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🫪SHOP🫨THE🫪CAPSULE🫨
✏️Store hours:
🔑Thursday 12-6
🛎️Friday 12-9
🪞Saturday 12-6
🛍️Sunday 12-6

@amant.arts
315 Maujer Street
Brooklyn NY

and online at CFGNY.US
🫪🫨🫪🫨🫪🫨🫪🫨🫪

Motion: @tal.studio__

🐦 🦖 🧸 Currently on view at the @metmuseum in the exhibition Costume Art @metcostumeinstitute 🧸 🦖 🐦

FORTHCOMING_

Mirrors Within Mirrors
Hosted by @derosia__

May 14–June 13, 2026
Opening reception: Thursday, 6–8 p.m.
197 Grand Street, 2w, New York

CFGNY
​Alice Gong Xiaowen
Gu Xingzi
Han Xinyu
Michael Ho
Fu Nagasawa
Sydney Shen
Sun Woo

IMAGES_
CFGNY
Skins, Blue (3 Plastic Toys, 1 Doily, 3 Decals, 2 Bottles, 1 CD Case, 2 CDs, 1 Necklace, 1 Belt, 1 Vase), 2024
Glazed porcelain
17 x 17.8 x 36.8 cm
6.75 x 7 x 14.5 in

In this body of work, CFGNY (Concept Foreign Garments New York, founded 2016) arranges cheap, presumably “made in China” goods and captures a mold of the negative space between them. This relational void is then cast in luxurious “fine China porcelain,” reversing the hierarchy associated with these terms. The mold-casting process complicates the distinction between positive and negative space, where presence is brought into being through absence. At the same time, the sculptures appear haunted by the conditions around them: labor, sociality, commodities, industrial manufacture, international trade, and outsourced labor — forces often invisible, yet fundamental to how these objects exist in the world. Their ghostly, weightless appearance speaks to this hidden network of influence, as if shaped as much by what cannot be seen as by what has been physically cast. For this installation at Derosia, the ceramics are displayed on translucent tables dressed in sheer tablecloths, recalling high-society banquet settings where people gather, circulate, and influence one another. Situated between Chinatown and Little Italy, the works further resonate with histories of immigration, exchange, and Asian diasporic identity.

在这组作品中，CFGNY（Concept Foreign Garments New York，成立于 2016 年）排列平价的、据推测为“中国制造”的商品，并捕捉其间负空间的模具。这种关系性的虚无随后被铸造成豪华的“精细瓷器（fine China porcelain）”，颠覆了与这些术语相关的等级制度 。翻模过程使正空间与负空间之间的区别变得复杂，其中存在是通过缺席而被带入生命的。与此同时，这些雕塑似乎被周围的条件所萦绕：劳动力、社会性、商品、工业制造、国际贸易和外包劳动力——这些力量通常是不可见的，却是这些物品如何存在于世界上的基础。它们如幽灵般、轻盈的外观诉说着这一隐藏的影响网络，仿佛其形状既由不可见之物构成，也由物理铸造之物构成。为了在 Derosia 的这次装置，这些陶瓷被展示在铺着透明桌布的半透明桌子上，让人联想到人们聚集、流转并相互影响的高级社会宴会场景。作品坐落于唐人街和小意大利之间，进一步与移民历史、交换和亚裔散居身份产生共鸣。
．
@cfgny2 #cfgny #mirrorswithinmirrors #derosia #galleryvacancy

FORTHCOMING_

Mirrors Within Mirrors
Hosted by @derosia__

May 14–June 13, 2026
Opening reception: Thursday, 6–8 p.m.
197 Grand Street, 2w, New York

CFGNY
​Alice Gong Xiaowen
Gu Xingzi
Han Xinyu
Michael Ho
Fu Nagasawa
Sydney Shen
Sun Woo

IMAGES_
CFGNY
Skins, Blue (3 Plastic Toys, 1 Doily, 3 Decals, 2 Bottles, 1 CD Case, 2 CDs, 1 Necklace, 1 Belt, 1 Vase), 2024
Glazed porcelain
17 x 17.8 x 36.8 cm
6.75 x 7 x 14.5 in

In this body of work, CFGNY (Concept Foreign Garments New York, founded 2016) arranges cheap, presumably “made in China” goods and captures a mold of the negative space between them. This relational void is then cast in luxurious “fine China porcelain,” reversing the hierarchy associated with these terms. The mold-casting process complicates the distinction between positive and negative space, where presence is brought into being through absence. At the same time, the sculptures appear haunted by the conditions around them: labor, sociality, commodities, industrial manufacture, international trade, and outsourced labor — forces often invisible, yet fundamental to how these objects exist in the world. Their ghostly, weightless appearance speaks to this hidden network of influence, as if shaped as much by what cannot be seen as by what has been physically cast. For this installation at Derosia, the ceramics are displayed on translucent tables dressed in sheer tablecloths, recalling high-society banquet settings where people gather, circulate, and influence one another. Situated between Chinatown and Little Italy, the works further resonate with histories of immigration, exchange, and Asian diasporic identity.

在这组作品中，CFGNY（Concept Foreign Garments New York，成立于 2016 年）排列平价的、据推测为“中国制造”的商品，并捕捉其间负空间的模具。这种关系性的虚无随后被铸造成豪华的“精细瓷器（fine China porcelain）”，颠覆了与这些术语相关的等级制度 。翻模过程使正空间与负空间之间的区别变得复杂，其中存在是通过缺席而被带入生命的。与此同时，这些雕塑似乎被周围的条件所萦绕：劳动力、社会性、商品、工业制造、国际贸易和外包劳动力——这些力量通常是不可见的，却是这些物品如何存在于世界上的基础。它们如幽灵般、轻盈的外观诉说着这一隐藏的影响网络，仿佛其形状既由不可见之物构成，也由物理铸造之物构成。为了在 Derosia 的这次装置，这些陶瓷被展示在铺着透明桌布的半透明桌子上，让人联想到人们聚集、流转并相互影响的高级社会宴会场景。作品坐落于唐人街和小意大利之间，进一步与移民历史、交换和亚裔散居身份产生共鸣。
．
@cfgny2 #cfgny #mirrorswithinmirrors #derosia #galleryvacancy

FORTHCOMING_

Mirrors Within Mirrors
Hosted by @derosia__

May 14–June 13, 2026
Opening reception: Thursday, 6–8 p.m.
197 Grand Street, 2w, New York

CFGNY
​Alice Gong Xiaowen
Gu Xingzi
Han Xinyu
Michael Ho
Fu Nagasawa
Sydney Shen
Sun Woo

IMAGES_
CFGNY
Skins, Blue (3 Plastic Toys, 1 Doily, 3 Decals, 2 Bottles, 1 CD Case, 2 CDs, 1 Necklace, 1 Belt, 1 Vase), 2024
Glazed porcelain
17 x 17.8 x 36.8 cm
6.75 x 7 x 14.5 in

In this body of work, CFGNY (Concept Foreign Garments New York, founded 2016) arranges cheap, presumably “made in China” goods and captures a mold of the negative space between them. This relational void is then cast in luxurious “fine China porcelain,” reversing the hierarchy associated with these terms. The mold-casting process complicates the distinction between positive and negative space, where presence is brought into being through absence. At the same time, the sculptures appear haunted by the conditions around them: labor, sociality, commodities, industrial manufacture, international trade, and outsourced labor — forces often invisible, yet fundamental to how these objects exist in the world. Their ghostly, weightless appearance speaks to this hidden network of influence, as if shaped as much by what cannot be seen as by what has been physically cast. For this installation at Derosia, the ceramics are displayed on translucent tables dressed in sheer tablecloths, recalling high-society banquet settings where people gather, circulate, and influence one another. Situated between Chinatown and Little Italy, the works further resonate with histories of immigration, exchange, and Asian diasporic identity.

在这组作品中，CFGNY（Concept Foreign Garments New York，成立于 2016 年）排列平价的、据推测为“中国制造”的商品，并捕捉其间负空间的模具。这种关系性的虚无随后被铸造成豪华的“精细瓷器（fine China porcelain）”，颠覆了与这些术语相关的等级制度 。翻模过程使正空间与负空间之间的区别变得复杂，其中存在是通过缺席而被带入生命的。与此同时，这些雕塑似乎被周围的条件所萦绕：劳动力、社会性、商品、工业制造、国际贸易和外包劳动力——这些力量通常是不可见的，却是这些物品如何存在于世界上的基础。它们如幽灵般、轻盈的外观诉说着这一隐藏的影响网络，仿佛其形状既由不可见之物构成，也由物理铸造之物构成。为了在 Derosia 的这次装置，这些陶瓷被展示在铺着透明桌布的半透明桌子上，让人联想到人们聚集、流转并相互影响的高级社会宴会场景。作品坐落于唐人街和小意大利之间，进一步与移民历史、交换和亚裔散居身份产生共鸣。
．
@cfgny2 #cfgny #mirrorswithinmirrors #derosia #galleryvacancy

FORTHCOMING_

Mirrors Within Mirrors
Hosted by @derosia__

May 14–June 13, 2026
Opening reception: Thursday, 6–8 p.m.
197 Grand Street, 2w, New York

CFGNY
​Alice Gong Xiaowen
Gu Xingzi
Han Xinyu
Michael Ho
Fu Nagasawa
Sydney Shen
Sun Woo

IMAGES_
CFGNY
Skins, Blue (3 Plastic Toys, 1 Doily, 3 Decals, 2 Bottles, 1 CD Case, 2 CDs, 1 Necklace, 1 Belt, 1 Vase), 2024
Glazed porcelain
17 x 17.8 x 36.8 cm
6.75 x 7 x 14.5 in

In this body of work, CFGNY (Concept Foreign Garments New York, founded 2016) arranges cheap, presumably “made in China” goods and captures a mold of the negative space between them. This relational void is then cast in luxurious “fine China porcelain,” reversing the hierarchy associated with these terms. The mold-casting process complicates the distinction between positive and negative space, where presence is brought into being through absence. At the same time, the sculptures appear haunted by the conditions around them: labor, sociality, commodities, industrial manufacture, international trade, and outsourced labor — forces often invisible, yet fundamental to how these objects exist in the world. Their ghostly, weightless appearance speaks to this hidden network of influence, as if shaped as much by what cannot be seen as by what has been physically cast. For this installation at Derosia, the ceramics are displayed on translucent tables dressed in sheer tablecloths, recalling high-society banquet settings where people gather, circulate, and influence one another. Situated between Chinatown and Little Italy, the works further resonate with histories of immigration, exchange, and Asian diasporic identity.

在这组作品中，CFGNY（Concept Foreign Garments New York，成立于 2016 年）排列平价的、据推测为“中国制造”的商品，并捕捉其间负空间的模具。这种关系性的虚无随后被铸造成豪华的“精细瓷器（fine China porcelain）”，颠覆了与这些术语相关的等级制度 。翻模过程使正空间与负空间之间的区别变得复杂，其中存在是通过缺席而被带入生命的。与此同时，这些雕塑似乎被周围的条件所萦绕：劳动力、社会性、商品、工业制造、国际贸易和外包劳动力——这些力量通常是不可见的，却是这些物品如何存在于世界上的基础。它们如幽灵般、轻盈的外观诉说着这一隐藏的影响网络，仿佛其形状既由不可见之物构成，也由物理铸造之物构成。为了在 Derosia 的这次装置，这些陶瓷被展示在铺着透明桌布的半透明桌子上，让人联想到人们聚集、流转并相互影响的高级社会宴会场景。作品坐落于唐人街和小意大利之间，进一步与移民历史、交换和亚裔散居身份产生共鸣。
．
@cfgny2 #cfgny #mirrorswithinmirrors #derosia #galleryvacancy

FORTHCOMING_

Mirrors Within Mirrors
Hosted by @derosia__

May 14–June 13, 2026
Opening reception: Thursday, 6–8 p.m.
197 Grand Street, 2w, New York

CFGNY
​Alice Gong Xiaowen
Gu Xingzi
Han Xinyu
Michael Ho
Fu Nagasawa
Sydney Shen
Sun Woo

IMAGES_
CFGNY
Skins, Blue (3 Plastic Toys, 1 Doily, 3 Decals, 2 Bottles, 1 CD Case, 2 CDs, 1 Necklace, 1 Belt, 1 Vase), 2024
Glazed porcelain
17 x 17.8 x 36.8 cm
6.75 x 7 x 14.5 in

In this body of work, CFGNY (Concept Foreign Garments New York, founded 2016) arranges cheap, presumably “made in China” goods and captures a mold of the negative space between them. This relational void is then cast in luxurious “fine China porcelain,” reversing the hierarchy associated with these terms. The mold-casting process complicates the distinction between positive and negative space, where presence is brought into being through absence. At the same time, the sculptures appear haunted by the conditions around them: labor, sociality, commodities, industrial manufacture, international trade, and outsourced labor — forces often invisible, yet fundamental to how these objects exist in the world. Their ghostly, weightless appearance speaks to this hidden network of influence, as if shaped as much by what cannot be seen as by what has been physically cast. For this installation at Derosia, the ceramics are displayed on translucent tables dressed in sheer tablecloths, recalling high-society banquet settings where people gather, circulate, and influence one another. Situated between Chinatown and Little Italy, the works further resonate with histories of immigration, exchange, and Asian diasporic identity.

在这组作品中，CFGNY（Concept Foreign Garments New York，成立于 2016 年）排列平价的、据推测为“中国制造”的商品，并捕捉其间负空间的模具。这种关系性的虚无随后被铸造成豪华的“精细瓷器（fine China porcelain）”，颠覆了与这些术语相关的等级制度 。翻模过程使正空间与负空间之间的区别变得复杂，其中存在是通过缺席而被带入生命的。与此同时，这些雕塑似乎被周围的条件所萦绕：劳动力、社会性、商品、工业制造、国际贸易和外包劳动力——这些力量通常是不可见的，却是这些物品如何存在于世界上的基础。它们如幽灵般、轻盈的外观诉说着这一隐藏的影响网络，仿佛其形状既由不可见之物构成，也由物理铸造之物构成。为了在 Derosia 的这次装置，这些陶瓷被展示在铺着透明桌布的半透明桌子上，让人联想到人们聚集、流转并相互影响的高级社会宴会场景。作品坐落于唐人街和小意大利之间，进一步与移民历史、交换和亚裔散居身份产生共鸣。
．
@cfgny2 #cfgny #mirrorswithinmirrors #derosia #galleryvacancy

FORTHCOMING_

Mirrors Within Mirrors
Hosted by @derosia__

May 14–June 13, 2026
Opening reception: Thursday, 6–8 p.m.
197 Grand Street, 2w, New York

CFGNY
​Alice Gong Xiaowen
Gu Xingzi
Han Xinyu
Michael Ho
Fu Nagasawa
Sydney Shen
Sun Woo

IMAGES_
CFGNY
Skins, Blue (3 Plastic Toys, 1 Doily, 3 Decals, 2 Bottles, 1 CD Case, 2 CDs, 1 Necklace, 1 Belt, 1 Vase), 2024
Glazed porcelain
17 x 17.8 x 36.8 cm
6.75 x 7 x 14.5 in

In this body of work, CFGNY (Concept Foreign Garments New York, founded 2016) arranges cheap, presumably “made in China” goods and captures a mold of the negative space between them. This relational void is then cast in luxurious “fine China porcelain,” reversing the hierarchy associated with these terms. The mold-casting process complicates the distinction between positive and negative space, where presence is brought into being through absence. At the same time, the sculptures appear haunted by the conditions around them: labor, sociality, commodities, industrial manufacture, international trade, and outsourced labor — forces often invisible, yet fundamental to how these objects exist in the world. Their ghostly, weightless appearance speaks to this hidden network of influence, as if shaped as much by what cannot be seen as by what has been physically cast. For this installation at Derosia, the ceramics are displayed on translucent tables dressed in sheer tablecloths, recalling high-society banquet settings where people gather, circulate, and influence one another. Situated between Chinatown and Little Italy, the works further resonate with histories of immigration, exchange, and Asian diasporic identity.

在这组作品中，CFGNY（Concept Foreign Garments New York，成立于 2016 年）排列平价的、据推测为“中国制造”的商品，并捕捉其间负空间的模具。这种关系性的虚无随后被铸造成豪华的“精细瓷器（fine China porcelain）”，颠覆了与这些术语相关的等级制度 。翻模过程使正空间与负空间之间的区别变得复杂，其中存在是通过缺席而被带入生命的。与此同时，这些雕塑似乎被周围的条件所萦绕：劳动力、社会性、商品、工业制造、国际贸易和外包劳动力——这些力量通常是不可见的，却是这些物品如何存在于世界上的基础。它们如幽灵般、轻盈的外观诉说着这一隐藏的影响网络，仿佛其形状既由不可见之物构成，也由物理铸造之物构成。为了在 Derosia 的这次装置，这些陶瓷被展示在铺着透明桌布的半透明桌子上，让人联想到人们聚集、流转并相互影响的高级社会宴会场景。作品坐落于唐人街和小意大利之间，进一步与移民历史、交换和亚裔散居身份产生共鸣。
．
@cfgny2 #cfgny #mirrorswithinmirrors #derosia #galleryvacancy

🐥 🐥
.
Store hours:
Thursday 12-6
Friday 12-9
Satruday 12-6
Sunday 12-6

Amant @amant.arts
315 Maujer St.
Brooklyn, NY

Motion: @tal.studio__

💥🚨 SMASH that like button if you are a CFGNY STAN 🚨💥 link in @artnet bio Thank you to @utilitiesnotincluded @vanmeterwilliam

💥🚨 SMASH that like button if you are a CFGNY STAN 🚨💥 link in @artnet bio Thank you to @utilitiesnotincluded @vanmeterwilliam

💥🚨 SMASH that like button if you are a CFGNY STAN 🚨💥 link in @artnet bio Thank you to @utilitiesnotincluded @vanmeterwilliam

💥🚨 SMASH that like button if you are a CFGNY STAN 🚨💥 link in @artnet bio Thank you to @utilitiesnotincluded @vanmeterwilliam

💥🚨 SMASH that like button if you are a CFGNY STAN 🚨💥 link in @artnet bio Thank you to @utilitiesnotincluded @vanmeterwilliam

*ੈ✩‧₊˚˚｡˚🚨🚨🚨COME ONE COME ALL!! 🚨🚨🚨*ੈ✩‧₊˚

This week is the last chance to see Endless Garment: Atlantic Basin before it closes this Sunday, April 12 ‼️
We’ll be doing a live radio broadcast at @pioneerworks as part of their Second Sunday programming between 3-4pm that day. It’s been super fab to be showing among such good company:
@yuchenyuchen
@serenacserenac
@shanzhai_lyric
Huang Po-Chih
With garments styled by @_pray4juje
And of course working with the one and only @jeppeugelvig 💋

Continuous Fractures Generating New Yields, 2025, wood, polyethylene sheeting, mirrors, tempered glass, eight porcelain sculptures, one soft sculpture

CFGNY is a collective of artists who take both a critical and playful approach to Asian subjectivity through installations, performances, sculptures, and garments. The work on view here comprises porcelain sculptures cast from the negative space between “Made in China” dollar-store objects and a stuffed animal soft sculpture— all housed in an architectural installation of wood boards and translucent plastic. This installation considers the history of trade and its impact on how race is categorized and assigned. By using installation building materials that are typically hidden or cleaned up, the artists position identity as a structure that is always “under construction.”

Currently on view as part of the 82nd Whitney Biennial curated by Marcela Guerrero & Drew Sawyer, with curatorial assistants Beatriz Cifuentes & Carina Martinez @marcelacguerrero @drewmsawyer @beatrizcifuentesl @hiviscosity

Continuous Fractures Generating New Yields, 2025, wood, polyethylene sheeting, mirrors, tempered glass, eight porcelain sculptures, one soft sculpture

CFGNY is a collective of artists who take both a critical and playful approach to Asian subjectivity through installations, performances, sculptures, and garments. The work on view here comprises porcelain sculptures cast from the negative space between “Made in China” dollar-store objects and a stuffed animal soft sculpture— all housed in an architectural installation of wood boards and translucent plastic. This installation considers the history of trade and its impact on how race is categorized and assigned. By using installation building materials that are typically hidden or cleaned up, the artists position identity as a structure that is always “under construction.”

Currently on view as part of the 82nd Whitney Biennial curated by Marcela Guerrero & Drew Sawyer, with curatorial assistants Beatriz Cifuentes & Carina Martinez @marcelacguerrero @drewmsawyer @beatrizcifuentesl @hiviscosity

Continuous Fractures Generating New Yields, 2025, wood, polyethylene sheeting, mirrors, tempered glass, eight porcelain sculptures, one soft sculpture

CFGNY is a collective of artists who take both a critical and playful approach to Asian subjectivity through installations, performances, sculptures, and garments. The work on view here comprises porcelain sculptures cast from the negative space between “Made in China” dollar-store objects and a stuffed animal soft sculpture— all housed in an architectural installation of wood boards and translucent plastic. This installation considers the history of trade and its impact on how race is categorized and assigned. By using installation building materials that are typically hidden or cleaned up, the artists position identity as a structure that is always “under construction.”

Currently on view as part of the 82nd Whitney Biennial curated by Marcela Guerrero & Drew Sawyer, with curatorial assistants Beatriz Cifuentes & Carina Martinez @marcelacguerrero @drewmsawyer @beatrizcifuentesl @hiviscosity

At Amant, CFGNY pays homage to and builds on the legacy of the No Name Painting Association (无名画会 Wuming Huahui) as a framework for thinking about collective practice under conditions of constraint. The collective has constructed an artificial landscape traversed by a bridge clad in stuffed animal fur. This environment is ornamented with dish-like ceramic tiles produced by thirteen invited friends, peers, and long-standing collaborators. Mounted together on a shared armature, these vessels together suggest an abstracted pond, each functioning as an individual receptacle that contributes to a larger, composite surface. The gatherings, conversations, and shared labor that produced the tiles are an integral component of the resulting sculpture itself; in this way, the installation extends CFGNY’s ongoing interest in collective production, echoing the Wuming group’s creation of landscapes as a quietly radical communal act.

Invited artists:
Ami Lien
Stewart Uoo
sgp
Cherisse Gray
Cole Lu
Covey Gong
Lotus L. Kang
Avena Gallagher
Cici Wu
Elliot Reed
Ming Lin
Arlette Quỳnh-Anh Trần
Diane Severin Nguyen

On view at Amant from March 19 - August 16, 2026.

Thank you @hyperallergic and @lisayinzhang for speaking with us about our practice earlier this month. We have work in three (3) shows up in NYC at the moment. Please go see them all! They each highlight a different aspect of our practice. There is a lot going on 🌝

Thank you @hyperallergic and @lisayinzhang for speaking with us about our practice earlier this month. We have work in three (3) shows up in NYC at the moment. Please go see them all! They each highlight a different aspect of our practice. There is a lot going on 🌝

Thank you @hyperallergic and @lisayinzhang for speaking with us about our practice earlier this month. We have work in three (3) shows up in NYC at the moment. Please go see them all! They each highlight a different aspect of our practice. There is a lot going on 🌝

Thank you @hyperallergic and @lisayinzhang for speaking with us about our practice earlier this month. We have work in three (3) shows up in NYC at the moment. Please go see them all! They each highlight a different aspect of our practice. There is a lot going on 🌝

Thank you @hyperallergic and @lisayinzhang for speaking with us about our practice earlier this month. We have work in three (3) shows up in NYC at the moment. Please go see them all! They each highlight a different aspect of our practice. There is a lot going on 🌝

Thank you @hyperallergic and @lisayinzhang for speaking with us about our practice earlier this month. We have work in three (3) shows up in NYC at the moment. Please go see them all! They each highlight a different aspect of our practice. There is a lot going on 🌝

System (Five Times), 2026
(Detail)

Opening reception, March 19th
6-9 PM @amant.arts
315 Maujer St. Brooklyn, NY

The first review of the Whitney Biennial 2026 is up on Art in America. Read about our work in the exhibition!

Thank you to @marcelacguerrero and @drewmsawyer for including us, it is truly an honor! @beatrizcifuentesl and @hiviscosity the biennial wouldn't have happened without your tireless work!

The show opens on March 8th.

The first review of the Whitney Biennial 2026 is up on Art in America. Read about our work in the exhibition!

Thank you to @marcelacguerrero and @drewmsawyer for including us, it is truly an honor! @beatrizcifuentesl and @hiviscosity the biennial wouldn't have happened without your tireless work!

The show opens on March 8th.

The first review of the Whitney Biennial 2026 is up on Art in America. Read about our work in the exhibition!

Thank you to @marcelacguerrero and @drewmsawyer for including us, it is truly an honor! @beatrizcifuentesl and @hiviscosity the biennial wouldn't have happened without your tireless work!

The show opens on March 8th.

The first review of the Whitney Biennial 2026 is up on Art in America. Read about our work in the exhibition!

Thank you to @marcelacguerrero and @drewmsawyer for including us, it is truly an honor! @beatrizcifuentesl and @hiviscosity the biennial wouldn't have happened without your tireless work!

The show opens on March 8th.

The first review of the Whitney Biennial 2026 is up on Art in America. Read about our work in the exhibition!

Thank you to @marcelacguerrero and @drewmsawyer for including us, it is truly an honor! @beatrizcifuentesl and @hiviscosity the biennial wouldn't have happened without your tireless work!

The show opens on March 8th.