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@nytimes @peter_s_brock

@anonymousgallery through May 30th

🎡

#newyorktimes

@nytimes @peter_s_brock

@anonymousgallery through May 30th

🎡

#newyorktimes

@nytimes @peter_s_brock

@anonymousgallery through May 30th

🎡

#newyorktimes

@nytimes @peter_s_brock

@anonymousgallery through May 30th

🎡

#newyorktimes

@nytimes @peter_s_brock

@anonymousgallery through May 30th

🎡

#newyorktimes

@nytimes @peter_s_brock

@anonymousgallery through May 30th

🎡

#newyorktimes

@nytimes @peter_s_brock

@anonymousgallery through May 30th

🎡

#newyorktimes

@nytimes @peter_s_brock

@anonymousgallery through May 30th

🎡

#newyorktimes

@nytimes @peter_s_brock

@anonymousgallery through May 30th

🎡

#newyorktimes

final day @esther.newyork
w / @jessegouveia

Open today Saturday, May 16
12-5 pm 🕰️

The Estonian House
243 East 34th Street
New York
(2nd floor ballroom)

Jesse Gouveia creates constructed images and installations that examine how visceral experience can be measured and translated into visual systems that map imagination and perception. Working through familiar vignettes, recurring patterns, and ritualized motifs, Gouveia explores the porous boundary between personal mythologies and exterior realities.

thanks to all involved +
@margotsamel.nyc
@temnikovakaselagallery

final day @esther.newyork
w / @jessegouveia

Open today Saturday, May 16
12-5 pm 🕰️

The Estonian House
243 East 34th Street
New York
(2nd floor ballroom)

Jesse Gouveia creates constructed images and installations that examine how visceral experience can be measured and translated into visual systems that map imagination and perception. Working through familiar vignettes, recurring patterns, and ritualized motifs, Gouveia explores the porous boundary between personal mythologies and exterior realities.

thanks to all involved +
@margotsamel.nyc
@temnikovakaselagallery

final day @esther.newyork
w / @jessegouveia

Open today Saturday, May 16
12-5 pm 🕰️

The Estonian House
243 East 34th Street
New York
(2nd floor ballroom)

Jesse Gouveia creates constructed images and installations that examine how visceral experience can be measured and translated into visual systems that map imagination and perception. Working through familiar vignettes, recurring patterns, and ritualized motifs, Gouveia explores the porous boundary between personal mythologies and exterior realities.

thanks to all involved +
@margotsamel.nyc
@temnikovakaselagallery

final day @esther.newyork
w / @jessegouveia

Open today Saturday, May 16
12-5 pm 🕰️

The Estonian House
243 East 34th Street
New York
(2nd floor ballroom)

Jesse Gouveia creates constructed images and installations that examine how visceral experience can be measured and translated into visual systems that map imagination and perception. Working through familiar vignettes, recurring patterns, and ritualized motifs, Gouveia explores the porous boundary between personal mythologies and exterior realities.

thanks to all involved +
@margotsamel.nyc
@temnikovakaselagallery

final day @esther.newyork
w / @jessegouveia

Open today Saturday, May 16
12-5 pm 🕰️

The Estonian House
243 East 34th Street
New York
(2nd floor ballroom)

Jesse Gouveia creates constructed images and installations that examine how visceral experience can be measured and translated into visual systems that map imagination and perception. Working through familiar vignettes, recurring patterns, and ritualized motifs, Gouveia explores the porous boundary between personal mythologies and exterior realities.

thanks to all involved +
@margotsamel.nyc
@temnikovakaselagallery

final day @esther.newyork
w / @jessegouveia

Open today Saturday, May 16
12-5 pm 🕰️

The Estonian House
243 East 34th Street
New York
(2nd floor ballroom)

Jesse Gouveia creates constructed images and installations that examine how visceral experience can be measured and translated into visual systems that map imagination and perception. Working through familiar vignettes, recurring patterns, and ritualized motifs, Gouveia explores the porous boundary between personal mythologies and exterior realities.

thanks to all involved +
@margotsamel.nyc
@temnikovakaselagallery

final day @esther.newyork
w / @jessegouveia

Open today Saturday, May 16
12-5 pm 🕰️

The Estonian House
243 East 34th Street
New York
(2nd floor ballroom)

Jesse Gouveia creates constructed images and installations that examine how visceral experience can be measured and translated into visual systems that map imagination and perception. Working through familiar vignettes, recurring patterns, and ritualized motifs, Gouveia explores the porous boundary between personal mythologies and exterior realities.

thanks to all involved +
@margotsamel.nyc
@temnikovakaselagallery

@jessegouveia 💗
@esther.newyork

Open to the Public through Saturday, May 16

The Estonian House
243 East 34th Street
New York
(2nd floor ballroom)

Gouveia's presentation considers psychosocial development defined by eight stages, each shaped by emotional and psychological conflict. Erik Erikson argued that resolution of each stage’s conflict contributes to developmental adaptation and identity formation throughout the 8 stages. Gouveia's works reflects on the instability between opposing emotional states and the ways individuals construct, imagine and graph meaning throughout these cycles.

🗝️

@jessegouveia 💗
@esther.newyork

Open to the Public through Saturday, May 16

The Estonian House
243 East 34th Street
New York
(2nd floor ballroom)

Gouveia's presentation considers psychosocial development defined by eight stages, each shaped by emotional and psychological conflict. Erik Erikson argued that resolution of each stage’s conflict contributes to developmental adaptation and identity formation throughout the 8 stages. Gouveia's works reflects on the instability between opposing emotional states and the ways individuals construct, imagine and graph meaning throughout these cycles.

🗝️

@jessegouveia 💗
@esther.newyork

Open to the Public through Saturday, May 16

The Estonian House
243 East 34th Street
New York
(2nd floor ballroom)

Gouveia's presentation considers psychosocial development defined by eight stages, each shaped by emotional and psychological conflict. Erik Erikson argued that resolution of each stage’s conflict contributes to developmental adaptation and identity formation throughout the 8 stages. Gouveia's works reflects on the instability between opposing emotional states and the ways individuals construct, imagine and graph meaning throughout these cycles.

🗝️

@jessegouveia 💗
@esther.newyork

Open to the Public through Saturday, May 16

The Estonian House
243 East 34th Street
New York
(2nd floor ballroom)

Gouveia's presentation considers psychosocial development defined by eight stages, each shaped by emotional and psychological conflict. Erik Erikson argued that resolution of each stage’s conflict contributes to developmental adaptation and identity formation throughout the 8 stages. Gouveia's works reflects on the instability between opposing emotional states and the ways individuals construct, imagine and graph meaning throughout these cycles.

🗝️

Jesse Gouveia 🌤️
@esther.newyork

VIP PREVIEW: May 12, 11-6

The Estonian House
243 East 34th Street
New York
(2nd floor ballroom)

Open to the Public:
Wednesday, May 13, 11am-6pm
Thursday, May 14, 11am-6pm
Friday, May 15, 11am-6pm
Saturday, May 16, 11am-5pm

@jessegouveia
#jessegouveia

Jesse Gouveia 🌤️
@esther.newyork

VIP PREVIEW: May 12, 11-6

The Estonian House
243 East 34th Street
New York
(2nd floor ballroom)

Open to the Public:
Wednesday, May 13, 11am-6pm
Thursday, May 14, 11am-6pm
Friday, May 15, 11am-6pm
Saturday, May 16, 11am-5pm

@jessegouveia
#jessegouveia

Peter Brock

Anthropic

April 24 - May 30, 2026

136 Baxter Street New York, NY

Anthropos (ἄνθρωπος) is the Greek word for human being or the human condition. The word has been in continual use for more than 3,000 years. Thucydides used the word extensively in his discussion of fundamental human motivations—fear, honor, and strategic leverage through the pursuit of resources—in his History of the Peloponnesian War (430-400BCE). The San Francisco-based company that calls itself Anthropic was founded in 2021 and named their large language model Claude in honor of the American polymath Claude Shannon.

In his 1948 paper “A Mathematical Theory of Communication,” Claude Shannon laid the groundwork for modern computation by proposing a system of communication that is completely agnostic to meaning. The purpose of binary code is to eradicate ambiguity for the sake of accuracy and efficiency. Zeros and ones constitute a language of absolute certainty and correlate perfectly with the two possible states of an eclectic circuit: closed or open. This system regards communication as an engineering problem in which bodily sensation or social context have no relevance. Binary code remains the underlying medium of all digital signals to this day including the output of neural networks—from whose mysterious behaviour engineers coax useful results by adjusting numerical weights.

@peter_s_brock

Peter Brock

Anthropic

April 24 - May 30, 2026

136 Baxter Street New York, NY

Anthropos (ἄνθρωπος) is the Greek word for human being or the human condition. The word has been in continual use for more than 3,000 years. Thucydides used the word extensively in his discussion of fundamental human motivations—fear, honor, and strategic leverage through the pursuit of resources—in his History of the Peloponnesian War (430-400BCE). The San Francisco-based company that calls itself Anthropic was founded in 2021 and named their large language model Claude in honor of the American polymath Claude Shannon.

In his 1948 paper “A Mathematical Theory of Communication,” Claude Shannon laid the groundwork for modern computation by proposing a system of communication that is completely agnostic to meaning. The purpose of binary code is to eradicate ambiguity for the sake of accuracy and efficiency. Zeros and ones constitute a language of absolute certainty and correlate perfectly with the two possible states of an eclectic circuit: closed or open. This system regards communication as an engineering problem in which bodily sensation or social context have no relevance. Binary code remains the underlying medium of all digital signals to this day including the output of neural networks—from whose mysterious behaviour engineers coax useful results by adjusting numerical weights.

@peter_s_brock

Peter Brock

Anthropic

April 24 - May 30, 2026

136 Baxter Street New York, NY

Anthropos (ἄνθρωπος) is the Greek word for human being or the human condition. The word has been in continual use for more than 3,000 years. Thucydides used the word extensively in his discussion of fundamental human motivations—fear, honor, and strategic leverage through the pursuit of resources—in his History of the Peloponnesian War (430-400BCE). The San Francisco-based company that calls itself Anthropic was founded in 2021 and named their large language model Claude in honor of the American polymath Claude Shannon.

In his 1948 paper “A Mathematical Theory of Communication,” Claude Shannon laid the groundwork for modern computation by proposing a system of communication that is completely agnostic to meaning. The purpose of binary code is to eradicate ambiguity for the sake of accuracy and efficiency. Zeros and ones constitute a language of absolute certainty and correlate perfectly with the two possible states of an eclectic circuit: closed or open. This system regards communication as an engineering problem in which bodily sensation or social context have no relevance. Binary code remains the underlying medium of all digital signals to this day including the output of neural networks—from whose mysterious behaviour engineers coax useful results by adjusting numerical weights.

@peter_s_brock

Peter Brock

Anthropic

April 24 - May 30, 2026

136 Baxter Street New York, NY

Anthropos (ἄνθρωπος) is the Greek word for human being or the human condition. The word has been in continual use for more than 3,000 years. Thucydides used the word extensively in his discussion of fundamental human motivations—fear, honor, and strategic leverage through the pursuit of resources—in his History of the Peloponnesian War (430-400BCE). The San Francisco-based company that calls itself Anthropic was founded in 2021 and named their large language model Claude in honor of the American polymath Claude Shannon.

In his 1948 paper “A Mathematical Theory of Communication,” Claude Shannon laid the groundwork for modern computation by proposing a system of communication that is completely agnostic to meaning. The purpose of binary code is to eradicate ambiguity for the sake of accuracy and efficiency. Zeros and ones constitute a language of absolute certainty and correlate perfectly with the two possible states of an eclectic circuit: closed or open. This system regards communication as an engineering problem in which bodily sensation or social context have no relevance. Binary code remains the underlying medium of all digital signals to this day including the output of neural networks—from whose mysterious behaviour engineers coax useful results by adjusting numerical weights.

@peter_s_brock

MUST SEE (in person)

Across the paintings, the horizon emerges as a site of negotiation, a framework through which the hopes and anxieties of the present moment are both projected and held in suspension. A strip of polished metal bisects each composition, dividing two luminous planes. This gesture evokes familiar partitions in the physical world - atmospheric thresholds, architectural seams, distant vanishing lines. At the same time, it alludes to the binary logic that underpins contemporary systems of computation, introducing a subtle but persistent technological register.

Rather than resolving these associations into a fixed thesis, Brock sustains a productive tension between embodied perception and rational structure. The works resist conclusion, instead inviting viewers to linger with the irreducible qualities of sensation, material, and form.

Peter Brock
Anthropic
Through May 30

@peter_s_brock 🪁

thanks @artforum

📷 🎥 @new_document_

MUST SEE (in person)

Across the paintings, the horizon emerges as a site of negotiation, a framework through which the hopes and anxieties of the present moment are both projected and held in suspension. A strip of polished metal bisects each composition, dividing two luminous planes. This gesture evokes familiar partitions in the physical world - atmospheric thresholds, architectural seams, distant vanishing lines. At the same time, it alludes to the binary logic that underpins contemporary systems of computation, introducing a subtle but persistent technological register.

Rather than resolving these associations into a fixed thesis, Brock sustains a productive tension between embodied perception and rational structure. The works resist conclusion, instead inviting viewers to linger with the irreducible qualities of sensation, material, and form.

Peter Brock
Anthropic
Through May 30

@peter_s_brock 🪁

thanks @artforum

📷 🎥 @new_document_

MUST SEE (in person)

Across the paintings, the horizon emerges as a site of negotiation, a framework through which the hopes and anxieties of the present moment are both projected and held in suspension. A strip of polished metal bisects each composition, dividing two luminous planes. This gesture evokes familiar partitions in the physical world - atmospheric thresholds, architectural seams, distant vanishing lines. At the same time, it alludes to the binary logic that underpins contemporary systems of computation, introducing a subtle but persistent technological register.

Rather than resolving these associations into a fixed thesis, Brock sustains a productive tension between embodied perception and rational structure. The works resist conclusion, instead inviting viewers to linger with the irreducible qualities of sensation, material, and form.

Peter Brock
Anthropic
Through May 30

@peter_s_brock 🪁

thanks @artforum

📷 🎥 @new_document_

MUST SEE (in person)

Across the paintings, the horizon emerges as a site of negotiation, a framework through which the hopes and anxieties of the present moment are both projected and held in suspension. A strip of polished metal bisects each composition, dividing two luminous planes. This gesture evokes familiar partitions in the physical world - atmospheric thresholds, architectural seams, distant vanishing lines. At the same time, it alludes to the binary logic that underpins contemporary systems of computation, introducing a subtle but persistent technological register.

Rather than resolving these associations into a fixed thesis, Brock sustains a productive tension between embodied perception and rational structure. The works resist conclusion, instead inviting viewers to linger with the irreducible qualities of sensation, material, and form.

Peter Brock
Anthropic
Through May 30

@peter_s_brock 🪁

thanks @artforum

📷 🎥 @new_document_

MUST SEE (in person)

Across the paintings, the horizon emerges as a site of negotiation, a framework through which the hopes and anxieties of the present moment are both projected and held in suspension. A strip of polished metal bisects each composition, dividing two luminous planes. This gesture evokes familiar partitions in the physical world - atmospheric thresholds, architectural seams, distant vanishing lines. At the same time, it alludes to the binary logic that underpins contemporary systems of computation, introducing a subtle but persistent technological register.

Rather than resolving these associations into a fixed thesis, Brock sustains a productive tension between embodied perception and rational structure. The works resist conclusion, instead inviting viewers to linger with the irreducible qualities of sensation, material, and form.

Peter Brock
Anthropic
Through May 30

@peter_s_brock 🪁

thanks @artforum

📷 🎥 @new_document_

MUST SEE (in person)

Across the paintings, the horizon emerges as a site of negotiation, a framework through which the hopes and anxieties of the present moment are both projected and held in suspension. A strip of polished metal bisects each composition, dividing two luminous planes. This gesture evokes familiar partitions in the physical world - atmospheric thresholds, architectural seams, distant vanishing lines. At the same time, it alludes to the binary logic that underpins contemporary systems of computation, introducing a subtle but persistent technological register.

Rather than resolving these associations into a fixed thesis, Brock sustains a productive tension between embodied perception and rational structure. The works resist conclusion, instead inviting viewers to linger with the irreducible qualities of sensation, material, and form.

Peter Brock
Anthropic
Through May 30

@peter_s_brock 🪁

thanks @artforum

📷 🎥 @new_document_

MUST SEE (in person)

Across the paintings, the horizon emerges as a site of negotiation, a framework through which the hopes and anxieties of the present moment are both projected and held in suspension. A strip of polished metal bisects each composition, dividing two luminous planes. This gesture evokes familiar partitions in the physical world - atmospheric thresholds, architectural seams, distant vanishing lines. At the same time, it alludes to the binary logic that underpins contemporary systems of computation, introducing a subtle but persistent technological register.

Rather than resolving these associations into a fixed thesis, Brock sustains a productive tension between embodied perception and rational structure. The works resist conclusion, instead inviting viewers to linger with the irreducible qualities of sensation, material, and form.

Peter Brock
Anthropic
Through May 30

@peter_s_brock 🪁

thanks @artforum

📷 🎥 @new_document_

MUST SEE (in person)

Across the paintings, the horizon emerges as a site of negotiation, a framework through which the hopes and anxieties of the present moment are both projected and held in suspension. A strip of polished metal bisects each composition, dividing two luminous planes. This gesture evokes familiar partitions in the physical world - atmospheric thresholds, architectural seams, distant vanishing lines. At the same time, it alludes to the binary logic that underpins contemporary systems of computation, introducing a subtle but persistent technological register.

Rather than resolving these associations into a fixed thesis, Brock sustains a productive tension between embodied perception and rational structure. The works resist conclusion, instead inviting viewers to linger with the irreducible qualities of sensation, material, and form.

Peter Brock
Anthropic
Through May 30

@peter_s_brock 🪁

thanks @artforum

📷 🎥 @new_document_

MUST SEE (in person)

Across the paintings, the horizon emerges as a site of negotiation, a framework through which the hopes and anxieties of the present moment are both projected and held in suspension. A strip of polished metal bisects each composition, dividing two luminous planes. This gesture evokes familiar partitions in the physical world - atmospheric thresholds, architectural seams, distant vanishing lines. At the same time, it alludes to the binary logic that underpins contemporary systems of computation, introducing a subtle but persistent technological register.

Rather than resolving these associations into a fixed thesis, Brock sustains a productive tension between embodied perception and rational structure. The works resist conclusion, instead inviting viewers to linger with the irreducible qualities of sensation, material, and form.

Peter Brock
Anthropic
Through May 30

@peter_s_brock 🪁

thanks @artforum

📷 🎥 @new_document_

Peter Brock

ANTHROPIC

Or, The End of the Myth.
Or, The Invention of Nature.
Or, American Technological Sublime.
Or, The Limited Sphere.
Or, An Ear at the Edge of a Chasm.
Or, The Terminal Lens.
Or, A Mirror at the Command of Our Spasms.

Metaphors domesticate the unknown and defamiliarize the everyday by way of comparison. They are aesthetic gestures that bind together distinct phenomena in a mimetic relationship without actually defining either entity—an interdependency of images. In her book God, Human, Animal, Machine. (2021), Meghan O’Gyblien describes the importance of metaphor in our relationship to technology and the mysteries of consciousness. She argues that the tendency to anthropomorphize large language models is an inversion of Imago Dei— the tenet of Christian theology which asserts that human beings were created in God’s image. These are machines made in the image of human consciousness. She also calls attention to the ways that the language of computation now permeates the discourse around how our minds work (processing, signals, bandwidth, etc). This urge to describe the human brain as a computer coincides with the ongoing efforts to make computers that function like brains…

+ tomorrow, Saturday May 2, 3-5 pm❗️

panel discussion at the gallery. w/
@susannacole
@lilaleela
@peter_s_brock

The conversation will explore the history of landscape as a pictorial framework for confronting technological change, as well as emerging dynamics of machine vision and the anthropocene.

136 Baxter St New York

Peter Brock

ANTHROPIC

Or, The End of the Myth.
Or, The Invention of Nature.
Or, American Technological Sublime.
Or, The Limited Sphere.
Or, An Ear at the Edge of a Chasm.
Or, The Terminal Lens.
Or, A Mirror at the Command of Our Spasms.

Metaphors domesticate the unknown and defamiliarize the everyday by way of comparison. They are aesthetic gestures that bind together distinct phenomena in a mimetic relationship without actually defining either entity—an interdependency of images. In her book God, Human, Animal, Machine. (2021), Meghan O’Gyblien describes the importance of metaphor in our relationship to technology and the mysteries of consciousness. She argues that the tendency to anthropomorphize large language models is an inversion of Imago Dei— the tenet of Christian theology which asserts that human beings were created in God’s image. These are machines made in the image of human consciousness. She also calls attention to the ways that the language of computation now permeates the discourse around how our minds work (processing, signals, bandwidth, etc). This urge to describe the human brain as a computer coincides with the ongoing efforts to make computers that function like brains…

+ tomorrow, Saturday May 2, 3-5 pm❗️

panel discussion at the gallery. w/
@susannacole
@lilaleela
@peter_s_brock

The conversation will explore the history of landscape as a pictorial framework for confronting technological change, as well as emerging dynamics of machine vision and the anthropocene.

136 Baxter St New York

Peter Brock

ANTHROPIC

Or, The End of the Myth.
Or, The Invention of Nature.
Or, American Technological Sublime.
Or, The Limited Sphere.
Or, An Ear at the Edge of a Chasm.
Or, The Terminal Lens.
Or, A Mirror at the Command of Our Spasms.

Metaphors domesticate the unknown and defamiliarize the everyday by way of comparison. They are aesthetic gestures that bind together distinct phenomena in a mimetic relationship without actually defining either entity—an interdependency of images. In her book God, Human, Animal, Machine. (2021), Meghan O’Gyblien describes the importance of metaphor in our relationship to technology and the mysteries of consciousness. She argues that the tendency to anthropomorphize large language models is an inversion of Imago Dei— the tenet of Christian theology which asserts that human beings were created in God’s image. These are machines made in the image of human consciousness. She also calls attention to the ways that the language of computation now permeates the discourse around how our minds work (processing, signals, bandwidth, etc). This urge to describe the human brain as a computer coincides with the ongoing efforts to make computers that function like brains…

+ tomorrow, Saturday May 2, 3-5 pm❗️

panel discussion at the gallery. w/
@susannacole
@lilaleela
@peter_s_brock

The conversation will explore the history of landscape as a pictorial framework for confronting technological change, as well as emerging dynamics of machine vision and the anthropocene.

136 Baxter St New York

Peter Brock

ANTHROPIC

Or, The End of the Myth.
Or, The Invention of Nature.
Or, American Technological Sublime.
Or, The Limited Sphere.
Or, An Ear at the Edge of a Chasm.
Or, The Terminal Lens.
Or, A Mirror at the Command of Our Spasms.

Metaphors domesticate the unknown and defamiliarize the everyday by way of comparison. They are aesthetic gestures that bind together distinct phenomena in a mimetic relationship without actually defining either entity—an interdependency of images. In her book God, Human, Animal, Machine. (2021), Meghan O’Gyblien describes the importance of metaphor in our relationship to technology and the mysteries of consciousness. She argues that the tendency to anthropomorphize large language models is an inversion of Imago Dei— the tenet of Christian theology which asserts that human beings were created in God’s image. These are machines made in the image of human consciousness. She also calls attention to the ways that the language of computation now permeates the discourse around how our minds work (processing, signals, bandwidth, etc). This urge to describe the human brain as a computer coincides with the ongoing efforts to make computers that function like brains…

+ tomorrow, Saturday May 2, 3-5 pm❗️

panel discussion at the gallery. w/
@susannacole
@lilaleela
@peter_s_brock

The conversation will explore the history of landscape as a pictorial framework for confronting technological change, as well as emerging dynamics of machine vision and the anthropocene.

136 Baxter St New York

Peter Brock

ANTHROPIC

Or, The End of the Myth.
Or, The Invention of Nature.
Or, American Technological Sublime.
Or, The Limited Sphere.
Or, An Ear at the Edge of a Chasm.
Or, The Terminal Lens.
Or, A Mirror at the Command of Our Spasms.

Metaphors domesticate the unknown and defamiliarize the everyday by way of comparison. They are aesthetic gestures that bind together distinct phenomena in a mimetic relationship without actually defining either entity—an interdependency of images. In her book God, Human, Animal, Machine. (2021), Meghan O’Gyblien describes the importance of metaphor in our relationship to technology and the mysteries of consciousness. She argues that the tendency to anthropomorphize large language models is an inversion of Imago Dei— the tenet of Christian theology which asserts that human beings were created in God’s image. These are machines made in the image of human consciousness. She also calls attention to the ways that the language of computation now permeates the discourse around how our minds work (processing, signals, bandwidth, etc). This urge to describe the human brain as a computer coincides with the ongoing efforts to make computers that function like brains…

+ tomorrow, Saturday May 2, 3-5 pm❗️

panel discussion at the gallery. w/
@susannacole
@lilaleela
@peter_s_brock

The conversation will explore the history of landscape as a pictorial framework for confronting technological change, as well as emerging dynamics of machine vision and the anthropocene.

136 Baxter St New York

Esther lll w/ Jesse Gouveia

@jessegouveia
@esther.newyork

May 12 - May 16, 2026

The Estonian House
243 East 34th Street
New York

VIP Preview:
Tuesday, May 12, 11am-6pm

Open to the Public:
Wednesday, May 13, 11am-6pm
Thursday, May 14, 11am-6pm
Friday, May 15, 11am-6pm
Saturday, May 16, 11am-5pm

☝️✌️

🗓️ @wendy_cabrera_rubio @museomarco

Through video, installation and the recreation of everyday objects, the exhibition starts with a video that addresses the practices promoted by the U.S. government with migrants arriving through the Brasero Program, questioning a historical moment in the bilateral relationship and the government propaganda focused on the food and hygiene habits of the workers. The proposal is a collaboration between artist Wendy Cabrera Rubio and researcher Jairo Antonio Hoyos @ja.hoyos.galvis

A través de video, instalación y la recreación de objetos cotidianos, la exposición se articula en torno a un video que examina las prácticas promovidas por el gobierno de Estados Unidos hacia los migrantes que llegaron mediante el Programa Bracero, cuestionando un momento histórico en la relación bilateral y la propaganda gubernamental enfocada en los hábitos alimenticios e higiénicos de los trabajadores. El proyecto es una colaboración entre la artista Wendy Cabrera Rubio y el investigador Jairo Antonio Hoyos.

#wendycabrerarubio
#marco

🗓️ @wendy_cabrera_rubio @museomarco

Through video, installation and the recreation of everyday objects, the exhibition starts with a video that addresses the practices promoted by the U.S. government with migrants arriving through the Brasero Program, questioning a historical moment in the bilateral relationship and the government propaganda focused on the food and hygiene habits of the workers. The proposal is a collaboration between artist Wendy Cabrera Rubio and researcher Jairo Antonio Hoyos @ja.hoyos.galvis

A través de video, instalación y la recreación de objetos cotidianos, la exposición se articula en torno a un video que examina las prácticas promovidas por el gobierno de Estados Unidos hacia los migrantes que llegaron mediante el Programa Bracero, cuestionando un momento histórico en la relación bilateral y la propaganda gubernamental enfocada en los hábitos alimenticios e higiénicos de los trabajadores. El proyecto es una colaboración entre la artista Wendy Cabrera Rubio y el investigador Jairo Antonio Hoyos.

#wendycabrerarubio
#marco

Peter Brock

Anthropic

April 24 - May 30, 2026
Opening: April 24, 6-8 PM

136 Baxter Street New York, NY

@peter_s_brock

🫆

Dozie Kanu’s Milán takeover 🍝

Fondazione ICA Milano
@ica_milano installation images

“The Second Shadow. Dozie Kanu Mirroring Marc Camille Chaimowicz, with Shared Echoes and Kindred Spirits”

brings into dialogue two environmental installations conceived as rooms: Jean Cocteau (2003–2014) by Marc Camille Chaimowicz (Paris 1947 – London 2024) and a new site-specific intervention by Dozie Kanu (1993, Houston), designed as a response to and reflection of the historic work. The project originates as a reflection on the double, inheritance, and the affective transmission of forms, activating a genealogy that brings together Cocteau, Chaimowicz, and Kanu. The exhibition does not aim at a literal reconstruction, but rather creates a resonant device: two autonomous environments that observe and transform each other from a distance, like reflective surfaces that delay the image to allow thought to emerge…

curated by @rita.selvaggio @giuliacivardi w/ support
@nicolettafioruccifoundation - through May 23

+

@miartmilano April 16-19

+

@fthtsi @financialtimes feature 📰 (w/ photography by @lizjohnsonartur ) highlighting Kanu for @knoll during @isaloniofficial April 21-26

ciao @dozie.kanu
#doziekanu

Dozie Kanu’s Milán takeover 🍝

Fondazione ICA Milano
@ica_milano installation images

“The Second Shadow. Dozie Kanu Mirroring Marc Camille Chaimowicz, with Shared Echoes and Kindred Spirits”

brings into dialogue two environmental installations conceived as rooms: Jean Cocteau (2003–2014) by Marc Camille Chaimowicz (Paris 1947 – London 2024) and a new site-specific intervention by Dozie Kanu (1993, Houston), designed as a response to and reflection of the historic work. The project originates as a reflection on the double, inheritance, and the affective transmission of forms, activating a genealogy that brings together Cocteau, Chaimowicz, and Kanu. The exhibition does not aim at a literal reconstruction, but rather creates a resonant device: two autonomous environments that observe and transform each other from a distance, like reflective surfaces that delay the image to allow thought to emerge…

curated by @rita.selvaggio @giuliacivardi w/ support
@nicolettafioruccifoundation - through May 23

+

@miartmilano April 16-19

+

@fthtsi @financialtimes feature 📰 (w/ photography by @lizjohnsonartur ) highlighting Kanu for @knoll during @isaloniofficial April 21-26

ciao @dozie.kanu
#doziekanu

Dozie Kanu’s Milán takeover 🍝

Fondazione ICA Milano
@ica_milano installation images

“The Second Shadow. Dozie Kanu Mirroring Marc Camille Chaimowicz, with Shared Echoes and Kindred Spirits”

brings into dialogue two environmental installations conceived as rooms: Jean Cocteau (2003–2014) by Marc Camille Chaimowicz (Paris 1947 – London 2024) and a new site-specific intervention by Dozie Kanu (1993, Houston), designed as a response to and reflection of the historic work. The project originates as a reflection on the double, inheritance, and the affective transmission of forms, activating a genealogy that brings together Cocteau, Chaimowicz, and Kanu. The exhibition does not aim at a literal reconstruction, but rather creates a resonant device: two autonomous environments that observe and transform each other from a distance, like reflective surfaces that delay the image to allow thought to emerge…

curated by @rita.selvaggio @giuliacivardi w/ support
@nicolettafioruccifoundation - through May 23

+

@miartmilano April 16-19

+

@fthtsi @financialtimes feature 📰 (w/ photography by @lizjohnsonartur ) highlighting Kanu for @knoll during @isaloniofficial April 21-26

ciao @dozie.kanu
#doziekanu

Dozie Kanu’s Milán takeover 🍝

Fondazione ICA Milano
@ica_milano installation images

“The Second Shadow. Dozie Kanu Mirroring Marc Camille Chaimowicz, with Shared Echoes and Kindred Spirits”

brings into dialogue two environmental installations conceived as rooms: Jean Cocteau (2003–2014) by Marc Camille Chaimowicz (Paris 1947 – London 2024) and a new site-specific intervention by Dozie Kanu (1993, Houston), designed as a response to and reflection of the historic work. The project originates as a reflection on the double, inheritance, and the affective transmission of forms, activating a genealogy that brings together Cocteau, Chaimowicz, and Kanu. The exhibition does not aim at a literal reconstruction, but rather creates a resonant device: two autonomous environments that observe and transform each other from a distance, like reflective surfaces that delay the image to allow thought to emerge…

curated by @rita.selvaggio @giuliacivardi w/ support
@nicolettafioruccifoundation - through May 23

+

@miartmilano April 16-19

+

@fthtsi @financialtimes feature 📰 (w/ photography by @lizjohnsonartur ) highlighting Kanu for @knoll during @isaloniofficial April 21-26

ciao @dozie.kanu
#doziekanu

Dozie Kanu’s Milán takeover 🍝

Fondazione ICA Milano
@ica_milano installation images

“The Second Shadow. Dozie Kanu Mirroring Marc Camille Chaimowicz, with Shared Echoes and Kindred Spirits”

brings into dialogue two environmental installations conceived as rooms: Jean Cocteau (2003–2014) by Marc Camille Chaimowicz (Paris 1947 – London 2024) and a new site-specific intervention by Dozie Kanu (1993, Houston), designed as a response to and reflection of the historic work. The project originates as a reflection on the double, inheritance, and the affective transmission of forms, activating a genealogy that brings together Cocteau, Chaimowicz, and Kanu. The exhibition does not aim at a literal reconstruction, but rather creates a resonant device: two autonomous environments that observe and transform each other from a distance, like reflective surfaces that delay the image to allow thought to emerge…

curated by @rita.selvaggio @giuliacivardi w/ support
@nicolettafioruccifoundation - through May 23

+

@miartmilano April 16-19

+

@fthtsi @financialtimes feature 📰 (w/ photography by @lizjohnsonartur ) highlighting Kanu for @knoll during @isaloniofficial April 21-26

ciao @dozie.kanu
#doziekanu

Dozie Kanu’s Milán takeover 🍝

Fondazione ICA Milano
@ica_milano installation images

“The Second Shadow. Dozie Kanu Mirroring Marc Camille Chaimowicz, with Shared Echoes and Kindred Spirits”

brings into dialogue two environmental installations conceived as rooms: Jean Cocteau (2003–2014) by Marc Camille Chaimowicz (Paris 1947 – London 2024) and a new site-specific intervention by Dozie Kanu (1993, Houston), designed as a response to and reflection of the historic work. The project originates as a reflection on the double, inheritance, and the affective transmission of forms, activating a genealogy that brings together Cocteau, Chaimowicz, and Kanu. The exhibition does not aim at a literal reconstruction, but rather creates a resonant device: two autonomous environments that observe and transform each other from a distance, like reflective surfaces that delay the image to allow thought to emerge…

curated by @rita.selvaggio @giuliacivardi w/ support
@nicolettafioruccifoundation - through May 23

+

@miartmilano April 16-19

+

@fthtsi @financialtimes feature 📰 (w/ photography by @lizjohnsonartur ) highlighting Kanu for @knoll during @isaloniofficial April 21-26

ciao @dozie.kanu
#doziekanu

Dozie Kanu’s Milán takeover 🍝

Fondazione ICA Milano
@ica_milano installation images

“The Second Shadow. Dozie Kanu Mirroring Marc Camille Chaimowicz, with Shared Echoes and Kindred Spirits”

brings into dialogue two environmental installations conceived as rooms: Jean Cocteau (2003–2014) by Marc Camille Chaimowicz (Paris 1947 – London 2024) and a new site-specific intervention by Dozie Kanu (1993, Houston), designed as a response to and reflection of the historic work. The project originates as a reflection on the double, inheritance, and the affective transmission of forms, activating a genealogy that brings together Cocteau, Chaimowicz, and Kanu. The exhibition does not aim at a literal reconstruction, but rather creates a resonant device: two autonomous environments that observe and transform each other from a distance, like reflective surfaces that delay the image to allow thought to emerge…

curated by @rita.selvaggio @giuliacivardi w/ support
@nicolettafioruccifoundation - through May 23

+

@miartmilano April 16-19

+

@fthtsi @financialtimes feature 📰 (w/ photography by @lizjohnsonartur ) highlighting Kanu for @knoll during @isaloniofficial April 21-26

ciao @dozie.kanu
#doziekanu

Dozie Kanu’s Milán takeover 🍝

Fondazione ICA Milano
@ica_milano installation images

“The Second Shadow. Dozie Kanu Mirroring Marc Camille Chaimowicz, with Shared Echoes and Kindred Spirits”

brings into dialogue two environmental installations conceived as rooms: Jean Cocteau (2003–2014) by Marc Camille Chaimowicz (Paris 1947 – London 2024) and a new site-specific intervention by Dozie Kanu (1993, Houston), designed as a response to and reflection of the historic work. The project originates as a reflection on the double, inheritance, and the affective transmission of forms, activating a genealogy that brings together Cocteau, Chaimowicz, and Kanu. The exhibition does not aim at a literal reconstruction, but rather creates a resonant device: two autonomous environments that observe and transform each other from a distance, like reflective surfaces that delay the image to allow thought to emerge…

curated by @rita.selvaggio @giuliacivardi w/ support
@nicolettafioruccifoundation - through May 23

+

@miartmilano April 16-19

+

@fthtsi @financialtimes feature 📰 (w/ photography by @lizjohnsonartur ) highlighting Kanu for @knoll during @isaloniofficial April 21-26

ciao @dozie.kanu
#doziekanu

Dozie Kanu’s Milán takeover 🍝

Fondazione ICA Milano
@ica_milano installation images

“The Second Shadow. Dozie Kanu Mirroring Marc Camille Chaimowicz, with Shared Echoes and Kindred Spirits”

brings into dialogue two environmental installations conceived as rooms: Jean Cocteau (2003–2014) by Marc Camille Chaimowicz (Paris 1947 – London 2024) and a new site-specific intervention by Dozie Kanu (1993, Houston), designed as a response to and reflection of the historic work. The project originates as a reflection on the double, inheritance, and the affective transmission of forms, activating a genealogy that brings together Cocteau, Chaimowicz, and Kanu. The exhibition does not aim at a literal reconstruction, but rather creates a resonant device: two autonomous environments that observe and transform each other from a distance, like reflective surfaces that delay the image to allow thought to emerge…

curated by @rita.selvaggio @giuliacivardi w/ support
@nicolettafioruccifoundation - through May 23

+

@miartmilano April 16-19

+

@fthtsi @financialtimes feature 📰 (w/ photography by @lizjohnsonartur ) highlighting Kanu for @knoll during @isaloniofficial April 21-26

ciao @dozie.kanu
#doziekanu

Dozie Kanu’s Milán takeover 🍝

Fondazione ICA Milano
@ica_milano installation images

“The Second Shadow. Dozie Kanu Mirroring Marc Camille Chaimowicz, with Shared Echoes and Kindred Spirits”

brings into dialogue two environmental installations conceived as rooms: Jean Cocteau (2003–2014) by Marc Camille Chaimowicz (Paris 1947 – London 2024) and a new site-specific intervention by Dozie Kanu (1993, Houston), designed as a response to and reflection of the historic work. The project originates as a reflection on the double, inheritance, and the affective transmission of forms, activating a genealogy that brings together Cocteau, Chaimowicz, and Kanu. The exhibition does not aim at a literal reconstruction, but rather creates a resonant device: two autonomous environments that observe and transform each other from a distance, like reflective surfaces that delay the image to allow thought to emerge…

curated by @rita.selvaggio @giuliacivardi w/ support
@nicolettafioruccifoundation - through May 23

+

@miartmilano April 16-19

+

@fthtsi @financialtimes feature 📰 (w/ photography by @lizjohnsonartur ) highlighting Kanu for @knoll during @isaloniofficial April 21-26

ciao @dozie.kanu
#doziekanu

Dozie Kanu’s Milán takeover 🍝

Fondazione ICA Milano
@ica_milano installation images

“The Second Shadow. Dozie Kanu Mirroring Marc Camille Chaimowicz, with Shared Echoes and Kindred Spirits”

brings into dialogue two environmental installations conceived as rooms: Jean Cocteau (2003–2014) by Marc Camille Chaimowicz (Paris 1947 – London 2024) and a new site-specific intervention by Dozie Kanu (1993, Houston), designed as a response to and reflection of the historic work. The project originates as a reflection on the double, inheritance, and the affective transmission of forms, activating a genealogy that brings together Cocteau, Chaimowicz, and Kanu. The exhibition does not aim at a literal reconstruction, but rather creates a resonant device: two autonomous environments that observe and transform each other from a distance, like reflective surfaces that delay the image to allow thought to emerge…

curated by @rita.selvaggio @giuliacivardi w/ support
@nicolettafioruccifoundation - through May 23

+

@miartmilano April 16-19

+

@fthtsi @financialtimes feature 📰 (w/ photography by @lizjohnsonartur ) highlighting Kanu for @knoll during @isaloniofficial April 21-26

ciao @dozie.kanu
#doziekanu

Dozie Kanu’s “Knuckle Crate (rejected Vitra design)” questions who has the authority to define cultural symbols. When Kanu first proposed the design to the Swiss furniture company Vitra, it was rejected because its brass knuckle emblem was considered “too bold” for their clientele. For Kanu, however, the symbol was central to the work. Often associated with self-defense and confrontation, the brass knuckle becomes a metaphor for resilience and cultural autonomy. Cultural theorist Stuart Hall described such imagery as “sites of resistance,” - spaces where symbols can be reclaimed and redefined. In Knuckle Crate, Kanu repurposes this stigmatized emblem as a vessel for Black stories and lived experience.

Sculptural and functional, the work is designed to hold vinyl records. This everyday utility echoes Michel de Certeau’s notion of “the practice of everyday life,” in which ordinary objects carry fragments of personal and collective history. The crate becomes a container not only for records, but for the voices and cultural memory embedded within them.

The work is installed @r13 on 34 Howard Street New York, NY as part of anonymous’s a2 program and will be activated through June 30

@dozie.kanu
#doziekanu

#ornettecoleman
#skiesofamerica

📸 @dulooooooooo

Dozie Kanu’s “Knuckle Crate (rejected Vitra design)” questions who has the authority to define cultural symbols. When Kanu first proposed the design to the Swiss furniture company Vitra, it was rejected because its brass knuckle emblem was considered “too bold” for their clientele. For Kanu, however, the symbol was central to the work. Often associated with self-defense and confrontation, the brass knuckle becomes a metaphor for resilience and cultural autonomy. Cultural theorist Stuart Hall described such imagery as “sites of resistance,” - spaces where symbols can be reclaimed and redefined. In Knuckle Crate, Kanu repurposes this stigmatized emblem as a vessel for Black stories and lived experience.

Sculptural and functional, the work is designed to hold vinyl records. This everyday utility echoes Michel de Certeau’s notion of “the practice of everyday life,” in which ordinary objects carry fragments of personal and collective history. The crate becomes a container not only for records, but for the voices and cultural memory embedded within them.

The work is installed @r13 on 34 Howard Street New York, NY as part of anonymous’s a2 program and will be activated through June 30

@dozie.kanu
#doziekanu

#ornettecoleman
#skiesofamerica

📸 @dulooooooooo

Dozie Kanu’s “Knuckle Crate (rejected Vitra design)” questions who has the authority to define cultural symbols. When Kanu first proposed the design to the Swiss furniture company Vitra, it was rejected because its brass knuckle emblem was considered “too bold” for their clientele. For Kanu, however, the symbol was central to the work. Often associated with self-defense and confrontation, the brass knuckle becomes a metaphor for resilience and cultural autonomy. Cultural theorist Stuart Hall described such imagery as “sites of resistance,” - spaces where symbols can be reclaimed and redefined. In Knuckle Crate, Kanu repurposes this stigmatized emblem as a vessel for Black stories and lived experience.

Sculptural and functional, the work is designed to hold vinyl records. This everyday utility echoes Michel de Certeau’s notion of “the practice of everyday life,” in which ordinary objects carry fragments of personal and collective history. The crate becomes a container not only for records, but for the voices and cultural memory embedded within them.

The work is installed @r13 on 34 Howard Street New York, NY as part of anonymous’s a2 program and will be activated through June 30

@dozie.kanu
#doziekanu

#ornettecoleman
#skiesofamerica

📸 @dulooooooooo

Dozie Kanu’s “Knuckle Crate (rejected Vitra design)” questions who has the authority to define cultural symbols. When Kanu first proposed the design to the Swiss furniture company Vitra, it was rejected because its brass knuckle emblem was considered “too bold” for their clientele. For Kanu, however, the symbol was central to the work. Often associated with self-defense and confrontation, the brass knuckle becomes a metaphor for resilience and cultural autonomy. Cultural theorist Stuart Hall described such imagery as “sites of resistance,” - spaces where symbols can be reclaimed and redefined. In Knuckle Crate, Kanu repurposes this stigmatized emblem as a vessel for Black stories and lived experience.

Sculptural and functional, the work is designed to hold vinyl records. This everyday utility echoes Michel de Certeau’s notion of “the practice of everyday life,” in which ordinary objects carry fragments of personal and collective history. The crate becomes a container not only for records, but for the voices and cultural memory embedded within them.

The work is installed @r13 on 34 Howard Street New York, NY as part of anonymous’s a2 program and will be activated through June 30

@dozie.kanu
#doziekanu

#ornettecoleman
#skiesofamerica

📸 @dulooooooooo

Dozie Kanu’s “Knuckle Crate (rejected Vitra design)” questions who has the authority to define cultural symbols. When Kanu first proposed the design to the Swiss furniture company Vitra, it was rejected because its brass knuckle emblem was considered “too bold” for their clientele. For Kanu, however, the symbol was central to the work. Often associated with self-defense and confrontation, the brass knuckle becomes a metaphor for resilience and cultural autonomy. Cultural theorist Stuart Hall described such imagery as “sites of resistance,” - spaces where symbols can be reclaimed and redefined. In Knuckle Crate, Kanu repurposes this stigmatized emblem as a vessel for Black stories and lived experience.

Sculptural and functional, the work is designed to hold vinyl records. This everyday utility echoes Michel de Certeau’s notion of “the practice of everyday life,” in which ordinary objects carry fragments of personal and collective history. The crate becomes a container not only for records, but for the voices and cultural memory embedded within them.

The work is installed @r13 on 34 Howard Street New York, NY as part of anonymous’s a2 program and will be activated through June 30

@dozie.kanu
#doziekanu

#ornettecoleman
#skiesofamerica

📸 @dulooooooooo

Dozie Kanu’s “Knuckle Crate (rejected Vitra design)” questions who has the authority to define cultural symbols. When Kanu first proposed the design to the Swiss furniture company Vitra, it was rejected because its brass knuckle emblem was considered “too bold” for their clientele. For Kanu, however, the symbol was central to the work. Often associated with self-defense and confrontation, the brass knuckle becomes a metaphor for resilience and cultural autonomy. Cultural theorist Stuart Hall described such imagery as “sites of resistance,” - spaces where symbols can be reclaimed and redefined. In Knuckle Crate, Kanu repurposes this stigmatized emblem as a vessel for Black stories and lived experience.

Sculptural and functional, the work is designed to hold vinyl records. This everyday utility echoes Michel de Certeau’s notion of “the practice of everyday life,” in which ordinary objects carry fragments of personal and collective history. The crate becomes a container not only for records, but for the voices and cultural memory embedded within them.

The work is installed @r13 on 34 Howard Street New York, NY as part of anonymous’s a2 program and will be activated through June 30

@dozie.kanu
#doziekanu

#ornettecoleman
#skiesofamerica

📸 @dulooooooooo