vision of the world. His photos are typically unique rather than editioned and make use of various experimental photochemical processes. Through Aug 27

10-13. No Diagnosis: Drawings by Painters at Reena Spaulings. Rarely have I seen so many stellar works by star artists in a gallery show, but Reena Spaulings is sort of singular in the kinds of exhibitions it can pull off. I loved the press release so much — “[drawing] as an image transmission straight from the subconscious” — that I included an image of it. Also included a Wade Guyton work for the friends who have made fun of me for liking him! Closed today

14-15. Will Yackulic at Gern en Regalia. Oblique views of the streets of New York rendered with romance but not sentimentality that seem to glow from within. Just opened!

16-17. Nicolas Kubail Kalousdian at Mery Gates. A single work exhibition is hard to execute well, but this one kind of does everything I want art to. An autonomous kinetic ball moves freely around the space, an entity seemingly both human and mechanical. There’s more to dig into if you want to, but there’s an arresting immediacy I get from relatively little work. Extended for a final viewing Jul 13th 2pm - 5pm!

A roundup of exhibitions I’ve seen lately that are worth checking out, in no particular order:

1-3. R.H. Quaytman at Miguel Abreu. I sort of feel like I never need to see another painting exhibition again after seeing this, and I mean that in the best way possible. Every painting is unique visual puzzling, each more beguiling than the last. Through Jul 12

4-6. Joseph Greer at Hyacinth. I’ve seen a lot of found object art lately, and these works are among my favorite. It took me a little bit to put my finger on what feels distinctive about these sculptures, and I finally arrived at the answer, which is their poetic uncanniness. Domestic objects are alienated from their function and modified (though not fully beyond recognition) into something resembling relics salvaged from a post-apocalyptic future. Through Jul 20

7-9. Sigmar Polke at Michael Werner. Polke’s photographs are less well-known than his paintings, but they are equally as impressive in their strange, sort of trippy vision of the world. His photos are typically unique rather than editioned and make use of various experimental photochemical processes. Through Aug 27

10-13. No Diagnosis: Drawings by Painters at Reena Spaulings. Rarely have I seen so many stellar works by star artists in a gallery show, but Reena Spaulings is sort of singular in the kinds of exhibitions it can pull off. I loved the press release so much — “[drawing] as an image transmission straight from the subconscious” — that I included an image of it. Also included a Wade Guyton work for the friends who have made fun of me for liking him! Closed today

14-15. Will Yackulic at Gern en Regalia. Oblique views of the streets of New York rendered with romance but not sentimentality that seem to glow from within. Just opened!

16-17. Nicolas Kubail Kalousdian at Mery Gates. A single work exhibition is hard to execute well, but this one kind of does everything I want art to. An autonomous kinetic ball moves freely around the space, an entity seemingly both human and mechanical. There’s more to dig into if you want to, but there’s an arresting immediacy I get from relatively little work. Extended for a final viewing Jul 13th 2pm - 5pm!

A roundup of exhibitions I’ve seen lately that are worth checking out, in no particular order:

1-3. R.H. Quaytman at Miguel Abreu. I sort of feel like I never need to see another painting exhibition again after seeing this, and I mean that in the best way possible. Every painting is unique visual puzzling, each more beguiling than the last. Through Jul 12

4-6. Joseph Greer at Hyacinth. I’ve seen a lot of found object art lately, and these works are among my favorite. It took me a little bit to put my finger on what feels distinctive about these sculptures, and I finally arrived at the answer, which is their poetic uncanniness. Domestic objects are alienated from their function and modified (though not fully beyond recognition) into something resembling relics salvaged from a post-apocalyptic future. Through Jul 20

7-9. Sigmar Polke at Michael Werner. Polke’s photographs are less well-known than his paintings, but they are equally as impressive in their strange, sort of trippy vision of the world. His photos are typically unique rather than editioned and make use of various experimental photochemical processes. Through Aug 27

10-13. No Diagnosis: Drawings by Painters at Reena Spaulings. Rarely have I seen so many stellar works by star artists in a gallery show, but Reena Spaulings is sort of singular in the kinds of exhibitions it can pull off. I loved the press release so much — “[drawing] as an image transmission straight from the subconscious” — that I included an image of it. Also included a Wade Guyton work for the friends who have made fun of me for liking him! Closed today

14-15. Will Yackulic at Gern en Regalia. Oblique views of the streets of New York rendered with romance but not sentimentality that seem to glow from within. Just opened!

16-17. Nicolas Kubail Kalousdian at Mery Gates. A single work exhibition is hard to execute well, but this one kind of does everything I want art to. An autonomous kinetic ball moves freely around the space, an entity seemingly both human and mechanical. There’s more to dig into if you want to, but there’s an arresting immediacy I get from relatively little work. Extended for a final viewing Jul 13th 2pm - 5pm!

A roundup of exhibitions I’ve seen lately that are worth checking out, in no particular order:

1-3. R.H. Quaytman at Miguel Abreu. I sort of feel like I never need to see another painting exhibition again after seeing this, and I mean that in the best way possible. Every painting is unique visual puzzling, each more beguiling than the last. Through Jul 12

4-6. Joseph Greer at Hyacinth. I’ve seen a lot of found object art lately, and these works are among my favorite. It took me a little bit to put my finger on what feels distinctive about these sculptures, and I finally arrived at the answer, which is their poetic uncanniness. Domestic objects are alienated from their function and modified (though not fully beyond recognition) into something resembling relics salvaged from a post-apocalyptic future. Through Jul 20

7-9. Sigmar Polke at Michael Werner. Polke’s photographs are less well-known than his paintings, but they are equally as impressive in their strange, sort of trippy vision of the world. His photos are typically unique rather than editioned and make use of various experimental photochemical processes. Through Aug 27

10-13. No Diagnosis: Drawings by Painters at Reena Spaulings. Rarely have I seen so many stellar works by star artists in a gallery show, but Reena Spaulings is sort of singular in the kinds of exhibitions it can pull off. I loved the press release so much — “[drawing] as an image transmission straight from the subconscious” — that I included an image of it. Also included a Wade Guyton work for the friends who have made fun of me for liking him! Closed today

14-15. Will Yackulic at Gern en Regalia. Oblique views of the streets of New York rendered with romance but not sentimentality that seem to glow from within. Just opened!

16-17. Nicolas Kubail Kalousdian at Mery Gates. A single work exhibition is hard to execute well, but this one kind of does everything I want art to. An autonomous kinetic ball moves freely around the space, an entity seemingly both human and mechanical. There’s more to dig into if you want to, but there’s an arresting immediacy I get from relatively little work. Extended for a final viewing Jul 13th 2pm - 5pm!

A roundup of exhibitions I’ve seen lately that are worth checking out, in no particular order:

1-3. R.H. Quaytman at Miguel Abreu. I sort of feel like I never need to see another painting exhibition again after seeing this, and I mean that in the best way possible. Every painting is unique visual puzzling, each more beguiling than the last. Through Jul 12

4-6. Joseph Greer at Hyacinth. I’ve seen a lot of found object art lately, and these works are among my favorite. It took me a little bit to put my finger on what feels distinctive about these sculptures, and I finally arrived at the answer, which is their poetic uncanniness. Domestic objects are alienated from their function and modified (though not fully beyond recognition) into something resembling relics salvaged from a post-apocalyptic future. Through Jul 20

7-9. Sigmar Polke at Michael Werner. Polke’s photographs are less well-known than his paintings, but they are equally as impressive in their strange, sort of trippy vision of the world. His photos are typically unique rather than editioned and make use of various experimental photochemical processes. Through Aug 27

10-13. No Diagnosis: Drawings by Painters at Reena Spaulings. Rarely have I seen so many stellar works by star artists in a gallery show, but Reena Spaulings is sort of singular in the kinds of exhibitions it can pull off. I loved the press release so much — “[drawing] as an image transmission straight from the subconscious” — that I included an image of it. Also included a Wade Guyton work for the friends who have made fun of me for liking him! Closed today

14-15. Will Yackulic at Gern en Regalia. Oblique views of the streets of New York rendered with romance but not sentimentality that seem to glow from within. Just opened!

16-17. Nicolas Kubail Kalousdian at Mery Gates. A single work exhibition is hard to execute well, but this one kind of does everything I want art to. An autonomous kinetic ball moves freely around the space, an entity seemingly both human and mechanical. There’s more to dig into if you want to, but there’s an arresting immediacy I get from relatively little work. Extended for a final viewing Jul 13th 2pm - 5pm!

A roundup of exhibitions I’ve seen lately that are worth checking out, in no particular order:

1-3. R.H. Quaytman at Miguel Abreu. I sort of feel like I never need to see another painting exhibition again after seeing this, and I mean that in the best way possible. Every painting is unique visual puzzling, each more beguiling than the last. Through Jul 12

4-6. Joseph Greer at Hyacinth. I’ve seen a lot of found object art lately, and these works are among my favorite. It took me a little bit to put my finger on what feels distinctive about these sculptures, and I finally arrived at the answer, which is their poetic uncanniness. Domestic objects are alienated from their function and modified (though not fully beyond recognition) into something resembling relics salvaged from a post-apocalyptic future. Through Jul 20

7-9. Sigmar Polke at Michael Werner. Polke’s photographs are less well-known than his paintings, but they are equally as impressive in their strange, sort of trippy vision of the world. His photos are typically unique rather than editioned and make use of various experimental photochemical processes. Through Aug 27

10-13. No Diagnosis: Drawings by Painters at Reena Spaulings. Rarely have I seen so many stellar works by star artists in a gallery show, but Reena Spaulings is sort of singular in the kinds of exhibitions it can pull off. I loved the press release so much — “[drawing] as an image transmission straight from the subconscious” — that I included an image of it. Also included a Wade Guyton work for the friends who have made fun of me for liking him! Closed today

14-15. Will Yackulic at Gern en Regalia. Oblique views of the streets of New York rendered with romance but not sentimentality that seem to glow from within. Just opened!

16-17. Nicolas Kubail Kalousdian at Mery Gates. A single work exhibition is hard to execute well, but this one kind of does everything I want art to. An autonomous kinetic ball moves freely around the space, an entity seemingly both human and mechanical. There’s more to dig into if you want to, but there’s an arresting immediacy I get from relatively little work. Extended for a final viewing Jul 13th 2pm - 5pm!

A roundup of exhibitions I’ve seen lately that are worth checking out, in no particular order:

1-3. R.H. Quaytman at Miguel Abreu. I sort of feel like I never need to see another painting exhibition again after seeing this, and I mean that in the best way possible. Every painting is unique visual puzzling, each more beguiling than the last. Through Jul 12

4-6. Joseph Greer at Hyacinth. I’ve seen a lot of found object art lately, and these works are among my favorite. It took me a little bit to put my finger on what feels distinctive about these sculptures, and I finally arrived at the answer, which is their poetic uncanniness. Domestic objects are alienated from their function and modified (though not fully beyond recognition) into something resembling relics salvaged from a post-apocalyptic future. Through Jul 20

7-9. Sigmar Polke at Michael Werner. Polke’s photographs are less well-known than his paintings, but they are equally as impressive in their strange, sort of trippy vision of the world. His photos are typically unique rather than editioned and make use of various experimental photochemical processes. Through Aug 27

10-13. No Diagnosis: Drawings by Painters at Reena Spaulings. Rarely have I seen so many stellar works by star artists in a gallery show, but Reena Spaulings is sort of singular in the kinds of exhibitions it can pull off. I loved the press release so much — “[drawing] as an image transmission straight from the subconscious” — that I included an image of it. Also included a Wade Guyton work for the friends who have made fun of me for liking him! Closed today

14-15. Will Yackulic at Gern en Regalia. Oblique views of the streets of New York rendered with romance but not sentimentality that seem to glow from within. Just opened!

16-17. Nicolas Kubail Kalousdian at Mery Gates. A single work exhibition is hard to execute well, but this one kind of does everything I want art to. An autonomous kinetic ball moves freely around the space, an entity seemingly both human and mechanical. There’s more to dig into if you want to, but there’s an arresting immediacy I get from relatively little work. Extended for a final viewing Jul 13th 2pm - 5pm!

A roundup of exhibitions I’ve seen lately that are worth checking out, in no particular order:

1-3. R.H. Quaytman at Miguel Abreu. I sort of feel like I never need to see another painting exhibition again after seeing this, and I mean that in the best way possible. Every painting is unique visual puzzling, each more beguiling than the last. Through Jul 12

4-6. Joseph Greer at Hyacinth. I’ve seen a lot of found object art lately, and these works are among my favorite. It took me a little bit to put my finger on what feels distinctive about these sculptures, and I finally arrived at the answer, which is their poetic uncanniness. Domestic objects are alienated from their function and modified (though not fully beyond recognition) into something resembling relics salvaged from a post-apocalyptic future. Through Jul 20

7-9. Sigmar Polke at Michael Werner. Polke’s photographs are less well-known than his paintings, but they are equally as impressive in their strange, sort of trippy vision of the world. His photos are typically unique rather than editioned and make use of various experimental photochemical processes. Through Aug 27

10-13. No Diagnosis: Drawings by Painters at Reena Spaulings. Rarely have I seen so many stellar works by star artists in a gallery show, but Reena Spaulings is sort of singular in the kinds of exhibitions it can pull off. I loved the press release so much — “[drawing] as an image transmission straight from the subconscious” — that I included an image of it. Also included a Wade Guyton work for the friends who have made fun of me for liking him! Closed today

14-15. Will Yackulic at Gern en Regalia. Oblique views of the streets of New York rendered with romance but not sentimentality that seem to glow from within. Just opened!

16-17. Nicolas Kubail Kalousdian at Mery Gates. A single work exhibition is hard to execute well, but this one kind of does everything I want art to. An autonomous kinetic ball moves freely around the space, an entity seemingly both human and mechanical. There’s more to dig into if you want to, but there’s an arresting immediacy I get from relatively little work. Extended for a final viewing Jul 13th 2pm - 5pm!

It’s the final week of Mitch Patrick & Ernesto Renda: Wayfinding at CHART 🥲

It’s endlessly rewarding to see the spark of an idea materialize into something fully fleshed out, and to be able to work with artists making compelling and complex work and gallerists who believe in it.

I’m grateful to everyone who has come through so far and has shared images and thoughts and had conversations with me. I sound like a broken record saying that this is work that needs to be seen in person, but it truly does. There are beautiful installation images by @kccrowmaddux on CHART’s website, but these are some install and detail snaps I took that I hope give a sense of the materiality of the work and its dynamic nature in the space.

Please be in touch if you’d like more info about the show! On view through May 31st.

@mtchptrck @ernestorenda @____chart____

It’s the final week of Mitch Patrick & Ernesto Renda: Wayfinding at CHART 🥲

It’s endlessly rewarding to see the spark of an idea materialize into something fully fleshed out, and to be able to work with artists making compelling and complex work and gallerists who believe in it.

I’m grateful to everyone who has come through so far and has shared images and thoughts and had conversations with me. I sound like a broken record saying that this is work that needs to be seen in person, but it truly does. There are beautiful installation images by @kccrowmaddux on CHART’s website, but these are some install and detail snaps I took that I hope give a sense of the materiality of the work and its dynamic nature in the space.

Please be in touch if you’d like more info about the show! On view through May 31st.

@mtchptrck @ernestorenda @____chart____

It’s the final week of Mitch Patrick & Ernesto Renda: Wayfinding at CHART 🥲

It’s endlessly rewarding to see the spark of an idea materialize into something fully fleshed out, and to be able to work with artists making compelling and complex work and gallerists who believe in it.

I’m grateful to everyone who has come through so far and has shared images and thoughts and had conversations with me. I sound like a broken record saying that this is work that needs to be seen in person, but it truly does. There are beautiful installation images by @kccrowmaddux on CHART’s website, but these are some install and detail snaps I took that I hope give a sense of the materiality of the work and its dynamic nature in the space.

Please be in touch if you’d like more info about the show! On view through May 31st.

@mtchptrck @ernestorenda @____chart____

It’s the final week of Mitch Patrick & Ernesto Renda: Wayfinding at CHART 🥲

It’s endlessly rewarding to see the spark of an idea materialize into something fully fleshed out, and to be able to work with artists making compelling and complex work and gallerists who believe in it.

I’m grateful to everyone who has come through so far and has shared images and thoughts and had conversations with me. I sound like a broken record saying that this is work that needs to be seen in person, but it truly does. There are beautiful installation images by @kccrowmaddux on CHART’s website, but these are some install and detail snaps I took that I hope give a sense of the materiality of the work and its dynamic nature in the space.

Please be in touch if you’d like more info about the show! On view through May 31st.

@mtchptrck @ernestorenda @____chart____

It’s the final week of Mitch Patrick & Ernesto Renda: Wayfinding at CHART 🥲

It’s endlessly rewarding to see the spark of an idea materialize into something fully fleshed out, and to be able to work with artists making compelling and complex work and gallerists who believe in it.

I’m grateful to everyone who has come through so far and has shared images and thoughts and had conversations with me. I sound like a broken record saying that this is work that needs to be seen in person, but it truly does. There are beautiful installation images by @kccrowmaddux on CHART’s website, but these are some install and detail snaps I took that I hope give a sense of the materiality of the work and its dynamic nature in the space.

Please be in touch if you’d like more info about the show! On view through May 31st.

@mtchptrck @ernestorenda @____chart____

It’s the final week of Mitch Patrick & Ernesto Renda: Wayfinding at CHART 🥲

It’s endlessly rewarding to see the spark of an idea materialize into something fully fleshed out, and to be able to work with artists making compelling and complex work and gallerists who believe in it.

I’m grateful to everyone who has come through so far and has shared images and thoughts and had conversations with me. I sound like a broken record saying that this is work that needs to be seen in person, but it truly does. There are beautiful installation images by @kccrowmaddux on CHART’s website, but these are some install and detail snaps I took that I hope give a sense of the materiality of the work and its dynamic nature in the space.

Please be in touch if you’d like more info about the show! On view through May 31st.

@mtchptrck @ernestorenda @____chart____

It’s the final week of Mitch Patrick & Ernesto Renda: Wayfinding at CHART 🥲

It’s endlessly rewarding to see the spark of an idea materialize into something fully fleshed out, and to be able to work with artists making compelling and complex work and gallerists who believe in it.

I’m grateful to everyone who has come through so far and has shared images and thoughts and had conversations with me. I sound like a broken record saying that this is work that needs to be seen in person, but it truly does. There are beautiful installation images by @kccrowmaddux on CHART’s website, but these are some install and detail snaps I took that I hope give a sense of the materiality of the work and its dynamic nature in the space.

Please be in touch if you’d like more info about the show! On view through May 31st.

@mtchptrck @ernestorenda @____chart____

It’s the final week of Mitch Patrick & Ernesto Renda: Wayfinding at CHART 🥲

It’s endlessly rewarding to see the spark of an idea materialize into something fully fleshed out, and to be able to work with artists making compelling and complex work and gallerists who believe in it.

I’m grateful to everyone who has come through so far and has shared images and thoughts and had conversations with me. I sound like a broken record saying that this is work that needs to be seen in person, but it truly does. There are beautiful installation images by @kccrowmaddux on CHART’s website, but these are some install and detail snaps I took that I hope give a sense of the materiality of the work and its dynamic nature in the space.

Please be in touch if you’d like more info about the show! On view through May 31st.

@mtchptrck @ernestorenda @____chart____

It’s the final week of Mitch Patrick & Ernesto Renda: Wayfinding at CHART 🥲

It’s endlessly rewarding to see the spark of an idea materialize into something fully fleshed out, and to be able to work with artists making compelling and complex work and gallerists who believe in it.

I’m grateful to everyone who has come through so far and has shared images and thoughts and had conversations with me. I sound like a broken record saying that this is work that needs to be seen in person, but it truly does. There are beautiful installation images by @kccrowmaddux on CHART’s website, but these are some install and detail snaps I took that I hope give a sense of the materiality of the work and its dynamic nature in the space.

Please be in touch if you’d like more info about the show! On view through May 31st.

@mtchptrck @ernestorenda @____chart____

It’s the final week of Mitch Patrick & Ernesto Renda: Wayfinding at CHART 🥲

It’s endlessly rewarding to see the spark of an idea materialize into something fully fleshed out, and to be able to work with artists making compelling and complex work and gallerists who believe in it.

I’m grateful to everyone who has come through so far and has shared images and thoughts and had conversations with me. I sound like a broken record saying that this is work that needs to be seen in person, but it truly does. There are beautiful installation images by @kccrowmaddux on CHART’s website, but these are some install and detail snaps I took that I hope give a sense of the materiality of the work and its dynamic nature in the space.

Please be in touch if you’d like more info about the show! On view through May 31st.

@mtchptrck @ernestorenda @____chart____

It’s the final week of Mitch Patrick & Ernesto Renda: Wayfinding at CHART 🥲

It’s endlessly rewarding to see the spark of an idea materialize into something fully fleshed out, and to be able to work with artists making compelling and complex work and gallerists who believe in it.

I’m grateful to everyone who has come through so far and has shared images and thoughts and had conversations with me. I sound like a broken record saying that this is work that needs to be seen in person, but it truly does. There are beautiful installation images by @kccrowmaddux on CHART’s website, but these are some install and detail snaps I took that I hope give a sense of the materiality of the work and its dynamic nature in the space.

Please be in touch if you’d like more info about the show! On view through May 31st.

@mtchptrck @ernestorenda @____chart____

It’s the final week of Mitch Patrick & Ernesto Renda: Wayfinding at CHART 🥲

It’s endlessly rewarding to see the spark of an idea materialize into something fully fleshed out, and to be able to work with artists making compelling and complex work and gallerists who believe in it.

I’m grateful to everyone who has come through so far and has shared images and thoughts and had conversations with me. I sound like a broken record saying that this is work that needs to be seen in person, but it truly does. There are beautiful installation images by @kccrowmaddux on CHART’s website, but these are some install and detail snaps I took that I hope give a sense of the materiality of the work and its dynamic nature in the space.

Please be in touch if you’d like more info about the show! On view through May 31st.

@mtchptrck @ernestorenda @____chart____

It’s the final week of Mitch Patrick & Ernesto Renda: Wayfinding at CHART 🥲

It’s endlessly rewarding to see the spark of an idea materialize into something fully fleshed out, and to be able to work with artists making compelling and complex work and gallerists who believe in it.

I’m grateful to everyone who has come through so far and has shared images and thoughts and had conversations with me. I sound like a broken record saying that this is work that needs to be seen in person, but it truly does. There are beautiful installation images by @kccrowmaddux on CHART’s website, but these are some install and detail snaps I took that I hope give a sense of the materiality of the work and its dynamic nature in the space.

Please be in touch if you’d like more info about the show! On view through May 31st.

@mtchptrck @ernestorenda @____chart____

It’s the final week of Mitch Patrick & Ernesto Renda: Wayfinding at CHART 🥲

It’s endlessly rewarding to see the spark of an idea materialize into something fully fleshed out, and to be able to work with artists making compelling and complex work and gallerists who believe in it.

I’m grateful to everyone who has come through so far and has shared images and thoughts and had conversations with me. I sound like a broken record saying that this is work that needs to be seen in person, but it truly does. There are beautiful installation images by @kccrowmaddux on CHART’s website, but these are some install and detail snaps I took that I hope give a sense of the materiality of the work and its dynamic nature in the space.

Please be in touch if you’d like more info about the show! On view through May 31st.

@mtchptrck @ernestorenda @____chart____

I used to find art fairs thrilling and exhilarating — so much art in one place, so many artists and galleries that were unknown to me! I would be delighted to cram several into a single day, and squeeze some museum and gallery visits in around them. But those were the days before I lived in New York, and now I get to regularly see the best art in the world every week.

I sort of set out to write something snarky about Frieze, and then scrolling back through the images I took, I realized that there was more that I liked than I thought there was when visiting. I can’t say I made any discoveries this year, but still saw some solid work.

1 - 2. Jeremy Deller @ The Modern Institute
3. Rosa Barba @ Esther Schipper
4 - 5. Jack Whitten @ Hauser & Wirth
6 - 7. Petrit Halilaj @ kurimanzutto
8 -9. Donald Moffett @ Alexander Gray
10. Joey Terrill @ Ortuzar
11. Beaux Mendes @ Miguel Abreu
12. Imi Knobel @ Hauser & Wirth
13. Matt Johnson @ 303
14. Flint Jamison @ Miguel Abreu
15. Alan Saret @ Karma
16. Jes Fan @ Andrew Kreps
17. Kamrooz Aram @ Dastan
18. Nathlie Provosty @ Apalazzo
19. P. Staff @ Sultana
20. Dan Hirschelein and Tarwuk @ Matthew Brown

#friezeny #friezeny2025 #contemporaryart

I used to find art fairs thrilling and exhilarating — so much art in one place, so many artists and galleries that were unknown to me! I would be delighted to cram several into a single day, and squeeze some museum and gallery visits in around them. But those were the days before I lived in New York, and now I get to regularly see the best art in the world every week.

I sort of set out to write something snarky about Frieze, and then scrolling back through the images I took, I realized that there was more that I liked than I thought there was when visiting. I can’t say I made any discoveries this year, but still saw some solid work.

1 - 2. Jeremy Deller @ The Modern Institute
3. Rosa Barba @ Esther Schipper
4 - 5. Jack Whitten @ Hauser & Wirth
6 - 7. Petrit Halilaj @ kurimanzutto
8 -9. Donald Moffett @ Alexander Gray
10. Joey Terrill @ Ortuzar
11. Beaux Mendes @ Miguel Abreu
12. Imi Knobel @ Hauser & Wirth
13. Matt Johnson @ 303
14. Flint Jamison @ Miguel Abreu
15. Alan Saret @ Karma
16. Jes Fan @ Andrew Kreps
17. Kamrooz Aram @ Dastan
18. Nathlie Provosty @ Apalazzo
19. P. Staff @ Sultana
20. Dan Hirschelein and Tarwuk @ Matthew Brown

#friezeny #friezeny2025 #contemporaryart

I used to find art fairs thrilling and exhilarating — so much art in one place, so many artists and galleries that were unknown to me! I would be delighted to cram several into a single day, and squeeze some museum and gallery visits in around them. But those were the days before I lived in New York, and now I get to regularly see the best art in the world every week.

I sort of set out to write something snarky about Frieze, and then scrolling back through the images I took, I realized that there was more that I liked than I thought there was when visiting. I can’t say I made any discoveries this year, but still saw some solid work.

1 - 2. Jeremy Deller @ The Modern Institute
3. Rosa Barba @ Esther Schipper
4 - 5. Jack Whitten @ Hauser & Wirth
6 - 7. Petrit Halilaj @ kurimanzutto
8 -9. Donald Moffett @ Alexander Gray
10. Joey Terrill @ Ortuzar
11. Beaux Mendes @ Miguel Abreu
12. Imi Knobel @ Hauser & Wirth
13. Matt Johnson @ 303
14. Flint Jamison @ Miguel Abreu
15. Alan Saret @ Karma
16. Jes Fan @ Andrew Kreps
17. Kamrooz Aram @ Dastan
18. Nathlie Provosty @ Apalazzo
19. P. Staff @ Sultana
20. Dan Hirschelein and Tarwuk @ Matthew Brown

#friezeny #friezeny2025 #contemporaryart

I used to find art fairs thrilling and exhilarating — so much art in one place, so many artists and galleries that were unknown to me! I would be delighted to cram several into a single day, and squeeze some museum and gallery visits in around them. But those were the days before I lived in New York, and now I get to regularly see the best art in the world every week.

I sort of set out to write something snarky about Frieze, and then scrolling back through the images I took, I realized that there was more that I liked than I thought there was when visiting. I can’t say I made any discoveries this year, but still saw some solid work.

1 - 2. Jeremy Deller @ The Modern Institute
3. Rosa Barba @ Esther Schipper
4 - 5. Jack Whitten @ Hauser & Wirth
6 - 7. Petrit Halilaj @ kurimanzutto
8 -9. Donald Moffett @ Alexander Gray
10. Joey Terrill @ Ortuzar
11. Beaux Mendes @ Miguel Abreu
12. Imi Knobel @ Hauser & Wirth
13. Matt Johnson @ 303
14. Flint Jamison @ Miguel Abreu
15. Alan Saret @ Karma
16. Jes Fan @ Andrew Kreps
17. Kamrooz Aram @ Dastan
18. Nathlie Provosty @ Apalazzo
19. P. Staff @ Sultana
20. Dan Hirschelein and Tarwuk @ Matthew Brown

#friezeny #friezeny2025 #contemporaryart

I used to find art fairs thrilling and exhilarating — so much art in one place, so many artists and galleries that were unknown to me! I would be delighted to cram several into a single day, and squeeze some museum and gallery visits in around them. But those were the days before I lived in New York, and now I get to regularly see the best art in the world every week.

I sort of set out to write something snarky about Frieze, and then scrolling back through the images I took, I realized that there was more that I liked than I thought there was when visiting. I can’t say I made any discoveries this year, but still saw some solid work.

1 - 2. Jeremy Deller @ The Modern Institute
3. Rosa Barba @ Esther Schipper
4 - 5. Jack Whitten @ Hauser & Wirth
6 - 7. Petrit Halilaj @ kurimanzutto
8 -9. Donald Moffett @ Alexander Gray
10. Joey Terrill @ Ortuzar
11. Beaux Mendes @ Miguel Abreu
12. Imi Knobel @ Hauser & Wirth
13. Matt Johnson @ 303
14. Flint Jamison @ Miguel Abreu
15. Alan Saret @ Karma
16. Jes Fan @ Andrew Kreps
17. Kamrooz Aram @ Dastan
18. Nathlie Provosty @ Apalazzo
19. P. Staff @ Sultana
20. Dan Hirschelein and Tarwuk @ Matthew Brown

#friezeny #friezeny2025 #contemporaryart

I used to find art fairs thrilling and exhilarating — so much art in one place, so many artists and galleries that were unknown to me! I would be delighted to cram several into a single day, and squeeze some museum and gallery visits in around them. But those were the days before I lived in New York, and now I get to regularly see the best art in the world every week.

I sort of set out to write something snarky about Frieze, and then scrolling back through the images I took, I realized that there was more that I liked than I thought there was when visiting. I can’t say I made any discoveries this year, but still saw some solid work.

1 - 2. Jeremy Deller @ The Modern Institute
3. Rosa Barba @ Esther Schipper
4 - 5. Jack Whitten @ Hauser & Wirth
6 - 7. Petrit Halilaj @ kurimanzutto
8 -9. Donald Moffett @ Alexander Gray
10. Joey Terrill @ Ortuzar
11. Beaux Mendes @ Miguel Abreu
12. Imi Knobel @ Hauser & Wirth
13. Matt Johnson @ 303
14. Flint Jamison @ Miguel Abreu
15. Alan Saret @ Karma
16. Jes Fan @ Andrew Kreps
17. Kamrooz Aram @ Dastan
18. Nathlie Provosty @ Apalazzo
19. P. Staff @ Sultana
20. Dan Hirschelein and Tarwuk @ Matthew Brown

#friezeny #friezeny2025 #contemporaryart

I used to find art fairs thrilling and exhilarating — so much art in one place, so many artists and galleries that were unknown to me! I would be delighted to cram several into a single day, and squeeze some museum and gallery visits in around them. But those were the days before I lived in New York, and now I get to regularly see the best art in the world every week.

I sort of set out to write something snarky about Frieze, and then scrolling back through the images I took, I realized that there was more that I liked than I thought there was when visiting. I can’t say I made any discoveries this year, but still saw some solid work.

1 - 2. Jeremy Deller @ The Modern Institute
3. Rosa Barba @ Esther Schipper
4 - 5. Jack Whitten @ Hauser & Wirth
6 - 7. Petrit Halilaj @ kurimanzutto
8 -9. Donald Moffett @ Alexander Gray
10. Joey Terrill @ Ortuzar
11. Beaux Mendes @ Miguel Abreu
12. Imi Knobel @ Hauser & Wirth
13. Matt Johnson @ 303
14. Flint Jamison @ Miguel Abreu
15. Alan Saret @ Karma
16. Jes Fan @ Andrew Kreps
17. Kamrooz Aram @ Dastan
18. Nathlie Provosty @ Apalazzo
19. P. Staff @ Sultana
20. Dan Hirschelein and Tarwuk @ Matthew Brown

#friezeny #friezeny2025 #contemporaryart

I used to find art fairs thrilling and exhilarating — so much art in one place, so many artists and galleries that were unknown to me! I would be delighted to cram several into a single day, and squeeze some museum and gallery visits in around them. But those were the days before I lived in New York, and now I get to regularly see the best art in the world every week.

I sort of set out to write something snarky about Frieze, and then scrolling back through the images I took, I realized that there was more that I liked than I thought there was when visiting. I can’t say I made any discoveries this year, but still saw some solid work.

1 - 2. Jeremy Deller @ The Modern Institute
3. Rosa Barba @ Esther Schipper
4 - 5. Jack Whitten @ Hauser & Wirth
6 - 7. Petrit Halilaj @ kurimanzutto
8 -9. Donald Moffett @ Alexander Gray
10. Joey Terrill @ Ortuzar
11. Beaux Mendes @ Miguel Abreu
12. Imi Knobel @ Hauser & Wirth
13. Matt Johnson @ 303
14. Flint Jamison @ Miguel Abreu
15. Alan Saret @ Karma
16. Jes Fan @ Andrew Kreps
17. Kamrooz Aram @ Dastan
18. Nathlie Provosty @ Apalazzo
19. P. Staff @ Sultana
20. Dan Hirschelein and Tarwuk @ Matthew Brown

#friezeny #friezeny2025 #contemporaryart

I used to find art fairs thrilling and exhilarating — so much art in one place, so many artists and galleries that were unknown to me! I would be delighted to cram several into a single day, and squeeze some museum and gallery visits in around them. But those were the days before I lived in New York, and now I get to regularly see the best art in the world every week.

I sort of set out to write something snarky about Frieze, and then scrolling back through the images I took, I realized that there was more that I liked than I thought there was when visiting. I can’t say I made any discoveries this year, but still saw some solid work.

1 - 2. Jeremy Deller @ The Modern Institute
3. Rosa Barba @ Esther Schipper
4 - 5. Jack Whitten @ Hauser & Wirth
6 - 7. Petrit Halilaj @ kurimanzutto
8 -9. Donald Moffett @ Alexander Gray
10. Joey Terrill @ Ortuzar
11. Beaux Mendes @ Miguel Abreu
12. Imi Knobel @ Hauser & Wirth
13. Matt Johnson @ 303
14. Flint Jamison @ Miguel Abreu
15. Alan Saret @ Karma
16. Jes Fan @ Andrew Kreps
17. Kamrooz Aram @ Dastan
18. Nathlie Provosty @ Apalazzo
19. P. Staff @ Sultana
20. Dan Hirschelein and Tarwuk @ Matthew Brown

#friezeny #friezeny2025 #contemporaryart

I used to find art fairs thrilling and exhilarating — so much art in one place, so many artists and galleries that were unknown to me! I would be delighted to cram several into a single day, and squeeze some museum and gallery visits in around them. But those were the days before I lived in New York, and now I get to regularly see the best art in the world every week.

I sort of set out to write something snarky about Frieze, and then scrolling back through the images I took, I realized that there was more that I liked than I thought there was when visiting. I can’t say I made any discoveries this year, but still saw some solid work.

1 - 2. Jeremy Deller @ The Modern Institute
3. Rosa Barba @ Esther Schipper
4 - 5. Jack Whitten @ Hauser & Wirth
6 - 7. Petrit Halilaj @ kurimanzutto
8 -9. Donald Moffett @ Alexander Gray
10. Joey Terrill @ Ortuzar
11. Beaux Mendes @ Miguel Abreu
12. Imi Knobel @ Hauser & Wirth
13. Matt Johnson @ 303
14. Flint Jamison @ Miguel Abreu
15. Alan Saret @ Karma
16. Jes Fan @ Andrew Kreps
17. Kamrooz Aram @ Dastan
18. Nathlie Provosty @ Apalazzo
19. P. Staff @ Sultana
20. Dan Hirschelein and Tarwuk @ Matthew Brown

#friezeny #friezeny2025 #contemporaryart

I used to find art fairs thrilling and exhilarating — so much art in one place, so many artists and galleries that were unknown to me! I would be delighted to cram several into a single day, and squeeze some museum and gallery visits in around them. But those were the days before I lived in New York, and now I get to regularly see the best art in the world every week.

I sort of set out to write something snarky about Frieze, and then scrolling back through the images I took, I realized that there was more that I liked than I thought there was when visiting. I can’t say I made any discoveries this year, but still saw some solid work.

1 - 2. Jeremy Deller @ The Modern Institute
3. Rosa Barba @ Esther Schipper
4 - 5. Jack Whitten @ Hauser & Wirth
6 - 7. Petrit Halilaj @ kurimanzutto
8 -9. Donald Moffett @ Alexander Gray
10. Joey Terrill @ Ortuzar
11. Beaux Mendes @ Miguel Abreu
12. Imi Knobel @ Hauser & Wirth
13. Matt Johnson @ 303
14. Flint Jamison @ Miguel Abreu
15. Alan Saret @ Karma
16. Jes Fan @ Andrew Kreps
17. Kamrooz Aram @ Dastan
18. Nathlie Provosty @ Apalazzo
19. P. Staff @ Sultana
20. Dan Hirschelein and Tarwuk @ Matthew Brown

#friezeny #friezeny2025 #contemporaryart

I used to find art fairs thrilling and exhilarating — so much art in one place, so many artists and galleries that were unknown to me! I would be delighted to cram several into a single day, and squeeze some museum and gallery visits in around them. But those were the days before I lived in New York, and now I get to regularly see the best art in the world every week.

I sort of set out to write something snarky about Frieze, and then scrolling back through the images I took, I realized that there was more that I liked than I thought there was when visiting. I can’t say I made any discoveries this year, but still saw some solid work.

1 - 2. Jeremy Deller @ The Modern Institute
3. Rosa Barba @ Esther Schipper
4 - 5. Jack Whitten @ Hauser & Wirth
6 - 7. Petrit Halilaj @ kurimanzutto
8 -9. Donald Moffett @ Alexander Gray
10. Joey Terrill @ Ortuzar
11. Beaux Mendes @ Miguel Abreu
12. Imi Knobel @ Hauser & Wirth
13. Matt Johnson @ 303
14. Flint Jamison @ Miguel Abreu
15. Alan Saret @ Karma
16. Jes Fan @ Andrew Kreps
17. Kamrooz Aram @ Dastan
18. Nathlie Provosty @ Apalazzo
19. P. Staff @ Sultana
20. Dan Hirschelein and Tarwuk @ Matthew Brown

#friezeny #friezeny2025 #contemporaryart

I used to find art fairs thrilling and exhilarating — so much art in one place, so many artists and galleries that were unknown to me! I would be delighted to cram several into a single day, and squeeze some museum and gallery visits in around them. But those were the days before I lived in New York, and now I get to regularly see the best art in the world every week.

I sort of set out to write something snarky about Frieze, and then scrolling back through the images I took, I realized that there was more that I liked than I thought there was when visiting. I can’t say I made any discoveries this year, but still saw some solid work.

1 - 2. Jeremy Deller @ The Modern Institute
3. Rosa Barba @ Esther Schipper
4 - 5. Jack Whitten @ Hauser & Wirth
6 - 7. Petrit Halilaj @ kurimanzutto
8 -9. Donald Moffett @ Alexander Gray
10. Joey Terrill @ Ortuzar
11. Beaux Mendes @ Miguel Abreu
12. Imi Knobel @ Hauser & Wirth
13. Matt Johnson @ 303
14. Flint Jamison @ Miguel Abreu
15. Alan Saret @ Karma
16. Jes Fan @ Andrew Kreps
17. Kamrooz Aram @ Dastan
18. Nathlie Provosty @ Apalazzo
19. P. Staff @ Sultana
20. Dan Hirschelein and Tarwuk @ Matthew Brown

#friezeny #friezeny2025 #contemporaryart

I used to find art fairs thrilling and exhilarating — so much art in one place, so many artists and galleries that were unknown to me! I would be delighted to cram several into a single day, and squeeze some museum and gallery visits in around them. But those were the days before I lived in New York, and now I get to regularly see the best art in the world every week.

I sort of set out to write something snarky about Frieze, and then scrolling back through the images I took, I realized that there was more that I liked than I thought there was when visiting. I can’t say I made any discoveries this year, but still saw some solid work.

1 - 2. Jeremy Deller @ The Modern Institute
3. Rosa Barba @ Esther Schipper
4 - 5. Jack Whitten @ Hauser & Wirth
6 - 7. Petrit Halilaj @ kurimanzutto
8 -9. Donald Moffett @ Alexander Gray
10. Joey Terrill @ Ortuzar
11. Beaux Mendes @ Miguel Abreu
12. Imi Knobel @ Hauser & Wirth
13. Matt Johnson @ 303
14. Flint Jamison @ Miguel Abreu
15. Alan Saret @ Karma
16. Jes Fan @ Andrew Kreps
17. Kamrooz Aram @ Dastan
18. Nathlie Provosty @ Apalazzo
19. P. Staff @ Sultana
20. Dan Hirschelein and Tarwuk @ Matthew Brown

#friezeny #friezeny2025 #contemporaryart

I used to find art fairs thrilling and exhilarating — so much art in one place, so many artists and galleries that were unknown to me! I would be delighted to cram several into a single day, and squeeze some museum and gallery visits in around them. But those were the days before I lived in New York, and now I get to regularly see the best art in the world every week.

I sort of set out to write something snarky about Frieze, and then scrolling back through the images I took, I realized that there was more that I liked than I thought there was when visiting. I can’t say I made any discoveries this year, but still saw some solid work.

1 - 2. Jeremy Deller @ The Modern Institute
3. Rosa Barba @ Esther Schipper
4 - 5. Jack Whitten @ Hauser & Wirth
6 - 7. Petrit Halilaj @ kurimanzutto
8 -9. Donald Moffett @ Alexander Gray
10. Joey Terrill @ Ortuzar
11. Beaux Mendes @ Miguel Abreu
12. Imi Knobel @ Hauser & Wirth
13. Matt Johnson @ 303
14. Flint Jamison @ Miguel Abreu
15. Alan Saret @ Karma
16. Jes Fan @ Andrew Kreps
17. Kamrooz Aram @ Dastan
18. Nathlie Provosty @ Apalazzo
19. P. Staff @ Sultana
20. Dan Hirschelein and Tarwuk @ Matthew Brown

#friezeny #friezeny2025 #contemporaryart

I used to find art fairs thrilling and exhilarating — so much art in one place, so many artists and galleries that were unknown to me! I would be delighted to cram several into a single day, and squeeze some museum and gallery visits in around them. But those were the days before I lived in New York, and now I get to regularly see the best art in the world every week.

I sort of set out to write something snarky about Frieze, and then scrolling back through the images I took, I realized that there was more that I liked than I thought there was when visiting. I can’t say I made any discoveries this year, but still saw some solid work.

1 - 2. Jeremy Deller @ The Modern Institute
3. Rosa Barba @ Esther Schipper
4 - 5. Jack Whitten @ Hauser & Wirth
6 - 7. Petrit Halilaj @ kurimanzutto
8 -9. Donald Moffett @ Alexander Gray
10. Joey Terrill @ Ortuzar
11. Beaux Mendes @ Miguel Abreu
12. Imi Knobel @ Hauser & Wirth
13. Matt Johnson @ 303
14. Flint Jamison @ Miguel Abreu
15. Alan Saret @ Karma
16. Jes Fan @ Andrew Kreps
17. Kamrooz Aram @ Dastan
18. Nathlie Provosty @ Apalazzo
19. P. Staff @ Sultana
20. Dan Hirschelein and Tarwuk @ Matthew Brown

#friezeny #friezeny2025 #contemporaryart

I used to find art fairs thrilling and exhilarating — so much art in one place, so many artists and galleries that were unknown to me! I would be delighted to cram several into a single day, and squeeze some museum and gallery visits in around them. But those were the days before I lived in New York, and now I get to regularly see the best art in the world every week.

I sort of set out to write something snarky about Frieze, and then scrolling back through the images I took, I realized that there was more that I liked than I thought there was when visiting. I can’t say I made any discoveries this year, but still saw some solid work.

1 - 2. Jeremy Deller @ The Modern Institute
3. Rosa Barba @ Esther Schipper
4 - 5. Jack Whitten @ Hauser & Wirth
6 - 7. Petrit Halilaj @ kurimanzutto
8 -9. Donald Moffett @ Alexander Gray
10. Joey Terrill @ Ortuzar
11. Beaux Mendes @ Miguel Abreu
12. Imi Knobel @ Hauser & Wirth
13. Matt Johnson @ 303
14. Flint Jamison @ Miguel Abreu
15. Alan Saret @ Karma
16. Jes Fan @ Andrew Kreps
17. Kamrooz Aram @ Dastan
18. Nathlie Provosty @ Apalazzo
19. P. Staff @ Sultana
20. Dan Hirschelein and Tarwuk @ Matthew Brown

#friezeny #friezeny2025 #contemporaryart

I used to find art fairs thrilling and exhilarating — so much art in one place, so many artists and galleries that were unknown to me! I would be delighted to cram several into a single day, and squeeze some museum and gallery visits in around them. But those were the days before I lived in New York, and now I get to regularly see the best art in the world every week.

I sort of set out to write something snarky about Frieze, and then scrolling back through the images I took, I realized that there was more that I liked than I thought there was when visiting. I can’t say I made any discoveries this year, but still saw some solid work.

1 - 2. Jeremy Deller @ The Modern Institute
3. Rosa Barba @ Esther Schipper
4 - 5. Jack Whitten @ Hauser & Wirth
6 - 7. Petrit Halilaj @ kurimanzutto
8 -9. Donald Moffett @ Alexander Gray
10. Joey Terrill @ Ortuzar
11. Beaux Mendes @ Miguel Abreu
12. Imi Knobel @ Hauser & Wirth
13. Matt Johnson @ 303
14. Flint Jamison @ Miguel Abreu
15. Alan Saret @ Karma
16. Jes Fan @ Andrew Kreps
17. Kamrooz Aram @ Dastan
18. Nathlie Provosty @ Apalazzo
19. P. Staff @ Sultana
20. Dan Hirschelein and Tarwuk @ Matthew Brown

#friezeny #friezeny2025 #contemporaryart

I used to find art fairs thrilling and exhilarating — so much art in one place, so many artists and galleries that were unknown to me! I would be delighted to cram several into a single day, and squeeze some museum and gallery visits in around them. But those were the days before I lived in New York, and now I get to regularly see the best art in the world every week.

I sort of set out to write something snarky about Frieze, and then scrolling back through the images I took, I realized that there was more that I liked than I thought there was when visiting. I can’t say I made any discoveries this year, but still saw some solid work.

1 - 2. Jeremy Deller @ The Modern Institute
3. Rosa Barba @ Esther Schipper
4 - 5. Jack Whitten @ Hauser & Wirth
6 - 7. Petrit Halilaj @ kurimanzutto
8 -9. Donald Moffett @ Alexander Gray
10. Joey Terrill @ Ortuzar
11. Beaux Mendes @ Miguel Abreu
12. Imi Knobel @ Hauser & Wirth
13. Matt Johnson @ 303
14. Flint Jamison @ Miguel Abreu
15. Alan Saret @ Karma
16. Jes Fan @ Andrew Kreps
17. Kamrooz Aram @ Dastan
18. Nathlie Provosty @ Apalazzo
19. P. Staff @ Sultana
20. Dan Hirschelein and Tarwuk @ Matthew Brown

#friezeny #friezeny2025 #contemporaryart