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Join us this May at The Warehouse!

Two exhibitions, 𝘊𝘩𝘢𝘴𝘦 𝘢 𝘊𝘳𝘰𝘰𝘬𝘦𝘥 𝘚𝘩𝘢𝘥𝘰𝘸: 𝘍𝘪𝘭𝘮 𝘕𝘰𝘪𝘳 𝘢𝘴 𝘊𝘰𝘯𝘵𝘦𝘮𝘱𝘰𝘳𝘢𝘳𝘺 𝘔𝘪𝘳𝘳𝘰𝘳, curated by Alexandra Terry, and WAREHOUSE:01 𝘠𝘰𝘴𝘩𝘪𝘵𝘢𝘬𝘢 𝘈𝘮𝘢𝘯𝘰 are currently on view through July 18, 2026.

We have several opportunities to engage more deeply during 𝘚𝘢𝘵𝘶𝘳𝘥𝘢𝘺𝘴 𝘢𝘵 𝘛𝘩𝘦 𝘞𝘢𝘳𝘦𝘩𝘰𝘶𝘴𝘦: On May 2, join us for a Gallery Talk on Nigel Cooke with Jim Burton. On May 16, join us for Drawing in the Galleries with Michael Duncan. On May 30, join us for a Gallery Talk on Anne Collier with artist Kelli Connell.

On May 14 from 6–8:30 PM, join us for a Block Printing Workshop and Gallery Tour, an evening of art making inspired by the visual language of film noir.

A reminder that The Warehouse is open EVERY Saturday from 12 PM to 5 PM.

🔗 Click the link in bio to learn more about our exhibitions and register for your visit.

Join us this May at The Warehouse!

Two exhibitions, 𝘊𝘩𝘢𝘴𝘦 𝘢 𝘊𝘳𝘰𝘰𝘬𝘦𝘥 𝘚𝘩𝘢𝘥𝘰𝘸: 𝘍𝘪𝘭𝘮 𝘕𝘰𝘪𝘳 𝘢𝘴 𝘊𝘰𝘯𝘵𝘦𝘮𝘱𝘰𝘳𝘢𝘳𝘺 𝘔𝘪𝘳𝘳𝘰𝘳, curated by Alexandra Terry, and WAREHOUSE:01 𝘠𝘰𝘴𝘩𝘪𝘵𝘢𝘬𝘢 𝘈𝘮𝘢𝘯𝘰 are currently on view through July 18, 2026.

We have several opportunities to engage more deeply during 𝘚𝘢𝘵𝘶𝘳𝘥𝘢𝘺𝘴 𝘢𝘵 𝘛𝘩𝘦 𝘞𝘢𝘳𝘦𝘩𝘰𝘶𝘴𝘦: On May 2, join us for a Gallery Talk on Nigel Cooke with Jim Burton. On May 16, join us for Drawing in the Galleries with Michael Duncan. On May 30, join us for a Gallery Talk on Anne Collier with artist Kelli Connell.

On May 14 from 6–8:30 PM, join us for a Block Printing Workshop and Gallery Tour, an evening of art making inspired by the visual language of film noir.

A reminder that The Warehouse is open EVERY Saturday from 12 PM to 5 PM.

🔗 Click the link in bio to learn more about our exhibitions and register for your visit.

Join us this May at The Warehouse!

Two exhibitions, 𝘊𝘩𝘢𝘴𝘦 𝘢 𝘊𝘳𝘰𝘰𝘬𝘦𝘥 𝘚𝘩𝘢𝘥𝘰𝘸: 𝘍𝘪𝘭𝘮 𝘕𝘰𝘪𝘳 𝘢𝘴 𝘊𝘰𝘯𝘵𝘦𝘮𝘱𝘰𝘳𝘢𝘳𝘺 𝘔𝘪𝘳𝘳𝘰𝘳, curated by Alexandra Terry, and WAREHOUSE:01 𝘠𝘰𝘴𝘩𝘪𝘵𝘢𝘬𝘢 𝘈𝘮𝘢𝘯𝘰 are currently on view through July 18, 2026.

We have several opportunities to engage more deeply during 𝘚𝘢𝘵𝘶𝘳𝘥𝘢𝘺𝘴 𝘢𝘵 𝘛𝘩𝘦 𝘞𝘢𝘳𝘦𝘩𝘰𝘶𝘴𝘦: On May 2, join us for a Gallery Talk on Nigel Cooke with Jim Burton. On May 16, join us for Drawing in the Galleries with Michael Duncan. On May 30, join us for a Gallery Talk on Anne Collier with artist Kelli Connell.

On May 14 from 6–8:30 PM, join us for a Block Printing Workshop and Gallery Tour, an evening of art making inspired by the visual language of film noir.

A reminder that The Warehouse is open EVERY Saturday from 12 PM to 5 PM.

🔗 Click the link in bio to learn more about our exhibitions and register for your visit.

Join us this May at The Warehouse!

Two exhibitions, 𝘊𝘩𝘢𝘴𝘦 𝘢 𝘊𝘳𝘰𝘰𝘬𝘦𝘥 𝘚𝘩𝘢𝘥𝘰𝘸: 𝘍𝘪𝘭𝘮 𝘕𝘰𝘪𝘳 𝘢𝘴 𝘊𝘰𝘯𝘵𝘦𝘮𝘱𝘰𝘳𝘢𝘳𝘺 𝘔𝘪𝘳𝘳𝘰𝘳, curated by Alexandra Terry, and WAREHOUSE:01 𝘠𝘰𝘴𝘩𝘪𝘵𝘢𝘬𝘢 𝘈𝘮𝘢𝘯𝘰 are currently on view through July 18, 2026.

We have several opportunities to engage more deeply during 𝘚𝘢𝘵𝘶𝘳𝘥𝘢𝘺𝘴 𝘢𝘵 𝘛𝘩𝘦 𝘞𝘢𝘳𝘦𝘩𝘰𝘶𝘴𝘦: On May 2, join us for a Gallery Talk on Nigel Cooke with Jim Burton. On May 16, join us for Drawing in the Galleries with Michael Duncan. On May 30, join us for a Gallery Talk on Anne Collier with artist Kelli Connell.

On May 14 from 6–8:30 PM, join us for a Block Printing Workshop and Gallery Tour, an evening of art making inspired by the visual language of film noir.

A reminder that The Warehouse is open EVERY Saturday from 12 PM to 5 PM.

🔗 Click the link in bio to learn more about our exhibitions and register for your visit.

Join us this May at The Warehouse!

Two exhibitions, 𝘊𝘩𝘢𝘴𝘦 𝘢 𝘊𝘳𝘰𝘰𝘬𝘦𝘥 𝘚𝘩𝘢𝘥𝘰𝘸: 𝘍𝘪𝘭𝘮 𝘕𝘰𝘪𝘳 𝘢𝘴 𝘊𝘰𝘯𝘵𝘦𝘮𝘱𝘰𝘳𝘢𝘳𝘺 𝘔𝘪𝘳𝘳𝘰𝘳, curated by Alexandra Terry, and WAREHOUSE:01 𝘠𝘰𝘴𝘩𝘪𝘵𝘢𝘬𝘢 𝘈𝘮𝘢𝘯𝘰 are currently on view through July 18, 2026.

We have several opportunities to engage more deeply during 𝘚𝘢𝘵𝘶𝘳𝘥𝘢𝘺𝘴 𝘢𝘵 𝘛𝘩𝘦 𝘞𝘢𝘳𝘦𝘩𝘰𝘶𝘴𝘦: On May 2, join us for a Gallery Talk on Nigel Cooke with Jim Burton. On May 16, join us for Drawing in the Galleries with Michael Duncan. On May 30, join us for a Gallery Talk on Anne Collier with artist Kelli Connell.

On May 14 from 6–8:30 PM, join us for a Block Printing Workshop and Gallery Tour, an evening of art making inspired by the visual language of film noir.

A reminder that The Warehouse is open EVERY Saturday from 12 PM to 5 PM.

🔗 Click the link in bio to learn more about our exhibitions and register for your visit.

Join us this May at The Warehouse!

Two exhibitions, 𝘊𝘩𝘢𝘴𝘦 𝘢 𝘊𝘳𝘰𝘰𝘬𝘦𝘥 𝘚𝘩𝘢𝘥𝘰𝘸: 𝘍𝘪𝘭𝘮 𝘕𝘰𝘪𝘳 𝘢𝘴 𝘊𝘰𝘯𝘵𝘦𝘮𝘱𝘰𝘳𝘢𝘳𝘺 𝘔𝘪𝘳𝘳𝘰𝘳, curated by Alexandra Terry, and WAREHOUSE:01 𝘠𝘰𝘴𝘩𝘪𝘵𝘢𝘬𝘢 𝘈𝘮𝘢𝘯𝘰 are currently on view through July 18, 2026.

We have several opportunities to engage more deeply during 𝘚𝘢𝘵𝘶𝘳𝘥𝘢𝘺𝘴 𝘢𝘵 𝘛𝘩𝘦 𝘞𝘢𝘳𝘦𝘩𝘰𝘶𝘴𝘦: On May 2, join us for a Gallery Talk on Nigel Cooke with Jim Burton. On May 16, join us for Drawing in the Galleries with Michael Duncan. On May 30, join us for a Gallery Talk on Anne Collier with artist Kelli Connell.

On May 14 from 6–8:30 PM, join us for a Block Printing Workshop and Gallery Tour, an evening of art making inspired by the visual language of film noir.

A reminder that The Warehouse is open EVERY Saturday from 12 PM to 5 PM.

🔗 Click the link in bio to learn more about our exhibitions and register for your visit.

Join us at The Warehouse to experience 𝘊𝘩𝘢𝘴𝘦 𝘢 𝘊𝘳𝘰𝘰𝘬𝘦𝘥 𝘚𝘩𝘢𝘥𝘰𝘸: 𝘍𝘪𝘭𝘮 𝘕𝘰𝘪𝘳 𝘢𝘴 𝘊𝘰𝘯𝘵𝘦𝘮𝘱𝘰𝘳𝘢𝘳𝘺 𝘔𝘪𝘳𝘳𝘰𝘳 and WAREHOUSE:01 𝘠𝘰𝘴𝘩𝘪𝘵𝘢𝘬𝘢 𝘈𝘮𝘢𝘯𝘰, on view through July 18, 2026.

Curated by Alexandra Terry (@alexandra_terry), 𝘊𝘩𝘢𝘴𝘦 𝘢 𝘊𝘳𝘰𝘰𝘬𝘦𝘥 𝘚𝘩𝘢𝘥𝘰𝘸 approaches film noir as a visual, psychological, and ethical framework that continues to resonate today. Across more than 100 works, the exhibition considers noir as an enduring lens that traces shifting power dynamics, moral ambiguity, and the instability of perception.

Presented concurrently, the fifth iteration of WAREHOUSE:01 focuses on Japanese artist Yoshitaka Amano. Spanning nearly three decades of work, the two-part exhibition explores Amano’s expansive practice, from art historically inflected compositions to his influential role as an illustrator and character designer shaping global visual culture.

The Warehouse is open every Saturday from 12–5 PM during our exhibitions. Guided tours and gallery talks led by The Warehouse team take place at 2 PM during Open Hours and focus on the current exhibitions.

🔗 Visit the link in bio to learn more and sign up for our newsletter.

📸: Video by @exploredinary

Featuring works by

@delfin @yngveholen @anamibia @josephinemeckseper @trevorpaglen @sherrillroland @katieryankatieryan @nowhereboogie @nigelcookestudio @crewdsonstudio @louisagagliardi @tomoogokita @skantily @sterlingruby @ima_beat_yo_ass_on_dis_train @gertuwetobias @osnofla33 @crewdsonstudio @lol_prosciutto @toddgrayla @sterlingruby @majaruz @giuseppe.boccassini @janine_antoni @huthhayden @palomavargaweisz @annaconwaystudio @henrygunderson.online @nicnicosia @jenguidi @zaamarif @gordonparksfoundation @kim.tschangyeul @alessandropessoli @cluvie @iqwnadjcvnaliuf @michaelchiyanho @woodyothello @archiviocarolrama @hennialftan @annaparkart @juliecurtissartist @hannahslevy @danielle_mckinney_ @iqwnadjcvnaliuf @mosherhall @chasmsweet_ @guillermokuitca @yoshitaka_amano

Yoshitaka Amano’s monumental 𝘕𝘦𝘸 𝘠𝘰𝘳𝘬 𝘕𝘪𝘨𝘩𝘵𝘴 𝘐𝘐 is currently on view at The Warehouse!

Spanning 54 feet, the work is a cascading tableau of colors, textures, and figures. This and other works in this exhibition showcase Amano’s fluid blending of Eastern and Western art historical influences.

𝘕𝘦𝘸 𝘠𝘰𝘳𝘬 𝘕𝘪𝘨𝘩𝘵𝘴 𝘐𝘐 recalls the Japanese tradition of illustrated handscrolls, which used distant perspectives to allow multiple narratives to unfold at once. At the same time, its elegant figures and exquisite textures are evocative of Pre-Raphaelite and Viennese styles.

Come enjoy the first part of a two-part exhibition, 𝘠𝘰𝘴𝘩𝘪𝘵𝘢𝘬𝘢 𝘈𝘮𝘢𝘯𝘰, the fifth iteration of 𝗪𝗔𝗥𝗘𝗛𝗢𝗨𝗦𝗘:𝟬𝟭.

Part 1 of 𝘠𝘰𝘴𝘩𝘪𝘵𝘢𝘬𝘢 𝘈𝘮𝘢𝘯𝘰 is on view April 11 – June 6, 2026.

Part 2 is on view June 13 – July 18, 2026. Stay tuned for more!

📸: Photography by @todoraphotography

@yoshitaka_amano @lomexgallery #yoshitakaamano #thewarehouse #contemporaryart #dallas

Yoshitaka Amano’s monumental 𝘕𝘦𝘸 𝘠𝘰𝘳𝘬 𝘕𝘪𝘨𝘩𝘵𝘴 𝘐𝘐 is currently on view at The Warehouse!

Spanning 54 feet, the work is a cascading tableau of colors, textures, and figures. This and other works in this exhibition showcase Amano’s fluid blending of Eastern and Western art historical influences.

𝘕𝘦𝘸 𝘠𝘰𝘳𝘬 𝘕𝘪𝘨𝘩𝘵𝘴 𝘐𝘐 recalls the Japanese tradition of illustrated handscrolls, which used distant perspectives to allow multiple narratives to unfold at once. At the same time, its elegant figures and exquisite textures are evocative of Pre-Raphaelite and Viennese styles.

Come enjoy the first part of a two-part exhibition, 𝘠𝘰𝘴𝘩𝘪𝘵𝘢𝘬𝘢 𝘈𝘮𝘢𝘯𝘰, the fifth iteration of 𝗪𝗔𝗥𝗘𝗛𝗢𝗨𝗦𝗘:𝟬𝟭.

Part 1 of 𝘠𝘰𝘴𝘩𝘪𝘵𝘢𝘬𝘢 𝘈𝘮𝘢𝘯𝘰 is on view April 11 – June 6, 2026.

Part 2 is on view June 13 – July 18, 2026. Stay tuned for more!

📸: Photography by @todoraphotography

@yoshitaka_amano @lomexgallery #yoshitakaamano #thewarehouse #contemporaryart #dallas

Yoshitaka Amano’s monumental 𝘕𝘦𝘸 𝘠𝘰𝘳𝘬 𝘕𝘪𝘨𝘩𝘵𝘴 𝘐𝘐 is currently on view at The Warehouse!

Spanning 54 feet, the work is a cascading tableau of colors, textures, and figures. This and other works in this exhibition showcase Amano’s fluid blending of Eastern and Western art historical influences.

𝘕𝘦𝘸 𝘠𝘰𝘳𝘬 𝘕𝘪𝘨𝘩𝘵𝘴 𝘐𝘐 recalls the Japanese tradition of illustrated handscrolls, which used distant perspectives to allow multiple narratives to unfold at once. At the same time, its elegant figures and exquisite textures are evocative of Pre-Raphaelite and Viennese styles.

Come enjoy the first part of a two-part exhibition, 𝘠𝘰𝘴𝘩𝘪𝘵𝘢𝘬𝘢 𝘈𝘮𝘢𝘯𝘰, the fifth iteration of 𝗪𝗔𝗥𝗘𝗛𝗢𝗨𝗦𝗘:𝟬𝟭.

Part 1 of 𝘠𝘰𝘴𝘩𝘪𝘵𝘢𝘬𝘢 𝘈𝘮𝘢𝘯𝘰 is on view April 11 – June 6, 2026.

Part 2 is on view June 13 – July 18, 2026. Stay tuned for more!

📸: Photography by @todoraphotography

@yoshitaka_amano @lomexgallery #yoshitakaamano #thewarehouse #contemporaryart #dallas

Yoshitaka Amano’s monumental 𝘕𝘦𝘸 𝘠𝘰𝘳𝘬 𝘕𝘪𝘨𝘩𝘵𝘴 𝘐𝘐 is currently on view at The Warehouse!

Spanning 54 feet, the work is a cascading tableau of colors, textures, and figures. This and other works in this exhibition showcase Amano’s fluid blending of Eastern and Western art historical influences.

𝘕𝘦𝘸 𝘠𝘰𝘳𝘬 𝘕𝘪𝘨𝘩𝘵𝘴 𝘐𝘐 recalls the Japanese tradition of illustrated handscrolls, which used distant perspectives to allow multiple narratives to unfold at once. At the same time, its elegant figures and exquisite textures are evocative of Pre-Raphaelite and Viennese styles.

Come enjoy the first part of a two-part exhibition, 𝘠𝘰𝘴𝘩𝘪𝘵𝘢𝘬𝘢 𝘈𝘮𝘢𝘯𝘰, the fifth iteration of 𝗪𝗔𝗥𝗘𝗛𝗢𝗨𝗦𝗘:𝟬𝟭.

Part 1 of 𝘠𝘰𝘴𝘩𝘪𝘵𝘢𝘬𝘢 𝘈𝘮𝘢𝘯𝘰 is on view April 11 – June 6, 2026.

Part 2 is on view June 13 – July 18, 2026. Stay tuned for more!

📸: Photography by @todoraphotography

@yoshitaka_amano @lomexgallery #yoshitakaamano #thewarehouse #contemporaryart #dallas

Yoshitaka Amano’s monumental 𝘕𝘦𝘸 𝘠𝘰𝘳𝘬 𝘕𝘪𝘨𝘩𝘵𝘴 𝘐𝘐 is currently on view at The Warehouse!

Spanning 54 feet, the work is a cascading tableau of colors, textures, and figures. This and other works in this exhibition showcase Amano’s fluid blending of Eastern and Western art historical influences.

𝘕𝘦𝘸 𝘠𝘰𝘳𝘬 𝘕𝘪𝘨𝘩𝘵𝘴 𝘐𝘐 recalls the Japanese tradition of illustrated handscrolls, which used distant perspectives to allow multiple narratives to unfold at once. At the same time, its elegant figures and exquisite textures are evocative of Pre-Raphaelite and Viennese styles.

Come enjoy the first part of a two-part exhibition, 𝘠𝘰𝘴𝘩𝘪𝘵𝘢𝘬𝘢 𝘈𝘮𝘢𝘯𝘰, the fifth iteration of 𝗪𝗔𝗥𝗘𝗛𝗢𝗨𝗦𝗘:𝟬𝟭.

Part 1 of 𝘠𝘰𝘴𝘩𝘪𝘵𝘢𝘬𝘢 𝘈𝘮𝘢𝘯𝘰 is on view April 11 – June 6, 2026.

Part 2 is on view June 13 – July 18, 2026. Stay tuned for more!

📸: Photography by @todoraphotography

@yoshitaka_amano @lomexgallery #yoshitakaamano #thewarehouse #contemporaryart #dallas

Yoshitaka Amano’s monumental 𝘕𝘦𝘸 𝘠𝘰𝘳𝘬 𝘕𝘪𝘨𝘩𝘵𝘴 𝘐𝘐 is currently on view at The Warehouse!

Spanning 54 feet, the work is a cascading tableau of colors, textures, and figures. This and other works in this exhibition showcase Amano’s fluid blending of Eastern and Western art historical influences.

𝘕𝘦𝘸 𝘠𝘰𝘳𝘬 𝘕𝘪𝘨𝘩𝘵𝘴 𝘐𝘐 recalls the Japanese tradition of illustrated handscrolls, which used distant perspectives to allow multiple narratives to unfold at once. At the same time, its elegant figures and exquisite textures are evocative of Pre-Raphaelite and Viennese styles.

Come enjoy the first part of a two-part exhibition, 𝘠𝘰𝘴𝘩𝘪𝘵𝘢𝘬𝘢 𝘈𝘮𝘢𝘯𝘰, the fifth iteration of 𝗪𝗔𝗥𝗘𝗛𝗢𝗨𝗦𝗘:𝟬𝟭.

Part 1 of 𝘠𝘰𝘴𝘩𝘪𝘵𝘢𝘬𝘢 𝘈𝘮𝘢𝘯𝘰 is on view April 11 – June 6, 2026.

Part 2 is on view June 13 – July 18, 2026. Stay tuned for more!

📸: Photography by @todoraphotography

@yoshitaka_amano @lomexgallery #yoshitakaamano #thewarehouse #contemporaryart #dallas

The environment of film noir is never neutral. Cities, suburbs, highways, and open land do not merely contain the story—they shape it, press against it, and often overwhelm it. The setting mirrors the inner lives of film noir's protagonists: disorienting and inescapable. Whether set in rain-soaked streets or blinding daylight, film noir environments express a post-war loss of sanctuary. There is no safe place left to retreat to and no pastoral ideal to restore balance. The world itself feels compromised.

𝘊𝘩𝘢𝘴𝘦 𝘢 𝘊𝘳𝘰𝘰𝘬𝘦𝘥 𝘚𝘩𝘢𝘥𝘰𝘸: 𝘍𝘪𝘭𝘮 𝘕𝘰𝘪𝘳 𝘢𝘴 𝘊𝘰𝘯𝘵𝘦𝘮𝘱𝘰𝘳𝘢𝘳𝘺 𝘔𝘪𝘳𝘳𝘰𝘳, curated by @alexandra_terry, gathers works that evoke a sense of estrangement in their setting through use of light, shadow, and composition.

𝘊𝘩𝘢𝘴𝘦 𝘢 𝘊𝘳𝘰𝘰𝘬𝘦𝘥 𝘚𝘩𝘢𝘥𝘰𝘸: 𝘍𝘪𝘭𝘮 𝘕𝘰𝘪𝘳 𝘢𝘴 𝘊𝘰𝘯𝘵𝘦𝘮𝘱𝘰𝘳𝘢𝘳𝘺 𝘔𝘪𝘳𝘳𝘰𝘳, is on view April 11–July 18, 2026. Come visit us!

📸: Photography by @todoraphotography

@nicnicosia @erincluleygallery @annaconwaystudio @fergusmccaffrey @henrygunderson.online @loyalgallery @halseymckaygallery

#thewarehouse #contemporaryart #dallas

—

Nic Nicosia
Blue Truck, 1980/2013
Blue Posts, 1980/2013
Pink House, 1980/2013
Rickety Fence, 1980/2013
Tom and Jo's, 1980/2013
Yellow Tree, 1980/2013
Archival inkjet on Hahnemühle paper
Image: 13 1/2 x 20 inches (34.3 x 50.8 cm)
The Rachofsky Collection

Anna Conway
Rhino, 2017
Oil on linen
44 x 66 inches (111.8 x 167.6 cm)
The Rachofsky Collection

Henry Gunderson
Night Shack, 2022
Oil on canvas
108 x 72 inches (274.3 x 182.9 cm)
Hartland & Mackie / Labora Collection

Lucy Kim
Clean Like Spring Rain, 2014
Oil paint, acrylic paint, urethane resin, and epoxy on dibond panel
57 x 52 inches (144.8 x 132 cm)
The Rachofsky Collection

Chris Duncan
Bedroom Window (black) 6 month exposure summer-winter, 2013
Sunlight, time, and cotton fabric
54 x 68 inches (137.2 x 172.7 cm)
The Rachofsky Collection

The environment of film noir is never neutral. Cities, suburbs, highways, and open land do not merely contain the story—they shape it, press against it, and often overwhelm it. The setting mirrors the inner lives of film noir's protagonists: disorienting and inescapable. Whether set in rain-soaked streets or blinding daylight, film noir environments express a post-war loss of sanctuary. There is no safe place left to retreat to and no pastoral ideal to restore balance. The world itself feels compromised.

𝘊𝘩𝘢𝘴𝘦 𝘢 𝘊𝘳𝘰𝘰𝘬𝘦𝘥 𝘚𝘩𝘢𝘥𝘰𝘸: 𝘍𝘪𝘭𝘮 𝘕𝘰𝘪𝘳 𝘢𝘴 𝘊𝘰𝘯𝘵𝘦𝘮𝘱𝘰𝘳𝘢𝘳𝘺 𝘔𝘪𝘳𝘳𝘰𝘳, curated by @alexandra_terry, gathers works that evoke a sense of estrangement in their setting through use of light, shadow, and composition.

𝘊𝘩𝘢𝘴𝘦 𝘢 𝘊𝘳𝘰𝘰𝘬𝘦𝘥 𝘚𝘩𝘢𝘥𝘰𝘸: 𝘍𝘪𝘭𝘮 𝘕𝘰𝘪𝘳 𝘢𝘴 𝘊𝘰𝘯𝘵𝘦𝘮𝘱𝘰𝘳𝘢𝘳𝘺 𝘔𝘪𝘳𝘳𝘰𝘳, is on view April 11–July 18, 2026. Come visit us!

📸: Photography by @todoraphotography

@nicnicosia @erincluleygallery @annaconwaystudio @fergusmccaffrey @henrygunderson.online @loyalgallery @halseymckaygallery

#thewarehouse #contemporaryart #dallas

—

Nic Nicosia
Blue Truck, 1980/2013
Blue Posts, 1980/2013
Pink House, 1980/2013
Rickety Fence, 1980/2013
Tom and Jo's, 1980/2013
Yellow Tree, 1980/2013
Archival inkjet on Hahnemühle paper
Image: 13 1/2 x 20 inches (34.3 x 50.8 cm)
The Rachofsky Collection

Anna Conway
Rhino, 2017
Oil on linen
44 x 66 inches (111.8 x 167.6 cm)
The Rachofsky Collection

Henry Gunderson
Night Shack, 2022
Oil on canvas
108 x 72 inches (274.3 x 182.9 cm)
Hartland & Mackie / Labora Collection

Lucy Kim
Clean Like Spring Rain, 2014
Oil paint, acrylic paint, urethane resin, and epoxy on dibond panel
57 x 52 inches (144.8 x 132 cm)
The Rachofsky Collection

Chris Duncan
Bedroom Window (black) 6 month exposure summer-winter, 2013
Sunlight, time, and cotton fabric
54 x 68 inches (137.2 x 172.7 cm)
The Rachofsky Collection

The environment of film noir is never neutral. Cities, suburbs, highways, and open land do not merely contain the story—they shape it, press against it, and often overwhelm it. The setting mirrors the inner lives of film noir's protagonists: disorienting and inescapable. Whether set in rain-soaked streets or blinding daylight, film noir environments express a post-war loss of sanctuary. There is no safe place left to retreat to and no pastoral ideal to restore balance. The world itself feels compromised.

𝘊𝘩𝘢𝘴𝘦 𝘢 𝘊𝘳𝘰𝘰𝘬𝘦𝘥 𝘚𝘩𝘢𝘥𝘰𝘸: 𝘍𝘪𝘭𝘮 𝘕𝘰𝘪𝘳 𝘢𝘴 𝘊𝘰𝘯𝘵𝘦𝘮𝘱𝘰𝘳𝘢𝘳𝘺 𝘔𝘪𝘳𝘳𝘰𝘳, curated by @alexandra_terry, gathers works that evoke a sense of estrangement in their setting through use of light, shadow, and composition.

𝘊𝘩𝘢𝘴𝘦 𝘢 𝘊𝘳𝘰𝘰𝘬𝘦𝘥 𝘚𝘩𝘢𝘥𝘰𝘸: 𝘍𝘪𝘭𝘮 𝘕𝘰𝘪𝘳 𝘢𝘴 𝘊𝘰𝘯𝘵𝘦𝘮𝘱𝘰𝘳𝘢𝘳𝘺 𝘔𝘪𝘳𝘳𝘰𝘳, is on view April 11–July 18, 2026. Come visit us!

📸: Photography by @todoraphotography

@nicnicosia @erincluleygallery @annaconwaystudio @fergusmccaffrey @henrygunderson.online @loyalgallery @halseymckaygallery

#thewarehouse #contemporaryart #dallas

—

Nic Nicosia
Blue Truck, 1980/2013
Blue Posts, 1980/2013
Pink House, 1980/2013
Rickety Fence, 1980/2013
Tom and Jo's, 1980/2013
Yellow Tree, 1980/2013
Archival inkjet on Hahnemühle paper
Image: 13 1/2 x 20 inches (34.3 x 50.8 cm)
The Rachofsky Collection

Anna Conway
Rhino, 2017
Oil on linen
44 x 66 inches (111.8 x 167.6 cm)
The Rachofsky Collection

Henry Gunderson
Night Shack, 2022
Oil on canvas
108 x 72 inches (274.3 x 182.9 cm)
Hartland & Mackie / Labora Collection

Lucy Kim
Clean Like Spring Rain, 2014
Oil paint, acrylic paint, urethane resin, and epoxy on dibond panel
57 x 52 inches (144.8 x 132 cm)
The Rachofsky Collection

Chris Duncan
Bedroom Window (black) 6 month exposure summer-winter, 2013
Sunlight, time, and cotton fabric
54 x 68 inches (137.2 x 172.7 cm)
The Rachofsky Collection

The environment of film noir is never neutral. Cities, suburbs, highways, and open land do not merely contain the story—they shape it, press against it, and often overwhelm it. The setting mirrors the inner lives of film noir's protagonists: disorienting and inescapable. Whether set in rain-soaked streets or blinding daylight, film noir environments express a post-war loss of sanctuary. There is no safe place left to retreat to and no pastoral ideal to restore balance. The world itself feels compromised.

𝘊𝘩𝘢𝘴𝘦 𝘢 𝘊𝘳𝘰𝘰𝘬𝘦𝘥 𝘚𝘩𝘢𝘥𝘰𝘸: 𝘍𝘪𝘭𝘮 𝘕𝘰𝘪𝘳 𝘢𝘴 𝘊𝘰𝘯𝘵𝘦𝘮𝘱𝘰𝘳𝘢𝘳𝘺 𝘔𝘪𝘳𝘳𝘰𝘳, curated by @alexandra_terry, gathers works that evoke a sense of estrangement in their setting through use of light, shadow, and composition.

𝘊𝘩𝘢𝘴𝘦 𝘢 𝘊𝘳𝘰𝘰𝘬𝘦𝘥 𝘚𝘩𝘢𝘥𝘰𝘸: 𝘍𝘪𝘭𝘮 𝘕𝘰𝘪𝘳 𝘢𝘴 𝘊𝘰𝘯𝘵𝘦𝘮𝘱𝘰𝘳𝘢𝘳𝘺 𝘔𝘪𝘳𝘳𝘰𝘳, is on view April 11–July 18, 2026. Come visit us!

📸: Photography by @todoraphotography

@nicnicosia @erincluleygallery @annaconwaystudio @fergusmccaffrey @henrygunderson.online @loyalgallery @halseymckaygallery

#thewarehouse #contemporaryart #dallas

—

Nic Nicosia
Blue Truck, 1980/2013
Blue Posts, 1980/2013
Pink House, 1980/2013
Rickety Fence, 1980/2013
Tom and Jo's, 1980/2013
Yellow Tree, 1980/2013
Archival inkjet on Hahnemühle paper
Image: 13 1/2 x 20 inches (34.3 x 50.8 cm)
The Rachofsky Collection

Anna Conway
Rhino, 2017
Oil on linen
44 x 66 inches (111.8 x 167.6 cm)
The Rachofsky Collection

Henry Gunderson
Night Shack, 2022
Oil on canvas
108 x 72 inches (274.3 x 182.9 cm)
Hartland & Mackie / Labora Collection

Lucy Kim
Clean Like Spring Rain, 2014
Oil paint, acrylic paint, urethane resin, and epoxy on dibond panel
57 x 52 inches (144.8 x 132 cm)
The Rachofsky Collection

Chris Duncan
Bedroom Window (black) 6 month exposure summer-winter, 2013
Sunlight, time, and cotton fabric
54 x 68 inches (137.2 x 172.7 cm)
The Rachofsky Collection

The environment of film noir is never neutral. Cities, suburbs, highways, and open land do not merely contain the story—they shape it, press against it, and often overwhelm it. The setting mirrors the inner lives of film noir's protagonists: disorienting and inescapable. Whether set in rain-soaked streets or blinding daylight, film noir environments express a post-war loss of sanctuary. There is no safe place left to retreat to and no pastoral ideal to restore balance. The world itself feels compromised.

𝘊𝘩𝘢𝘴𝘦 𝘢 𝘊𝘳𝘰𝘰𝘬𝘦𝘥 𝘚𝘩𝘢𝘥𝘰𝘸: 𝘍𝘪𝘭𝘮 𝘕𝘰𝘪𝘳 𝘢𝘴 𝘊𝘰𝘯𝘵𝘦𝘮𝘱𝘰𝘳𝘢𝘳𝘺 𝘔𝘪𝘳𝘳𝘰𝘳, curated by @alexandra_terry, gathers works that evoke a sense of estrangement in their setting through use of light, shadow, and composition.

𝘊𝘩𝘢𝘴𝘦 𝘢 𝘊𝘳𝘰𝘰𝘬𝘦𝘥 𝘚𝘩𝘢𝘥𝘰𝘸: 𝘍𝘪𝘭𝘮 𝘕𝘰𝘪𝘳 𝘢𝘴 𝘊𝘰𝘯𝘵𝘦𝘮𝘱𝘰𝘳𝘢𝘳𝘺 𝘔𝘪𝘳𝘳𝘰𝘳, is on view April 11–July 18, 2026. Come visit us!

📸: Photography by @todoraphotography

@nicnicosia @erincluleygallery @annaconwaystudio @fergusmccaffrey @henrygunderson.online @loyalgallery @halseymckaygallery

#thewarehouse #contemporaryart #dallas

—

Nic Nicosia
Blue Truck, 1980/2013
Blue Posts, 1980/2013
Pink House, 1980/2013
Rickety Fence, 1980/2013
Tom and Jo's, 1980/2013
Yellow Tree, 1980/2013
Archival inkjet on Hahnemühle paper
Image: 13 1/2 x 20 inches (34.3 x 50.8 cm)
The Rachofsky Collection

Anna Conway
Rhino, 2017
Oil on linen
44 x 66 inches (111.8 x 167.6 cm)
The Rachofsky Collection

Henry Gunderson
Night Shack, 2022
Oil on canvas
108 x 72 inches (274.3 x 182.9 cm)
Hartland & Mackie / Labora Collection

Lucy Kim
Clean Like Spring Rain, 2014
Oil paint, acrylic paint, urethane resin, and epoxy on dibond panel
57 x 52 inches (144.8 x 132 cm)
The Rachofsky Collection

Chris Duncan
Bedroom Window (black) 6 month exposure summer-winter, 2013
Sunlight, time, and cotton fabric
54 x 68 inches (137.2 x 172.7 cm)
The Rachofsky Collection

“I’m constantly aware of the fact that there’s always more than the eye can see. . . I’m especially inspired by moments that transcend the everyday. I’m looking for transcendence, always.” – Naudline Pierre

Naudline Pierre’s work creates a mythological alternate universe, saturated and dynamic, where an alter-ego protagonist navigates otherworldly scenes. Inspired by the religious iconography of the Renaissance, Pierre re-animates this history through her personal exploration of Black female subjectivity and spirituality.

Pierre’s painting 𝘛𝘩𝘦 𝘖𝘯𝘭𝘺 𝘞𝘢𝘺 𝘖𝘶𝘵 𝘐𝘴 𝘐𝘯 is currently on view in 𝘊𝘩𝘢𝘴𝘦 𝘢 𝘊𝘳𝘰𝘰𝘬𝘦𝘥 𝘚𝘩𝘢𝘥𝘰𝘸: 𝘍𝘪𝘭𝘮 𝘕𝘰𝘪𝘳 𝘢𝘴 𝘊𝘰𝘯𝘵𝘦𝘮𝘱𝘰𝘳𝘢𝘳𝘺 𝘔𝘪𝘳𝘳𝘰𝘳, curated by @alexandra_terry.

𝘊𝘩𝘢𝘴𝘦 𝘢 𝘊𝘳𝘰𝘰𝘬𝘦𝘥 𝘚𝘩𝘢𝘥𝘰𝘸: 𝘍𝘪𝘭𝘮 𝘕𝘰𝘪𝘳 𝘢𝘴 𝘊𝘰𝘯𝘵𝘦𝘮𝘱𝘰𝘳𝘢𝘳𝘺 𝘔𝘪𝘳𝘳𝘰𝘳 is on view April 11–July 18, 2026.

📸: Photography by @todoraphotography

@cluvie @jamescohangallery #naudlinepierre#thewarehouse #contemporaryart #dallas

—

Naudline Pierre
American, born 1989
𝘛𝘩𝘦 𝘖𝘯𝘭𝘺 𝘞𝘢𝘺 𝘖𝘶𝘵 𝘐𝘴 𝘐𝘯, 2023
Oil and oil stick on canvas
96 x 120 inches (243.8 x 304.8 cm)
The Rachofsky Collection

Lee Mullican
American, 1919–1998
𝘈𝘴𝘤𝘦𝘯𝘴𝘪𝘰𝘯, 1967
Oil on canvas
50 x 34 7/8 inches (127 x 88.6 cm)
The Rachofsky Collection

“I’m constantly aware of the fact that there’s always more than the eye can see. . . I’m especially inspired by moments that transcend the everyday. I’m looking for transcendence, always.” – Naudline Pierre

Naudline Pierre’s work creates a mythological alternate universe, saturated and dynamic, where an alter-ego protagonist navigates otherworldly scenes. Inspired by the religious iconography of the Renaissance, Pierre re-animates this history through her personal exploration of Black female subjectivity and spirituality.

Pierre’s painting 𝘛𝘩𝘦 𝘖𝘯𝘭𝘺 𝘞𝘢𝘺 𝘖𝘶𝘵 𝘐𝘴 𝘐𝘯 is currently on view in 𝘊𝘩𝘢𝘴𝘦 𝘢 𝘊𝘳𝘰𝘰𝘬𝘦𝘥 𝘚𝘩𝘢𝘥𝘰𝘸: 𝘍𝘪𝘭𝘮 𝘕𝘰𝘪𝘳 𝘢𝘴 𝘊𝘰𝘯𝘵𝘦𝘮𝘱𝘰𝘳𝘢𝘳𝘺 𝘔𝘪𝘳𝘳𝘰𝘳, curated by @alexandra_terry.

𝘊𝘩𝘢𝘴𝘦 𝘢 𝘊𝘳𝘰𝘰𝘬𝘦𝘥 𝘚𝘩𝘢𝘥𝘰𝘸: 𝘍𝘪𝘭𝘮 𝘕𝘰𝘪𝘳 𝘢𝘴 𝘊𝘰𝘯𝘵𝘦𝘮𝘱𝘰𝘳𝘢𝘳𝘺 𝘔𝘪𝘳𝘳𝘰𝘳 is on view April 11–July 18, 2026.

📸: Photography by @todoraphotography

@cluvie @jamescohangallery #naudlinepierre#thewarehouse #contemporaryart #dallas

—

Naudline Pierre
American, born 1989
𝘛𝘩𝘦 𝘖𝘯𝘭𝘺 𝘞𝘢𝘺 𝘖𝘶𝘵 𝘐𝘴 𝘐𝘯, 2023
Oil and oil stick on canvas
96 x 120 inches (243.8 x 304.8 cm)
The Rachofsky Collection

Lee Mullican
American, 1919–1998
𝘈𝘴𝘤𝘦𝘯𝘴𝘪𝘰𝘯, 1967
Oil on canvas
50 x 34 7/8 inches (127 x 88.6 cm)
The Rachofsky Collection

“I’m constantly aware of the fact that there’s always more than the eye can see. . . I’m especially inspired by moments that transcend the everyday. I’m looking for transcendence, always.” – Naudline Pierre

Naudline Pierre’s work creates a mythological alternate universe, saturated and dynamic, where an alter-ego protagonist navigates otherworldly scenes. Inspired by the religious iconography of the Renaissance, Pierre re-animates this history through her personal exploration of Black female subjectivity and spirituality.

Pierre’s painting 𝘛𝘩𝘦 𝘖𝘯𝘭𝘺 𝘞𝘢𝘺 𝘖𝘶𝘵 𝘐𝘴 𝘐𝘯 is currently on view in 𝘊𝘩𝘢𝘴𝘦 𝘢 𝘊𝘳𝘰𝘰𝘬𝘦𝘥 𝘚𝘩𝘢𝘥𝘰𝘸: 𝘍𝘪𝘭𝘮 𝘕𝘰𝘪𝘳 𝘢𝘴 𝘊𝘰𝘯𝘵𝘦𝘮𝘱𝘰𝘳𝘢𝘳𝘺 𝘔𝘪𝘳𝘳𝘰𝘳, curated by @alexandra_terry.

𝘊𝘩𝘢𝘴𝘦 𝘢 𝘊𝘳𝘰𝘰𝘬𝘦𝘥 𝘚𝘩𝘢𝘥𝘰𝘸: 𝘍𝘪𝘭𝘮 𝘕𝘰𝘪𝘳 𝘢𝘴 𝘊𝘰𝘯𝘵𝘦𝘮𝘱𝘰𝘳𝘢𝘳𝘺 𝘔𝘪𝘳𝘳𝘰𝘳 is on view April 11–July 18, 2026.

📸: Photography by @todoraphotography

@cluvie @jamescohangallery #naudlinepierre#thewarehouse #contemporaryart #dallas

—

Naudline Pierre
American, born 1989
𝘛𝘩𝘦 𝘖𝘯𝘭𝘺 𝘞𝘢𝘺 𝘖𝘶𝘵 𝘐𝘴 𝘐𝘯, 2023
Oil and oil stick on canvas
96 x 120 inches (243.8 x 304.8 cm)
The Rachofsky Collection

Lee Mullican
American, 1919–1998
𝘈𝘴𝘤𝘦𝘯𝘴𝘪𝘰𝘯, 1967
Oil on canvas
50 x 34 7/8 inches (127 x 88.6 cm)
The Rachofsky Collection

“I’m constantly aware of the fact that there’s always more than the eye can see. . . I’m especially inspired by moments that transcend the everyday. I’m looking for transcendence, always.” – Naudline Pierre

Naudline Pierre’s work creates a mythological alternate universe, saturated and dynamic, where an alter-ego protagonist navigates otherworldly scenes. Inspired by the religious iconography of the Renaissance, Pierre re-animates this history through her personal exploration of Black female subjectivity and spirituality.

Pierre’s painting 𝘛𝘩𝘦 𝘖𝘯𝘭𝘺 𝘞𝘢𝘺 𝘖𝘶𝘵 𝘐𝘴 𝘐𝘯 is currently on view in 𝘊𝘩𝘢𝘴𝘦 𝘢 𝘊𝘳𝘰𝘰𝘬𝘦𝘥 𝘚𝘩𝘢𝘥𝘰𝘸: 𝘍𝘪𝘭𝘮 𝘕𝘰𝘪𝘳 𝘢𝘴 𝘊𝘰𝘯𝘵𝘦𝘮𝘱𝘰𝘳𝘢𝘳𝘺 𝘔𝘪𝘳𝘳𝘰𝘳, curated by @alexandra_terry.

𝘊𝘩𝘢𝘴𝘦 𝘢 𝘊𝘳𝘰𝘰𝘬𝘦𝘥 𝘚𝘩𝘢𝘥𝘰𝘸: 𝘍𝘪𝘭𝘮 𝘕𝘰𝘪𝘳 𝘢𝘴 𝘊𝘰𝘯𝘵𝘦𝘮𝘱𝘰𝘳𝘢𝘳𝘺 𝘔𝘪𝘳𝘳𝘰𝘳 is on view April 11–July 18, 2026.

📸: Photography by @todoraphotography

@cluvie @jamescohangallery #naudlinepierre#thewarehouse #contemporaryart #dallas

—

Naudline Pierre
American, born 1989
𝘛𝘩𝘦 𝘖𝘯𝘭𝘺 𝘞𝘢𝘺 𝘖𝘶𝘵 𝘐𝘴 𝘐𝘯, 2023
Oil and oil stick on canvas
96 x 120 inches (243.8 x 304.8 cm)
The Rachofsky Collection

Lee Mullican
American, 1919–1998
𝘈𝘴𝘤𝘦𝘯𝘴𝘪𝘰𝘯, 1967
Oil on canvas
50 x 34 7/8 inches (127 x 88.6 cm)
The Rachofsky Collection

“I’m constantly aware of the fact that there’s always more than the eye can see. . . I’m especially inspired by moments that transcend the everyday. I’m looking for transcendence, always.” – Naudline Pierre

Naudline Pierre’s work creates a mythological alternate universe, saturated and dynamic, where an alter-ego protagonist navigates otherworldly scenes. Inspired by the religious iconography of the Renaissance, Pierre re-animates this history through her personal exploration of Black female subjectivity and spirituality.

Pierre’s painting 𝘛𝘩𝘦 𝘖𝘯𝘭𝘺 𝘞𝘢𝘺 𝘖𝘶𝘵 𝘐𝘴 𝘐𝘯 is currently on view in 𝘊𝘩𝘢𝘴𝘦 𝘢 𝘊𝘳𝘰𝘰𝘬𝘦𝘥 𝘚𝘩𝘢𝘥𝘰𝘸: 𝘍𝘪𝘭𝘮 𝘕𝘰𝘪𝘳 𝘢𝘴 𝘊𝘰𝘯𝘵𝘦𝘮𝘱𝘰𝘳𝘢𝘳𝘺 𝘔𝘪𝘳𝘳𝘰𝘳, curated by @alexandra_terry.

𝘊𝘩𝘢𝘴𝘦 𝘢 𝘊𝘳𝘰𝘰𝘬𝘦𝘥 𝘚𝘩𝘢𝘥𝘰𝘸: 𝘍𝘪𝘭𝘮 𝘕𝘰𝘪𝘳 𝘢𝘴 𝘊𝘰𝘯𝘵𝘦𝘮𝘱𝘰𝘳𝘢𝘳𝘺 𝘔𝘪𝘳𝘳𝘰𝘳 is on view April 11–July 18, 2026.

📸: Photography by @todoraphotography

@cluvie @jamescohangallery #naudlinepierre#thewarehouse #contemporaryart #dallas

—

Naudline Pierre
American, born 1989
𝘛𝘩𝘦 𝘖𝘯𝘭𝘺 𝘞𝘢𝘺 𝘖𝘶𝘵 𝘐𝘴 𝘐𝘯, 2023
Oil and oil stick on canvas
96 x 120 inches (243.8 x 304.8 cm)
The Rachofsky Collection

Lee Mullican
American, 1919–1998
𝘈𝘴𝘤𝘦𝘯𝘴𝘪𝘰𝘯, 1967
Oil on canvas
50 x 34 7/8 inches (127 x 88.6 cm)
The Rachofsky Collection

Curator Alexandra Terry (@alexandra__terry) walks us through our current exhibition 𝘊𝘩𝘢𝘴𝘦 𝘢 𝘊𝘳𝘰𝘰𝘬𝘦𝘥 𝘚𝘩𝘢𝘥𝘰𝘸: 𝘍𝘪𝘭𝘮 𝘕𝘰𝘪𝘳 𝘢𝘴 𝘊𝘰𝘯𝘵𝘦𝘮𝘱𝘰𝘳𝘢𝘳𝘺 𝘔𝘪𝘳𝘳𝘰𝘳, now on view through July 18, 2026.

Curated by Terry, the exhibition approaches film noir as a visual, psychological, and ethical framework that continues to resonate today. Across more than 100 works, the exhibition considers noir as an enduring lens through which shifting power dynamics, moral ambiguity, and the instability of perception come into focus.

The Warehouse is open every Saturday from 12–5 PM during our exhibitions. Guided tours and gallery talks led by The Warehouse team take place at 2 PM during Open Hours and focus on the current exhibitions.

🔗 Visit the link in bio to learn more about upcoming programs and to sign up for our newsletter.

📸 Video by @exploredinary

“I think violence is a part of everyday [life] for a lot of people . . . to not live in violence is a privilege.” – Diamond Stingily

In film noir, chance, necessity, and desire pull individuals into irreversible acts, blurring the line between victim and perpetrator. The scene of the crime becomes less a physical location than a psychological threshold—the moment when intent crystallizes, and accountability can no longer be deferred. 𝘊𝘩𝘢𝘴𝘦 𝘢 𝘊𝘳𝘰𝘰𝘬𝘦𝘥 𝘚𝘩𝘢𝘥𝘰𝘸: 𝘍𝘪𝘭𝘮 𝘕𝘰𝘪𝘳 𝘢𝘴 𝘊𝘰𝘯𝘵𝘦𝘮𝘱𝘰𝘳𝘢𝘳𝘺 𝘔𝘪𝘳𝘳𝘰𝘳, curated by @alexandra_terry, gathers works that evoke film noir’s investigation of the fragile condition of ordinary life in a morally compromised world. In these works, figures shimmer with possibility while concealing inevitable collapse, and violence can erupt in even the most familiar places.

𝘊𝘩𝘢𝘴𝘦 𝘢 𝘊𝘳𝘰𝘰𝘬𝘦𝘥 𝘚𝘩𝘢𝘥𝘰𝘸: 𝘍𝘪𝘭𝘮 𝘕𝘰𝘪𝘳 𝘢𝘴 𝘊𝘰𝘯𝘵𝘦𝘮𝘱𝘰𝘳𝘢𝘳𝘺 𝘔𝘪𝘳𝘳𝘰𝘳 is on view April 11–July 18, 2026.

📸: Photography by @todoraphotography

@nigelcookestudio @pacegallery @crewdsonstudio @houkgallery @shuriyadavis @louisagagliardi @galerieevapresenhuber @dawidradziszewskigallery @rodolphejanssen @tomoogokita @petzelgallery @massimodecarlogallery @takaishiigallery @sterlingruby @takaishiigallery @spruethmagers @gagosian @ima_beat_yo_ass_on_dis_train @greenenaftali @isabellabortolozzi

#thewarehouse #contemporaryart #dallas

“I think violence is a part of everyday [life] for a lot of people . . . to not live in violence is a privilege.” – Diamond Stingily

In film noir, chance, necessity, and desire pull individuals into irreversible acts, blurring the line between victim and perpetrator. The scene of the crime becomes less a physical location than a psychological threshold—the moment when intent crystallizes, and accountability can no longer be deferred. 𝘊𝘩𝘢𝘴𝘦 𝘢 𝘊𝘳𝘰𝘰𝘬𝘦𝘥 𝘚𝘩𝘢𝘥𝘰𝘸: 𝘍𝘪𝘭𝘮 𝘕𝘰𝘪𝘳 𝘢𝘴 𝘊𝘰𝘯𝘵𝘦𝘮𝘱𝘰𝘳𝘢𝘳𝘺 𝘔𝘪𝘳𝘳𝘰𝘳, curated by @alexandra_terry, gathers works that evoke film noir’s investigation of the fragile condition of ordinary life in a morally compromised world. In these works, figures shimmer with possibility while concealing inevitable collapse, and violence can erupt in even the most familiar places.

𝘊𝘩𝘢𝘴𝘦 𝘢 𝘊𝘳𝘰𝘰𝘬𝘦𝘥 𝘚𝘩𝘢𝘥𝘰𝘸: 𝘍𝘪𝘭𝘮 𝘕𝘰𝘪𝘳 𝘢𝘴 𝘊𝘰𝘯𝘵𝘦𝘮𝘱𝘰𝘳𝘢𝘳𝘺 𝘔𝘪𝘳𝘳𝘰𝘳 is on view April 11–July 18, 2026.

📸: Photography by @todoraphotography

@nigelcookestudio @pacegallery @crewdsonstudio @houkgallery @shuriyadavis @louisagagliardi @galerieevapresenhuber @dawidradziszewskigallery @rodolphejanssen @tomoogokita @petzelgallery @massimodecarlogallery @takaishiigallery @sterlingruby @takaishiigallery @spruethmagers @gagosian @ima_beat_yo_ass_on_dis_train @greenenaftali @isabellabortolozzi

#thewarehouse #contemporaryart #dallas

“I think violence is a part of everyday [life] for a lot of people . . . to not live in violence is a privilege.” – Diamond Stingily

In film noir, chance, necessity, and desire pull individuals into irreversible acts, blurring the line between victim and perpetrator. The scene of the crime becomes less a physical location than a psychological threshold—the moment when intent crystallizes, and accountability can no longer be deferred. 𝘊𝘩𝘢𝘴𝘦 𝘢 𝘊𝘳𝘰𝘰𝘬𝘦𝘥 𝘚𝘩𝘢𝘥𝘰𝘸: 𝘍𝘪𝘭𝘮 𝘕𝘰𝘪𝘳 𝘢𝘴 𝘊𝘰𝘯𝘵𝘦𝘮𝘱𝘰𝘳𝘢𝘳𝘺 𝘔𝘪𝘳𝘳𝘰𝘳, curated by @alexandra_terry, gathers works that evoke film noir’s investigation of the fragile condition of ordinary life in a morally compromised world. In these works, figures shimmer with possibility while concealing inevitable collapse, and violence can erupt in even the most familiar places.

𝘊𝘩𝘢𝘴𝘦 𝘢 𝘊𝘳𝘰𝘰𝘬𝘦𝘥 𝘚𝘩𝘢𝘥𝘰𝘸: 𝘍𝘪𝘭𝘮 𝘕𝘰𝘪𝘳 𝘢𝘴 𝘊𝘰𝘯𝘵𝘦𝘮𝘱𝘰𝘳𝘢𝘳𝘺 𝘔𝘪𝘳𝘳𝘰𝘳 is on view April 11–July 18, 2026.

📸: Photography by @todoraphotography

@nigelcookestudio @pacegallery @crewdsonstudio @houkgallery @shuriyadavis @louisagagliardi @galerieevapresenhuber @dawidradziszewskigallery @rodolphejanssen @tomoogokita @petzelgallery @massimodecarlogallery @takaishiigallery @sterlingruby @takaishiigallery @spruethmagers @gagosian @ima_beat_yo_ass_on_dis_train @greenenaftali @isabellabortolozzi

#thewarehouse #contemporaryart #dallas

“I think violence is a part of everyday [life] for a lot of people . . . to not live in violence is a privilege.” – Diamond Stingily

In film noir, chance, necessity, and desire pull individuals into irreversible acts, blurring the line between victim and perpetrator. The scene of the crime becomes less a physical location than a psychological threshold—the moment when intent crystallizes, and accountability can no longer be deferred. 𝘊𝘩𝘢𝘴𝘦 𝘢 𝘊𝘳𝘰𝘰𝘬𝘦𝘥 𝘚𝘩𝘢𝘥𝘰𝘸: 𝘍𝘪𝘭𝘮 𝘕𝘰𝘪𝘳 𝘢𝘴 𝘊𝘰𝘯𝘵𝘦𝘮𝘱𝘰𝘳𝘢𝘳𝘺 𝘔𝘪𝘳𝘳𝘰𝘳, curated by @alexandra_terry, gathers works that evoke film noir’s investigation of the fragile condition of ordinary life in a morally compromised world. In these works, figures shimmer with possibility while concealing inevitable collapse, and violence can erupt in even the most familiar places.

𝘊𝘩𝘢𝘴𝘦 𝘢 𝘊𝘳𝘰𝘰𝘬𝘦𝘥 𝘚𝘩𝘢𝘥𝘰𝘸: 𝘍𝘪𝘭𝘮 𝘕𝘰𝘪𝘳 𝘢𝘴 𝘊𝘰𝘯𝘵𝘦𝘮𝘱𝘰𝘳𝘢𝘳𝘺 𝘔𝘪𝘳𝘳𝘰𝘳 is on view April 11–July 18, 2026.

📸: Photography by @todoraphotography

@nigelcookestudio @pacegallery @crewdsonstudio @houkgallery @shuriyadavis @louisagagliardi @galerieevapresenhuber @dawidradziszewskigallery @rodolphejanssen @tomoogokita @petzelgallery @massimodecarlogallery @takaishiigallery @sterlingruby @takaishiigallery @spruethmagers @gagosian @ima_beat_yo_ass_on_dis_train @greenenaftali @isabellabortolozzi

#thewarehouse #contemporaryart #dallas

“I think violence is a part of everyday [life] for a lot of people . . . to not live in violence is a privilege.” – Diamond Stingily

In film noir, chance, necessity, and desire pull individuals into irreversible acts, blurring the line between victim and perpetrator. The scene of the crime becomes less a physical location than a psychological threshold—the moment when intent crystallizes, and accountability can no longer be deferred. 𝘊𝘩𝘢𝘴𝘦 𝘢 𝘊𝘳𝘰𝘰𝘬𝘦𝘥 𝘚𝘩𝘢𝘥𝘰𝘸: 𝘍𝘪𝘭𝘮 𝘕𝘰𝘪𝘳 𝘢𝘴 𝘊𝘰𝘯𝘵𝘦𝘮𝘱𝘰𝘳𝘢𝘳𝘺 𝘔𝘪𝘳𝘳𝘰𝘳, curated by @alexandra_terry, gathers works that evoke film noir’s investigation of the fragile condition of ordinary life in a morally compromised world. In these works, figures shimmer with possibility while concealing inevitable collapse, and violence can erupt in even the most familiar places.

𝘊𝘩𝘢𝘴𝘦 𝘢 𝘊𝘳𝘰𝘰𝘬𝘦𝘥 𝘚𝘩𝘢𝘥𝘰𝘸: 𝘍𝘪𝘭𝘮 𝘕𝘰𝘪𝘳 𝘢𝘴 𝘊𝘰𝘯𝘵𝘦𝘮𝘱𝘰𝘳𝘢𝘳𝘺 𝘔𝘪𝘳𝘳𝘰𝘳 is on view April 11–July 18, 2026.

📸: Photography by @todoraphotography

@nigelcookestudio @pacegallery @crewdsonstudio @houkgallery @shuriyadavis @louisagagliardi @galerieevapresenhuber @dawidradziszewskigallery @rodolphejanssen @tomoogokita @petzelgallery @massimodecarlogallery @takaishiigallery @sterlingruby @takaishiigallery @spruethmagers @gagosian @ima_beat_yo_ass_on_dis_train @greenenaftali @isabellabortolozzi

#thewarehouse #contemporaryart #dallas

“I think violence is a part of everyday [life] for a lot of people . . . to not live in violence is a privilege.” – Diamond Stingily

In film noir, chance, necessity, and desire pull individuals into irreversible acts, blurring the line between victim and perpetrator. The scene of the crime becomes less a physical location than a psychological threshold—the moment when intent crystallizes, and accountability can no longer be deferred. 𝘊𝘩𝘢𝘴𝘦 𝘢 𝘊𝘳𝘰𝘰𝘬𝘦𝘥 𝘚𝘩𝘢𝘥𝘰𝘸: 𝘍𝘪𝘭𝘮 𝘕𝘰𝘪𝘳 𝘢𝘴 𝘊𝘰𝘯𝘵𝘦𝘮𝘱𝘰𝘳𝘢𝘳𝘺 𝘔𝘪𝘳𝘳𝘰𝘳, curated by @alexandra_terry, gathers works that evoke film noir’s investigation of the fragile condition of ordinary life in a morally compromised world. In these works, figures shimmer with possibility while concealing inevitable collapse, and violence can erupt in even the most familiar places.

𝘊𝘩𝘢𝘴𝘦 𝘢 𝘊𝘳𝘰𝘰𝘬𝘦𝘥 𝘚𝘩𝘢𝘥𝘰𝘸: 𝘍𝘪𝘭𝘮 𝘕𝘰𝘪𝘳 𝘢𝘴 𝘊𝘰𝘯𝘵𝘦𝘮𝘱𝘰𝘳𝘢𝘳𝘺 𝘔𝘪𝘳𝘳𝘰𝘳 is on view April 11–July 18, 2026.

📸: Photography by @todoraphotography

@nigelcookestudio @pacegallery @crewdsonstudio @houkgallery @shuriyadavis @louisagagliardi @galerieevapresenhuber @dawidradziszewskigallery @rodolphejanssen @tomoogokita @petzelgallery @massimodecarlogallery @takaishiigallery @sterlingruby @takaishiigallery @spruethmagers @gagosian @ima_beat_yo_ass_on_dis_train @greenenaftali @isabellabortolozzi

#thewarehouse #contemporaryart #dallas

“I think violence is a part of everyday [life] for a lot of people . . . to not live in violence is a privilege.” – Diamond Stingily

In film noir, chance, necessity, and desire pull individuals into irreversible acts, blurring the line between victim and perpetrator. The scene of the crime becomes less a physical location than a psychological threshold—the moment when intent crystallizes, and accountability can no longer be deferred. 𝘊𝘩𝘢𝘴𝘦 𝘢 𝘊𝘳𝘰𝘰𝘬𝘦𝘥 𝘚𝘩𝘢𝘥𝘰𝘸: 𝘍𝘪𝘭𝘮 𝘕𝘰𝘪𝘳 𝘢𝘴 𝘊𝘰𝘯𝘵𝘦𝘮𝘱𝘰𝘳𝘢𝘳𝘺 𝘔𝘪𝘳𝘳𝘰𝘳, curated by @alexandra_terry, gathers works that evoke film noir’s investigation of the fragile condition of ordinary life in a morally compromised world. In these works, figures shimmer with possibility while concealing inevitable collapse, and violence can erupt in even the most familiar places.

𝘊𝘩𝘢𝘴𝘦 𝘢 𝘊𝘳𝘰𝘰𝘬𝘦𝘥 𝘚𝘩𝘢𝘥𝘰𝘸: 𝘍𝘪𝘭𝘮 𝘕𝘰𝘪𝘳 𝘢𝘴 𝘊𝘰𝘯𝘵𝘦𝘮𝘱𝘰𝘳𝘢𝘳𝘺 𝘔𝘪𝘳𝘳𝘰𝘳 is on view April 11–July 18, 2026.

📸: Photography by @todoraphotography

@nigelcookestudio @pacegallery @crewdsonstudio @houkgallery @shuriyadavis @louisagagliardi @galerieevapresenhuber @dawidradziszewskigallery @rodolphejanssen @tomoogokita @petzelgallery @massimodecarlogallery @takaishiigallery @sterlingruby @takaishiigallery @spruethmagers @gagosian @ima_beat_yo_ass_on_dis_train @greenenaftali @isabellabortolozzi

#thewarehouse #contemporaryart #dallas

“I think violence is a part of everyday [life] for a lot of people . . . to not live in violence is a privilege.” – Diamond Stingily

In film noir, chance, necessity, and desire pull individuals into irreversible acts, blurring the line between victim and perpetrator. The scene of the crime becomes less a physical location than a psychological threshold—the moment when intent crystallizes, and accountability can no longer be deferred. 𝘊𝘩𝘢𝘴𝘦 𝘢 𝘊𝘳𝘰𝘰𝘬𝘦𝘥 𝘚𝘩𝘢𝘥𝘰𝘸: 𝘍𝘪𝘭𝘮 𝘕𝘰𝘪𝘳 𝘢𝘴 𝘊𝘰𝘯𝘵𝘦𝘮𝘱𝘰𝘳𝘢𝘳𝘺 𝘔𝘪𝘳𝘳𝘰𝘳, curated by @alexandra_terry, gathers works that evoke film noir’s investigation of the fragile condition of ordinary life in a morally compromised world. In these works, figures shimmer with possibility while concealing inevitable collapse, and violence can erupt in even the most familiar places.

𝘊𝘩𝘢𝘴𝘦 𝘢 𝘊𝘳𝘰𝘰𝘬𝘦𝘥 𝘚𝘩𝘢𝘥𝘰𝘸: 𝘍𝘪𝘭𝘮 𝘕𝘰𝘪𝘳 𝘢𝘴 𝘊𝘰𝘯𝘵𝘦𝘮𝘱𝘰𝘳𝘢𝘳𝘺 𝘔𝘪𝘳𝘳𝘰𝘳 is on view April 11–July 18, 2026.

📸: Photography by @todoraphotography

@nigelcookestudio @pacegallery @crewdsonstudio @houkgallery @shuriyadavis @louisagagliardi @galerieevapresenhuber @dawidradziszewskigallery @rodolphejanssen @tomoogokita @petzelgallery @massimodecarlogallery @takaishiigallery @sterlingruby @takaishiigallery @spruethmagers @gagosian @ima_beat_yo_ass_on_dis_train @greenenaftali @isabellabortolozzi

#thewarehouse #contemporaryart #dallas

Film noir was born from a profound rupture in the American psyche. While the end of World War II was publicly marked by celebration and triumph, it also ushered in an era defined by anxiety, suspicion, and dread.

The first gallery in 𝘊𝘩𝘢𝘴𝘦 𝘢 𝘊𝘳𝘰𝘰𝘬𝘦𝘥 𝘚𝘩𝘢𝘥𝘰𝘸: 𝘍𝘪𝘭𝘮 𝘕𝘰𝘪𝘳 𝘢𝘴 𝘊𝘰𝘯𝘵𝘦𝘮𝘱𝘰𝘳𝘢𝘳𝘺 𝘔𝘪𝘳𝘳𝘰𝘳, curated by @alexandra_terry, explores how the post-war atmosphere of fear, loss, and disillusionment continues to resonate in contemporary art.

Danh Vo’s 𝘐𝘯 𝘎𝘰𝘥 𝘞𝘦 𝘛𝘳𝘶𝘴𝘵 functions as an allegory for the fragility of democratic ideals. By reimagining the American flag as a structure destined to be dismantled, Vo exposes national identity as impermanent and vulnerable, especially when fear governs political life.

Kathleen Ryan exposes the decay of opulence in her gemstone-covered cherries that are beginning to rot. Delfin Finley’s figure wrestles against the weight of red, white, and blue ropes that tangle and confine him. Sherrill Roland's “168.807” transforms wrongful incarceration into a study of endurance. Using some of the materials available to him in prison, he reconstructs the cinderblock forms of his cell: shapes he once traced to pass time.

Yngve Holen’s use of industrial forms and security infrastructures in 𝘝𝘌𝘙𝘛𝘐𝘊𝘈𝘓𝘚𝘌𝘈𝘛 evokes a society fixated on control and separation. What appears as security reveals itself as confinement, recalling a Cold War logic in which fear justified exclusion, surveillance, and fortified boundaries, echoing present-day immigration sweeps and the capture of individuals across the country.

𝘊𝘩𝘢𝘴𝘦 𝘢 𝘊𝘳𝘰𝘰𝘬𝘦𝘥 𝘚𝘩𝘢𝘥𝘰𝘸: 𝘍𝘪𝘭𝘮 𝘕𝘰𝘪𝘳 𝘢𝘴 𝘊𝘰𝘯𝘵𝘦𝘮𝘱𝘰𝘳𝘢𝘳𝘺 𝘔𝘪𝘳𝘳𝘰𝘳 is on view April 11–July 18, 2026.

@delfin @davidkordanskygallery @yngveholen @galerieneu @stuartshavemodernart @sherrillroland @tanyabonakdargallery @katieryankatieryan @karmakarma9 @gagosian @votrungkydanh @whitecube @mariangoodmangallery @kurimanzutto @massimodecarlogallery @galeriechantalcrousel @takeninagawa

📸: Photography by @exploredinary & @todoraphotography

Film noir was born from a profound rupture in the American psyche. While the end of World War II was publicly marked by celebration and triumph, it also ushered in an era defined by anxiety, suspicion, and dread.

The first gallery in 𝘊𝘩𝘢𝘴𝘦 𝘢 𝘊𝘳𝘰𝘰𝘬𝘦𝘥 𝘚𝘩𝘢𝘥𝘰𝘸: 𝘍𝘪𝘭𝘮 𝘕𝘰𝘪𝘳 𝘢𝘴 𝘊𝘰𝘯𝘵𝘦𝘮𝘱𝘰𝘳𝘢𝘳𝘺 𝘔𝘪𝘳𝘳𝘰𝘳, curated by @alexandra_terry, explores how the post-war atmosphere of fear, loss, and disillusionment continues to resonate in contemporary art.

Danh Vo’s 𝘐𝘯 𝘎𝘰𝘥 𝘞𝘦 𝘛𝘳𝘶𝘴𝘵 functions as an allegory for the fragility of democratic ideals. By reimagining the American flag as a structure destined to be dismantled, Vo exposes national identity as impermanent and vulnerable, especially when fear governs political life.

Kathleen Ryan exposes the decay of opulence in her gemstone-covered cherries that are beginning to rot. Delfin Finley’s figure wrestles against the weight of red, white, and blue ropes that tangle and confine him. Sherrill Roland's “168.807” transforms wrongful incarceration into a study of endurance. Using some of the materials available to him in prison, he reconstructs the cinderblock forms of his cell: shapes he once traced to pass time.

Yngve Holen’s use of industrial forms and security infrastructures in 𝘝𝘌𝘙𝘛𝘐𝘊𝘈𝘓𝘚𝘌𝘈𝘛 evokes a society fixated on control and separation. What appears as security reveals itself as confinement, recalling a Cold War logic in which fear justified exclusion, surveillance, and fortified boundaries, echoing present-day immigration sweeps and the capture of individuals across the country.

𝘊𝘩𝘢𝘴𝘦 𝘢 𝘊𝘳𝘰𝘰𝘬𝘦𝘥 𝘚𝘩𝘢𝘥𝘰𝘸: 𝘍𝘪𝘭𝘮 𝘕𝘰𝘪𝘳 𝘢𝘴 𝘊𝘰𝘯𝘵𝘦𝘮𝘱𝘰𝘳𝘢𝘳𝘺 𝘔𝘪𝘳𝘳𝘰𝘳 is on view April 11–July 18, 2026.

@delfin @davidkordanskygallery @yngveholen @galerieneu @stuartshavemodernart @sherrillroland @tanyabonakdargallery @katieryankatieryan @karmakarma9 @gagosian @votrungkydanh @whitecube @mariangoodmangallery @kurimanzutto @massimodecarlogallery @galeriechantalcrousel @takeninagawa

📸: Photography by @exploredinary & @todoraphotography

Film noir was born from a profound rupture in the American psyche. While the end of World War II was publicly marked by celebration and triumph, it also ushered in an era defined by anxiety, suspicion, and dread.

The first gallery in 𝘊𝘩𝘢𝘴𝘦 𝘢 𝘊𝘳𝘰𝘰𝘬𝘦𝘥 𝘚𝘩𝘢𝘥𝘰𝘸: 𝘍𝘪𝘭𝘮 𝘕𝘰𝘪𝘳 𝘢𝘴 𝘊𝘰𝘯𝘵𝘦𝘮𝘱𝘰𝘳𝘢𝘳𝘺 𝘔𝘪𝘳𝘳𝘰𝘳, curated by @alexandra_terry, explores how the post-war atmosphere of fear, loss, and disillusionment continues to resonate in contemporary art.

Danh Vo’s 𝘐𝘯 𝘎𝘰𝘥 𝘞𝘦 𝘛𝘳𝘶𝘴𝘵 functions as an allegory for the fragility of democratic ideals. By reimagining the American flag as a structure destined to be dismantled, Vo exposes national identity as impermanent and vulnerable, especially when fear governs political life.

Kathleen Ryan exposes the decay of opulence in her gemstone-covered cherries that are beginning to rot. Delfin Finley’s figure wrestles against the weight of red, white, and blue ropes that tangle and confine him. Sherrill Roland's “168.807” transforms wrongful incarceration into a study of endurance. Using some of the materials available to him in prison, he reconstructs the cinderblock forms of his cell: shapes he once traced to pass time.

Yngve Holen’s use of industrial forms and security infrastructures in 𝘝𝘌𝘙𝘛𝘐𝘊𝘈𝘓𝘚𝘌𝘈𝘛 evokes a society fixated on control and separation. What appears as security reveals itself as confinement, recalling a Cold War logic in which fear justified exclusion, surveillance, and fortified boundaries, echoing present-day immigration sweeps and the capture of individuals across the country.

𝘊𝘩𝘢𝘴𝘦 𝘢 𝘊𝘳𝘰𝘰𝘬𝘦𝘥 𝘚𝘩𝘢𝘥𝘰𝘸: 𝘍𝘪𝘭𝘮 𝘕𝘰𝘪𝘳 𝘢𝘴 𝘊𝘰𝘯𝘵𝘦𝘮𝘱𝘰𝘳𝘢𝘳𝘺 𝘔𝘪𝘳𝘳𝘰𝘳 is on view April 11–July 18, 2026.

@delfin @davidkordanskygallery @yngveholen @galerieneu @stuartshavemodernart @sherrillroland @tanyabonakdargallery @katieryankatieryan @karmakarma9 @gagosian @votrungkydanh @whitecube @mariangoodmangallery @kurimanzutto @massimodecarlogallery @galeriechantalcrousel @takeninagawa

📸: Photography by @exploredinary & @todoraphotography

Film noir was born from a profound rupture in the American psyche. While the end of World War II was publicly marked by celebration and triumph, it also ushered in an era defined by anxiety, suspicion, and dread.

The first gallery in 𝘊𝘩𝘢𝘴𝘦 𝘢 𝘊𝘳𝘰𝘰𝘬𝘦𝘥 𝘚𝘩𝘢𝘥𝘰𝘸: 𝘍𝘪𝘭𝘮 𝘕𝘰𝘪𝘳 𝘢𝘴 𝘊𝘰𝘯𝘵𝘦𝘮𝘱𝘰𝘳𝘢𝘳𝘺 𝘔𝘪𝘳𝘳𝘰𝘳, curated by @alexandra_terry, explores how the post-war atmosphere of fear, loss, and disillusionment continues to resonate in contemporary art.

Danh Vo’s 𝘐𝘯 𝘎𝘰𝘥 𝘞𝘦 𝘛𝘳𝘶𝘴𝘵 functions as an allegory for the fragility of democratic ideals. By reimagining the American flag as a structure destined to be dismantled, Vo exposes national identity as impermanent and vulnerable, especially when fear governs political life.

Kathleen Ryan exposes the decay of opulence in her gemstone-covered cherries that are beginning to rot. Delfin Finley’s figure wrestles against the weight of red, white, and blue ropes that tangle and confine him. Sherrill Roland's “168.807” transforms wrongful incarceration into a study of endurance. Using some of the materials available to him in prison, he reconstructs the cinderblock forms of his cell: shapes he once traced to pass time.

Yngve Holen’s use of industrial forms and security infrastructures in 𝘝𝘌𝘙𝘛𝘐𝘊𝘈𝘓𝘚𝘌𝘈𝘛 evokes a society fixated on control and separation. What appears as security reveals itself as confinement, recalling a Cold War logic in which fear justified exclusion, surveillance, and fortified boundaries, echoing present-day immigration sweeps and the capture of individuals across the country.

𝘊𝘩𝘢𝘴𝘦 𝘢 𝘊𝘳𝘰𝘰𝘬𝘦𝘥 𝘚𝘩𝘢𝘥𝘰𝘸: 𝘍𝘪𝘭𝘮 𝘕𝘰𝘪𝘳 𝘢𝘴 𝘊𝘰𝘯𝘵𝘦𝘮𝘱𝘰𝘳𝘢𝘳𝘺 𝘔𝘪𝘳𝘳𝘰𝘳 is on view April 11–July 18, 2026.

@delfin @davidkordanskygallery @yngveholen @galerieneu @stuartshavemodernart @sherrillroland @tanyabonakdargallery @katieryankatieryan @karmakarma9 @gagosian @votrungkydanh @whitecube @mariangoodmangallery @kurimanzutto @massimodecarlogallery @galeriechantalcrousel @takeninagawa

📸: Photography by @exploredinary & @todoraphotography

Film noir was born from a profound rupture in the American psyche. While the end of World War II was publicly marked by celebration and triumph, it also ushered in an era defined by anxiety, suspicion, and dread.

The first gallery in 𝘊𝘩𝘢𝘴𝘦 𝘢 𝘊𝘳𝘰𝘰𝘬𝘦𝘥 𝘚𝘩𝘢𝘥𝘰𝘸: 𝘍𝘪𝘭𝘮 𝘕𝘰𝘪𝘳 𝘢𝘴 𝘊𝘰𝘯𝘵𝘦𝘮𝘱𝘰𝘳𝘢𝘳𝘺 𝘔𝘪𝘳𝘳𝘰𝘳, curated by @alexandra_terry, explores how the post-war atmosphere of fear, loss, and disillusionment continues to resonate in contemporary art.

Danh Vo’s 𝘐𝘯 𝘎𝘰𝘥 𝘞𝘦 𝘛𝘳𝘶𝘴𝘵 functions as an allegory for the fragility of democratic ideals. By reimagining the American flag as a structure destined to be dismantled, Vo exposes national identity as impermanent and vulnerable, especially when fear governs political life.

Kathleen Ryan exposes the decay of opulence in her gemstone-covered cherries that are beginning to rot. Delfin Finley’s figure wrestles against the weight of red, white, and blue ropes that tangle and confine him. Sherrill Roland's “168.807” transforms wrongful incarceration into a study of endurance. Using some of the materials available to him in prison, he reconstructs the cinderblock forms of his cell: shapes he once traced to pass time.

Yngve Holen’s use of industrial forms and security infrastructures in 𝘝𝘌𝘙𝘛𝘐𝘊𝘈𝘓𝘚𝘌𝘈𝘛 evokes a society fixated on control and separation. What appears as security reveals itself as confinement, recalling a Cold War logic in which fear justified exclusion, surveillance, and fortified boundaries, echoing present-day immigration sweeps and the capture of individuals across the country.

𝘊𝘩𝘢𝘴𝘦 𝘢 𝘊𝘳𝘰𝘰𝘬𝘦𝘥 𝘚𝘩𝘢𝘥𝘰𝘸: 𝘍𝘪𝘭𝘮 𝘕𝘰𝘪𝘳 𝘢𝘴 𝘊𝘰𝘯𝘵𝘦𝘮𝘱𝘰𝘳𝘢𝘳𝘺 𝘔𝘪𝘳𝘳𝘰𝘳 is on view April 11–July 18, 2026.

@delfin @davidkordanskygallery @yngveholen @galerieneu @stuartshavemodernart @sherrillroland @tanyabonakdargallery @katieryankatieryan @karmakarma9 @gagosian @votrungkydanh @whitecube @mariangoodmangallery @kurimanzutto @massimodecarlogallery @galeriechantalcrousel @takeninagawa

📸: Photography by @exploredinary & @todoraphotography

“I don’t remember a time when I wasn’t making drawings.” – @yoshitaka_amano

For more than fifty years, Japanese artist Yoshitaka Amano has defied and transcended expectations of genre, style, medium, audience, and geography. Amano is credited with the look and design of some of the most internationally recognizable popular culture franchises in recent decades, among them Speed Racer, Gatchaman (called G-Force in the U.S.), Final Fantasy, and Vampire Hunter D. Propelled by an unyielding pursuit of creative evolution, Amano’s output forms a vast universe in which narratives and motifs interweave, converse, and come apart across a variety of media.

Come enjoy the first part of a two-part exhibition, 𝘠𝘰𝘴𝘩𝘪𝘵𝘢𝘬𝘢 𝘈𝘮𝘢𝘯𝘰, the fifth iteration of WAREHOUSE:01.

Part 1 of 𝘠𝘰𝘴𝘩𝘪𝘵𝘢𝘬𝘢 𝘈𝘮𝘢𝘯𝘰 is on view April 11 – June 6, 2026.
Part 2 is on view June 13 – July 18, 2026.

🔗 Sign up for our newsletter to receive the latest on upcoming programs, gallery talks, and more.

📸: Installation photography courtesy of @exploredinary
Full checklist available online

@yoshitaka_amano @lomexgallery #yoshitakaamano #thewarehouse #contemporaryart #dallas

“I don’t remember a time when I wasn’t making drawings.” – @yoshitaka_amano

For more than fifty years, Japanese artist Yoshitaka Amano has defied and transcended expectations of genre, style, medium, audience, and geography. Amano is credited with the look and design of some of the most internationally recognizable popular culture franchises in recent decades, among them Speed Racer, Gatchaman (called G-Force in the U.S.), Final Fantasy, and Vampire Hunter D. Propelled by an unyielding pursuit of creative evolution, Amano’s output forms a vast universe in which narratives and motifs interweave, converse, and come apart across a variety of media.

Come enjoy the first part of a two-part exhibition, 𝘠𝘰𝘴𝘩𝘪𝘵𝘢𝘬𝘢 𝘈𝘮𝘢𝘯𝘰, the fifth iteration of WAREHOUSE:01.

Part 1 of 𝘠𝘰𝘴𝘩𝘪𝘵𝘢𝘬𝘢 𝘈𝘮𝘢𝘯𝘰 is on view April 11 – June 6, 2026.
Part 2 is on view June 13 – July 18, 2026.

🔗 Sign up for our newsletter to receive the latest on upcoming programs, gallery talks, and more.

📸: Installation photography courtesy of @exploredinary
Full checklist available online

@yoshitaka_amano @lomexgallery #yoshitakaamano #thewarehouse #contemporaryart #dallas

“I don’t remember a time when I wasn’t making drawings.” – @yoshitaka_amano

For more than fifty years, Japanese artist Yoshitaka Amano has defied and transcended expectations of genre, style, medium, audience, and geography. Amano is credited with the look and design of some of the most internationally recognizable popular culture franchises in recent decades, among them Speed Racer, Gatchaman (called G-Force in the U.S.), Final Fantasy, and Vampire Hunter D. Propelled by an unyielding pursuit of creative evolution, Amano’s output forms a vast universe in which narratives and motifs interweave, converse, and come apart across a variety of media.

Come enjoy the first part of a two-part exhibition, 𝘠𝘰𝘴𝘩𝘪𝘵𝘢𝘬𝘢 𝘈𝘮𝘢𝘯𝘰, the fifth iteration of WAREHOUSE:01.

Part 1 of 𝘠𝘰𝘴𝘩𝘪𝘵𝘢𝘬𝘢 𝘈𝘮𝘢𝘯𝘰 is on view April 11 – June 6, 2026.
Part 2 is on view June 13 – July 18, 2026.

🔗 Sign up for our newsletter to receive the latest on upcoming programs, gallery talks, and more.

📸: Installation photography courtesy of @exploredinary
Full checklist available online

@yoshitaka_amano @lomexgallery #yoshitakaamano #thewarehouse #contemporaryart #dallas

“I don’t remember a time when I wasn’t making drawings.” – @yoshitaka_amano

For more than fifty years, Japanese artist Yoshitaka Amano has defied and transcended expectations of genre, style, medium, audience, and geography. Amano is credited with the look and design of some of the most internationally recognizable popular culture franchises in recent decades, among them Speed Racer, Gatchaman (called G-Force in the U.S.), Final Fantasy, and Vampire Hunter D. Propelled by an unyielding pursuit of creative evolution, Amano’s output forms a vast universe in which narratives and motifs interweave, converse, and come apart across a variety of media.

Come enjoy the first part of a two-part exhibition, 𝘠𝘰𝘴𝘩𝘪𝘵𝘢𝘬𝘢 𝘈𝘮𝘢𝘯𝘰, the fifth iteration of WAREHOUSE:01.

Part 1 of 𝘠𝘰𝘴𝘩𝘪𝘵𝘢𝘬𝘢 𝘈𝘮𝘢𝘯𝘰 is on view April 11 – June 6, 2026.
Part 2 is on view June 13 – July 18, 2026.

🔗 Sign up for our newsletter to receive the latest on upcoming programs, gallery talks, and more.

📸: Installation photography courtesy of @exploredinary
Full checklist available online

@yoshitaka_amano @lomexgallery #yoshitakaamano #thewarehouse #contemporaryart #dallas

“I don’t remember a time when I wasn’t making drawings.” – @yoshitaka_amano

For more than fifty years, Japanese artist Yoshitaka Amano has defied and transcended expectations of genre, style, medium, audience, and geography. Amano is credited with the look and design of some of the most internationally recognizable popular culture franchises in recent decades, among them Speed Racer, Gatchaman (called G-Force in the U.S.), Final Fantasy, and Vampire Hunter D. Propelled by an unyielding pursuit of creative evolution, Amano’s output forms a vast universe in which narratives and motifs interweave, converse, and come apart across a variety of media.

Come enjoy the first part of a two-part exhibition, 𝘠𝘰𝘴𝘩𝘪𝘵𝘢𝘬𝘢 𝘈𝘮𝘢𝘯𝘰, the fifth iteration of WAREHOUSE:01.

Part 1 of 𝘠𝘰𝘴𝘩𝘪𝘵𝘢𝘬𝘢 𝘈𝘮𝘢𝘯𝘰 is on view April 11 – June 6, 2026.
Part 2 is on view June 13 – July 18, 2026.

🔗 Sign up for our newsletter to receive the latest on upcoming programs, gallery talks, and more.

📸: Installation photography courtesy of @exploredinary
Full checklist available online

@yoshitaka_amano @lomexgallery #yoshitakaamano #thewarehouse #contemporaryart #dallas

“I don’t remember a time when I wasn’t making drawings.” – @yoshitaka_amano

For more than fifty years, Japanese artist Yoshitaka Amano has defied and transcended expectations of genre, style, medium, audience, and geography. Amano is credited with the look and design of some of the most internationally recognizable popular culture franchises in recent decades, among them Speed Racer, Gatchaman (called G-Force in the U.S.), Final Fantasy, and Vampire Hunter D. Propelled by an unyielding pursuit of creative evolution, Amano’s output forms a vast universe in which narratives and motifs interweave, converse, and come apart across a variety of media.

Come enjoy the first part of a two-part exhibition, 𝘠𝘰𝘴𝘩𝘪𝘵𝘢𝘬𝘢 𝘈𝘮𝘢𝘯𝘰, the fifth iteration of WAREHOUSE:01.

Part 1 of 𝘠𝘰𝘴𝘩𝘪𝘵𝘢𝘬𝘢 𝘈𝘮𝘢𝘯𝘰 is on view April 11 – June 6, 2026.
Part 2 is on view June 13 – July 18, 2026.

🔗 Sign up for our newsletter to receive the latest on upcoming programs, gallery talks, and more.

📸: Installation photography courtesy of @exploredinary
Full checklist available online

@yoshitaka_amano @lomexgallery #yoshitakaamano #thewarehouse #contemporaryart #dallas

“I don’t remember a time when I wasn’t making drawings.” – @yoshitaka_amano

For more than fifty years, Japanese artist Yoshitaka Amano has defied and transcended expectations of genre, style, medium, audience, and geography. Amano is credited with the look and design of some of the most internationally recognizable popular culture franchises in recent decades, among them Speed Racer, Gatchaman (called G-Force in the U.S.), Final Fantasy, and Vampire Hunter D. Propelled by an unyielding pursuit of creative evolution, Amano’s output forms a vast universe in which narratives and motifs interweave, converse, and come apart across a variety of media.

Come enjoy the first part of a two-part exhibition, 𝘠𝘰𝘴𝘩𝘪𝘵𝘢𝘬𝘢 𝘈𝘮𝘢𝘯𝘰, the fifth iteration of WAREHOUSE:01.

Part 1 of 𝘠𝘰𝘴𝘩𝘪𝘵𝘢𝘬𝘢 𝘈𝘮𝘢𝘯𝘰 is on view April 11 – June 6, 2026.
Part 2 is on view June 13 – July 18, 2026.

🔗 Sign up for our newsletter to receive the latest on upcoming programs, gallery talks, and more.

📸: Installation photography courtesy of @exploredinary
Full checklist available online

@yoshitaka_amano @lomexgallery #yoshitakaamano #thewarehouse #contemporaryart #dallas

“I don’t remember a time when I wasn’t making drawings.” – @yoshitaka_amano

For more than fifty years, Japanese artist Yoshitaka Amano has defied and transcended expectations of genre, style, medium, audience, and geography. Amano is credited with the look and design of some of the most internationally recognizable popular culture franchises in recent decades, among them Speed Racer, Gatchaman (called G-Force in the U.S.), Final Fantasy, and Vampire Hunter D. Propelled by an unyielding pursuit of creative evolution, Amano’s output forms a vast universe in which narratives and motifs interweave, converse, and come apart across a variety of media.

Come enjoy the first part of a two-part exhibition, 𝘠𝘰𝘴𝘩𝘪𝘵𝘢𝘬𝘢 𝘈𝘮𝘢𝘯𝘰, the fifth iteration of WAREHOUSE:01.

Part 1 of 𝘠𝘰𝘴𝘩𝘪𝘵𝘢𝘬𝘢 𝘈𝘮𝘢𝘯𝘰 is on view April 11 – June 6, 2026.
Part 2 is on view June 13 – July 18, 2026.

🔗 Sign up for our newsletter to receive the latest on upcoming programs, gallery talks, and more.

📸: Installation photography courtesy of @exploredinary
Full checklist available online

@yoshitaka_amano @lomexgallery #yoshitakaamano #thewarehouse #contemporaryart #dallas

Join us this Thursday, April 23 from 6-9 PM for 𝗡𝗶𝗴𝗵𝘁 𝗢𝘂𝘁 𝗮𝘁 𝗧𝗵𝗲 𝗪𝗮𝗿𝗲𝗵𝗼𝘂𝘀𝗲, an evening celebration of our Spring 2026 exhibitions 𝘊𝘩𝘢𝘴𝘦 𝘈 𝘊𝘳𝘰𝘰𝘬𝘦𝘥 𝘚𝘩𝘢𝘥𝘰𝘸: 𝘍𝘪𝘭𝘮 𝘕𝘰𝘪𝘳 𝘢𝘴 𝘊𝘰𝘯𝘵𝘦𝘮𝘱𝘰𝘳𝘢𝘳𝘺 𝘔𝘪𝘳𝘳𝘰𝘳 and Warehouse:01 𝘠𝘰𝘴𝘩𝘪𝘵𝘢𝘬𝘢 𝘈𝘮𝘢𝘯𝘰.

The evening features live music, food and drinks, gallery talks, exhibition insights, and behind-the-scenes tours.

𝟲:𝟯𝟬–𝟳 𝗣𝗠 | 𝗚𝗮𝗹𝗹𝗲𝗿𝘆 𝗧𝗮𝗹𝗸: Introduction to Warehouse:01 𝘠𝘰𝘴𝘩𝘪𝘵𝘢𝘬𝘢 𝘈𝘮𝘢𝘯𝘰 and 𝘊𝘩𝘢𝘴𝘦 𝘈 𝘊𝘳𝘰𝘰𝘬𝘦𝘥 𝘚𝘩𝘢𝘥𝘰𝘸: 𝘍𝘪𝘭𝘮 𝘕𝘰𝘪𝘳 𝘢𝘴 𝘊𝘰𝘯𝘵𝘦𝘮𝘱𝘰𝘳𝘢𝘳𝘺 𝘔𝘪𝘳𝘳𝘰𝘳

𝟳:𝟯𝟬–𝟴 𝗣𝗠 | 𝗚𝗮𝗹𝗹𝗲𝗿𝘆 𝗧𝗮𝗹𝗸: Behind-the-scenes conversation on the installation of works in 𝘊𝘩𝘢𝘴𝘦 𝘈 𝘊𝘳𝘰𝘰𝘬𝘦𝘥 𝘚𝘩𝘢𝘥𝘰𝘸: 𝘍𝘪𝘭𝘮 𝘕𝘰𝘪𝘳 𝘢𝘴 𝘊𝘰𝘯𝘵𝘦𝘮𝘱𝘰𝘳𝘢𝘳𝘺 𝘔𝘪𝘳𝘳𝘰𝘳

🔗 Visit our LinkTree in bio to register.

Join us this Thursday, April 23 from 6-9 PM for 𝗡𝗶𝗴𝗵𝘁 𝗢𝘂𝘁 𝗮𝘁 𝗧𝗵𝗲 𝗪𝗮𝗿𝗲𝗵𝗼𝘂𝘀𝗲, an evening celebration of our Spring 2026 exhibitions 𝘊𝘩𝘢𝘴𝘦 𝘈 𝘊𝘳𝘰𝘰𝘬𝘦𝘥 𝘚𝘩𝘢𝘥𝘰𝘸: 𝘍𝘪𝘭𝘮 𝘕𝘰𝘪𝘳 𝘢𝘴 𝘊𝘰𝘯𝘵𝘦𝘮𝘱𝘰𝘳𝘢𝘳𝘺 𝘔𝘪𝘳𝘳𝘰𝘳 and Warehouse:01 𝘠𝘰𝘴𝘩𝘪𝘵𝘢𝘬𝘢 𝘈𝘮𝘢𝘯𝘰.

The evening features live music, food and drinks, gallery talks, exhibition insights, and behind-the-scenes tours.

𝟲:𝟯𝟬–𝟳 𝗣𝗠 | 𝗚𝗮𝗹𝗹𝗲𝗿𝘆 𝗧𝗮𝗹𝗸: Introduction to Warehouse:01 𝘠𝘰𝘴𝘩𝘪𝘵𝘢𝘬𝘢 𝘈𝘮𝘢𝘯𝘰 and 𝘊𝘩𝘢𝘴𝘦 𝘈 𝘊𝘳𝘰𝘰𝘬𝘦𝘥 𝘚𝘩𝘢𝘥𝘰𝘸: 𝘍𝘪𝘭𝘮 𝘕𝘰𝘪𝘳 𝘢𝘴 𝘊𝘰𝘯𝘵𝘦𝘮𝘱𝘰𝘳𝘢𝘳𝘺 𝘔𝘪𝘳𝘳𝘰𝘳

𝟳:𝟯𝟬–𝟴 𝗣𝗠 | 𝗚𝗮𝗹𝗹𝗲𝗿𝘆 𝗧𝗮𝗹𝗸: Behind-the-scenes conversation on the installation of works in 𝘊𝘩𝘢𝘴𝘦 𝘈 𝘊𝘳𝘰𝘰𝘬𝘦𝘥 𝘚𝘩𝘢𝘥𝘰𝘸: 𝘍𝘪𝘭𝘮 𝘕𝘰𝘪𝘳 𝘢𝘴 𝘊𝘰𝘯𝘵𝘦𝘮𝘱𝘰𝘳𝘢𝘳𝘺 𝘔𝘪𝘳𝘳𝘰𝘳

🔗 Visit our LinkTree in bio to register.

Join us this Thursday, April 23 from 6-9 PM for 𝗡𝗶𝗴𝗵𝘁 𝗢𝘂𝘁 𝗮𝘁 𝗧𝗵𝗲 𝗪𝗮𝗿𝗲𝗵𝗼𝘂𝘀𝗲, an evening celebration of our Spring 2026 exhibitions 𝘊𝘩𝘢𝘴𝘦 𝘈 𝘊𝘳𝘰𝘰𝘬𝘦𝘥 𝘚𝘩𝘢𝘥𝘰𝘸: 𝘍𝘪𝘭𝘮 𝘕𝘰𝘪𝘳 𝘢𝘴 𝘊𝘰𝘯𝘵𝘦𝘮𝘱𝘰𝘳𝘢𝘳𝘺 𝘔𝘪𝘳𝘳𝘰𝘳 and Warehouse:01 𝘠𝘰𝘴𝘩𝘪𝘵𝘢𝘬𝘢 𝘈𝘮𝘢𝘯𝘰.

The evening features live music, food and drinks, gallery talks, exhibition insights, and behind-the-scenes tours.

𝟲:𝟯𝟬–𝟳 𝗣𝗠 | 𝗚𝗮𝗹𝗹𝗲𝗿𝘆 𝗧𝗮𝗹𝗸: Introduction to Warehouse:01 𝘠𝘰𝘴𝘩𝘪𝘵𝘢𝘬𝘢 𝘈𝘮𝘢𝘯𝘰 and 𝘊𝘩𝘢𝘴𝘦 𝘈 𝘊𝘳𝘰𝘰𝘬𝘦𝘥 𝘚𝘩𝘢𝘥𝘰𝘸: 𝘍𝘪𝘭𝘮 𝘕𝘰𝘪𝘳 𝘢𝘴 𝘊𝘰𝘯𝘵𝘦𝘮𝘱𝘰𝘳𝘢𝘳𝘺 𝘔𝘪𝘳𝘳𝘰𝘳

𝟳:𝟯𝟬–𝟴 𝗣𝗠 | 𝗚𝗮𝗹𝗹𝗲𝗿𝘆 𝗧𝗮𝗹𝗸: Behind-the-scenes conversation on the installation of works in 𝘊𝘩𝘢𝘴𝘦 𝘈 𝘊𝘳𝘰𝘰𝘬𝘦𝘥 𝘚𝘩𝘢𝘥𝘰𝘸: 𝘍𝘪𝘭𝘮 𝘕𝘰𝘪𝘳 𝘢𝘴 𝘊𝘰𝘯𝘵𝘦𝘮𝘱𝘰𝘳𝘢𝘳𝘺 𝘔𝘪𝘳𝘳𝘰𝘳

🔗 Visit our LinkTree in bio to register.

Few figures in film noir are as compelling—or as unsettling—as the femme fatale. She is seductive, intelligent, and opaque, moving through the world with intention rather than apology. The femme fatale embodies a deep cultural anxiety about women who refuse containment and reject domestic ideals. During World War II, women gained more independence and visibility outside the home as they entered the workplace, replacing men who had to join the fight. Film noir responded by imagining female power as dangerous, destabilizing, and often fatal.

In 𝘊𝘩𝘢𝘴𝘦 𝘢 𝘊𝘳𝘰𝘰𝘬𝘦𝘥 𝘚𝘩𝘢𝘥𝘰𝘸: 𝘍𝘪𝘭𝘮 𝘕𝘰𝘪𝘳 𝘢𝘴 𝘊𝘰𝘯𝘵𝘦𝘮𝘱𝘰𝘳𝘢𝘳𝘺 𝘔𝘪𝘳𝘳𝘰𝘳, curated by @alexandra_terry, a selection of artworks reflect upon this archetype with nuance rather than judgement. Hannah Levy’s sculpture reduces the body to a sharpened, anxious frame—desire rendered as threat, autonomy as discomfort—echoing film noir’s femme fatale who is both object of desire and agent of her own freedom. Danielle Mckinney’s 𝘛𝘢𝘭𝘬 𝘰𝘧 𝘵𝘩𝘦 𝘛𝘰𝘸𝘯 presents a solitary woman whose calm, direct gaze resists narrative resolution. She neither explains nor seeks approval. These and works by Anna Park, Henni Alftan, Julie Curtiss, and Nolan Simon, among others, are presented together as evidence of an evolving, though fraught, understanding of womanhood and femininity.

𝘊𝘩𝘢𝘴𝘦 𝘢 𝘊𝘳𝘰𝘰𝘬𝘦𝘥 𝘚𝘩𝘢𝘥𝘰𝘸: 𝘍𝘪𝘭𝘮 𝘕𝘰𝘪𝘳 𝘢𝘴 𝘊𝘰𝘯𝘵𝘦𝘮𝘱𝘰𝘳𝘢𝘳𝘺 𝘔𝘪𝘳𝘳𝘰𝘳, is on view now through July 18, 2026.

Celebrate Dallas Art Week with us this Saturday, April 18 at 2 PM with a special guided tour led by Curator Thomas Feulmer of highlights from our current exhibitions, 𝘊𝘩𝘢𝘴𝘦 𝘢 𝘊𝘳𝘰𝘰𝘬𝘦𝘥 𝘚𝘩𝘢𝘥𝘰𝘸: 𝘍𝘪𝘭𝘮 𝘕𝘰𝘪𝘳 𝘢𝘴 𝘊𝘰𝘯𝘵𝘦𝘮𝘱𝘰𝘳𝘢𝘳𝘺 𝘔𝘪𝘳𝘳𝘰𝘳 and WAREHOUSE:01 𝘠𝘰𝘴𝘩𝘪𝘵𝘢𝘬𝘢 𝘈𝘮𝘢𝘯𝘰.

@annaparkart@hennialftan @karmakarma9 @spruethmagers @lehmannmaupin @juliecurtissartist @whitecube @hannahslevy @caseykaplangallery @massimodecarlogallery @danielle_mckinney_ @marianneboeskygallery @galeriemaxhetzler @iqwnadjcvnaliuf

Artwork details continue in the comments.

Few figures in film noir are as compelling—or as unsettling—as the femme fatale. She is seductive, intelligent, and opaque, moving through the world with intention rather than apology. The femme fatale embodies a deep cultural anxiety about women who refuse containment and reject domestic ideals. During World War II, women gained more independence and visibility outside the home as they entered the workplace, replacing men who had to join the fight. Film noir responded by imagining female power as dangerous, destabilizing, and often fatal.

In 𝘊𝘩𝘢𝘴𝘦 𝘢 𝘊𝘳𝘰𝘰𝘬𝘦𝘥 𝘚𝘩𝘢𝘥𝘰𝘸: 𝘍𝘪𝘭𝘮 𝘕𝘰𝘪𝘳 𝘢𝘴 𝘊𝘰𝘯𝘵𝘦𝘮𝘱𝘰𝘳𝘢𝘳𝘺 𝘔𝘪𝘳𝘳𝘰𝘳, curated by @alexandra_terry, a selection of artworks reflect upon this archetype with nuance rather than judgement. Hannah Levy’s sculpture reduces the body to a sharpened, anxious frame—desire rendered as threat, autonomy as discomfort—echoing film noir’s femme fatale who is both object of desire and agent of her own freedom. Danielle Mckinney’s 𝘛𝘢𝘭𝘬 𝘰𝘧 𝘵𝘩𝘦 𝘛𝘰𝘸𝘯 presents a solitary woman whose calm, direct gaze resists narrative resolution. She neither explains nor seeks approval. These and works by Anna Park, Henni Alftan, Julie Curtiss, and Nolan Simon, among others, are presented together as evidence of an evolving, though fraught, understanding of womanhood and femininity.

𝘊𝘩𝘢𝘴𝘦 𝘢 𝘊𝘳𝘰𝘰𝘬𝘦𝘥 𝘚𝘩𝘢𝘥𝘰𝘸: 𝘍𝘪𝘭𝘮 𝘕𝘰𝘪𝘳 𝘢𝘴 𝘊𝘰𝘯𝘵𝘦𝘮𝘱𝘰𝘳𝘢𝘳𝘺 𝘔𝘪𝘳𝘳𝘰𝘳, is on view now through July 18, 2026.

Celebrate Dallas Art Week with us this Saturday, April 18 at 2 PM with a special guided tour led by Curator Thomas Feulmer of highlights from our current exhibitions, 𝘊𝘩𝘢𝘴𝘦 𝘢 𝘊𝘳𝘰𝘰𝘬𝘦𝘥 𝘚𝘩𝘢𝘥𝘰𝘸: 𝘍𝘪𝘭𝘮 𝘕𝘰𝘪𝘳 𝘢𝘴 𝘊𝘰𝘯𝘵𝘦𝘮𝘱𝘰𝘳𝘢𝘳𝘺 𝘔𝘪𝘳𝘳𝘰𝘳 and WAREHOUSE:01 𝘠𝘰𝘴𝘩𝘪𝘵𝘢𝘬𝘢 𝘈𝘮𝘢𝘯𝘰.

@annaparkart@hennialftan @karmakarma9 @spruethmagers @lehmannmaupin @juliecurtissartist @whitecube @hannahslevy @caseykaplangallery @massimodecarlogallery @danielle_mckinney_ @marianneboeskygallery @galeriemaxhetzler @iqwnadjcvnaliuf

Artwork details continue in the comments.

Few figures in film noir are as compelling—or as unsettling—as the femme fatale. She is seductive, intelligent, and opaque, moving through the world with intention rather than apology. The femme fatale embodies a deep cultural anxiety about women who refuse containment and reject domestic ideals. During World War II, women gained more independence and visibility outside the home as they entered the workplace, replacing men who had to join the fight. Film noir responded by imagining female power as dangerous, destabilizing, and often fatal.

In 𝘊𝘩𝘢𝘴𝘦 𝘢 𝘊𝘳𝘰𝘰𝘬𝘦𝘥 𝘚𝘩𝘢𝘥𝘰𝘸: 𝘍𝘪𝘭𝘮 𝘕𝘰𝘪𝘳 𝘢𝘴 𝘊𝘰𝘯𝘵𝘦𝘮𝘱𝘰𝘳𝘢𝘳𝘺 𝘔𝘪𝘳𝘳𝘰𝘳, curated by @alexandra_terry, a selection of artworks reflect upon this archetype with nuance rather than judgement. Hannah Levy’s sculpture reduces the body to a sharpened, anxious frame—desire rendered as threat, autonomy as discomfort—echoing film noir’s femme fatale who is both object of desire and agent of her own freedom. Danielle Mckinney’s 𝘛𝘢𝘭𝘬 𝘰𝘧 𝘵𝘩𝘦 𝘛𝘰𝘸𝘯 presents a solitary woman whose calm, direct gaze resists narrative resolution. She neither explains nor seeks approval. These and works by Anna Park, Henni Alftan, Julie Curtiss, and Nolan Simon, among others, are presented together as evidence of an evolving, though fraught, understanding of womanhood and femininity.

𝘊𝘩𝘢𝘴𝘦 𝘢 𝘊𝘳𝘰𝘰𝘬𝘦𝘥 𝘚𝘩𝘢𝘥𝘰𝘸: 𝘍𝘪𝘭𝘮 𝘕𝘰𝘪𝘳 𝘢𝘴 𝘊𝘰𝘯𝘵𝘦𝘮𝘱𝘰𝘳𝘢𝘳𝘺 𝘔𝘪𝘳𝘳𝘰𝘳, is on view now through July 18, 2026.

Celebrate Dallas Art Week with us this Saturday, April 18 at 2 PM with a special guided tour led by Curator Thomas Feulmer of highlights from our current exhibitions, 𝘊𝘩𝘢𝘴𝘦 𝘢 𝘊𝘳𝘰𝘰𝘬𝘦𝘥 𝘚𝘩𝘢𝘥𝘰𝘸: 𝘍𝘪𝘭𝘮 𝘕𝘰𝘪𝘳 𝘢𝘴 𝘊𝘰𝘯𝘵𝘦𝘮𝘱𝘰𝘳𝘢𝘳𝘺 𝘔𝘪𝘳𝘳𝘰𝘳 and WAREHOUSE:01 𝘠𝘰𝘴𝘩𝘪𝘵𝘢𝘬𝘢 𝘈𝘮𝘢𝘯𝘰.

@annaparkart@hennialftan @karmakarma9 @spruethmagers @lehmannmaupin @juliecurtissartist @whitecube @hannahslevy @caseykaplangallery @massimodecarlogallery @danielle_mckinney_ @marianneboeskygallery @galeriemaxhetzler @iqwnadjcvnaliuf

Artwork details continue in the comments.

Few figures in film noir are as compelling—or as unsettling—as the femme fatale. She is seductive, intelligent, and opaque, moving through the world with intention rather than apology. The femme fatale embodies a deep cultural anxiety about women who refuse containment and reject domestic ideals. During World War II, women gained more independence and visibility outside the home as they entered the workplace, replacing men who had to join the fight. Film noir responded by imagining female power as dangerous, destabilizing, and often fatal.

In 𝘊𝘩𝘢𝘴𝘦 𝘢 𝘊𝘳𝘰𝘰𝘬𝘦𝘥 𝘚𝘩𝘢𝘥𝘰𝘸: 𝘍𝘪𝘭𝘮 𝘕𝘰𝘪𝘳 𝘢𝘴 𝘊𝘰𝘯𝘵𝘦𝘮𝘱𝘰𝘳𝘢𝘳𝘺 𝘔𝘪𝘳𝘳𝘰𝘳, curated by @alexandra_terry, a selection of artworks reflect upon this archetype with nuance rather than judgement. Hannah Levy’s sculpture reduces the body to a sharpened, anxious frame—desire rendered as threat, autonomy as discomfort—echoing film noir’s femme fatale who is both object of desire and agent of her own freedom. Danielle Mckinney’s 𝘛𝘢𝘭𝘬 𝘰𝘧 𝘵𝘩𝘦 𝘛𝘰𝘸𝘯 presents a solitary woman whose calm, direct gaze resists narrative resolution. She neither explains nor seeks approval. These and works by Anna Park, Henni Alftan, Julie Curtiss, and Nolan Simon, among others, are presented together as evidence of an evolving, though fraught, understanding of womanhood and femininity.

𝘊𝘩𝘢𝘴𝘦 𝘢 𝘊𝘳𝘰𝘰𝘬𝘦𝘥 𝘚𝘩𝘢𝘥𝘰𝘸: 𝘍𝘪𝘭𝘮 𝘕𝘰𝘪𝘳 𝘢𝘴 𝘊𝘰𝘯𝘵𝘦𝘮𝘱𝘰𝘳𝘢𝘳𝘺 𝘔𝘪𝘳𝘳𝘰𝘳, is on view now through July 18, 2026.

Celebrate Dallas Art Week with us this Saturday, April 18 at 2 PM with a special guided tour led by Curator Thomas Feulmer of highlights from our current exhibitions, 𝘊𝘩𝘢𝘴𝘦 𝘢 𝘊𝘳𝘰𝘰𝘬𝘦𝘥 𝘚𝘩𝘢𝘥𝘰𝘸: 𝘍𝘪𝘭𝘮 𝘕𝘰𝘪𝘳 𝘢𝘴 𝘊𝘰𝘯𝘵𝘦𝘮𝘱𝘰𝘳𝘢𝘳𝘺 𝘔𝘪𝘳𝘳𝘰𝘳 and WAREHOUSE:01 𝘠𝘰𝘴𝘩𝘪𝘵𝘢𝘬𝘢 𝘈𝘮𝘢𝘯𝘰.

@annaparkart@hennialftan @karmakarma9 @spruethmagers @lehmannmaupin @juliecurtissartist @whitecube @hannahslevy @caseykaplangallery @massimodecarlogallery @danielle_mckinney_ @marianneboeskygallery @galeriemaxhetzler @iqwnadjcvnaliuf

Artwork details continue in the comments.

Few figures in film noir are as compelling—or as unsettling—as the femme fatale. She is seductive, intelligent, and opaque, moving through the world with intention rather than apology. The femme fatale embodies a deep cultural anxiety about women who refuse containment and reject domestic ideals. During World War II, women gained more independence and visibility outside the home as they entered the workplace, replacing men who had to join the fight. Film noir responded by imagining female power as dangerous, destabilizing, and often fatal.

In 𝘊𝘩𝘢𝘴𝘦 𝘢 𝘊𝘳𝘰𝘰𝘬𝘦𝘥 𝘚𝘩𝘢𝘥𝘰𝘸: 𝘍𝘪𝘭𝘮 𝘕𝘰𝘪𝘳 𝘢𝘴 𝘊𝘰𝘯𝘵𝘦𝘮𝘱𝘰𝘳𝘢𝘳𝘺 𝘔𝘪𝘳𝘳𝘰𝘳, curated by @alexandra_terry, a selection of artworks reflect upon this archetype with nuance rather than judgement. Hannah Levy’s sculpture reduces the body to a sharpened, anxious frame—desire rendered as threat, autonomy as discomfort—echoing film noir’s femme fatale who is both object of desire and agent of her own freedom. Danielle Mckinney’s 𝘛𝘢𝘭𝘬 𝘰𝘧 𝘵𝘩𝘦 𝘛𝘰𝘸𝘯 presents a solitary woman whose calm, direct gaze resists narrative resolution. She neither explains nor seeks approval. These and works by Anna Park, Henni Alftan, Julie Curtiss, and Nolan Simon, among others, are presented together as evidence of an evolving, though fraught, understanding of womanhood and femininity.

𝘊𝘩𝘢𝘴𝘦 𝘢 𝘊𝘳𝘰𝘰𝘬𝘦𝘥 𝘚𝘩𝘢𝘥𝘰𝘸: 𝘍𝘪𝘭𝘮 𝘕𝘰𝘪𝘳 𝘢𝘴 𝘊𝘰𝘯𝘵𝘦𝘮𝘱𝘰𝘳𝘢𝘳𝘺 𝘔𝘪𝘳𝘳𝘰𝘳, is on view now through July 18, 2026.

Celebrate Dallas Art Week with us this Saturday, April 18 at 2 PM with a special guided tour led by Curator Thomas Feulmer of highlights from our current exhibitions, 𝘊𝘩𝘢𝘴𝘦 𝘢 𝘊𝘳𝘰𝘰𝘬𝘦𝘥 𝘚𝘩𝘢𝘥𝘰𝘸: 𝘍𝘪𝘭𝘮 𝘕𝘰𝘪𝘳 𝘢𝘴 𝘊𝘰𝘯𝘵𝘦𝘮𝘱𝘰𝘳𝘢𝘳𝘺 𝘔𝘪𝘳𝘳𝘰𝘳 and WAREHOUSE:01 𝘠𝘰𝘴𝘩𝘪𝘵𝘢𝘬𝘢 𝘈𝘮𝘢𝘯𝘰.

@annaparkart@hennialftan @karmakarma9 @spruethmagers @lehmannmaupin @juliecurtissartist @whitecube @hannahslevy @caseykaplangallery @massimodecarlogallery @danielle_mckinney_ @marianneboeskygallery @galeriemaxhetzler @iqwnadjcvnaliuf

Artwork details continue in the comments.

Few figures in film noir are as compelling—or as unsettling—as the femme fatale. She is seductive, intelligent, and opaque, moving through the world with intention rather than apology. The femme fatale embodies a deep cultural anxiety about women who refuse containment and reject domestic ideals. During World War II, women gained more independence and visibility outside the home as they entered the workplace, replacing men who had to join the fight. Film noir responded by imagining female power as dangerous, destabilizing, and often fatal.

In 𝘊𝘩𝘢𝘴𝘦 𝘢 𝘊𝘳𝘰𝘰𝘬𝘦𝘥 𝘚𝘩𝘢𝘥𝘰𝘸: 𝘍𝘪𝘭𝘮 𝘕𝘰𝘪𝘳 𝘢𝘴 𝘊𝘰𝘯𝘵𝘦𝘮𝘱𝘰𝘳𝘢𝘳𝘺 𝘔𝘪𝘳𝘳𝘰𝘳, curated by @alexandra_terry, a selection of artworks reflect upon this archetype with nuance rather than judgement. Hannah Levy’s sculpture reduces the body to a sharpened, anxious frame—desire rendered as threat, autonomy as discomfort—echoing film noir’s femme fatale who is both object of desire and agent of her own freedom. Danielle Mckinney’s 𝘛𝘢𝘭𝘬 𝘰𝘧 𝘵𝘩𝘦 𝘛𝘰𝘸𝘯 presents a solitary woman whose calm, direct gaze resists narrative resolution. She neither explains nor seeks approval. These and works by Anna Park, Henni Alftan, Julie Curtiss, and Nolan Simon, among others, are presented together as evidence of an evolving, though fraught, understanding of womanhood and femininity.

𝘊𝘩𝘢𝘴𝘦 𝘢 𝘊𝘳𝘰𝘰𝘬𝘦𝘥 𝘚𝘩𝘢𝘥𝘰𝘸: 𝘍𝘪𝘭𝘮 𝘕𝘰𝘪𝘳 𝘢𝘴 𝘊𝘰𝘯𝘵𝘦𝘮𝘱𝘰𝘳𝘢𝘳𝘺 𝘔𝘪𝘳𝘳𝘰𝘳, is on view now through July 18, 2026.

Celebrate Dallas Art Week with us this Saturday, April 18 at 2 PM with a special guided tour led by Curator Thomas Feulmer of highlights from our current exhibitions, 𝘊𝘩𝘢𝘴𝘦 𝘢 𝘊𝘳𝘰𝘰𝘬𝘦𝘥 𝘚𝘩𝘢𝘥𝘰𝘸: 𝘍𝘪𝘭𝘮 𝘕𝘰𝘪𝘳 𝘢𝘴 𝘊𝘰𝘯𝘵𝘦𝘮𝘱𝘰𝘳𝘢𝘳𝘺 𝘔𝘪𝘳𝘳𝘰𝘳 and WAREHOUSE:01 𝘠𝘰𝘴𝘩𝘪𝘵𝘢𝘬𝘢 𝘈𝘮𝘢𝘯𝘰.

@annaparkart@hennialftan @karmakarma9 @spruethmagers @lehmannmaupin @juliecurtissartist @whitecube @hannahslevy @caseykaplangallery @massimodecarlogallery @danielle_mckinney_ @marianneboeskygallery @galeriemaxhetzler @iqwnadjcvnaliuf

Artwork details continue in the comments.

Few figures in film noir are as compelling—or as unsettling—as the femme fatale. She is seductive, intelligent, and opaque, moving through the world with intention rather than apology. The femme fatale embodies a deep cultural anxiety about women who refuse containment and reject domestic ideals. During World War II, women gained more independence and visibility outside the home as they entered the workplace, replacing men who had to join the fight. Film noir responded by imagining female power as dangerous, destabilizing, and often fatal.

In 𝘊𝘩𝘢𝘴𝘦 𝘢 𝘊𝘳𝘰𝘰𝘬𝘦𝘥 𝘚𝘩𝘢𝘥𝘰𝘸: 𝘍𝘪𝘭𝘮 𝘕𝘰𝘪𝘳 𝘢𝘴 𝘊𝘰𝘯𝘵𝘦𝘮𝘱𝘰𝘳𝘢𝘳𝘺 𝘔𝘪𝘳𝘳𝘰𝘳, curated by @alexandra_terry, a selection of artworks reflect upon this archetype with nuance rather than judgement. Hannah Levy’s sculpture reduces the body to a sharpened, anxious frame—desire rendered as threat, autonomy as discomfort—echoing film noir’s femme fatale who is both object of desire and agent of her own freedom. Danielle Mckinney’s 𝘛𝘢𝘭𝘬 𝘰𝘧 𝘵𝘩𝘦 𝘛𝘰𝘸𝘯 presents a solitary woman whose calm, direct gaze resists narrative resolution. She neither explains nor seeks approval. These and works by Anna Park, Henni Alftan, Julie Curtiss, and Nolan Simon, among others, are presented together as evidence of an evolving, though fraught, understanding of womanhood and femininity.

𝘊𝘩𝘢𝘴𝘦 𝘢 𝘊𝘳𝘰𝘰𝘬𝘦𝘥 𝘚𝘩𝘢𝘥𝘰𝘸: 𝘍𝘪𝘭𝘮 𝘕𝘰𝘪𝘳 𝘢𝘴 𝘊𝘰𝘯𝘵𝘦𝘮𝘱𝘰𝘳𝘢𝘳𝘺 𝘔𝘪𝘳𝘳𝘰𝘳, is on view now through July 18, 2026.

Celebrate Dallas Art Week with us this Saturday, April 18 at 2 PM with a special guided tour led by Curator Thomas Feulmer of highlights from our current exhibitions, 𝘊𝘩𝘢𝘴𝘦 𝘢 𝘊𝘳𝘰𝘰𝘬𝘦𝘥 𝘚𝘩𝘢𝘥𝘰𝘸: 𝘍𝘪𝘭𝘮 𝘕𝘰𝘪𝘳 𝘢𝘴 𝘊𝘰𝘯𝘵𝘦𝘮𝘱𝘰𝘳𝘢𝘳𝘺 𝘔𝘪𝘳𝘳𝘰𝘳 and WAREHOUSE:01 𝘠𝘰𝘴𝘩𝘪𝘵𝘢𝘬𝘢 𝘈𝘮𝘢𝘯𝘰.

@annaparkart@hennialftan @karmakarma9 @spruethmagers @lehmannmaupin @juliecurtissartist @whitecube @hannahslevy @caseykaplangallery @massimodecarlogallery @danielle_mckinney_ @marianneboeskygallery @galeriemaxhetzler @iqwnadjcvnaliuf

Artwork details continue in the comments.

Few figures in film noir are as compelling—or as unsettling—as the femme fatale. She is seductive, intelligent, and opaque, moving through the world with intention rather than apology. The femme fatale embodies a deep cultural anxiety about women who refuse containment and reject domestic ideals. During World War II, women gained more independence and visibility outside the home as they entered the workplace, replacing men who had to join the fight. Film noir responded by imagining female power as dangerous, destabilizing, and often fatal.

In 𝘊𝘩𝘢𝘴𝘦 𝘢 𝘊𝘳𝘰𝘰𝘬𝘦𝘥 𝘚𝘩𝘢𝘥𝘰𝘸: 𝘍𝘪𝘭𝘮 𝘕𝘰𝘪𝘳 𝘢𝘴 𝘊𝘰𝘯𝘵𝘦𝘮𝘱𝘰𝘳𝘢𝘳𝘺 𝘔𝘪𝘳𝘳𝘰𝘳, curated by @alexandra_terry, a selection of artworks reflect upon this archetype with nuance rather than judgement. Hannah Levy’s sculpture reduces the body to a sharpened, anxious frame—desire rendered as threat, autonomy as discomfort—echoing film noir’s femme fatale who is both object of desire and agent of her own freedom. Danielle Mckinney’s 𝘛𝘢𝘭𝘬 𝘰𝘧 𝘵𝘩𝘦 𝘛𝘰𝘸𝘯 presents a solitary woman whose calm, direct gaze resists narrative resolution. She neither explains nor seeks approval. These and works by Anna Park, Henni Alftan, Julie Curtiss, and Nolan Simon, among others, are presented together as evidence of an evolving, though fraught, understanding of womanhood and femininity.

𝘊𝘩𝘢𝘴𝘦 𝘢 𝘊𝘳𝘰𝘰𝘬𝘦𝘥 𝘚𝘩𝘢𝘥𝘰𝘸: 𝘍𝘪𝘭𝘮 𝘕𝘰𝘪𝘳 𝘢𝘴 𝘊𝘰𝘯𝘵𝘦𝘮𝘱𝘰𝘳𝘢𝘳𝘺 𝘔𝘪𝘳𝘳𝘰𝘳, is on view now through July 18, 2026.

Celebrate Dallas Art Week with us this Saturday, April 18 at 2 PM with a special guided tour led by Curator Thomas Feulmer of highlights from our current exhibitions, 𝘊𝘩𝘢𝘴𝘦 𝘢 𝘊𝘳𝘰𝘰𝘬𝘦𝘥 𝘚𝘩𝘢𝘥𝘰𝘸: 𝘍𝘪𝘭𝘮 𝘕𝘰𝘪𝘳 𝘢𝘴 𝘊𝘰𝘯𝘵𝘦𝘮𝘱𝘰𝘳𝘢𝘳𝘺 𝘔𝘪𝘳𝘳𝘰𝘳 and WAREHOUSE:01 𝘠𝘰𝘴𝘩𝘪𝘵𝘢𝘬𝘢 𝘈𝘮𝘢𝘯𝘰.

@annaparkart@hennialftan @karmakarma9 @spruethmagers @lehmannmaupin @juliecurtissartist @whitecube @hannahslevy @caseykaplangallery @massimodecarlogallery @danielle_mckinney_ @marianneboeskygallery @galeriemaxhetzler @iqwnadjcvnaliuf

Artwork details continue in the comments.

Dallas Art Week is here!

As the week unfolds, 𝘊𝘩𝘢𝘴𝘦 𝘢 𝘊𝘳𝘰𝘰𝘬𝘦𝘥 𝘚𝘩𝘢𝘥𝘰𝘸: 𝘍𝘪𝘭𝘮 𝘕𝘰𝘪𝘳 𝘢𝘴 𝘊𝘰𝘯𝘵𝘦𝘮𝘱𝘰𝘳𝘢𝘳𝘺 𝘔𝘪𝘳𝘳𝘰𝘳 and WAREHOUSE:01 𝘠𝘰𝘴𝘩𝘪𝘵𝘢𝘬𝘢 𝘈𝘮𝘢𝘯𝘰 are now on view: two exhibitions that consider image-making as both reflection and construction, spanning more than a century of artistic production and over five decades of Amano’s practice.

Join us this Saturday, April 18 at 2 PM for a guided tour with Curator Thomas Feulmer of highlights from both exhibitions.

Curated by Alexandra Terry, 𝘊𝘩𝘢𝘴𝘦 𝘢 𝘊𝘳𝘰𝘰𝘬𝘦𝘥 𝘚𝘩𝘢𝘥𝘰𝘸 approaches film noir as an enduring framework that continues to shape how we navigate instability, perception, and power. Across more than 100 works, the exhibition traces recurring archetypes and conditions, from the detective and antihero to psychological states defined by ambiguity and entrapment.

Presented concurrently, Yoshitaka Amano’s two-part exhibition unfolds as a continuous, evolving universe where myth, illustration, and art history converge. From his monumental New York Nights series to the characters that defined global visual culture, Amano’s work moves fluidly across disciplines, timelines, and audiences.

The Warehouse is open every Saturday from 12–5 PM.

On Thursday, April 23 from 6–9 PM, we will be open for 𝘕𝘪𝘨𝘩𝘵 𝘖𝘶𝘵 𝘢𝘵 𝘛𝘩𝘦 𝘞𝘢𝘳𝘦𝘩𝘰𝘶𝘴𝘦, bringing the exhibitions into an evening setting with live music, food and drinks, and a series of gallery talks and behind-the-scenes conversations exploring the ideas and installation of the works on view.

🔗 Visit our LinkTree in bio to register.

@alexandra__terry
@yoshitaka_amano @lomexgallery

📸: Photography: @exploredinary

#thewarehouse #contemporaryart #dallas #dallasartweek #dallasartfair

Dallas Art Week is here!

As the week unfolds, 𝘊𝘩𝘢𝘴𝘦 𝘢 𝘊𝘳𝘰𝘰𝘬𝘦𝘥 𝘚𝘩𝘢𝘥𝘰𝘸: 𝘍𝘪𝘭𝘮 𝘕𝘰𝘪𝘳 𝘢𝘴 𝘊𝘰𝘯𝘵𝘦𝘮𝘱𝘰𝘳𝘢𝘳𝘺 𝘔𝘪𝘳𝘳𝘰𝘳 and WAREHOUSE:01 𝘠𝘰𝘴𝘩𝘪𝘵𝘢𝘬𝘢 𝘈𝘮𝘢𝘯𝘰 are now on view: two exhibitions that consider image-making as both reflection and construction, spanning more than a century of artistic production and over five decades of Amano’s practice.

Join us this Saturday, April 18 at 2 PM for a guided tour with Curator Thomas Feulmer of highlights from both exhibitions.

Curated by Alexandra Terry, 𝘊𝘩𝘢𝘴𝘦 𝘢 𝘊𝘳𝘰𝘰𝘬𝘦𝘥 𝘚𝘩𝘢𝘥𝘰𝘸 approaches film noir as an enduring framework that continues to shape how we navigate instability, perception, and power. Across more than 100 works, the exhibition traces recurring archetypes and conditions, from the detective and antihero to psychological states defined by ambiguity and entrapment.

Presented concurrently, Yoshitaka Amano’s two-part exhibition unfolds as a continuous, evolving universe where myth, illustration, and art history converge. From his monumental New York Nights series to the characters that defined global visual culture, Amano’s work moves fluidly across disciplines, timelines, and audiences.

The Warehouse is open every Saturday from 12–5 PM.

On Thursday, April 23 from 6–9 PM, we will be open for 𝘕𝘪𝘨𝘩𝘵 𝘖𝘶𝘵 𝘢𝘵 𝘛𝘩𝘦 𝘞𝘢𝘳𝘦𝘩𝘰𝘶𝘴𝘦, bringing the exhibitions into an evening setting with live music, food and drinks, and a series of gallery talks and behind-the-scenes conversations exploring the ideas and installation of the works on view.

🔗 Visit our LinkTree in bio to register.

@alexandra__terry
@yoshitaka_amano @lomexgallery

📸: Photography: @exploredinary

#thewarehouse #contemporaryart #dallas #dallasartweek #dallasartfair

Dallas Art Week is here!

As the week unfolds, 𝘊𝘩𝘢𝘴𝘦 𝘢 𝘊𝘳𝘰𝘰𝘬𝘦𝘥 𝘚𝘩𝘢𝘥𝘰𝘸: 𝘍𝘪𝘭𝘮 𝘕𝘰𝘪𝘳 𝘢𝘴 𝘊𝘰𝘯𝘵𝘦𝘮𝘱𝘰𝘳𝘢𝘳𝘺 𝘔𝘪𝘳𝘳𝘰𝘳 and WAREHOUSE:01 𝘠𝘰𝘴𝘩𝘪𝘵𝘢𝘬𝘢 𝘈𝘮𝘢𝘯𝘰 are now on view: two exhibitions that consider image-making as both reflection and construction, spanning more than a century of artistic production and over five decades of Amano’s practice.

Join us this Saturday, April 18 at 2 PM for a guided tour with Curator Thomas Feulmer of highlights from both exhibitions.

Curated by Alexandra Terry, 𝘊𝘩𝘢𝘴𝘦 𝘢 𝘊𝘳𝘰𝘰𝘬𝘦𝘥 𝘚𝘩𝘢𝘥𝘰𝘸 approaches film noir as an enduring framework that continues to shape how we navigate instability, perception, and power. Across more than 100 works, the exhibition traces recurring archetypes and conditions, from the detective and antihero to psychological states defined by ambiguity and entrapment.

Presented concurrently, Yoshitaka Amano’s two-part exhibition unfolds as a continuous, evolving universe where myth, illustration, and art history converge. From his monumental New York Nights series to the characters that defined global visual culture, Amano’s work moves fluidly across disciplines, timelines, and audiences.

The Warehouse is open every Saturday from 12–5 PM.

On Thursday, April 23 from 6–9 PM, we will be open for 𝘕𝘪𝘨𝘩𝘵 𝘖𝘶𝘵 𝘢𝘵 𝘛𝘩𝘦 𝘞𝘢𝘳𝘦𝘩𝘰𝘶𝘴𝘦, bringing the exhibitions into an evening setting with live music, food and drinks, and a series of gallery talks and behind-the-scenes conversations exploring the ideas and installation of the works on view.

🔗 Visit our LinkTree in bio to register.

@alexandra__terry
@yoshitaka_amano @lomexgallery

📸: Photography: @exploredinary

#thewarehouse #contemporaryart #dallas #dallasartweek #dallasartfair

Dallas Art Week is here!

As the week unfolds, 𝘊𝘩𝘢𝘴𝘦 𝘢 𝘊𝘳𝘰𝘰𝘬𝘦𝘥 𝘚𝘩𝘢𝘥𝘰𝘸: 𝘍𝘪𝘭𝘮 𝘕𝘰𝘪𝘳 𝘢𝘴 𝘊𝘰𝘯𝘵𝘦𝘮𝘱𝘰𝘳𝘢𝘳𝘺 𝘔𝘪𝘳𝘳𝘰𝘳 and WAREHOUSE:01 𝘠𝘰𝘴𝘩𝘪𝘵𝘢𝘬𝘢 𝘈𝘮𝘢𝘯𝘰 are now on view: two exhibitions that consider image-making as both reflection and construction, spanning more than a century of artistic production and over five decades of Amano’s practice.

Join us this Saturday, April 18 at 2 PM for a guided tour with Curator Thomas Feulmer of highlights from both exhibitions.

Curated by Alexandra Terry, 𝘊𝘩𝘢𝘴𝘦 𝘢 𝘊𝘳𝘰𝘰𝘬𝘦𝘥 𝘚𝘩𝘢𝘥𝘰𝘸 approaches film noir as an enduring framework that continues to shape how we navigate instability, perception, and power. Across more than 100 works, the exhibition traces recurring archetypes and conditions, from the detective and antihero to psychological states defined by ambiguity and entrapment.

Presented concurrently, Yoshitaka Amano’s two-part exhibition unfolds as a continuous, evolving universe where myth, illustration, and art history converge. From his monumental New York Nights series to the characters that defined global visual culture, Amano’s work moves fluidly across disciplines, timelines, and audiences.

The Warehouse is open every Saturday from 12–5 PM.

On Thursday, April 23 from 6–9 PM, we will be open for 𝘕𝘪𝘨𝘩𝘵 𝘖𝘶𝘵 𝘢𝘵 𝘛𝘩𝘦 𝘞𝘢𝘳𝘦𝘩𝘰𝘶𝘴𝘦, bringing the exhibitions into an evening setting with live music, food and drinks, and a series of gallery talks and behind-the-scenes conversations exploring the ideas and installation of the works on view.

🔗 Visit our LinkTree in bio to register.

@alexandra__terry
@yoshitaka_amano @lomexgallery

📸: Photography: @exploredinary

#thewarehouse #contemporaryart #dallas #dallasartweek #dallasartfair

Dallas Art Week is here!

As the week unfolds, 𝘊𝘩𝘢𝘴𝘦 𝘢 𝘊𝘳𝘰𝘰𝘬𝘦𝘥 𝘚𝘩𝘢𝘥𝘰𝘸: 𝘍𝘪𝘭𝘮 𝘕𝘰𝘪𝘳 𝘢𝘴 𝘊𝘰𝘯𝘵𝘦𝘮𝘱𝘰𝘳𝘢𝘳𝘺 𝘔𝘪𝘳𝘳𝘰𝘳 and WAREHOUSE:01 𝘠𝘰𝘴𝘩𝘪𝘵𝘢𝘬𝘢 𝘈𝘮𝘢𝘯𝘰 are now on view: two exhibitions that consider image-making as both reflection and construction, spanning more than a century of artistic production and over five decades of Amano’s practice.

Join us this Saturday, April 18 at 2 PM for a guided tour with Curator Thomas Feulmer of highlights from both exhibitions.

Curated by Alexandra Terry, 𝘊𝘩𝘢𝘴𝘦 𝘢 𝘊𝘳𝘰𝘰𝘬𝘦𝘥 𝘚𝘩𝘢𝘥𝘰𝘸 approaches film noir as an enduring framework that continues to shape how we navigate instability, perception, and power. Across more than 100 works, the exhibition traces recurring archetypes and conditions, from the detective and antihero to psychological states defined by ambiguity and entrapment.

Presented concurrently, Yoshitaka Amano’s two-part exhibition unfolds as a continuous, evolving universe where myth, illustration, and art history converge. From his monumental New York Nights series to the characters that defined global visual culture, Amano’s work moves fluidly across disciplines, timelines, and audiences.

The Warehouse is open every Saturday from 12–5 PM.

On Thursday, April 23 from 6–9 PM, we will be open for 𝘕𝘪𝘨𝘩𝘵 𝘖𝘶𝘵 𝘢𝘵 𝘛𝘩𝘦 𝘞𝘢𝘳𝘦𝘩𝘰𝘶𝘴𝘦, bringing the exhibitions into an evening setting with live music, food and drinks, and a series of gallery talks and behind-the-scenes conversations exploring the ideas and installation of the works on view.

🔗 Visit our LinkTree in bio to register.

@alexandra__terry
@yoshitaka_amano @lomexgallery

📸: Photography: @exploredinary

#thewarehouse #contemporaryart #dallas #dallasartweek #dallasartfair

Dallas Art Week is here!

As the week unfolds, 𝘊𝘩𝘢𝘴𝘦 𝘢 𝘊𝘳𝘰𝘰𝘬𝘦𝘥 𝘚𝘩𝘢𝘥𝘰𝘸: 𝘍𝘪𝘭𝘮 𝘕𝘰𝘪𝘳 𝘢𝘴 𝘊𝘰𝘯𝘵𝘦𝘮𝘱𝘰𝘳𝘢𝘳𝘺 𝘔𝘪𝘳𝘳𝘰𝘳 and WAREHOUSE:01 𝘠𝘰𝘴𝘩𝘪𝘵𝘢𝘬𝘢 𝘈𝘮𝘢𝘯𝘰 are now on view: two exhibitions that consider image-making as both reflection and construction, spanning more than a century of artistic production and over five decades of Amano’s practice.

Join us this Saturday, April 18 at 2 PM for a guided tour with Curator Thomas Feulmer of highlights from both exhibitions.

Curated by Alexandra Terry, 𝘊𝘩𝘢𝘴𝘦 𝘢 𝘊𝘳𝘰𝘰𝘬𝘦𝘥 𝘚𝘩𝘢𝘥𝘰𝘸 approaches film noir as an enduring framework that continues to shape how we navigate instability, perception, and power. Across more than 100 works, the exhibition traces recurring archetypes and conditions, from the detective and antihero to psychological states defined by ambiguity and entrapment.

Presented concurrently, Yoshitaka Amano’s two-part exhibition unfolds as a continuous, evolving universe where myth, illustration, and art history converge. From his monumental New York Nights series to the characters that defined global visual culture, Amano’s work moves fluidly across disciplines, timelines, and audiences.

The Warehouse is open every Saturday from 12–5 PM.

On Thursday, April 23 from 6–9 PM, we will be open for 𝘕𝘪𝘨𝘩𝘵 𝘖𝘶𝘵 𝘢𝘵 𝘛𝘩𝘦 𝘞𝘢𝘳𝘦𝘩𝘰𝘶𝘴𝘦, bringing the exhibitions into an evening setting with live music, food and drinks, and a series of gallery talks and behind-the-scenes conversations exploring the ideas and installation of the works on view.

🔗 Visit our LinkTree in bio to register.

@alexandra__terry
@yoshitaka_amano @lomexgallery

📸: Photography: @exploredinary

#thewarehouse #contemporaryart #dallas #dallasartweek #dallasartfair

Dallas Art Week is here!

As the week unfolds, 𝘊𝘩𝘢𝘴𝘦 𝘢 𝘊𝘳𝘰𝘰𝘬𝘦𝘥 𝘚𝘩𝘢𝘥𝘰𝘸: 𝘍𝘪𝘭𝘮 𝘕𝘰𝘪𝘳 𝘢𝘴 𝘊𝘰𝘯𝘵𝘦𝘮𝘱𝘰𝘳𝘢𝘳𝘺 𝘔𝘪𝘳𝘳𝘰𝘳 and WAREHOUSE:01 𝘠𝘰𝘴𝘩𝘪𝘵𝘢𝘬𝘢 𝘈𝘮𝘢𝘯𝘰 are now on view: two exhibitions that consider image-making as both reflection and construction, spanning more than a century of artistic production and over five decades of Amano’s practice.

Join us this Saturday, April 18 at 2 PM for a guided tour with Curator Thomas Feulmer of highlights from both exhibitions.

Curated by Alexandra Terry, 𝘊𝘩𝘢𝘴𝘦 𝘢 𝘊𝘳𝘰𝘰𝘬𝘦𝘥 𝘚𝘩𝘢𝘥𝘰𝘸 approaches film noir as an enduring framework that continues to shape how we navigate instability, perception, and power. Across more than 100 works, the exhibition traces recurring archetypes and conditions, from the detective and antihero to psychological states defined by ambiguity and entrapment.

Presented concurrently, Yoshitaka Amano’s two-part exhibition unfolds as a continuous, evolving universe where myth, illustration, and art history converge. From his monumental New York Nights series to the characters that defined global visual culture, Amano’s work moves fluidly across disciplines, timelines, and audiences.

The Warehouse is open every Saturday from 12–5 PM.

On Thursday, April 23 from 6–9 PM, we will be open for 𝘕𝘪𝘨𝘩𝘵 𝘖𝘶𝘵 𝘢𝘵 𝘛𝘩𝘦 𝘞𝘢𝘳𝘦𝘩𝘰𝘶𝘴𝘦, bringing the exhibitions into an evening setting with live music, food and drinks, and a series of gallery talks and behind-the-scenes conversations exploring the ideas and installation of the works on view.

🔗 Visit our LinkTree in bio to register.

@alexandra__terry
@yoshitaka_amano @lomexgallery

📸: Photography: @exploredinary

#thewarehouse #contemporaryart #dallas #dallasartweek #dallasartfair

Dallas Art Week is here!

As the week unfolds, 𝘊𝘩𝘢𝘴𝘦 𝘢 𝘊𝘳𝘰𝘰𝘬𝘦𝘥 𝘚𝘩𝘢𝘥𝘰𝘸: 𝘍𝘪𝘭𝘮 𝘕𝘰𝘪𝘳 𝘢𝘴 𝘊𝘰𝘯𝘵𝘦𝘮𝘱𝘰𝘳𝘢𝘳𝘺 𝘔𝘪𝘳𝘳𝘰𝘳 and WAREHOUSE:01 𝘠𝘰𝘴𝘩𝘪𝘵𝘢𝘬𝘢 𝘈𝘮𝘢𝘯𝘰 are now on view: two exhibitions that consider image-making as both reflection and construction, spanning more than a century of artistic production and over five decades of Amano’s practice.

Join us this Saturday, April 18 at 2 PM for a guided tour with Curator Thomas Feulmer of highlights from both exhibitions.

Curated by Alexandra Terry, 𝘊𝘩𝘢𝘴𝘦 𝘢 𝘊𝘳𝘰𝘰𝘬𝘦𝘥 𝘚𝘩𝘢𝘥𝘰𝘸 approaches film noir as an enduring framework that continues to shape how we navigate instability, perception, and power. Across more than 100 works, the exhibition traces recurring archetypes and conditions, from the detective and antihero to psychological states defined by ambiguity and entrapment.

Presented concurrently, Yoshitaka Amano’s two-part exhibition unfolds as a continuous, evolving universe where myth, illustration, and art history converge. From his monumental New York Nights series to the characters that defined global visual culture, Amano’s work moves fluidly across disciplines, timelines, and audiences.

The Warehouse is open every Saturday from 12–5 PM.

On Thursday, April 23 from 6–9 PM, we will be open for 𝘕𝘪𝘨𝘩𝘵 𝘖𝘶𝘵 𝘢𝘵 𝘛𝘩𝘦 𝘞𝘢𝘳𝘦𝘩𝘰𝘶𝘴𝘦, bringing the exhibitions into an evening setting with live music, food and drinks, and a series of gallery talks and behind-the-scenes conversations exploring the ideas and installation of the works on view.

🔗 Visit our LinkTree in bio to register.

@alexandra__terry
@yoshitaka_amano @lomexgallery

📸: Photography: @exploredinary

#thewarehouse #contemporaryart #dallas #dallasartweek #dallasartfair