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At 11am Eastern on Tuesday, May 26, artists Febie Babyrose, Herbert Hans, and Ruddy Hatumena from the Indonesian collective Tromarama join curator Stefanie Hessler for a Zoom conversation as part of The Brooklyn Rail's conversation program, The New Social Environment.⁠
⁠
The group will discuss their current exhibition at The Kitchen, which extends their ongoing inquiry into the blurred lines between labor and leisure through the use of artificial intelligence; departing from earlier works that mined social media data by developing a new work using context conditioning to an AI model, fed with their personal literary and music archives; how this more intimate dataset becomes a lens through which the artists examine how personal and social histories are reinterpreted and remixed by generative technologies, and more.⁠
⁠
Installation views, Tromarama: 𝘜𝘱𝘰𝘯 𝘢 𝘔𝘢𝘤𝘩𝘪𝘯𝘦, The Kitchen at Westbeth, New York, April 23rd to June 13th, 2026. Photos by Kris Graves.⁠
⁠
@tromarama @ruddy_hatumena @fbabyrose @steffihessler @brooklynrail @thekitchen_nyc #tromarama #documentspace

At 11am Eastern on Tuesday, May 26, artists Febie Babyrose, Herbert Hans, and Ruddy Hatumena from the Indonesian collective Tromarama join curator Stefanie Hessler for a Zoom conversation as part of The Brooklyn Rail's conversation program, The New Social Environment.⁠
⁠
The group will discuss their current exhibition at The Kitchen, which extends their ongoing inquiry into the blurred lines between labor and leisure through the use of artificial intelligence; departing from earlier works that mined social media data by developing a new work using context conditioning to an AI model, fed with their personal literary and music archives; how this more intimate dataset becomes a lens through which the artists examine how personal and social histories are reinterpreted and remixed by generative technologies, and more.⁠
⁠
Installation views, Tromarama: 𝘜𝘱𝘰𝘯 𝘢 𝘔𝘢𝘤𝘩𝘪𝘯𝘦, The Kitchen at Westbeth, New York, April 23rd to June 13th, 2026. Photos by Kris Graves.⁠
⁠
@tromarama @ruddy_hatumena @fbabyrose @steffihessler @brooklynrail @thekitchen_nyc #tromarama #documentspace

At 11am Eastern on Tuesday, May 26, artists Febie Babyrose, Herbert Hans, and Ruddy Hatumena from the Indonesian collective Tromarama join curator Stefanie Hessler for a Zoom conversation as part of The Brooklyn Rail's conversation program, The New Social Environment.⁠
⁠
The group will discuss their current exhibition at The Kitchen, which extends their ongoing inquiry into the blurred lines between labor and leisure through the use of artificial intelligence; departing from earlier works that mined social media data by developing a new work using context conditioning to an AI model, fed with their personal literary and music archives; how this more intimate dataset becomes a lens through which the artists examine how personal and social histories are reinterpreted and remixed by generative technologies, and more.⁠
⁠
Installation views, Tromarama: 𝘜𝘱𝘰𝘯 𝘢 𝘔𝘢𝘤𝘩𝘪𝘯𝘦, The Kitchen at Westbeth, New York, April 23rd to June 13th, 2026. Photos by Kris Graves.⁠
⁠
@tromarama @ruddy_hatumena @fbabyrose @steffihessler @brooklynrail @thekitchen_nyc #tromarama #documentspace

At 11am Eastern on Tuesday, May 26, artists Febie Babyrose, Herbert Hans, and Ruddy Hatumena from the Indonesian collective Tromarama join curator Stefanie Hessler for a Zoom conversation as part of The Brooklyn Rail's conversation program, The New Social Environment.⁠
⁠
The group will discuss their current exhibition at The Kitchen, which extends their ongoing inquiry into the blurred lines between labor and leisure through the use of artificial intelligence; departing from earlier works that mined social media data by developing a new work using context conditioning to an AI model, fed with their personal literary and music archives; how this more intimate dataset becomes a lens through which the artists examine how personal and social histories are reinterpreted and remixed by generative technologies, and more.⁠
⁠
Installation views, Tromarama: 𝘜𝘱𝘰𝘯 𝘢 𝘔𝘢𝘤𝘩𝘪𝘯𝘦, The Kitchen at Westbeth, New York, April 23rd to June 13th, 2026. Photos by Kris Graves.⁠
⁠
@tromarama @ruddy_hatumena @fbabyrose @steffihessler @brooklynrail @thekitchen_nyc #tromarama #documentspace

At 11am Eastern on Tuesday, May 26, artists Febie Babyrose, Herbert Hans, and Ruddy Hatumena from the Indonesian collective Tromarama join curator Stefanie Hessler for a Zoom conversation as part of The Brooklyn Rail's conversation program, The New Social Environment.⁠
⁠
The group will discuss their current exhibition at The Kitchen, which extends their ongoing inquiry into the blurred lines between labor and leisure through the use of artificial intelligence; departing from earlier works that mined social media data by developing a new work using context conditioning to an AI model, fed with their personal literary and music archives; how this more intimate dataset becomes a lens through which the artists examine how personal and social histories are reinterpreted and remixed by generative technologies, and more.⁠
⁠
Installation views, Tromarama: 𝘜𝘱𝘰𝘯 𝘢 𝘔𝘢𝘤𝘩𝘪𝘯𝘦, The Kitchen at Westbeth, New York, April 23rd to June 13th, 2026. Photos by Kris Graves.⁠
⁠
@tromarama @ruddy_hatumena @fbabyrose @steffihessler @brooklynrail @thekitchen_nyc #tromarama #documentspace

At 11am Eastern on Tuesday, May 26, artists Febie Babyrose, Herbert Hans, and Ruddy Hatumena from the Indonesian collective Tromarama join curator Stefanie Hessler for a Zoom conversation as part of The Brooklyn Rail's conversation program, The New Social Environment.⁠
⁠
The group will discuss their current exhibition at The Kitchen, which extends their ongoing inquiry into the blurred lines between labor and leisure through the use of artificial intelligence; departing from earlier works that mined social media data by developing a new work using context conditioning to an AI model, fed with their personal literary and music archives; how this more intimate dataset becomes a lens through which the artists examine how personal and social histories are reinterpreted and remixed by generative technologies, and more.⁠
⁠
Installation views, Tromarama: 𝘜𝘱𝘰𝘯 𝘢 𝘔𝘢𝘤𝘩𝘪𝘯𝘦, The Kitchen at Westbeth, New York, April 23rd to June 13th, 2026. Photos by Kris Graves.⁠
⁠
@tromarama @ruddy_hatumena @fbabyrose @steffihessler @brooklynrail @thekitchen_nyc #tromarama #documentspace

At 11am Eastern on Tuesday, May 26, artists Febie Babyrose, Herbert Hans, and Ruddy Hatumena from the Indonesian collective Tromarama join curator Stefanie Hessler for a Zoom conversation as part of The Brooklyn Rail's conversation program, The New Social Environment.⁠
⁠
The group will discuss their current exhibition at The Kitchen, which extends their ongoing inquiry into the blurred lines between labor and leisure through the use of artificial intelligence; departing from earlier works that mined social media data by developing a new work using context conditioning to an AI model, fed with their personal literary and music archives; how this more intimate dataset becomes a lens through which the artists examine how personal and social histories are reinterpreted and remixed by generative technologies, and more.⁠
⁠
Installation views, Tromarama: 𝘜𝘱𝘰𝘯 𝘢 𝘔𝘢𝘤𝘩𝘪𝘯𝘦, The Kitchen at Westbeth, New York, April 23rd to June 13th, 2026. Photos by Kris Graves.⁠
⁠
@tromarama @ruddy_hatumena @fbabyrose @steffihessler @brooklynrail @thekitchen_nyc #tromarama #documentspace

At 11am Eastern on Tuesday, May 26, artists Febie Babyrose, Herbert Hans, and Ruddy Hatumena from the Indonesian collective Tromarama join curator Stefanie Hessler for a Zoom conversation as part of The Brooklyn Rail's conversation program, The New Social Environment.⁠
⁠
The group will discuss their current exhibition at The Kitchen, which extends their ongoing inquiry into the blurred lines between labor and leisure through the use of artificial intelligence; departing from earlier works that mined social media data by developing a new work using context conditioning to an AI model, fed with their personal literary and music archives; how this more intimate dataset becomes a lens through which the artists examine how personal and social histories are reinterpreted and remixed by generative technologies, and more.⁠
⁠
Installation views, Tromarama: 𝘜𝘱𝘰𝘯 𝘢 𝘔𝘢𝘤𝘩𝘪𝘯𝘦, The Kitchen at Westbeth, New York, April 23rd to June 13th, 2026. Photos by Kris Graves.⁠
⁠
@tromarama @ruddy_hatumena @fbabyrose @steffihessler @brooklynrail @thekitchen_nyc #tromarama #documentspace

At 11am Eastern on Tuesday, May 26, artists Febie Babyrose, Herbert Hans, and Ruddy Hatumena from the Indonesian collective Tromarama join curator Stefanie Hessler for a Zoom conversation as part of The Brooklyn Rail's conversation program, The New Social Environment.⁠
⁠
The group will discuss their current exhibition at The Kitchen, which extends their ongoing inquiry into the blurred lines between labor and leisure through the use of artificial intelligence; departing from earlier works that mined social media data by developing a new work using context conditioning to an AI model, fed with their personal literary and music archives; how this more intimate dataset becomes a lens through which the artists examine how personal and social histories are reinterpreted and remixed by generative technologies, and more.⁠
⁠
Installation views, Tromarama: 𝘜𝘱𝘰𝘯 𝘢 𝘔𝘢𝘤𝘩𝘪𝘯𝘦, The Kitchen at Westbeth, New York, April 23rd to June 13th, 2026. Photos by Kris Graves.⁠
⁠
@tromarama @ruddy_hatumena @fbabyrose @steffihessler @brooklynrail @thekitchen_nyc #tromarama #documentspace

At 11am Eastern on Tuesday, May 26, artists Febie Babyrose, Herbert Hans, and Ruddy Hatumena from the Indonesian collective Tromarama join curator Stefanie Hessler for a Zoom conversation as part of The Brooklyn Rail's conversation program, The New Social Environment.⁠
⁠
The group will discuss their current exhibition at The Kitchen, which extends their ongoing inquiry into the blurred lines between labor and leisure through the use of artificial intelligence; departing from earlier works that mined social media data by developing a new work using context conditioning to an AI model, fed with their personal literary and music archives; how this more intimate dataset becomes a lens through which the artists examine how personal and social histories are reinterpreted and remixed by generative technologies, and more.⁠
⁠
Installation views, Tromarama: 𝘜𝘱𝘰𝘯 𝘢 𝘔𝘢𝘤𝘩𝘪𝘯𝘦, The Kitchen at Westbeth, New York, April 23rd to June 13th, 2026. Photos by Kris Graves.⁠
⁠
@tromarama @ruddy_hatumena @fbabyrose @steffihessler @brooklynrail @thekitchen_nyc #tromarama #documentspace

The Denver Art Museum is celebrating Asian American and Pacific Islander (AAPI) Heritage Month with a free artist talk tomorrow, May 26, from 6-7pm. Dabin Ahn will be in conversation with Arts of Asia department curator Hyonjeong Kim Han and the event will include a viewing of Ahn's recent work, 𝘙𝘦𝘱𝘰𝘴𝘦. Our current exhibition, Dabin Ahn: 𝘕𝘰𝘤𝘵𝘶𝘳𝘯𝘦, remains on view at DOCUMENT Chicago through June 6, 2026.⁠
⁠
Subtle and ultra-surreal, 𝘙𝘦𝘱𝘰𝘴𝘦 almost appears photographic at first glance. Look closely and you’ll notice sparkling details that add a human touch, like traces of time, labor, or sweat on a historic celadon jar faintly suggested in the painting. The work explores longing, nostalgia, family, and time. The two Korean characters through the eyeglasses are 'ah 아' and 'ppa 빠.' Appa 아빠 means dad in Korean. The eyeglasses and watch are depicted exactly like those of Dabin's father, who passed away in January of this year. Dabin's father, Ahn Sung-Ki was a respected, eminent actor in Korea. The painting was completed shortly before his death.⁠
⁠
Dabin Ahn, 𝘙𝘦𝘱𝘰𝘴𝘦, 2025. Oil paint and walnut on linen; 19 × 13 in. Denver Art Museum: Arts of Asia acquisition funds, 2026.241. Courtesy of the artist and François Ghebaly, Los Angeles, New York.⁠
⁠
@dabinahn #dabinahn @hjkimhan @denverartmuseum #documentspace

DOCUMENT and Ackerman Clarke are pleased to announce 𝘛𝘳𝘰𝘱𝘩𝘪𝘤, a collaborative exhibition featuring works by Noelle Africh, Katelyn Eichwald, Will Gabaldón, Laura Letinsky, Faheem Majeed, Duncan McGillivray-Smith, Soumya Netrabile, and William J. O’Brien. Opening on May 29, 2026, the exhibition at DOCUMENT Lisbon coincides with the galleries’ shared presentation at ARCOlisboa.⁠
⁠
𝘛𝘳𝘰𝘱𝘩𝘪𝘤 celebrates a growing network of emerging and established artists based in Chicago. For many in the group, this is their first showing in Portugal. The display reflects on artistic ecosystems, and the steady nutrition they require, specifically the nourishment necessary to thrive. A number of the involved artists support, advocate for, or live with each other’s work, offering an antidote to competition in the field. The grouped opportunity demonstrates an ethos which recognizes that achievement often depends on others.⁠
⁠
𝘛𝘳𝘰𝘱𝘩𝘪𝘤⁠
May 29—August 15, 2026⁠
Opening May 29, 5-8pm⁠
DOCUMENT Lisbon⁠
⁠
Noelle Africh, 𝘈𝘱𝘰𝘭𝘭𝘰, 𝘐 𝘛𝘢𝘬𝘦 𝘐𝘵 𝘉𝘢𝘤𝘬, 2024. Distemper on linen over panel; 10 x 8 1/4 in.⁠
Katelyn Eichwald, 𝘐𝘧 𝘚𝘩𝘦 𝘊𝘰𝘶𝘭𝘥 𝘚𝘦𝘦 𝘔𝘦 𝘕𝘰𝘸, 2025 (detail). Oil on canvas; 6 x 8 in.⁠
Will Gabaldón, 𝘔𝘰𝘳𝘯𝘪𝘯𝘨, 2026 (detail). Oil on panel; 12 x 12 in.⁠
Laura Letinsky, 𝘛𝘩𝘢𝘵 𝘞𝘩𝘢𝘵 𝘊𝘢𝘯’𝘵 𝘉𝘦 𝘴𝘦𝘳𝘪𝘦𝘴, 𝘉𝘰𝘥𝘺 𝘗𝘳𝘰𝘣𝘭𝘦𝘮 02 (𝘸𝘩𝘪𝘵𝘦), 2024. Tintype; 11 x 14 in.⁠
Faheem Majeed, 𝘕𝘶𝘍𝘢𝘶𝘹 𝘌𝘧𝘧𝘪𝘨𝘺, 2026. Bronze, charred wood, pine; 24 x 3 1/2 x 3 in.⁠
Duncan McGillivray-Smith, 𝘛𝘰 𝘈 𝘔𝘰𝘶𝘴𝘦, 2026 (detail). Oil and oil pastel on linen; 18 x 24 in.⁠
Soumya Netrabile, Spring Thaw, 2025. Oil on canvas; 14 x 11 in.⁠
William J. O’Brien, 𝘝𝘪𝘰𝘭𝘦𝘵 𝘔𝘰𝘶𝘵𝘩𝘴, 2019. Ink, gouache, and colored pencil on paper; 14 x 11 in.⁠
⁠
#documentspace #ackermanclarke @noelle_africh #noelleafrich @katelyn_eichwald #katelyneichwald @willgabaldon #willgabaldon @lauraletinsky #lauraletinsky @faheemmajeedstudio #faheemmajeed @duncannapkins #duncanmcgillivraysmith @netrabile #soumyanetrabile @william.j.obrien#williamjobrien

DOCUMENT and Ackerman Clarke are pleased to announce 𝘛𝘳𝘰𝘱𝘩𝘪𝘤, a collaborative exhibition featuring works by Noelle Africh, Katelyn Eichwald, Will Gabaldón, Laura Letinsky, Faheem Majeed, Duncan McGillivray-Smith, Soumya Netrabile, and William J. O’Brien. Opening on May 29, 2026, the exhibition at DOCUMENT Lisbon coincides with the galleries’ shared presentation at ARCOlisboa.⁠
⁠
𝘛𝘳𝘰𝘱𝘩𝘪𝘤 celebrates a growing network of emerging and established artists based in Chicago. For many in the group, this is their first showing in Portugal. The display reflects on artistic ecosystems, and the steady nutrition they require, specifically the nourishment necessary to thrive. A number of the involved artists support, advocate for, or live with each other’s work, offering an antidote to competition in the field. The grouped opportunity demonstrates an ethos which recognizes that achievement often depends on others.⁠
⁠
𝘛𝘳𝘰𝘱𝘩𝘪𝘤⁠
May 29—August 15, 2026⁠
Opening May 29, 5-8pm⁠
DOCUMENT Lisbon⁠
⁠
Noelle Africh, 𝘈𝘱𝘰𝘭𝘭𝘰, 𝘐 𝘛𝘢𝘬𝘦 𝘐𝘵 𝘉𝘢𝘤𝘬, 2024. Distemper on linen over panel; 10 x 8 1/4 in.⁠
Katelyn Eichwald, 𝘐𝘧 𝘚𝘩𝘦 𝘊𝘰𝘶𝘭𝘥 𝘚𝘦𝘦 𝘔𝘦 𝘕𝘰𝘸, 2025 (detail). Oil on canvas; 6 x 8 in.⁠
Will Gabaldón, 𝘔𝘰𝘳𝘯𝘪𝘯𝘨, 2026 (detail). Oil on panel; 12 x 12 in.⁠
Laura Letinsky, 𝘛𝘩𝘢𝘵 𝘞𝘩𝘢𝘵 𝘊𝘢𝘯’𝘵 𝘉𝘦 𝘴𝘦𝘳𝘪𝘦𝘴, 𝘉𝘰𝘥𝘺 𝘗𝘳𝘰𝘣𝘭𝘦𝘮 02 (𝘸𝘩𝘪𝘵𝘦), 2024. Tintype; 11 x 14 in.⁠
Faheem Majeed, 𝘕𝘶𝘍𝘢𝘶𝘹 𝘌𝘧𝘧𝘪𝘨𝘺, 2026. Bronze, charred wood, pine; 24 x 3 1/2 x 3 in.⁠
Duncan McGillivray-Smith, 𝘛𝘰 𝘈 𝘔𝘰𝘶𝘴𝘦, 2026 (detail). Oil and oil pastel on linen; 18 x 24 in.⁠
Soumya Netrabile, Spring Thaw, 2025. Oil on canvas; 14 x 11 in.⁠
William J. O’Brien, 𝘝𝘪𝘰𝘭𝘦𝘵 𝘔𝘰𝘶𝘵𝘩𝘴, 2019. Ink, gouache, and colored pencil on paper; 14 x 11 in.⁠
⁠
#documentspace #ackermanclarke @noelle_africh #noelleafrich @katelyn_eichwald #katelyneichwald @willgabaldon #willgabaldon @lauraletinsky #lauraletinsky @faheemmajeedstudio #faheemmajeed @duncannapkins #duncanmcgillivraysmith @netrabile #soumyanetrabile @william.j.obrien#williamjobrien

DOCUMENT and Ackerman Clarke are pleased to announce 𝘛𝘳𝘰𝘱𝘩𝘪𝘤, a collaborative exhibition featuring works by Noelle Africh, Katelyn Eichwald, Will Gabaldón, Laura Letinsky, Faheem Majeed, Duncan McGillivray-Smith, Soumya Netrabile, and William J. O’Brien. Opening on May 29, 2026, the exhibition at DOCUMENT Lisbon coincides with the galleries’ shared presentation at ARCOlisboa.⁠
⁠
𝘛𝘳𝘰𝘱𝘩𝘪𝘤 celebrates a growing network of emerging and established artists based in Chicago. For many in the group, this is their first showing in Portugal. The display reflects on artistic ecosystems, and the steady nutrition they require, specifically the nourishment necessary to thrive. A number of the involved artists support, advocate for, or live with each other’s work, offering an antidote to competition in the field. The grouped opportunity demonstrates an ethos which recognizes that achievement often depends on others.⁠
⁠
𝘛𝘳𝘰𝘱𝘩𝘪𝘤⁠
May 29—August 15, 2026⁠
Opening May 29, 5-8pm⁠
DOCUMENT Lisbon⁠
⁠
Noelle Africh, 𝘈𝘱𝘰𝘭𝘭𝘰, 𝘐 𝘛𝘢𝘬𝘦 𝘐𝘵 𝘉𝘢𝘤𝘬, 2024. Distemper on linen over panel; 10 x 8 1/4 in.⁠
Katelyn Eichwald, 𝘐𝘧 𝘚𝘩𝘦 𝘊𝘰𝘶𝘭𝘥 𝘚𝘦𝘦 𝘔𝘦 𝘕𝘰𝘸, 2025 (detail). Oil on canvas; 6 x 8 in.⁠
Will Gabaldón, 𝘔𝘰𝘳𝘯𝘪𝘯𝘨, 2026 (detail). Oil on panel; 12 x 12 in.⁠
Laura Letinsky, 𝘛𝘩𝘢𝘵 𝘞𝘩𝘢𝘵 𝘊𝘢𝘯’𝘵 𝘉𝘦 𝘴𝘦𝘳𝘪𝘦𝘴, 𝘉𝘰𝘥𝘺 𝘗𝘳𝘰𝘣𝘭𝘦𝘮 02 (𝘸𝘩𝘪𝘵𝘦), 2024. Tintype; 11 x 14 in.⁠
Faheem Majeed, 𝘕𝘶𝘍𝘢𝘶𝘹 𝘌𝘧𝘧𝘪𝘨𝘺, 2026. Bronze, charred wood, pine; 24 x 3 1/2 x 3 in.⁠
Duncan McGillivray-Smith, 𝘛𝘰 𝘈 𝘔𝘰𝘶𝘴𝘦, 2026 (detail). Oil and oil pastel on linen; 18 x 24 in.⁠
Soumya Netrabile, Spring Thaw, 2025. Oil on canvas; 14 x 11 in.⁠
William J. O’Brien, 𝘝𝘪𝘰𝘭𝘦𝘵 𝘔𝘰𝘶𝘵𝘩𝘴, 2019. Ink, gouache, and colored pencil on paper; 14 x 11 in.⁠
⁠
#documentspace #ackermanclarke @noelle_africh #noelleafrich @katelyn_eichwald #katelyneichwald @willgabaldon #willgabaldon @lauraletinsky #lauraletinsky @faheemmajeedstudio #faheemmajeed @duncannapkins #duncanmcgillivraysmith @netrabile #soumyanetrabile @william.j.obrien#williamjobrien

DOCUMENT and Ackerman Clarke are pleased to announce 𝘛𝘳𝘰𝘱𝘩𝘪𝘤, a collaborative exhibition featuring works by Noelle Africh, Katelyn Eichwald, Will Gabaldón, Laura Letinsky, Faheem Majeed, Duncan McGillivray-Smith, Soumya Netrabile, and William J. O’Brien. Opening on May 29, 2026, the exhibition at DOCUMENT Lisbon coincides with the galleries’ shared presentation at ARCOlisboa.⁠
⁠
𝘛𝘳𝘰𝘱𝘩𝘪𝘤 celebrates a growing network of emerging and established artists based in Chicago. For many in the group, this is their first showing in Portugal. The display reflects on artistic ecosystems, and the steady nutrition they require, specifically the nourishment necessary to thrive. A number of the involved artists support, advocate for, or live with each other’s work, offering an antidote to competition in the field. The grouped opportunity demonstrates an ethos which recognizes that achievement often depends on others.⁠
⁠
𝘛𝘳𝘰𝘱𝘩𝘪𝘤⁠
May 29—August 15, 2026⁠
Opening May 29, 5-8pm⁠
DOCUMENT Lisbon⁠
⁠
Noelle Africh, 𝘈𝘱𝘰𝘭𝘭𝘰, 𝘐 𝘛𝘢𝘬𝘦 𝘐𝘵 𝘉𝘢𝘤𝘬, 2024. Distemper on linen over panel; 10 x 8 1/4 in.⁠
Katelyn Eichwald, 𝘐𝘧 𝘚𝘩𝘦 𝘊𝘰𝘶𝘭𝘥 𝘚𝘦𝘦 𝘔𝘦 𝘕𝘰𝘸, 2025 (detail). Oil on canvas; 6 x 8 in.⁠
Will Gabaldón, 𝘔𝘰𝘳𝘯𝘪𝘯𝘨, 2026 (detail). Oil on panel; 12 x 12 in.⁠
Laura Letinsky, 𝘛𝘩𝘢𝘵 𝘞𝘩𝘢𝘵 𝘊𝘢𝘯’𝘵 𝘉𝘦 𝘴𝘦𝘳𝘪𝘦𝘴, 𝘉𝘰𝘥𝘺 𝘗𝘳𝘰𝘣𝘭𝘦𝘮 02 (𝘸𝘩𝘪𝘵𝘦), 2024. Tintype; 11 x 14 in.⁠
Faheem Majeed, 𝘕𝘶𝘍𝘢𝘶𝘹 𝘌𝘧𝘧𝘪𝘨𝘺, 2026. Bronze, charred wood, pine; 24 x 3 1/2 x 3 in.⁠
Duncan McGillivray-Smith, 𝘛𝘰 𝘈 𝘔𝘰𝘶𝘴𝘦, 2026 (detail). Oil and oil pastel on linen; 18 x 24 in.⁠
Soumya Netrabile, Spring Thaw, 2025. Oil on canvas; 14 x 11 in.⁠
William J. O’Brien, 𝘝𝘪𝘰𝘭𝘦𝘵 𝘔𝘰𝘶𝘵𝘩𝘴, 2019. Ink, gouache, and colored pencil on paper; 14 x 11 in.⁠
⁠
#documentspace #ackermanclarke @noelle_africh #noelleafrich @katelyn_eichwald #katelyneichwald @willgabaldon #willgabaldon @lauraletinsky #lauraletinsky @faheemmajeedstudio #faheemmajeed @duncannapkins #duncanmcgillivraysmith @netrabile #soumyanetrabile @william.j.obrien#williamjobrien

DOCUMENT and Ackerman Clarke are pleased to announce 𝘛𝘳𝘰𝘱𝘩𝘪𝘤, a collaborative exhibition featuring works by Noelle Africh, Katelyn Eichwald, Will Gabaldón, Laura Letinsky, Faheem Majeed, Duncan McGillivray-Smith, Soumya Netrabile, and William J. O’Brien. Opening on May 29, 2026, the exhibition at DOCUMENT Lisbon coincides with the galleries’ shared presentation at ARCOlisboa.⁠
⁠
𝘛𝘳𝘰𝘱𝘩𝘪𝘤 celebrates a growing network of emerging and established artists based in Chicago. For many in the group, this is their first showing in Portugal. The display reflects on artistic ecosystems, and the steady nutrition they require, specifically the nourishment necessary to thrive. A number of the involved artists support, advocate for, or live with each other’s work, offering an antidote to competition in the field. The grouped opportunity demonstrates an ethos which recognizes that achievement often depends on others.⁠
⁠
𝘛𝘳𝘰𝘱𝘩𝘪𝘤⁠
May 29—August 15, 2026⁠
Opening May 29, 5-8pm⁠
DOCUMENT Lisbon⁠
⁠
Noelle Africh, 𝘈𝘱𝘰𝘭𝘭𝘰, 𝘐 𝘛𝘢𝘬𝘦 𝘐𝘵 𝘉𝘢𝘤𝘬, 2024. Distemper on linen over panel; 10 x 8 1/4 in.⁠
Katelyn Eichwald, 𝘐𝘧 𝘚𝘩𝘦 𝘊𝘰𝘶𝘭𝘥 𝘚𝘦𝘦 𝘔𝘦 𝘕𝘰𝘸, 2025 (detail). Oil on canvas; 6 x 8 in.⁠
Will Gabaldón, 𝘔𝘰𝘳𝘯𝘪𝘯𝘨, 2026 (detail). Oil on panel; 12 x 12 in.⁠
Laura Letinsky, 𝘛𝘩𝘢𝘵 𝘞𝘩𝘢𝘵 𝘊𝘢𝘯’𝘵 𝘉𝘦 𝘴𝘦𝘳𝘪𝘦𝘴, 𝘉𝘰𝘥𝘺 𝘗𝘳𝘰𝘣𝘭𝘦𝘮 02 (𝘸𝘩𝘪𝘵𝘦), 2024. Tintype; 11 x 14 in.⁠
Faheem Majeed, 𝘕𝘶𝘍𝘢𝘶𝘹 𝘌𝘧𝘧𝘪𝘨𝘺, 2026. Bronze, charred wood, pine; 24 x 3 1/2 x 3 in.⁠
Duncan McGillivray-Smith, 𝘛𝘰 𝘈 𝘔𝘰𝘶𝘴𝘦, 2026 (detail). Oil and oil pastel on linen; 18 x 24 in.⁠
Soumya Netrabile, Spring Thaw, 2025. Oil on canvas; 14 x 11 in.⁠
William J. O’Brien, 𝘝𝘪𝘰𝘭𝘦𝘵 𝘔𝘰𝘶𝘵𝘩𝘴, 2019. Ink, gouache, and colored pencil on paper; 14 x 11 in.⁠
⁠
#documentspace #ackermanclarke @noelle_africh #noelleafrich @katelyn_eichwald #katelyneichwald @willgabaldon #willgabaldon @lauraletinsky #lauraletinsky @faheemmajeedstudio #faheemmajeed @duncannapkins #duncanmcgillivraysmith @netrabile #soumyanetrabile @william.j.obrien#williamjobrien

DOCUMENT and Ackerman Clarke are pleased to announce 𝘛𝘳𝘰𝘱𝘩𝘪𝘤, a collaborative exhibition featuring works by Noelle Africh, Katelyn Eichwald, Will Gabaldón, Laura Letinsky, Faheem Majeed, Duncan McGillivray-Smith, Soumya Netrabile, and William J. O’Brien. Opening on May 29, 2026, the exhibition at DOCUMENT Lisbon coincides with the galleries’ shared presentation at ARCOlisboa.⁠
⁠
𝘛𝘳𝘰𝘱𝘩𝘪𝘤 celebrates a growing network of emerging and established artists based in Chicago. For many in the group, this is their first showing in Portugal. The display reflects on artistic ecosystems, and the steady nutrition they require, specifically the nourishment necessary to thrive. A number of the involved artists support, advocate for, or live with each other’s work, offering an antidote to competition in the field. The grouped opportunity demonstrates an ethos which recognizes that achievement often depends on others.⁠
⁠
𝘛𝘳𝘰𝘱𝘩𝘪𝘤⁠
May 29—August 15, 2026⁠
Opening May 29, 5-8pm⁠
DOCUMENT Lisbon⁠
⁠
Noelle Africh, 𝘈𝘱𝘰𝘭𝘭𝘰, 𝘐 𝘛𝘢𝘬𝘦 𝘐𝘵 𝘉𝘢𝘤𝘬, 2024. Distemper on linen over panel; 10 x 8 1/4 in.⁠
Katelyn Eichwald, 𝘐𝘧 𝘚𝘩𝘦 𝘊𝘰𝘶𝘭𝘥 𝘚𝘦𝘦 𝘔𝘦 𝘕𝘰𝘸, 2025 (detail). Oil on canvas; 6 x 8 in.⁠
Will Gabaldón, 𝘔𝘰𝘳𝘯𝘪𝘯𝘨, 2026 (detail). Oil on panel; 12 x 12 in.⁠
Laura Letinsky, 𝘛𝘩𝘢𝘵 𝘞𝘩𝘢𝘵 𝘊𝘢𝘯’𝘵 𝘉𝘦 𝘴𝘦𝘳𝘪𝘦𝘴, 𝘉𝘰𝘥𝘺 𝘗𝘳𝘰𝘣𝘭𝘦𝘮 02 (𝘸𝘩𝘪𝘵𝘦), 2024. Tintype; 11 x 14 in.⁠
Faheem Majeed, 𝘕𝘶𝘍𝘢𝘶𝘹 𝘌𝘧𝘧𝘪𝘨𝘺, 2026. Bronze, charred wood, pine; 24 x 3 1/2 x 3 in.⁠
Duncan McGillivray-Smith, 𝘛𝘰 𝘈 𝘔𝘰𝘶𝘴𝘦, 2026 (detail). Oil and oil pastel on linen; 18 x 24 in.⁠
Soumya Netrabile, Spring Thaw, 2025. Oil on canvas; 14 x 11 in.⁠
William J. O’Brien, 𝘝𝘪𝘰𝘭𝘦𝘵 𝘔𝘰𝘶𝘵𝘩𝘴, 2019. Ink, gouache, and colored pencil on paper; 14 x 11 in.⁠
⁠
#documentspace #ackermanclarke @noelle_africh #noelleafrich @katelyn_eichwald #katelyneichwald @willgabaldon #willgabaldon @lauraletinsky #lauraletinsky @faheemmajeedstudio #faheemmajeed @duncannapkins #duncanmcgillivraysmith @netrabile #soumyanetrabile @william.j.obrien#williamjobrien

DOCUMENT and Ackerman Clarke are pleased to announce 𝘛𝘳𝘰𝘱𝘩𝘪𝘤, a collaborative exhibition featuring works by Noelle Africh, Katelyn Eichwald, Will Gabaldón, Laura Letinsky, Faheem Majeed, Duncan McGillivray-Smith, Soumya Netrabile, and William J. O’Brien. Opening on May 29, 2026, the exhibition at DOCUMENT Lisbon coincides with the galleries’ shared presentation at ARCOlisboa.⁠
⁠
𝘛𝘳𝘰𝘱𝘩𝘪𝘤 celebrates a growing network of emerging and established artists based in Chicago. For many in the group, this is their first showing in Portugal. The display reflects on artistic ecosystems, and the steady nutrition they require, specifically the nourishment necessary to thrive. A number of the involved artists support, advocate for, or live with each other’s work, offering an antidote to competition in the field. The grouped opportunity demonstrates an ethos which recognizes that achievement often depends on others.⁠
⁠
𝘛𝘳𝘰𝘱𝘩𝘪𝘤⁠
May 29—August 15, 2026⁠
Opening May 29, 5-8pm⁠
DOCUMENT Lisbon⁠
⁠
Noelle Africh, 𝘈𝘱𝘰𝘭𝘭𝘰, 𝘐 𝘛𝘢𝘬𝘦 𝘐𝘵 𝘉𝘢𝘤𝘬, 2024. Distemper on linen over panel; 10 x 8 1/4 in.⁠
Katelyn Eichwald, 𝘐𝘧 𝘚𝘩𝘦 𝘊𝘰𝘶𝘭𝘥 𝘚𝘦𝘦 𝘔𝘦 𝘕𝘰𝘸, 2025 (detail). Oil on canvas; 6 x 8 in.⁠
Will Gabaldón, 𝘔𝘰𝘳𝘯𝘪𝘯𝘨, 2026 (detail). Oil on panel; 12 x 12 in.⁠
Laura Letinsky, 𝘛𝘩𝘢𝘵 𝘞𝘩𝘢𝘵 𝘊𝘢𝘯’𝘵 𝘉𝘦 𝘴𝘦𝘳𝘪𝘦𝘴, 𝘉𝘰𝘥𝘺 𝘗𝘳𝘰𝘣𝘭𝘦𝘮 02 (𝘸𝘩𝘪𝘵𝘦), 2024. Tintype; 11 x 14 in.⁠
Faheem Majeed, 𝘕𝘶𝘍𝘢𝘶𝘹 𝘌𝘧𝘧𝘪𝘨𝘺, 2026. Bronze, charred wood, pine; 24 x 3 1/2 x 3 in.⁠
Duncan McGillivray-Smith, 𝘛𝘰 𝘈 𝘔𝘰𝘶𝘴𝘦, 2026 (detail). Oil and oil pastel on linen; 18 x 24 in.⁠
Soumya Netrabile, Spring Thaw, 2025. Oil on canvas; 14 x 11 in.⁠
William J. O’Brien, 𝘝𝘪𝘰𝘭𝘦𝘵 𝘔𝘰𝘶𝘵𝘩𝘴, 2019. Ink, gouache, and colored pencil on paper; 14 x 11 in.⁠
⁠
#documentspace #ackermanclarke @noelle_africh #noelleafrich @katelyn_eichwald #katelyneichwald @willgabaldon #willgabaldon @lauraletinsky #lauraletinsky @faheemmajeedstudio #faheemmajeed @duncannapkins #duncanmcgillivraysmith @netrabile #soumyanetrabile @william.j.obrien#williamjobrien

DOCUMENT and Ackerman Clarke are pleased to announce 𝘛𝘳𝘰𝘱𝘩𝘪𝘤, a collaborative exhibition featuring works by Noelle Africh, Katelyn Eichwald, Will Gabaldón, Laura Letinsky, Faheem Majeed, Duncan McGillivray-Smith, Soumya Netrabile, and William J. O’Brien. Opening on May 29, 2026, the exhibition at DOCUMENT Lisbon coincides with the galleries’ shared presentation at ARCOlisboa.⁠
⁠
𝘛𝘳𝘰𝘱𝘩𝘪𝘤 celebrates a growing network of emerging and established artists based in Chicago. For many in the group, this is their first showing in Portugal. The display reflects on artistic ecosystems, and the steady nutrition they require, specifically the nourishment necessary to thrive. A number of the involved artists support, advocate for, or live with each other’s work, offering an antidote to competition in the field. The grouped opportunity demonstrates an ethos which recognizes that achievement often depends on others.⁠
⁠
𝘛𝘳𝘰𝘱𝘩𝘪𝘤⁠
May 29—August 15, 2026⁠
Opening May 29, 5-8pm⁠
DOCUMENT Lisbon⁠
⁠
Noelle Africh, 𝘈𝘱𝘰𝘭𝘭𝘰, 𝘐 𝘛𝘢𝘬𝘦 𝘐𝘵 𝘉𝘢𝘤𝘬, 2024. Distemper on linen over panel; 10 x 8 1/4 in.⁠
Katelyn Eichwald, 𝘐𝘧 𝘚𝘩𝘦 𝘊𝘰𝘶𝘭𝘥 𝘚𝘦𝘦 𝘔𝘦 𝘕𝘰𝘸, 2025 (detail). Oil on canvas; 6 x 8 in.⁠
Will Gabaldón, 𝘔𝘰𝘳𝘯𝘪𝘯𝘨, 2026 (detail). Oil on panel; 12 x 12 in.⁠
Laura Letinsky, 𝘛𝘩𝘢𝘵 𝘞𝘩𝘢𝘵 𝘊𝘢𝘯’𝘵 𝘉𝘦 𝘴𝘦𝘳𝘪𝘦𝘴, 𝘉𝘰𝘥𝘺 𝘗𝘳𝘰𝘣𝘭𝘦𝘮 02 (𝘸𝘩𝘪𝘵𝘦), 2024. Tintype; 11 x 14 in.⁠
Faheem Majeed, 𝘕𝘶𝘍𝘢𝘶𝘹 𝘌𝘧𝘧𝘪𝘨𝘺, 2026. Bronze, charred wood, pine; 24 x 3 1/2 x 3 in.⁠
Duncan McGillivray-Smith, 𝘛𝘰 𝘈 𝘔𝘰𝘶𝘴𝘦, 2026 (detail). Oil and oil pastel on linen; 18 x 24 in.⁠
Soumya Netrabile, Spring Thaw, 2025. Oil on canvas; 14 x 11 in.⁠
William J. O’Brien, 𝘝𝘪𝘰𝘭𝘦𝘵 𝘔𝘰𝘶𝘵𝘩𝘴, 2019. Ink, gouache, and colored pencil on paper; 14 x 11 in.⁠
⁠
#documentspace #ackermanclarke @noelle_africh #noelleafrich @katelyn_eichwald #katelyneichwald @willgabaldon #willgabaldon @lauraletinsky #lauraletinsky @faheemmajeedstudio #faheemmajeed @duncannapkins #duncanmcgillivraysmith @netrabile #soumyanetrabile @william.j.obrien#williamjobrien

DOCUMENT and Ackerman Clarke are pleased to announce 𝘛𝘳𝘰𝘱𝘩𝘪𝘤, a collaborative exhibition featuring works by Noelle Africh, Katelyn Eichwald, Will Gabaldón, Laura Letinsky, Faheem Majeed, Duncan McGillivray-Smith, Soumya Netrabile, and William J. O’Brien. Opening on May 29, 2026, the exhibition at DOCUMENT Lisbon coincides with the galleries’ shared presentation at ARCOlisboa.⁠
⁠
𝘛𝘳𝘰𝘱𝘩𝘪𝘤 celebrates a growing network of emerging and established artists based in Chicago. For many in the group, this is their first showing in Portugal. The display reflects on artistic ecosystems, and the steady nutrition they require, specifically the nourishment necessary to thrive. A number of the involved artists support, advocate for, or live with each other’s work, offering an antidote to competition in the field. The grouped opportunity demonstrates an ethos which recognizes that achievement often depends on others.⁠
⁠
𝘛𝘳𝘰𝘱𝘩𝘪𝘤⁠
May 29—August 15, 2026⁠
Opening May 29, 5-8pm⁠
DOCUMENT Lisbon⁠
⁠
Noelle Africh, 𝘈𝘱𝘰𝘭𝘭𝘰, 𝘐 𝘛𝘢𝘬𝘦 𝘐𝘵 𝘉𝘢𝘤𝘬, 2024. Distemper on linen over panel; 10 x 8 1/4 in.⁠
Katelyn Eichwald, 𝘐𝘧 𝘚𝘩𝘦 𝘊𝘰𝘶𝘭𝘥 𝘚𝘦𝘦 𝘔𝘦 𝘕𝘰𝘸, 2025 (detail). Oil on canvas; 6 x 8 in.⁠
Will Gabaldón, 𝘔𝘰𝘳𝘯𝘪𝘯𝘨, 2026 (detail). Oil on panel; 12 x 12 in.⁠
Laura Letinsky, 𝘛𝘩𝘢𝘵 𝘞𝘩𝘢𝘵 𝘊𝘢𝘯’𝘵 𝘉𝘦 𝘴𝘦𝘳𝘪𝘦𝘴, 𝘉𝘰𝘥𝘺 𝘗𝘳𝘰𝘣𝘭𝘦𝘮 02 (𝘸𝘩𝘪𝘵𝘦), 2024. Tintype; 11 x 14 in.⁠
Faheem Majeed, 𝘕𝘶𝘍𝘢𝘶𝘹 𝘌𝘧𝘧𝘪𝘨𝘺, 2026. Bronze, charred wood, pine; 24 x 3 1/2 x 3 in.⁠
Duncan McGillivray-Smith, 𝘛𝘰 𝘈 𝘔𝘰𝘶𝘴𝘦, 2026 (detail). Oil and oil pastel on linen; 18 x 24 in.⁠
Soumya Netrabile, Spring Thaw, 2025. Oil on canvas; 14 x 11 in.⁠
William J. O’Brien, 𝘝𝘪𝘰𝘭𝘦𝘵 𝘔𝘰𝘶𝘵𝘩𝘴, 2019. Ink, gouache, and colored pencil on paper; 14 x 11 in.⁠
⁠
#documentspace #ackermanclarke @noelle_africh #noelleafrich @katelyn_eichwald #katelyneichwald @willgabaldon #willgabaldon @lauraletinsky #lauraletinsky @faheemmajeedstudio #faheemmajeed @duncannapkins #duncanmcgillivraysmith @netrabile #soumyanetrabile @william.j.obrien#williamjobrien

LISBON | Sara Greenberger Rafferty: 𝘗𝘪𝘦𝘤𝘦𝘴 | Final Week⁠
⁠
It's the last week to visit 𝘗𝘪𝘦𝘤𝘦𝘴, Sara Greenberger Rafferty’s fifth solo exhibition with the gallery and the artist’s first solo show in Portugal, currently on view at DOCUMENT Lisbon through Saturday, May 23.⁠
⁠
Over the past two decades, Rafferty has created a vast body of wall works, sculptures, and installations that humorously and aggressively grapple with images and iconography in contemporary culture. While some of the works in her exhibition at DOCUMENT Lisbon were made or initiated as early as 2019, 𝘗𝘪𝘦𝘤𝘦𝘴 marks a change in Rafferty’s approach to making and exhibiting artwork. After a year of writing and revising a forthcoming book on imagery, 𝘗𝘪𝘦𝘤𝘦𝘴 comprises bodies of work entirely devoid of photographic image. Produced in a small kiln in her Brooklyn studio, the glass pieces in the exhibition are color studies, compositions made from scraps, and other studio experiments made during a time of challenge and change. Themes that emerge in the work include reflection, as in the suite of black glass collages with broken, mirror-like, bubbly surfaces; a possible return to portraiture, as in the translucent, polychrome, rounded, head-sized forms; or, finally, play, as in the assemblages of multicellular, bubble-like shapes. Mainstays of her work, such as formal invention, elliptical logic, specific and culture-bound color, and the breaking of the rectangle on the wall, remain present. Continuing her work in the opaque, translucent, and reflective medium of glass, these collected pieces can be seen individually as humble sketches—often pieced together from slivers, powders, and shards—or taken together as a statement. 𝘗𝘪𝘦𝘤𝘦𝘴.⁠
⁠
@saraspar #saragreenbergerrafferty #documentspace

LISBON | Sara Greenberger Rafferty: 𝘗𝘪𝘦𝘤𝘦𝘴 | Final Week⁠
⁠
It's the last week to visit 𝘗𝘪𝘦𝘤𝘦𝘴, Sara Greenberger Rafferty’s fifth solo exhibition with the gallery and the artist’s first solo show in Portugal, currently on view at DOCUMENT Lisbon through Saturday, May 23.⁠
⁠
Over the past two decades, Rafferty has created a vast body of wall works, sculptures, and installations that humorously and aggressively grapple with images and iconography in contemporary culture. While some of the works in her exhibition at DOCUMENT Lisbon were made or initiated as early as 2019, 𝘗𝘪𝘦𝘤𝘦𝘴 marks a change in Rafferty’s approach to making and exhibiting artwork. After a year of writing and revising a forthcoming book on imagery, 𝘗𝘪𝘦𝘤𝘦𝘴 comprises bodies of work entirely devoid of photographic image. Produced in a small kiln in her Brooklyn studio, the glass pieces in the exhibition are color studies, compositions made from scraps, and other studio experiments made during a time of challenge and change. Themes that emerge in the work include reflection, as in the suite of black glass collages with broken, mirror-like, bubbly surfaces; a possible return to portraiture, as in the translucent, polychrome, rounded, head-sized forms; or, finally, play, as in the assemblages of multicellular, bubble-like shapes. Mainstays of her work, such as formal invention, elliptical logic, specific and culture-bound color, and the breaking of the rectangle on the wall, remain present. Continuing her work in the opaque, translucent, and reflective medium of glass, these collected pieces can be seen individually as humble sketches—often pieced together from slivers, powders, and shards—or taken together as a statement. 𝘗𝘪𝘦𝘤𝘦𝘴.⁠
⁠
@saraspar #saragreenbergerrafferty #documentspace

LISBON | Sara Greenberger Rafferty: 𝘗𝘪𝘦𝘤𝘦𝘴 | Final Week⁠
⁠
It's the last week to visit 𝘗𝘪𝘦𝘤𝘦𝘴, Sara Greenberger Rafferty’s fifth solo exhibition with the gallery and the artist’s first solo show in Portugal, currently on view at DOCUMENT Lisbon through Saturday, May 23.⁠
⁠
Over the past two decades, Rafferty has created a vast body of wall works, sculptures, and installations that humorously and aggressively grapple with images and iconography in contemporary culture. While some of the works in her exhibition at DOCUMENT Lisbon were made or initiated as early as 2019, 𝘗𝘪𝘦𝘤𝘦𝘴 marks a change in Rafferty’s approach to making and exhibiting artwork. After a year of writing and revising a forthcoming book on imagery, 𝘗𝘪𝘦𝘤𝘦𝘴 comprises bodies of work entirely devoid of photographic image. Produced in a small kiln in her Brooklyn studio, the glass pieces in the exhibition are color studies, compositions made from scraps, and other studio experiments made during a time of challenge and change. Themes that emerge in the work include reflection, as in the suite of black glass collages with broken, mirror-like, bubbly surfaces; a possible return to portraiture, as in the translucent, polychrome, rounded, head-sized forms; or, finally, play, as in the assemblages of multicellular, bubble-like shapes. Mainstays of her work, such as formal invention, elliptical logic, specific and culture-bound color, and the breaking of the rectangle on the wall, remain present. Continuing her work in the opaque, translucent, and reflective medium of glass, these collected pieces can be seen individually as humble sketches—often pieced together from slivers, powders, and shards—or taken together as a statement. 𝘗𝘪𝘦𝘤𝘦𝘴.⁠
⁠
@saraspar #saragreenbergerrafferty #documentspace

LISBON | Sara Greenberger Rafferty: 𝘗𝘪𝘦𝘤𝘦𝘴 | Final Week⁠
⁠
It's the last week to visit 𝘗𝘪𝘦𝘤𝘦𝘴, Sara Greenberger Rafferty’s fifth solo exhibition with the gallery and the artist’s first solo show in Portugal, currently on view at DOCUMENT Lisbon through Saturday, May 23.⁠
⁠
Over the past two decades, Rafferty has created a vast body of wall works, sculptures, and installations that humorously and aggressively grapple with images and iconography in contemporary culture. While some of the works in her exhibition at DOCUMENT Lisbon were made or initiated as early as 2019, 𝘗𝘪𝘦𝘤𝘦𝘴 marks a change in Rafferty’s approach to making and exhibiting artwork. After a year of writing and revising a forthcoming book on imagery, 𝘗𝘪𝘦𝘤𝘦𝘴 comprises bodies of work entirely devoid of photographic image. Produced in a small kiln in her Brooklyn studio, the glass pieces in the exhibition are color studies, compositions made from scraps, and other studio experiments made during a time of challenge and change. Themes that emerge in the work include reflection, as in the suite of black glass collages with broken, mirror-like, bubbly surfaces; a possible return to portraiture, as in the translucent, polychrome, rounded, head-sized forms; or, finally, play, as in the assemblages of multicellular, bubble-like shapes. Mainstays of her work, such as formal invention, elliptical logic, specific and culture-bound color, and the breaking of the rectangle on the wall, remain present. Continuing her work in the opaque, translucent, and reflective medium of glass, these collected pieces can be seen individually as humble sketches—often pieced together from slivers, powders, and shards—or taken together as a statement. 𝘗𝘪𝘦𝘤𝘦𝘴.⁠
⁠
@saraspar #saragreenbergerrafferty #documentspace

LISBON | Sara Greenberger Rafferty: 𝘗𝘪𝘦𝘤𝘦𝘴 | Final Week⁠
⁠
It's the last week to visit 𝘗𝘪𝘦𝘤𝘦𝘴, Sara Greenberger Rafferty’s fifth solo exhibition with the gallery and the artist’s first solo show in Portugal, currently on view at DOCUMENT Lisbon through Saturday, May 23.⁠
⁠
Over the past two decades, Rafferty has created a vast body of wall works, sculptures, and installations that humorously and aggressively grapple with images and iconography in contemporary culture. While some of the works in her exhibition at DOCUMENT Lisbon were made or initiated as early as 2019, 𝘗𝘪𝘦𝘤𝘦𝘴 marks a change in Rafferty’s approach to making and exhibiting artwork. After a year of writing and revising a forthcoming book on imagery, 𝘗𝘪𝘦𝘤𝘦𝘴 comprises bodies of work entirely devoid of photographic image. Produced in a small kiln in her Brooklyn studio, the glass pieces in the exhibition are color studies, compositions made from scraps, and other studio experiments made during a time of challenge and change. Themes that emerge in the work include reflection, as in the suite of black glass collages with broken, mirror-like, bubbly surfaces; a possible return to portraiture, as in the translucent, polychrome, rounded, head-sized forms; or, finally, play, as in the assemblages of multicellular, bubble-like shapes. Mainstays of her work, such as formal invention, elliptical logic, specific and culture-bound color, and the breaking of the rectangle on the wall, remain present. Continuing her work in the opaque, translucent, and reflective medium of glass, these collected pieces can be seen individually as humble sketches—often pieced together from slivers, powders, and shards—or taken together as a statement. 𝘗𝘪𝘦𝘤𝘦𝘴.⁠
⁠
@saraspar #saragreenbergerrafferty #documentspace

LISBON | Sara Greenberger Rafferty: 𝘗𝘪𝘦𝘤𝘦𝘴 | Final Week⁠
⁠
It's the last week to visit 𝘗𝘪𝘦𝘤𝘦𝘴, Sara Greenberger Rafferty’s fifth solo exhibition with the gallery and the artist’s first solo show in Portugal, currently on view at DOCUMENT Lisbon through Saturday, May 23.⁠
⁠
Over the past two decades, Rafferty has created a vast body of wall works, sculptures, and installations that humorously and aggressively grapple with images and iconography in contemporary culture. While some of the works in her exhibition at DOCUMENT Lisbon were made or initiated as early as 2019, 𝘗𝘪𝘦𝘤𝘦𝘴 marks a change in Rafferty’s approach to making and exhibiting artwork. After a year of writing and revising a forthcoming book on imagery, 𝘗𝘪𝘦𝘤𝘦𝘴 comprises bodies of work entirely devoid of photographic image. Produced in a small kiln in her Brooklyn studio, the glass pieces in the exhibition are color studies, compositions made from scraps, and other studio experiments made during a time of challenge and change. Themes that emerge in the work include reflection, as in the suite of black glass collages with broken, mirror-like, bubbly surfaces; a possible return to portraiture, as in the translucent, polychrome, rounded, head-sized forms; or, finally, play, as in the assemblages of multicellular, bubble-like shapes. Mainstays of her work, such as formal invention, elliptical logic, specific and culture-bound color, and the breaking of the rectangle on the wall, remain present. Continuing her work in the opaque, translucent, and reflective medium of glass, these collected pieces can be seen individually as humble sketches—often pieced together from slivers, powders, and shards—or taken together as a statement. 𝘗𝘪𝘦𝘤𝘦𝘴.⁠
⁠
@saraspar #saragreenbergerrafferty #documentspace

LISBON | Sara Greenberger Rafferty: 𝘗𝘪𝘦𝘤𝘦𝘴 | Final Week⁠
⁠
It's the last week to visit 𝘗𝘪𝘦𝘤𝘦𝘴, Sara Greenberger Rafferty’s fifth solo exhibition with the gallery and the artist’s first solo show in Portugal, currently on view at DOCUMENT Lisbon through Saturday, May 23.⁠
⁠
Over the past two decades, Rafferty has created a vast body of wall works, sculptures, and installations that humorously and aggressively grapple with images and iconography in contemporary culture. While some of the works in her exhibition at DOCUMENT Lisbon were made or initiated as early as 2019, 𝘗𝘪𝘦𝘤𝘦𝘴 marks a change in Rafferty’s approach to making and exhibiting artwork. After a year of writing and revising a forthcoming book on imagery, 𝘗𝘪𝘦𝘤𝘦𝘴 comprises bodies of work entirely devoid of photographic image. Produced in a small kiln in her Brooklyn studio, the glass pieces in the exhibition are color studies, compositions made from scraps, and other studio experiments made during a time of challenge and change. Themes that emerge in the work include reflection, as in the suite of black glass collages with broken, mirror-like, bubbly surfaces; a possible return to portraiture, as in the translucent, polychrome, rounded, head-sized forms; or, finally, play, as in the assemblages of multicellular, bubble-like shapes. Mainstays of her work, such as formal invention, elliptical logic, specific and culture-bound color, and the breaking of the rectangle on the wall, remain present. Continuing her work in the opaque, translucent, and reflective medium of glass, these collected pieces can be seen individually as humble sketches—often pieced together from slivers, powders, and shards—or taken together as a statement. 𝘗𝘪𝘦𝘤𝘦𝘴.⁠
⁠
@saraspar #saragreenbergerrafferty #documentspace

LISBON | Sara Greenberger Rafferty: 𝘗𝘪𝘦𝘤𝘦𝘴 | Final Week⁠
⁠
It's the last week to visit 𝘗𝘪𝘦𝘤𝘦𝘴, Sara Greenberger Rafferty’s fifth solo exhibition with the gallery and the artist’s first solo show in Portugal, currently on view at DOCUMENT Lisbon through Saturday, May 23.⁠
⁠
Over the past two decades, Rafferty has created a vast body of wall works, sculptures, and installations that humorously and aggressively grapple with images and iconography in contemporary culture. While some of the works in her exhibition at DOCUMENT Lisbon were made or initiated as early as 2019, 𝘗𝘪𝘦𝘤𝘦𝘴 marks a change in Rafferty’s approach to making and exhibiting artwork. After a year of writing and revising a forthcoming book on imagery, 𝘗𝘪𝘦𝘤𝘦𝘴 comprises bodies of work entirely devoid of photographic image. Produced in a small kiln in her Brooklyn studio, the glass pieces in the exhibition are color studies, compositions made from scraps, and other studio experiments made during a time of challenge and change. Themes that emerge in the work include reflection, as in the suite of black glass collages with broken, mirror-like, bubbly surfaces; a possible return to portraiture, as in the translucent, polychrome, rounded, head-sized forms; or, finally, play, as in the assemblages of multicellular, bubble-like shapes. Mainstays of her work, such as formal invention, elliptical logic, specific and culture-bound color, and the breaking of the rectangle on the wall, remain present. Continuing her work in the opaque, translucent, and reflective medium of glass, these collected pieces can be seen individually as humble sketches—often pieced together from slivers, powders, and shards—or taken together as a statement. 𝘗𝘪𝘦𝘤𝘦𝘴.⁠
⁠
@saraspar #saragreenbergerrafferty #documentspace

LISBON | Sara Greenberger Rafferty: 𝘗𝘪𝘦𝘤𝘦𝘴 | Final Week⁠
⁠
It's the last week to visit 𝘗𝘪𝘦𝘤𝘦𝘴, Sara Greenberger Rafferty’s fifth solo exhibition with the gallery and the artist’s first solo show in Portugal, currently on view at DOCUMENT Lisbon through Saturday, May 23.⁠
⁠
Over the past two decades, Rafferty has created a vast body of wall works, sculptures, and installations that humorously and aggressively grapple with images and iconography in contemporary culture. While some of the works in her exhibition at DOCUMENT Lisbon were made or initiated as early as 2019, 𝘗𝘪𝘦𝘤𝘦𝘴 marks a change in Rafferty’s approach to making and exhibiting artwork. After a year of writing and revising a forthcoming book on imagery, 𝘗𝘪𝘦𝘤𝘦𝘴 comprises bodies of work entirely devoid of photographic image. Produced in a small kiln in her Brooklyn studio, the glass pieces in the exhibition are color studies, compositions made from scraps, and other studio experiments made during a time of challenge and change. Themes that emerge in the work include reflection, as in the suite of black glass collages with broken, mirror-like, bubbly surfaces; a possible return to portraiture, as in the translucent, polychrome, rounded, head-sized forms; or, finally, play, as in the assemblages of multicellular, bubble-like shapes. Mainstays of her work, such as formal invention, elliptical logic, specific and culture-bound color, and the breaking of the rectangle on the wall, remain present. Continuing her work in the opaque, translucent, and reflective medium of glass, these collected pieces can be seen individually as humble sketches—often pieced together from slivers, powders, and shards—or taken together as a statement. 𝘗𝘪𝘦𝘤𝘦𝘴.⁠
⁠
@saraspar #saragreenbergerrafferty #documentspace

LISBON | Sara Greenberger Rafferty: 𝘗𝘪𝘦𝘤𝘦𝘴 | Final Week⁠
⁠
It's the last week to visit 𝘗𝘪𝘦𝘤𝘦𝘴, Sara Greenberger Rafferty’s fifth solo exhibition with the gallery and the artist’s first solo show in Portugal, currently on view at DOCUMENT Lisbon through Saturday, May 23.⁠
⁠
Over the past two decades, Rafferty has created a vast body of wall works, sculptures, and installations that humorously and aggressively grapple with images and iconography in contemporary culture. While some of the works in her exhibition at DOCUMENT Lisbon were made or initiated as early as 2019, 𝘗𝘪𝘦𝘤𝘦𝘴 marks a change in Rafferty’s approach to making and exhibiting artwork. After a year of writing and revising a forthcoming book on imagery, 𝘗𝘪𝘦𝘤𝘦𝘴 comprises bodies of work entirely devoid of photographic image. Produced in a small kiln in her Brooklyn studio, the glass pieces in the exhibition are color studies, compositions made from scraps, and other studio experiments made during a time of challenge and change. Themes that emerge in the work include reflection, as in the suite of black glass collages with broken, mirror-like, bubbly surfaces; a possible return to portraiture, as in the translucent, polychrome, rounded, head-sized forms; or, finally, play, as in the assemblages of multicellular, bubble-like shapes. Mainstays of her work, such as formal invention, elliptical logic, specific and culture-bound color, and the breaking of the rectangle on the wall, remain present. Continuing her work in the opaque, translucent, and reflective medium of glass, these collected pieces can be seen individually as humble sketches—often pieced together from slivers, powders, and shards—or taken together as a statement. 𝘗𝘪𝘦𝘤𝘦𝘴.⁠
⁠
@saraspar #saragreenbergerrafferty #documentspace

Opening on Thursday, May 21 with a reception from 5-7pm, The Abroms-Engel Institute for the Visual Arts presents 𝘓𝘪𝘷𝘪𝘯𝘨 𝘢𝘯𝘥 𝘞𝘰𝘳𝘬𝘪𝘯𝘨, a survey exhibition of work by Erin Jane Nelson made between 2015 and 2025 while she was living just outside of Atlanta, Georgia. Over this period, Nelson engaged in a sustained dialogue with the environment and ecology of the southeastern United States through work spanning photography, textiles, and ceramics. Regularly visiting sites like the Okefenokee Swamp in Georgia and barrier islands along the coast from Mississippi to southern Virginia, she created a body of work both personal and prophetic, memorializing precarious landscapes through the lens of her own lived experience.⁠
⁠
@erinjanenelson #erinjanenelson @whitneymuseum #whitneybiennial #documentspace

Luísa Jacinto's exhibition project 𝘈𝘵 𝘵𝘩𝘦 𝘴𝘢𝘮𝘦 𝘵𝘪𝘮𝘦 is currently on view at Kunst-Station Sankt Peter through May 31, 2026. Jacinto uses various materials such as thread, fabric, metal, spray paint, watercolour, loose pigments and rubber membrane. For the church interior, which Jacinto first visited and explored ten years ago, she has created a fluid work specific to the space, revealing an increasingly blurred boundary between painting, sculpture and installation. In 𝘈𝘵 𝘵𝘩𝘦 𝘴𝘢𝘮𝘦 𝘵𝘪𝘮𝘦, Luísa Jacinto invites the audience to engage in a play of observation, perception and attention in order to explore new frontiers of seeing. The exhibition is curated by Guido Schlimbach.⁠
⁠
@jacintoluisa #luisajacinto #documentspace

Luísa Jacinto's exhibition project 𝘈𝘵 𝘵𝘩𝘦 𝘴𝘢𝘮𝘦 𝘵𝘪𝘮𝘦 is currently on view at Kunst-Station Sankt Peter through May 31, 2026. Jacinto uses various materials such as thread, fabric, metal, spray paint, watercolour, loose pigments and rubber membrane. For the church interior, which Jacinto first visited and explored ten years ago, she has created a fluid work specific to the space, revealing an increasingly blurred boundary between painting, sculpture and installation. In 𝘈𝘵 𝘵𝘩𝘦 𝘴𝘢𝘮𝘦 𝘵𝘪𝘮𝘦, Luísa Jacinto invites the audience to engage in a play of observation, perception and attention in order to explore new frontiers of seeing. The exhibition is curated by Guido Schlimbach.⁠
⁠
@jacintoluisa #luisajacinto #documentspace

Luísa Jacinto's exhibition project 𝘈𝘵 𝘵𝘩𝘦 𝘴𝘢𝘮𝘦 𝘵𝘪𝘮𝘦 is currently on view at Kunst-Station Sankt Peter through May 31, 2026. Jacinto uses various materials such as thread, fabric, metal, spray paint, watercolour, loose pigments and rubber membrane. For the church interior, which Jacinto first visited and explored ten years ago, she has created a fluid work specific to the space, revealing an increasingly blurred boundary between painting, sculpture and installation. In 𝘈𝘵 𝘵𝘩𝘦 𝘴𝘢𝘮𝘦 𝘵𝘪𝘮𝘦, Luísa Jacinto invites the audience to engage in a play of observation, perception and attention in order to explore new frontiers of seeing. The exhibition is curated by Guido Schlimbach.⁠
⁠
@jacintoluisa #luisajacinto #documentspace

Luísa Jacinto's exhibition project 𝘈𝘵 𝘵𝘩𝘦 𝘴𝘢𝘮𝘦 𝘵𝘪𝘮𝘦 is currently on view at Kunst-Station Sankt Peter through May 31, 2026. Jacinto uses various materials such as thread, fabric, metal, spray paint, watercolour, loose pigments and rubber membrane. For the church interior, which Jacinto first visited and explored ten years ago, she has created a fluid work specific to the space, revealing an increasingly blurred boundary between painting, sculpture and installation. In 𝘈𝘵 𝘵𝘩𝘦 𝘴𝘢𝘮𝘦 𝘵𝘪𝘮𝘦, Luísa Jacinto invites the audience to engage in a play of observation, perception and attention in order to explore new frontiers of seeing. The exhibition is curated by Guido Schlimbach.⁠
⁠
@jacintoluisa #luisajacinto #documentspace

Luísa Jacinto's exhibition project 𝘈𝘵 𝘵𝘩𝘦 𝘴𝘢𝘮𝘦 𝘵𝘪𝘮𝘦 is currently on view at Kunst-Station Sankt Peter through May 31, 2026. Jacinto uses various materials such as thread, fabric, metal, spray paint, watercolour, loose pigments and rubber membrane. For the church interior, which Jacinto first visited and explored ten years ago, she has created a fluid work specific to the space, revealing an increasingly blurred boundary between painting, sculpture and installation. In 𝘈𝘵 𝘵𝘩𝘦 𝘴𝘢𝘮𝘦 𝘵𝘪𝘮𝘦, Luísa Jacinto invites the audience to engage in a play of observation, perception and attention in order to explore new frontiers of seeing. The exhibition is curated by Guido Schlimbach.⁠
⁠
@jacintoluisa #luisajacinto #documentspace

Luísa Jacinto's exhibition project 𝘈𝘵 𝘵𝘩𝘦 𝘴𝘢𝘮𝘦 𝘵𝘪𝘮𝘦 is currently on view at Kunst-Station Sankt Peter through May 31, 2026. Jacinto uses various materials such as thread, fabric, metal, spray paint, watercolour, loose pigments and rubber membrane. For the church interior, which Jacinto first visited and explored ten years ago, she has created a fluid work specific to the space, revealing an increasingly blurred boundary between painting, sculpture and installation. In 𝘈𝘵 𝘵𝘩𝘦 𝘴𝘢𝘮𝘦 𝘵𝘪𝘮𝘦, Luísa Jacinto invites the audience to engage in a play of observation, perception and attention in order to explore new frontiers of seeing. The exhibition is curated by Guido Schlimbach.⁠
⁠
@jacintoluisa #luisajacinto #documentspace

Luísa Jacinto's exhibition project 𝘈𝘵 𝘵𝘩𝘦 𝘴𝘢𝘮𝘦 𝘵𝘪𝘮𝘦 is currently on view at Kunst-Station Sankt Peter through May 31, 2026. Jacinto uses various materials such as thread, fabric, metal, spray paint, watercolour, loose pigments and rubber membrane. For the church interior, which Jacinto first visited and explored ten years ago, she has created a fluid work specific to the space, revealing an increasingly blurred boundary between painting, sculpture and installation. In 𝘈𝘵 𝘵𝘩𝘦 𝘴𝘢𝘮𝘦 𝘵𝘪𝘮𝘦, Luísa Jacinto invites the audience to engage in a play of observation, perception and attention in order to explore new frontiers of seeing. The exhibition is curated by Guido Schlimbach.⁠
⁠
@jacintoluisa #luisajacinto #documentspace

Luísa Jacinto's exhibition project 𝘈𝘵 𝘵𝘩𝘦 𝘴𝘢𝘮𝘦 𝘵𝘪𝘮𝘦 is currently on view at Kunst-Station Sankt Peter through May 31, 2026. Jacinto uses various materials such as thread, fabric, metal, spray paint, watercolour, loose pigments and rubber membrane. For the church interior, which Jacinto first visited and explored ten years ago, she has created a fluid work specific to the space, revealing an increasingly blurred boundary between painting, sculpture and installation. In 𝘈𝘵 𝘵𝘩𝘦 𝘴𝘢𝘮𝘦 𝘵𝘪𝘮𝘦, Luísa Jacinto invites the audience to engage in a play of observation, perception and attention in order to explore new frontiers of seeing. The exhibition is curated by Guido Schlimbach.⁠
⁠
@jacintoluisa #luisajacinto #documentspace

Luísa Jacinto's exhibition project 𝘈𝘵 𝘵𝘩𝘦 𝘴𝘢𝘮𝘦 𝘵𝘪𝘮𝘦 is currently on view at Kunst-Station Sankt Peter through May 31, 2026. Jacinto uses various materials such as thread, fabric, metal, spray paint, watercolour, loose pigments and rubber membrane. For the church interior, which Jacinto first visited and explored ten years ago, she has created a fluid work specific to the space, revealing an increasingly blurred boundary between painting, sculpture and installation. In 𝘈𝘵 𝘵𝘩𝘦 𝘴𝘢𝘮𝘦 𝘵𝘪𝘮𝘦, Luísa Jacinto invites the audience to engage in a play of observation, perception and attention in order to explore new frontiers of seeing. The exhibition is curated by Guido Schlimbach.⁠
⁠
@jacintoluisa #luisajacinto #documentspace

Luísa Jacinto's exhibition project 𝘈𝘵 𝘵𝘩𝘦 𝘴𝘢𝘮𝘦 𝘵𝘪𝘮𝘦 is currently on view at Kunst-Station Sankt Peter through May 31, 2026. Jacinto uses various materials such as thread, fabric, metal, spray paint, watercolour, loose pigments and rubber membrane. For the church interior, which Jacinto first visited and explored ten years ago, she has created a fluid work specific to the space, revealing an increasingly blurred boundary between painting, sculpture and installation. In 𝘈𝘵 𝘵𝘩𝘦 𝘴𝘢𝘮𝘦 𝘵𝘪𝘮𝘦, Luísa Jacinto invites the audience to engage in a play of observation, perception and attention in order to explore new frontiers of seeing. The exhibition is curated by Guido Schlimbach.⁠
⁠
@jacintoluisa #luisajacinto #documentspace

DOCUMENT is delighted to participate in ARCOlisboa 2026 with a presentation of works by Dabin Ahn (b. 1988, Seoul, Korea), Luísa Jacinto (b. 1984, Lisbon, Portugal), and Pedro Vaz (b. 1977, Maputo, Mozambique). Our booth will be shared with ACKERMAN CLARKE (Chicago).⁠
⁠
ARCOlisboa⁠
May 28–31, 2026⁠
Cordoaria Nacional, Lisbon, Portugal⁠
General Programme | Booth E05⁠
⁠
@feriaarco @ackerman.clarke @dabinahn #dabinahn @jacintoluisa #luisajacinto @pedro__vaz #pedrovaz #arcolisboa #documentspace @the_adaa

DOCUMENT is delighted to participate in ARCOlisboa 2026 with a presentation of works by Dabin Ahn (b. 1988, Seoul, Korea), Luísa Jacinto (b. 1984, Lisbon, Portugal), and Pedro Vaz (b. 1977, Maputo, Mozambique). Our booth will be shared with ACKERMAN CLARKE (Chicago).⁠
⁠
ARCOlisboa⁠
May 28–31, 2026⁠
Cordoaria Nacional, Lisbon, Portugal⁠
General Programme | Booth E05⁠
⁠
@feriaarco @ackerman.clarke @dabinahn #dabinahn @jacintoluisa #luisajacinto @pedro__vaz #pedrovaz #arcolisboa #documentspace @the_adaa

DOCUMENT is delighted to participate in ARCOlisboa 2026 with a presentation of works by Dabin Ahn (b. 1988, Seoul, Korea), Luísa Jacinto (b. 1984, Lisbon, Portugal), and Pedro Vaz (b. 1977, Maputo, Mozambique). Our booth will be shared with ACKERMAN CLARKE (Chicago).⁠
⁠
ARCOlisboa⁠
May 28–31, 2026⁠
Cordoaria Nacional, Lisbon, Portugal⁠
General Programme | Booth E05⁠
⁠
@feriaarco @ackerman.clarke @dabinahn #dabinahn @jacintoluisa #luisajacinto @pedro__vaz #pedrovaz #arcolisboa #documentspace @the_adaa

Gordon Hall is one of the artists featured in Queer Art, a commanding compendium of LGBTQIA+ art that highlights its ongoing resilience from the 19th century to the present day, recently published by Thames & Hudson. Painting a rich picture of LGBTQIA+ visual culture, authors Mollie E. Barnes and Gemma Rolls-Bentley expertly explore how resilience has shaped artistic expression, unpacking the key concerns of queer art as they relate to the work of artists such as Keith Haring, Bhupen Khakhar, Hélio Oiticica, Catherine Opie, Lotte Laserstein and Xiyadie. ⁠By carefully curating a selection of both historical figures and contemporary practitioners, Barnes and Rolls-Bentley traverse the past and present to reflect on covert histories whilst imagining radical futures in which art not only reflects but shapes social norms.⁠
⁠
@gordon_hall_@mollieebarnes @gemmarollsbentley @thamesandhudson⁠
#gordonhall #documentspace

Gordon Hall is one of the artists featured in Queer Art, a commanding compendium of LGBTQIA+ art that highlights its ongoing resilience from the 19th century to the present day, recently published by Thames & Hudson. Painting a rich picture of LGBTQIA+ visual culture, authors Mollie E. Barnes and Gemma Rolls-Bentley expertly explore how resilience has shaped artistic expression, unpacking the key concerns of queer art as they relate to the work of artists such as Keith Haring, Bhupen Khakhar, Hélio Oiticica, Catherine Opie, Lotte Laserstein and Xiyadie. ⁠By carefully curating a selection of both historical figures and contemporary practitioners, Barnes and Rolls-Bentley traverse the past and present to reflect on covert histories whilst imagining radical futures in which art not only reflects but shapes social norms.⁠
⁠
@gordon_hall_@mollieebarnes @gemmarollsbentley @thamesandhudson⁠
#gordonhall #documentspace

Gordon Hall is one of the artists featured in Queer Art, a commanding compendium of LGBTQIA+ art that highlights its ongoing resilience from the 19th century to the present day, recently published by Thames & Hudson. Painting a rich picture of LGBTQIA+ visual culture, authors Mollie E. Barnes and Gemma Rolls-Bentley expertly explore how resilience has shaped artistic expression, unpacking the key concerns of queer art as they relate to the work of artists such as Keith Haring, Bhupen Khakhar, Hélio Oiticica, Catherine Opie, Lotte Laserstein and Xiyadie. ⁠By carefully curating a selection of both historical figures and contemporary practitioners, Barnes and Rolls-Bentley traverse the past and present to reflect on covert histories whilst imagining radical futures in which art not only reflects but shapes social norms.⁠
⁠
@gordon_hall_@mollieebarnes @gemmarollsbentley @thamesandhudson⁠
#gordonhall #documentspace

Currently on view through June 13, The Kitchen presents 𝘜𝘱𝘰𝘯 𝘢 𝘔𝘢𝘤𝘩𝘪𝘯𝘦, a newly commissioned project by Tromarama, the Indonesian art collective founded in 2006 by Febie Babyrose, Herbert Hans, and Ruddy Hatumena. Departing from earlier works that mined social media data, Tromarama has developed a new work using context conditioning to an AI model, fed with their personal literary and music archives. This more intimate dataset becomes a lens through which the artists examine how personal and social histories are reinterpreted and remixed by generative technologies.⁠
⁠
Two literary and cultural references anchor the project: 𝘛𝘩𝘦 𝘓𝘪𝘧𝘦 𝘢𝘯𝘥 𝘛𝘪𝘮𝘦𝘴 𝘰𝘧 𝘚𝘤𝘳𝘰𝘰𝘨𝘦 𝘔𝘤𝘋𝘶𝘤𝘬 (1992–94) by Don Rosa, a serialized comic tracing capital accumulation through nostalgia, and 𝘏𝘰𝘸 𝘵𝘰 𝘙𝘦𝘢𝘥 𝘋𝘰𝘯𝘢𝘭𝘥 𝘋𝘶𝘤𝘬: 𝘐𝘮𝘱𝘦𝘳𝘪𝘢𝘭𝘪𝘴𝘵 𝘐𝘥𝘦𝘰𝘭𝘰𝘨𝘺 𝘪𝘯 𝘵𝘩𝘦 𝘋𝘪𝘴𝘯𝘦𝘺 𝘊𝘰𝘮𝘪𝘤 (1971), a pioneering Marxist critique by Ariel Dorfman and Armand Mattelart. By bringing these works into dialogue, Tromarama examines how global pop culture constructs myths of wealth, labor, and aspiration within postcolonial and rapidly digitizing economies. These texts appear in the installation as karaoke-style video paired with a sound composition that reinterprets Disney’s 1940 anthem, “When You Wish Upon a Star.” Played on recorders and integrated into the sculptural installation, the sonic abstraction of the iconic melody activate the space during the exhibition and in a series of live events, offering audiences shared moments of participation and reflection.⁠
⁠
Live performances will activate the installation throughout the exhibition run, featuring different singers, musicians, and dancers (gospel, opera, jazz, and tap) who improvise in response to AI-generated prompts on May 15 and June 12 at 8pm.⁠
⁠
Tromarama: 𝘜𝘱𝘰𝘯 𝘢 𝘔𝘢𝘤𝘩𝘪𝘯𝘦, installation views at The Kitchen at Westbeth, New York, NY, 2026. Photos: Ruddy Hatumena.⁠
⁠
@tromarama #tromarama @thekitchen_nyc @farrerobyn #documentspace

Currently on view through June 13, The Kitchen presents 𝘜𝘱𝘰𝘯 𝘢 𝘔𝘢𝘤𝘩𝘪𝘯𝘦, a newly commissioned project by Tromarama, the Indonesian art collective founded in 2006 by Febie Babyrose, Herbert Hans, and Ruddy Hatumena. Departing from earlier works that mined social media data, Tromarama has developed a new work using context conditioning to an AI model, fed with their personal literary and music archives. This more intimate dataset becomes a lens through which the artists examine how personal and social histories are reinterpreted and remixed by generative technologies.⁠
⁠
Two literary and cultural references anchor the project: 𝘛𝘩𝘦 𝘓𝘪𝘧𝘦 𝘢𝘯𝘥 𝘛𝘪𝘮𝘦𝘴 𝘰𝘧 𝘚𝘤𝘳𝘰𝘰𝘨𝘦 𝘔𝘤𝘋𝘶𝘤𝘬 (1992–94) by Don Rosa, a serialized comic tracing capital accumulation through nostalgia, and 𝘏𝘰𝘸 𝘵𝘰 𝘙𝘦𝘢𝘥 𝘋𝘰𝘯𝘢𝘭𝘥 𝘋𝘶𝘤𝘬: 𝘐𝘮𝘱𝘦𝘳𝘪𝘢𝘭𝘪𝘴𝘵 𝘐𝘥𝘦𝘰𝘭𝘰𝘨𝘺 𝘪𝘯 𝘵𝘩𝘦 𝘋𝘪𝘴𝘯𝘦𝘺 𝘊𝘰𝘮𝘪𝘤 (1971), a pioneering Marxist critique by Ariel Dorfman and Armand Mattelart. By bringing these works into dialogue, Tromarama examines how global pop culture constructs myths of wealth, labor, and aspiration within postcolonial and rapidly digitizing economies. These texts appear in the installation as karaoke-style video paired with a sound composition that reinterprets Disney’s 1940 anthem, “When You Wish Upon a Star.” Played on recorders and integrated into the sculptural installation, the sonic abstraction of the iconic melody activate the space during the exhibition and in a series of live events, offering audiences shared moments of participation and reflection.⁠
⁠
Live performances will activate the installation throughout the exhibition run, featuring different singers, musicians, and dancers (gospel, opera, jazz, and tap) who improvise in response to AI-generated prompts on May 15 and June 12 at 8pm.⁠
⁠
Tromarama: 𝘜𝘱𝘰𝘯 𝘢 𝘔𝘢𝘤𝘩𝘪𝘯𝘦, installation views at The Kitchen at Westbeth, New York, NY, 2026. Photos: Ruddy Hatumena.⁠
⁠
@tromarama #tromarama @thekitchen_nyc @farrerobyn #documentspace

Currently on view through June 13, The Kitchen presents 𝘜𝘱𝘰𝘯 𝘢 𝘔𝘢𝘤𝘩𝘪𝘯𝘦, a newly commissioned project by Tromarama, the Indonesian art collective founded in 2006 by Febie Babyrose, Herbert Hans, and Ruddy Hatumena. Departing from earlier works that mined social media data, Tromarama has developed a new work using context conditioning to an AI model, fed with their personal literary and music archives. This more intimate dataset becomes a lens through which the artists examine how personal and social histories are reinterpreted and remixed by generative technologies.⁠
⁠
Two literary and cultural references anchor the project: 𝘛𝘩𝘦 𝘓𝘪𝘧𝘦 𝘢𝘯𝘥 𝘛𝘪𝘮𝘦𝘴 𝘰𝘧 𝘚𝘤𝘳𝘰𝘰𝘨𝘦 𝘔𝘤𝘋𝘶𝘤𝘬 (1992–94) by Don Rosa, a serialized comic tracing capital accumulation through nostalgia, and 𝘏𝘰𝘸 𝘵𝘰 𝘙𝘦𝘢𝘥 𝘋𝘰𝘯𝘢𝘭𝘥 𝘋𝘶𝘤𝘬: 𝘐𝘮𝘱𝘦𝘳𝘪𝘢𝘭𝘪𝘴𝘵 𝘐𝘥𝘦𝘰𝘭𝘰𝘨𝘺 𝘪𝘯 𝘵𝘩𝘦 𝘋𝘪𝘴𝘯𝘦𝘺 𝘊𝘰𝘮𝘪𝘤 (1971), a pioneering Marxist critique by Ariel Dorfman and Armand Mattelart. By bringing these works into dialogue, Tromarama examines how global pop culture constructs myths of wealth, labor, and aspiration within postcolonial and rapidly digitizing economies. These texts appear in the installation as karaoke-style video paired with a sound composition that reinterprets Disney’s 1940 anthem, “When You Wish Upon a Star.” Played on recorders and integrated into the sculptural installation, the sonic abstraction of the iconic melody activate the space during the exhibition and in a series of live events, offering audiences shared moments of participation and reflection.⁠
⁠
Live performances will activate the installation throughout the exhibition run, featuring different singers, musicians, and dancers (gospel, opera, jazz, and tap) who improvise in response to AI-generated prompts on May 15 and June 12 at 8pm.⁠
⁠
Tromarama: 𝘜𝘱𝘰𝘯 𝘢 𝘔𝘢𝘤𝘩𝘪𝘯𝘦, installation views at The Kitchen at Westbeth, New York, NY, 2026. Photos: Ruddy Hatumena.⁠
⁠
@tromarama #tromarama @thekitchen_nyc @farrerobyn #documentspace

Currently on view through June 13, The Kitchen presents 𝘜𝘱𝘰𝘯 𝘢 𝘔𝘢𝘤𝘩𝘪𝘯𝘦, a newly commissioned project by Tromarama, the Indonesian art collective founded in 2006 by Febie Babyrose, Herbert Hans, and Ruddy Hatumena. Departing from earlier works that mined social media data, Tromarama has developed a new work using context conditioning to an AI model, fed with their personal literary and music archives. This more intimate dataset becomes a lens through which the artists examine how personal and social histories are reinterpreted and remixed by generative technologies.⁠
⁠
Two literary and cultural references anchor the project: 𝘛𝘩𝘦 𝘓𝘪𝘧𝘦 𝘢𝘯𝘥 𝘛𝘪𝘮𝘦𝘴 𝘰𝘧 𝘚𝘤𝘳𝘰𝘰𝘨𝘦 𝘔𝘤𝘋𝘶𝘤𝘬 (1992–94) by Don Rosa, a serialized comic tracing capital accumulation through nostalgia, and 𝘏𝘰𝘸 𝘵𝘰 𝘙𝘦𝘢𝘥 𝘋𝘰𝘯𝘢𝘭𝘥 𝘋𝘶𝘤𝘬: 𝘐𝘮𝘱𝘦𝘳𝘪𝘢𝘭𝘪𝘴𝘵 𝘐𝘥𝘦𝘰𝘭𝘰𝘨𝘺 𝘪𝘯 𝘵𝘩𝘦 𝘋𝘪𝘴𝘯𝘦𝘺 𝘊𝘰𝘮𝘪𝘤 (1971), a pioneering Marxist critique by Ariel Dorfman and Armand Mattelart. By bringing these works into dialogue, Tromarama examines how global pop culture constructs myths of wealth, labor, and aspiration within postcolonial and rapidly digitizing economies. These texts appear in the installation as karaoke-style video paired with a sound composition that reinterprets Disney’s 1940 anthem, “When You Wish Upon a Star.” Played on recorders and integrated into the sculptural installation, the sonic abstraction of the iconic melody activate the space during the exhibition and in a series of live events, offering audiences shared moments of participation and reflection.⁠
⁠
Live performances will activate the installation throughout the exhibition run, featuring different singers, musicians, and dancers (gospel, opera, jazz, and tap) who improvise in response to AI-generated prompts on May 15 and June 12 at 8pm.⁠
⁠
Tromarama: 𝘜𝘱𝘰𝘯 𝘢 𝘔𝘢𝘤𝘩𝘪𝘯𝘦, installation views at The Kitchen at Westbeth, New York, NY, 2026. Photos: Ruddy Hatumena.⁠
⁠
@tromarama #tromarama @thekitchen_nyc @farrerobyn #documentspace

Currently on view through June 13, The Kitchen presents 𝘜𝘱𝘰𝘯 𝘢 𝘔𝘢𝘤𝘩𝘪𝘯𝘦, a newly commissioned project by Tromarama, the Indonesian art collective founded in 2006 by Febie Babyrose, Herbert Hans, and Ruddy Hatumena. Departing from earlier works that mined social media data, Tromarama has developed a new work using context conditioning to an AI model, fed with their personal literary and music archives. This more intimate dataset becomes a lens through which the artists examine how personal and social histories are reinterpreted and remixed by generative technologies.⁠
⁠
Two literary and cultural references anchor the project: 𝘛𝘩𝘦 𝘓𝘪𝘧𝘦 𝘢𝘯𝘥 𝘛𝘪𝘮𝘦𝘴 𝘰𝘧 𝘚𝘤𝘳𝘰𝘰𝘨𝘦 𝘔𝘤𝘋𝘶𝘤𝘬 (1992–94) by Don Rosa, a serialized comic tracing capital accumulation through nostalgia, and 𝘏𝘰𝘸 𝘵𝘰 𝘙𝘦𝘢𝘥 𝘋𝘰𝘯𝘢𝘭𝘥 𝘋𝘶𝘤𝘬: 𝘐𝘮𝘱𝘦𝘳𝘪𝘢𝘭𝘪𝘴𝘵 𝘐𝘥𝘦𝘰𝘭𝘰𝘨𝘺 𝘪𝘯 𝘵𝘩𝘦 𝘋𝘪𝘴𝘯𝘦𝘺 𝘊𝘰𝘮𝘪𝘤 (1971), a pioneering Marxist critique by Ariel Dorfman and Armand Mattelart. By bringing these works into dialogue, Tromarama examines how global pop culture constructs myths of wealth, labor, and aspiration within postcolonial and rapidly digitizing economies. These texts appear in the installation as karaoke-style video paired with a sound composition that reinterprets Disney’s 1940 anthem, “When You Wish Upon a Star.” Played on recorders and integrated into the sculptural installation, the sonic abstraction of the iconic melody activate the space during the exhibition and in a series of live events, offering audiences shared moments of participation and reflection.⁠
⁠
Live performances will activate the installation throughout the exhibition run, featuring different singers, musicians, and dancers (gospel, opera, jazz, and tap) who improvise in response to AI-generated prompts on May 15 and June 12 at 8pm.⁠
⁠
Tromarama: 𝘜𝘱𝘰𝘯 𝘢 𝘔𝘢𝘤𝘩𝘪𝘯𝘦, installation views at The Kitchen at Westbeth, New York, NY, 2026. Photos: Ruddy Hatumena.⁠
⁠
@tromarama #tromarama @thekitchen_nyc @farrerobyn #documentspace

Currently on view through June 13, The Kitchen presents 𝘜𝘱𝘰𝘯 𝘢 𝘔𝘢𝘤𝘩𝘪𝘯𝘦, a newly commissioned project by Tromarama, the Indonesian art collective founded in 2006 by Febie Babyrose, Herbert Hans, and Ruddy Hatumena. Departing from earlier works that mined social media data, Tromarama has developed a new work using context conditioning to an AI model, fed with their personal literary and music archives. This more intimate dataset becomes a lens through which the artists examine how personal and social histories are reinterpreted and remixed by generative technologies.⁠
⁠
Two literary and cultural references anchor the project: 𝘛𝘩𝘦 𝘓𝘪𝘧𝘦 𝘢𝘯𝘥 𝘛𝘪𝘮𝘦𝘴 𝘰𝘧 𝘚𝘤𝘳𝘰𝘰𝘨𝘦 𝘔𝘤𝘋𝘶𝘤𝘬 (1992–94) by Don Rosa, a serialized comic tracing capital accumulation through nostalgia, and 𝘏𝘰𝘸 𝘵𝘰 𝘙𝘦𝘢𝘥 𝘋𝘰𝘯𝘢𝘭𝘥 𝘋𝘶𝘤𝘬: 𝘐𝘮𝘱𝘦𝘳𝘪𝘢𝘭𝘪𝘴𝘵 𝘐𝘥𝘦𝘰𝘭𝘰𝘨𝘺 𝘪𝘯 𝘵𝘩𝘦 𝘋𝘪𝘴𝘯𝘦𝘺 𝘊𝘰𝘮𝘪𝘤 (1971), a pioneering Marxist critique by Ariel Dorfman and Armand Mattelart. By bringing these works into dialogue, Tromarama examines how global pop culture constructs myths of wealth, labor, and aspiration within postcolonial and rapidly digitizing economies. These texts appear in the installation as karaoke-style video paired with a sound composition that reinterprets Disney’s 1940 anthem, “When You Wish Upon a Star.” Played on recorders and integrated into the sculptural installation, the sonic abstraction of the iconic melody activate the space during the exhibition and in a series of live events, offering audiences shared moments of participation and reflection.⁠
⁠
Live performances will activate the installation throughout the exhibition run, featuring different singers, musicians, and dancers (gospel, opera, jazz, and tap) who improvise in response to AI-generated prompts on May 15 and June 12 at 8pm.⁠
⁠
Tromarama: 𝘜𝘱𝘰𝘯 𝘢 𝘔𝘢𝘤𝘩𝘪𝘯𝘦, installation views at The Kitchen at Westbeth, New York, NY, 2026. Photos: Ruddy Hatumena.⁠
⁠
@tromarama #tromarama @thekitchen_nyc @farrerobyn #documentspace

Currently on view through June 13, The Kitchen presents 𝘜𝘱𝘰𝘯 𝘢 𝘔𝘢𝘤𝘩𝘪𝘯𝘦, a newly commissioned project by Tromarama, the Indonesian art collective founded in 2006 by Febie Babyrose, Herbert Hans, and Ruddy Hatumena. Departing from earlier works that mined social media data, Tromarama has developed a new work using context conditioning to an AI model, fed with their personal literary and music archives. This more intimate dataset becomes a lens through which the artists examine how personal and social histories are reinterpreted and remixed by generative technologies.⁠
⁠
Two literary and cultural references anchor the project: 𝘛𝘩𝘦 𝘓𝘪𝘧𝘦 𝘢𝘯𝘥 𝘛𝘪𝘮𝘦𝘴 𝘰𝘧 𝘚𝘤𝘳𝘰𝘰𝘨𝘦 𝘔𝘤𝘋𝘶𝘤𝘬 (1992–94) by Don Rosa, a serialized comic tracing capital accumulation through nostalgia, and 𝘏𝘰𝘸 𝘵𝘰 𝘙𝘦𝘢𝘥 𝘋𝘰𝘯𝘢𝘭𝘥 𝘋𝘶𝘤𝘬: 𝘐𝘮𝘱𝘦𝘳𝘪𝘢𝘭𝘪𝘴𝘵 𝘐𝘥𝘦𝘰𝘭𝘰𝘨𝘺 𝘪𝘯 𝘵𝘩𝘦 𝘋𝘪𝘴𝘯𝘦𝘺 𝘊𝘰𝘮𝘪𝘤 (1971), a pioneering Marxist critique by Ariel Dorfman and Armand Mattelart. By bringing these works into dialogue, Tromarama examines how global pop culture constructs myths of wealth, labor, and aspiration within postcolonial and rapidly digitizing economies. These texts appear in the installation as karaoke-style video paired with a sound composition that reinterprets Disney’s 1940 anthem, “When You Wish Upon a Star.” Played on recorders and integrated into the sculptural installation, the sonic abstraction of the iconic melody activate the space during the exhibition and in a series of live events, offering audiences shared moments of participation and reflection.⁠
⁠
Live performances will activate the installation throughout the exhibition run, featuring different singers, musicians, and dancers (gospel, opera, jazz, and tap) who improvise in response to AI-generated prompts on May 15 and June 12 at 8pm.⁠
⁠
Tromarama: 𝘜𝘱𝘰𝘯 𝘢 𝘔𝘢𝘤𝘩𝘪𝘯𝘦, installation views at The Kitchen at Westbeth, New York, NY, 2026. Photos: Ruddy Hatumena.⁠
⁠
@tromarama #tromarama @thekitchen_nyc @farrerobyn #documentspace

Currently on view through June 13, The Kitchen presents 𝘜𝘱𝘰𝘯 𝘢 𝘔𝘢𝘤𝘩𝘪𝘯𝘦, a newly commissioned project by Tromarama, the Indonesian art collective founded in 2006 by Febie Babyrose, Herbert Hans, and Ruddy Hatumena. Departing from earlier works that mined social media data, Tromarama has developed a new work using context conditioning to an AI model, fed with their personal literary and music archives. This more intimate dataset becomes a lens through which the artists examine how personal and social histories are reinterpreted and remixed by generative technologies.⁠
⁠
Two literary and cultural references anchor the project: 𝘛𝘩𝘦 𝘓𝘪𝘧𝘦 𝘢𝘯𝘥 𝘛𝘪𝘮𝘦𝘴 𝘰𝘧 𝘚𝘤𝘳𝘰𝘰𝘨𝘦 𝘔𝘤𝘋𝘶𝘤𝘬 (1992–94) by Don Rosa, a serialized comic tracing capital accumulation through nostalgia, and 𝘏𝘰𝘸 𝘵𝘰 𝘙𝘦𝘢𝘥 𝘋𝘰𝘯𝘢𝘭𝘥 𝘋𝘶𝘤𝘬: 𝘐𝘮𝘱𝘦𝘳𝘪𝘢𝘭𝘪𝘴𝘵 𝘐𝘥𝘦𝘰𝘭𝘰𝘨𝘺 𝘪𝘯 𝘵𝘩𝘦 𝘋𝘪𝘴𝘯𝘦𝘺 𝘊𝘰𝘮𝘪𝘤 (1971), a pioneering Marxist critique by Ariel Dorfman and Armand Mattelart. By bringing these works into dialogue, Tromarama examines how global pop culture constructs myths of wealth, labor, and aspiration within postcolonial and rapidly digitizing economies. These texts appear in the installation as karaoke-style video paired with a sound composition that reinterprets Disney’s 1940 anthem, “When You Wish Upon a Star.” Played on recorders and integrated into the sculptural installation, the sonic abstraction of the iconic melody activate the space during the exhibition and in a series of live events, offering audiences shared moments of participation and reflection.⁠
⁠
Live performances will activate the installation throughout the exhibition run, featuring different singers, musicians, and dancers (gospel, opera, jazz, and tap) who improvise in response to AI-generated prompts on May 15 and June 12 at 8pm.⁠
⁠
Tromarama: 𝘜𝘱𝘰𝘯 𝘢 𝘔𝘢𝘤𝘩𝘪𝘯𝘦, installation views at The Kitchen at Westbeth, New York, NY, 2026. Photos: Ruddy Hatumena.⁠
⁠
@tromarama #tromarama @thekitchen_nyc @farrerobyn #documentspace

Currently on view through June 13, The Kitchen presents 𝘜𝘱𝘰𝘯 𝘢 𝘔𝘢𝘤𝘩𝘪𝘯𝘦, a newly commissioned project by Tromarama, the Indonesian art collective founded in 2006 by Febie Babyrose, Herbert Hans, and Ruddy Hatumena. Departing from earlier works that mined social media data, Tromarama has developed a new work using context conditioning to an AI model, fed with their personal literary and music archives. This more intimate dataset becomes a lens through which the artists examine how personal and social histories are reinterpreted and remixed by generative technologies.⁠
⁠
Two literary and cultural references anchor the project: 𝘛𝘩𝘦 𝘓𝘪𝘧𝘦 𝘢𝘯𝘥 𝘛𝘪𝘮𝘦𝘴 𝘰𝘧 𝘚𝘤𝘳𝘰𝘰𝘨𝘦 𝘔𝘤𝘋𝘶𝘤𝘬 (1992–94) by Don Rosa, a serialized comic tracing capital accumulation through nostalgia, and 𝘏𝘰𝘸 𝘵𝘰 𝘙𝘦𝘢𝘥 𝘋𝘰𝘯𝘢𝘭𝘥 𝘋𝘶𝘤𝘬: 𝘐𝘮𝘱𝘦𝘳𝘪𝘢𝘭𝘪𝘴𝘵 𝘐𝘥𝘦𝘰𝘭𝘰𝘨𝘺 𝘪𝘯 𝘵𝘩𝘦 𝘋𝘪𝘴𝘯𝘦𝘺 𝘊𝘰𝘮𝘪𝘤 (1971), a pioneering Marxist critique by Ariel Dorfman and Armand Mattelart. By bringing these works into dialogue, Tromarama examines how global pop culture constructs myths of wealth, labor, and aspiration within postcolonial and rapidly digitizing economies. These texts appear in the installation as karaoke-style video paired with a sound composition that reinterprets Disney’s 1940 anthem, “When You Wish Upon a Star.” Played on recorders and integrated into the sculptural installation, the sonic abstraction of the iconic melody activate the space during the exhibition and in a series of live events, offering audiences shared moments of participation and reflection.⁠
⁠
Live performances will activate the installation throughout the exhibition run, featuring different singers, musicians, and dancers (gospel, opera, jazz, and tap) who improvise in response to AI-generated prompts on May 15 and June 12 at 8pm.⁠
⁠
Tromarama: 𝘜𝘱𝘰𝘯 𝘢 𝘔𝘢𝘤𝘩𝘪𝘯𝘦, installation views at The Kitchen at Westbeth, New York, NY, 2026. Photos: Ruddy Hatumena.⁠
⁠
@tromarama #tromarama @thekitchen_nyc @farrerobyn #documentspace

Currently on view through June 13, The Kitchen presents 𝘜𝘱𝘰𝘯 𝘢 𝘔𝘢𝘤𝘩𝘪𝘯𝘦, a newly commissioned project by Tromarama, the Indonesian art collective founded in 2006 by Febie Babyrose, Herbert Hans, and Ruddy Hatumena. Departing from earlier works that mined social media data, Tromarama has developed a new work using context conditioning to an AI model, fed with their personal literary and music archives. This more intimate dataset becomes a lens through which the artists examine how personal and social histories are reinterpreted and remixed by generative technologies.⁠
⁠
Two literary and cultural references anchor the project: 𝘛𝘩𝘦 𝘓𝘪𝘧𝘦 𝘢𝘯𝘥 𝘛𝘪𝘮𝘦𝘴 𝘰𝘧 𝘚𝘤𝘳𝘰𝘰𝘨𝘦 𝘔𝘤𝘋𝘶𝘤𝘬 (1992–94) by Don Rosa, a serialized comic tracing capital accumulation through nostalgia, and 𝘏𝘰𝘸 𝘵𝘰 𝘙𝘦𝘢𝘥 𝘋𝘰𝘯𝘢𝘭𝘥 𝘋𝘶𝘤𝘬: 𝘐𝘮𝘱𝘦𝘳𝘪𝘢𝘭𝘪𝘴𝘵 𝘐𝘥𝘦𝘰𝘭𝘰𝘨𝘺 𝘪𝘯 𝘵𝘩𝘦 𝘋𝘪𝘴𝘯𝘦𝘺 𝘊𝘰𝘮𝘪𝘤 (1971), a pioneering Marxist critique by Ariel Dorfman and Armand Mattelart. By bringing these works into dialogue, Tromarama examines how global pop culture constructs myths of wealth, labor, and aspiration within postcolonial and rapidly digitizing economies. These texts appear in the installation as karaoke-style video paired with a sound composition that reinterprets Disney’s 1940 anthem, “When You Wish Upon a Star.” Played on recorders and integrated into the sculptural installation, the sonic abstraction of the iconic melody activate the space during the exhibition and in a series of live events, offering audiences shared moments of participation and reflection.⁠
⁠
Live performances will activate the installation throughout the exhibition run, featuring different singers, musicians, and dancers (gospel, opera, jazz, and tap) who improvise in response to AI-generated prompts on May 15 and June 12 at 8pm.⁠
⁠
Tromarama: 𝘜𝘱𝘰𝘯 𝘢 𝘔𝘢𝘤𝘩𝘪𝘯𝘦, installation views at The Kitchen at Westbeth, New York, NY, 2026. Photos: Ruddy Hatumena.⁠
⁠
@tromarama #tromarama @thekitchen_nyc @farrerobyn #documentspace

𝘍𝘰𝘤𝘶𝘴. 𝘋𝘦𝘴𝘪𝘳𝘦., Paul Mpagi Sepuya's first major solo exhibition in Switzerland, is currently on view at Fotomuseum Winterthur through June 14, 2026. Bringing together both early and recent work, the exhibition unfolds across three spaces that carry both literal and metaphorical significance: Studio, Archive, and Dark Room. The exhibition is organized in collaboration with Sprengel Museum Hannover—where it will travel to from July 1 through October 4, 2026—and is co-curated by Christopher A. Nixon for Fotomuseum Winterthur.⁠
⁠
Paul Mpagi Sepuya, 𝘍𝘰𝘤𝘶𝘴. 𝘋𝘦𝘴𝘪𝘳𝘦., installation views at Fotomuseum Winterthur, Switzerland, 2026. Photo: Conradin Frei.⁠
⁠
@pagmi #paulmpagisepuya #paulsepuya @foto_museum #documentspace

𝘍𝘰𝘤𝘶𝘴. 𝘋𝘦𝘴𝘪𝘳𝘦., Paul Mpagi Sepuya's first major solo exhibition in Switzerland, is currently on view at Fotomuseum Winterthur through June 14, 2026. Bringing together both early and recent work, the exhibition unfolds across three spaces that carry both literal and metaphorical significance: Studio, Archive, and Dark Room. The exhibition is organized in collaboration with Sprengel Museum Hannover—where it will travel to from July 1 through October 4, 2026—and is co-curated by Christopher A. Nixon for Fotomuseum Winterthur.⁠
⁠
Paul Mpagi Sepuya, 𝘍𝘰𝘤𝘶𝘴. 𝘋𝘦𝘴𝘪𝘳𝘦., installation views at Fotomuseum Winterthur, Switzerland, 2026. Photo: Conradin Frei.⁠
⁠
@pagmi #paulmpagisepuya #paulsepuya @foto_museum #documentspace

𝘍𝘰𝘤𝘶𝘴. 𝘋𝘦𝘴𝘪𝘳𝘦., Paul Mpagi Sepuya's first major solo exhibition in Switzerland, is currently on view at Fotomuseum Winterthur through June 14, 2026. Bringing together both early and recent work, the exhibition unfolds across three spaces that carry both literal and metaphorical significance: Studio, Archive, and Dark Room. The exhibition is organized in collaboration with Sprengel Museum Hannover—where it will travel to from July 1 through October 4, 2026—and is co-curated by Christopher A. Nixon for Fotomuseum Winterthur.⁠
⁠
Paul Mpagi Sepuya, 𝘍𝘰𝘤𝘶𝘴. 𝘋𝘦𝘴𝘪𝘳𝘦., installation views at Fotomuseum Winterthur, Switzerland, 2026. Photo: Conradin Frei.⁠
⁠
@pagmi #paulmpagisepuya #paulsepuya @foto_museum #documentspace

𝘍𝘰𝘤𝘶𝘴. 𝘋𝘦𝘴𝘪𝘳𝘦., Paul Mpagi Sepuya's first major solo exhibition in Switzerland, is currently on view at Fotomuseum Winterthur through June 14, 2026. Bringing together both early and recent work, the exhibition unfolds across three spaces that carry both literal and metaphorical significance: Studio, Archive, and Dark Room. The exhibition is organized in collaboration with Sprengel Museum Hannover—where it will travel to from July 1 through October 4, 2026—and is co-curated by Christopher A. Nixon for Fotomuseum Winterthur.⁠
⁠
Paul Mpagi Sepuya, 𝘍𝘰𝘤𝘶𝘴. 𝘋𝘦𝘴𝘪𝘳𝘦., installation views at Fotomuseum Winterthur, Switzerland, 2026. Photo: Conradin Frei.⁠
⁠
@pagmi #paulmpagisepuya #paulsepuya @foto_museum #documentspace

𝘍𝘰𝘤𝘶𝘴. 𝘋𝘦𝘴𝘪𝘳𝘦., Paul Mpagi Sepuya's first major solo exhibition in Switzerland, is currently on view at Fotomuseum Winterthur through June 14, 2026. Bringing together both early and recent work, the exhibition unfolds across three spaces that carry both literal and metaphorical significance: Studio, Archive, and Dark Room. The exhibition is organized in collaboration with Sprengel Museum Hannover—where it will travel to from July 1 through October 4, 2026—and is co-curated by Christopher A. Nixon for Fotomuseum Winterthur.⁠
⁠
Paul Mpagi Sepuya, 𝘍𝘰𝘤𝘶𝘴. 𝘋𝘦𝘴𝘪𝘳𝘦., installation views at Fotomuseum Winterthur, Switzerland, 2026. Photo: Conradin Frei.⁠
⁠
@pagmi #paulmpagisepuya #paulsepuya @foto_museum #documentspace

𝘍𝘰𝘤𝘶𝘴. 𝘋𝘦𝘴𝘪𝘳𝘦., Paul Mpagi Sepuya's first major solo exhibition in Switzerland, is currently on view at Fotomuseum Winterthur through June 14, 2026. Bringing together both early and recent work, the exhibition unfolds across three spaces that carry both literal and metaphorical significance: Studio, Archive, and Dark Room. The exhibition is organized in collaboration with Sprengel Museum Hannover—where it will travel to from July 1 through October 4, 2026—and is co-curated by Christopher A. Nixon for Fotomuseum Winterthur.⁠
⁠
Paul Mpagi Sepuya, 𝘍𝘰𝘤𝘶𝘴. 𝘋𝘦𝘴𝘪𝘳𝘦., installation views at Fotomuseum Winterthur, Switzerland, 2026. Photo: Conradin Frei.⁠
⁠
@pagmi #paulmpagisepuya #paulsepuya @foto_museum #documentspace

𝘍𝘰𝘤𝘶𝘴. 𝘋𝘦𝘴𝘪𝘳𝘦., Paul Mpagi Sepuya's first major solo exhibition in Switzerland, is currently on view at Fotomuseum Winterthur through June 14, 2026. Bringing together both early and recent work, the exhibition unfolds across three spaces that carry both literal and metaphorical significance: Studio, Archive, and Dark Room. The exhibition is organized in collaboration with Sprengel Museum Hannover—where it will travel to from July 1 through October 4, 2026—and is co-curated by Christopher A. Nixon for Fotomuseum Winterthur.⁠
⁠
Paul Mpagi Sepuya, 𝘍𝘰𝘤𝘶𝘴. 𝘋𝘦𝘴𝘪𝘳𝘦., installation views at Fotomuseum Winterthur, Switzerland, 2026. Photo: Conradin Frei.⁠
⁠
@pagmi #paulmpagisepuya #paulsepuya @foto_museum #documentspace

𝘍𝘰𝘤𝘶𝘴. 𝘋𝘦𝘴𝘪𝘳𝘦., Paul Mpagi Sepuya's first major solo exhibition in Switzerland, is currently on view at Fotomuseum Winterthur through June 14, 2026. Bringing together both early and recent work, the exhibition unfolds across three spaces that carry both literal and metaphorical significance: Studio, Archive, and Dark Room. The exhibition is organized in collaboration with Sprengel Museum Hannover—where it will travel to from July 1 through October 4, 2026—and is co-curated by Christopher A. Nixon for Fotomuseum Winterthur.⁠
⁠
Paul Mpagi Sepuya, 𝘍𝘰𝘤𝘶𝘴. 𝘋𝘦𝘴𝘪𝘳𝘦., installation views at Fotomuseum Winterthur, Switzerland, 2026. Photo: Conradin Frei.⁠
⁠
@pagmi #paulmpagisepuya #paulsepuya @foto_museum #documentspace

𝘍𝘰𝘤𝘶𝘴. 𝘋𝘦𝘴𝘪𝘳𝘦., Paul Mpagi Sepuya's first major solo exhibition in Switzerland, is currently on view at Fotomuseum Winterthur through June 14, 2026. Bringing together both early and recent work, the exhibition unfolds across three spaces that carry both literal and metaphorical significance: Studio, Archive, and Dark Room. The exhibition is organized in collaboration with Sprengel Museum Hannover—where it will travel to from July 1 through October 4, 2026—and is co-curated by Christopher A. Nixon for Fotomuseum Winterthur.⁠
⁠
Paul Mpagi Sepuya, 𝘍𝘰𝘤𝘶𝘴. 𝘋𝘦𝘴𝘪𝘳𝘦., installation views at Fotomuseum Winterthur, Switzerland, 2026. Photo: Conradin Frei.⁠
⁠
@pagmi #paulmpagisepuya #paulsepuya @foto_museum #documentspace

𝘍𝘰𝘤𝘶𝘴. 𝘋𝘦𝘴𝘪𝘳𝘦., Paul Mpagi Sepuya's first major solo exhibition in Switzerland, is currently on view at Fotomuseum Winterthur through June 14, 2026. Bringing together both early and recent work, the exhibition unfolds across three spaces that carry both literal and metaphorical significance: Studio, Archive, and Dark Room. The exhibition is organized in collaboration with Sprengel Museum Hannover—where it will travel to from July 1 through October 4, 2026—and is co-curated by Christopher A. Nixon for Fotomuseum Winterthur.⁠
⁠
Paul Mpagi Sepuya, 𝘍𝘰𝘤𝘶𝘴. 𝘋𝘦𝘴𝘪𝘳𝘦., installation views at Fotomuseum Winterthur, Switzerland, 2026. Photo: Conradin Frei.⁠
⁠
@pagmi #paulmpagisepuya #paulsepuya @foto_museum #documentspace

CHICAGO | Dabin Ahn: 𝘕𝘰𝘤𝘵𝘶𝘳𝘯𝘦 | On view through June 6, 2026⁠
⁠
Join us at DOCUMENT Chicago to visit 𝘕𝘰𝘤𝘵𝘶𝘳𝘯𝘦, Dabin Ahn’s first solo exhibition with the gallery. Ahn creates paintings that occupy the space between image and object. Working from a vocabulary of ceramic vessels, stones, candles, and personal effects—subjects he understands as stand-ins for the self—he builds meticulously rendered scenes that draw on 20th-century painting history and Joseon dynasty porcelain traditions. He constructs his own frames and panels, shaping and painting over the canvas edge to extend each composition into physical space.⁠
⁠
@dabinahn #dabinahn #documentspace

CHICAGO | Dabin Ahn: 𝘕𝘰𝘤𝘵𝘶𝘳𝘯𝘦 | On view through June 6, 2026⁠
⁠
Join us at DOCUMENT Chicago to visit 𝘕𝘰𝘤𝘵𝘶𝘳𝘯𝘦, Dabin Ahn’s first solo exhibition with the gallery. Ahn creates paintings that occupy the space between image and object. Working from a vocabulary of ceramic vessels, stones, candles, and personal effects—subjects he understands as stand-ins for the self—he builds meticulously rendered scenes that draw on 20th-century painting history and Joseon dynasty porcelain traditions. He constructs his own frames and panels, shaping and painting over the canvas edge to extend each composition into physical space.⁠
⁠
@dabinahn #dabinahn #documentspace

CHICAGO | Dabin Ahn: 𝘕𝘰𝘤𝘵𝘶𝘳𝘯𝘦 | On view through June 6, 2026⁠
⁠
Join us at DOCUMENT Chicago to visit 𝘕𝘰𝘤𝘵𝘶𝘳𝘯𝘦, Dabin Ahn’s first solo exhibition with the gallery. Ahn creates paintings that occupy the space between image and object. Working from a vocabulary of ceramic vessels, stones, candles, and personal effects—subjects he understands as stand-ins for the self—he builds meticulously rendered scenes that draw on 20th-century painting history and Joseon dynasty porcelain traditions. He constructs his own frames and panels, shaping and painting over the canvas edge to extend each composition into physical space.⁠
⁠
@dabinahn #dabinahn #documentspace

CHICAGO | Dabin Ahn: 𝘕𝘰𝘤𝘵𝘶𝘳𝘯𝘦 | On view through June 6, 2026⁠
⁠
Join us at DOCUMENT Chicago to visit 𝘕𝘰𝘤𝘵𝘶𝘳𝘯𝘦, Dabin Ahn’s first solo exhibition with the gallery. Ahn creates paintings that occupy the space between image and object. Working from a vocabulary of ceramic vessels, stones, candles, and personal effects—subjects he understands as stand-ins for the self—he builds meticulously rendered scenes that draw on 20th-century painting history and Joseon dynasty porcelain traditions. He constructs his own frames and panels, shaping and painting over the canvas edge to extend each composition into physical space.⁠
⁠
@dabinahn #dabinahn #documentspace

CHICAGO | Dabin Ahn: 𝘕𝘰𝘤𝘵𝘶𝘳𝘯𝘦 | On view through June 6, 2026⁠
⁠
Join us at DOCUMENT Chicago to visit 𝘕𝘰𝘤𝘵𝘶𝘳𝘯𝘦, Dabin Ahn’s first solo exhibition with the gallery. Ahn creates paintings that occupy the space between image and object. Working from a vocabulary of ceramic vessels, stones, candles, and personal effects—subjects he understands as stand-ins for the self—he builds meticulously rendered scenes that draw on 20th-century painting history and Joseon dynasty porcelain traditions. He constructs his own frames and panels, shaping and painting over the canvas edge to extend each composition into physical space.⁠
⁠
@dabinahn #dabinahn #documentspace

CHICAGO | Dabin Ahn: 𝘕𝘰𝘤𝘵𝘶𝘳𝘯𝘦 | On view through June 6, 2026⁠
⁠
Join us at DOCUMENT Chicago to visit 𝘕𝘰𝘤𝘵𝘶𝘳𝘯𝘦, Dabin Ahn’s first solo exhibition with the gallery. Ahn creates paintings that occupy the space between image and object. Working from a vocabulary of ceramic vessels, stones, candles, and personal effects—subjects he understands as stand-ins for the self—he builds meticulously rendered scenes that draw on 20th-century painting history and Joseon dynasty porcelain traditions. He constructs his own frames and panels, shaping and painting over the canvas edge to extend each composition into physical space.⁠
⁠
@dabinahn #dabinahn #documentspace

CHICAGO | Dabin Ahn: 𝘕𝘰𝘤𝘵𝘶𝘳𝘯𝘦 | On view through June 6, 2026⁠
⁠
Join us at DOCUMENT Chicago to visit 𝘕𝘰𝘤𝘵𝘶𝘳𝘯𝘦, Dabin Ahn’s first solo exhibition with the gallery. Ahn creates paintings that occupy the space between image and object. Working from a vocabulary of ceramic vessels, stones, candles, and personal effects—subjects he understands as stand-ins for the self—he builds meticulously rendered scenes that draw on 20th-century painting history and Joseon dynasty porcelain traditions. He constructs his own frames and panels, shaping and painting over the canvas edge to extend each composition into physical space.⁠
⁠
@dabinahn #dabinahn #documentspace

CHICAGO | Dabin Ahn: 𝘕𝘰𝘤𝘵𝘶𝘳𝘯𝘦 | On view through June 6, 2026⁠
⁠
Join us at DOCUMENT Chicago to visit 𝘕𝘰𝘤𝘵𝘶𝘳𝘯𝘦, Dabin Ahn’s first solo exhibition with the gallery. Ahn creates paintings that occupy the space between image and object. Working from a vocabulary of ceramic vessels, stones, candles, and personal effects—subjects he understands as stand-ins for the self—he builds meticulously rendered scenes that draw on 20th-century painting history and Joseon dynasty porcelain traditions. He constructs his own frames and panels, shaping and painting over the canvas edge to extend each composition into physical space.⁠
⁠
@dabinahn #dabinahn #documentspace

CHICAGO | Dabin Ahn: 𝘕𝘰𝘤𝘵𝘶𝘳𝘯𝘦 | On view through June 6, 2026⁠
⁠
Join us at DOCUMENT Chicago to visit 𝘕𝘰𝘤𝘵𝘶𝘳𝘯𝘦, Dabin Ahn’s first solo exhibition with the gallery. Ahn creates paintings that occupy the space between image and object. Working from a vocabulary of ceramic vessels, stones, candles, and personal effects—subjects he understands as stand-ins for the self—he builds meticulously rendered scenes that draw on 20th-century painting history and Joseon dynasty porcelain traditions. He constructs his own frames and panels, shaping and painting over the canvas edge to extend each composition into physical space.⁠
⁠
@dabinahn #dabinahn #documentspace

CHICAGO | Dabin Ahn: 𝘕𝘰𝘤𝘵𝘶𝘳𝘯𝘦 | On view through June 6, 2026⁠
⁠
Join us at DOCUMENT Chicago to visit 𝘕𝘰𝘤𝘵𝘶𝘳𝘯𝘦, Dabin Ahn’s first solo exhibition with the gallery. Ahn creates paintings that occupy the space between image and object. Working from a vocabulary of ceramic vessels, stones, candles, and personal effects—subjects he understands as stand-ins for the self—he builds meticulously rendered scenes that draw on 20th-century painting history and Joseon dynasty porcelain traditions. He constructs his own frames and panels, shaping and painting over the canvas edge to extend each composition into physical space.⁠
⁠
@dabinahn #dabinahn #documentspace

Currently on view as part of the Whitney Biennial 2026, Erin Jane Nelson’s ceramic sculptures are also functional pinhole cameras, which she used to create the nearby photographs. Working in the desert of northern New Mexico, she rests the cameras on the ground so that they remain still through the long exposure time they require. Rather than picturing the region’s famously dramatic vistas, Nelson creates intimate views of the underlying ecological systems.⁠
⁠
Installation view of Whitney Biennial 2026 (Whitney Museum of American Art, New York, March 8-August 23, 2026). Works by Erin Jane Nelson. Photograph by Ron Amstutz.⁠
⁠
Erin Jane Nelson, 𝘊𝘳𝘺𝘱𝘵𝘰𝘤𝘳𝘶𝘴𝘵, 2025. Pigment prints, resin, and epoxy clay on glazed stoneware; 8 3/4 x 11 1/2 x 1 1/4 in.⁠
⁠
Erin Jane Nelson, 𝘉𝘶𝘣𝘣𝘭𝘦 𝘊𝘢𝘮, 2025. Pigment prints, rhinestones, glass beads, stainless steel, and pipe cleaners on glazed porcelain; 7 x 5 1/2 x 4 3/4 in.⁠
⁠
Erin Jane Nelson, 𝘛𝘰𝘯𝘨𝘶𝘦, 2025. Pigment print, resin, and epoxy clay on glazed stoneware; 16 1/2 x 17 1/2 x 1 1/4 in.⁠
⁠
@erinjanenelson #erinjanenelson @whitneymuseum #whitneybiennial #documentspace

Currently on view as part of the Whitney Biennial 2026, Erin Jane Nelson’s ceramic sculptures are also functional pinhole cameras, which she used to create the nearby photographs. Working in the desert of northern New Mexico, she rests the cameras on the ground so that they remain still through the long exposure time they require. Rather than picturing the region’s famously dramatic vistas, Nelson creates intimate views of the underlying ecological systems.⁠
⁠
Installation view of Whitney Biennial 2026 (Whitney Museum of American Art, New York, March 8-August 23, 2026). Works by Erin Jane Nelson. Photograph by Ron Amstutz.⁠
⁠
Erin Jane Nelson, 𝘊𝘳𝘺𝘱𝘵𝘰𝘤𝘳𝘶𝘴𝘵, 2025. Pigment prints, resin, and epoxy clay on glazed stoneware; 8 3/4 x 11 1/2 x 1 1/4 in.⁠
⁠
Erin Jane Nelson, 𝘉𝘶𝘣𝘣𝘭𝘦 𝘊𝘢𝘮, 2025. Pigment prints, rhinestones, glass beads, stainless steel, and pipe cleaners on glazed porcelain; 7 x 5 1/2 x 4 3/4 in.⁠
⁠
Erin Jane Nelson, 𝘛𝘰𝘯𝘨𝘶𝘦, 2025. Pigment print, resin, and epoxy clay on glazed stoneware; 16 1/2 x 17 1/2 x 1 1/4 in.⁠
⁠
@erinjanenelson #erinjanenelson @whitneymuseum #whitneybiennial #documentspace

Currently on view as part of the Whitney Biennial 2026, Erin Jane Nelson’s ceramic sculptures are also functional pinhole cameras, which she used to create the nearby photographs. Working in the desert of northern New Mexico, she rests the cameras on the ground so that they remain still through the long exposure time they require. Rather than picturing the region’s famously dramatic vistas, Nelson creates intimate views of the underlying ecological systems.⁠
⁠
Installation view of Whitney Biennial 2026 (Whitney Museum of American Art, New York, March 8-August 23, 2026). Works by Erin Jane Nelson. Photograph by Ron Amstutz.⁠
⁠
Erin Jane Nelson, 𝘊𝘳𝘺𝘱𝘵𝘰𝘤𝘳𝘶𝘴𝘵, 2025. Pigment prints, resin, and epoxy clay on glazed stoneware; 8 3/4 x 11 1/2 x 1 1/4 in.⁠
⁠
Erin Jane Nelson, 𝘉𝘶𝘣𝘣𝘭𝘦 𝘊𝘢𝘮, 2025. Pigment prints, rhinestones, glass beads, stainless steel, and pipe cleaners on glazed porcelain; 7 x 5 1/2 x 4 3/4 in.⁠
⁠
Erin Jane Nelson, 𝘛𝘰𝘯𝘨𝘶𝘦, 2025. Pigment print, resin, and epoxy clay on glazed stoneware; 16 1/2 x 17 1/2 x 1 1/4 in.⁠
⁠
@erinjanenelson #erinjanenelson @whitneymuseum #whitneybiennial #documentspace

Currently on view as part of the Whitney Biennial 2026, Erin Jane Nelson’s ceramic sculptures are also functional pinhole cameras, which she used to create the nearby photographs. Working in the desert of northern New Mexico, she rests the cameras on the ground so that they remain still through the long exposure time they require. Rather than picturing the region’s famously dramatic vistas, Nelson creates intimate views of the underlying ecological systems.⁠
⁠
Installation view of Whitney Biennial 2026 (Whitney Museum of American Art, New York, March 8-August 23, 2026). Works by Erin Jane Nelson. Photograph by Ron Amstutz.⁠
⁠
Erin Jane Nelson, 𝘊𝘳𝘺𝘱𝘵𝘰𝘤𝘳𝘶𝘴𝘵, 2025. Pigment prints, resin, and epoxy clay on glazed stoneware; 8 3/4 x 11 1/2 x 1 1/4 in.⁠
⁠
Erin Jane Nelson, 𝘉𝘶𝘣𝘣𝘭𝘦 𝘊𝘢𝘮, 2025. Pigment prints, rhinestones, glass beads, stainless steel, and pipe cleaners on glazed porcelain; 7 x 5 1/2 x 4 3/4 in.⁠
⁠
Erin Jane Nelson, 𝘛𝘰𝘯𝘨𝘶𝘦, 2025. Pigment print, resin, and epoxy clay on glazed stoneware; 16 1/2 x 17 1/2 x 1 1/4 in.⁠
⁠
@erinjanenelson #erinjanenelson @whitneymuseum #whitneybiennial #documentspace

Currently on view as part of the Whitney Biennial 2026, Erin Jane Nelson’s ceramic sculptures are also functional pinhole cameras, which she used to create the nearby photographs. Working in the desert of northern New Mexico, she rests the cameras on the ground so that they remain still through the long exposure time they require. Rather than picturing the region’s famously dramatic vistas, Nelson creates intimate views of the underlying ecological systems.⁠
⁠
Installation view of Whitney Biennial 2026 (Whitney Museum of American Art, New York, March 8-August 23, 2026). Works by Erin Jane Nelson. Photograph by Ron Amstutz.⁠
⁠
Erin Jane Nelson, 𝘊𝘳𝘺𝘱𝘵𝘰𝘤𝘳𝘶𝘴𝘵, 2025. Pigment prints, resin, and epoxy clay on glazed stoneware; 8 3/4 x 11 1/2 x 1 1/4 in.⁠
⁠
Erin Jane Nelson, 𝘉𝘶𝘣𝘣𝘭𝘦 𝘊𝘢𝘮, 2025. Pigment prints, rhinestones, glass beads, stainless steel, and pipe cleaners on glazed porcelain; 7 x 5 1/2 x 4 3/4 in.⁠
⁠
Erin Jane Nelson, 𝘛𝘰𝘯𝘨𝘶𝘦, 2025. Pigment print, resin, and epoxy clay on glazed stoneware; 16 1/2 x 17 1/2 x 1 1/4 in.⁠
⁠
@erinjanenelson #erinjanenelson @whitneymuseum #whitneybiennial #documentspace