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When Jessica Fredericks and Andrew Freiser founded @fredericksandfreiser in 1996, the art world was a different place. New York was a different place! What surviving as a gallery meant back then has changed drastically in some respects, but the core principles remain: show what you believe it, and do it with honesty and care.

🎧 Listen to the entire interview on The Unibrow Radio wherever you get your podcasts. Link in bio.

1. John Wesley, “Good Night,” 1998.
2. Jocelyn Hobbie (@jocelynhobbie), “Polka Dot 2. Swoon,” 2022.
3. Jenna Gribbon (@jennagribbon), “Mackenzie's Lack of Interest in Gallery 827,” 2019.
4. Katelyn Ledford (@kedford), ”Shroud Almost Burning,” 2025.
5. Danielle Roberts (@daniellle_roberts_), “L'Absinthe in Orbit,” 2026.
6. Kate Pincus-Whitney (@katepw), “The Gods are in the Kitchen: Home Harvest (for Hecate),” 2022.
7. Lizzy Lunday (@lizzylunday), “Crowded in the Woods,” 2026.
8. Maria Calandra (@maria_calandra), “Field Poppy (Brooklyn Botanical Garden),” 2026.
9. Sam Mattax (@sammattax), “Now we're both 29,” 2024.
10. Zak Smith (@zaksmithsinsta), “Star Garden,” 2019.
11. Gary Panter (@gary.panter), ”Screamer,” 1982.
12. Lamar Peterson (@lamarpeterson74), “A Man with a Garden Hose,” 2024.

All images courtesy Fredericks & Freiser
#FredericksAndFreiser #TheUnibrow #ArtWorld

@daniellle_roberts_ “Sea Change” is the quietest painting from our @independent_hq booth, and perhaps the most unexpectedly open.

A figure lies upside down in a blue-lit room, suspended between a bedroom and the world outside. Beyond the window, night suggests a world close at hand. Unlike the charged social spaces of Roberts’s bars, grocery stores, and parking lots, this painting turns inward. Its solitude feels open, lucid, and alive with possibility.

Roberts often paints figures caught between proximity and distance, but here that distance becomes atmospheric rather than isolating . The room opens onto the blue night, and the figure is drawn to it. “Sea Change” holds a rare kind of stillness: intimate, electric, and strangely hopeful.

Trailways, 2026
Paper mache, antique paper, acacia thorns, wild rose thorns, ceiba tree thorns, queen annes lace, mixed clay, switchgrass, resin
44 x 26 x 26 inches

Thanks to everyone who stopped by @independent_hq last weekend to see this new work! So fun to show alongside @daniellle_roberts_ with @fredericksandfreiser ✨✨✨

📷 @c_whittier

Trailways, 2026
Paper mache, antique paper, acacia thorns, wild rose thorns, ceiba tree thorns, queen annes lace, mixed clay, switchgrass, resin
44 x 26 x 26 inches

Thanks to everyone who stopped by @independent_hq last weekend to see this new work! So fun to show alongside @daniellle_roberts_ with @fredericksandfreiser ✨✨✨

📷 @c_whittier

Trailways, 2026
Paper mache, antique paper, acacia thorns, wild rose thorns, ceiba tree thorns, queen annes lace, mixed clay, switchgrass, resin
44 x 26 x 26 inches

Thanks to everyone who stopped by @independent_hq last weekend to see this new work! So fun to show alongside @daniellle_roberts_ with @fredericksandfreiser ✨✨✨

📷 @c_whittier

Trailways, 2026
Paper mache, antique paper, acacia thorns, wild rose thorns, ceiba tree thorns, queen annes lace, mixed clay, switchgrass, resin
44 x 26 x 26 inches

Thanks to everyone who stopped by @independent_hq last weekend to see this new work! So fun to show alongside @daniellle_roberts_ with @fredericksandfreiser ✨✨✨

📷 @c_whittier

Trailways, 2026
Paper mache, antique paper, acacia thorns, wild rose thorns, ceiba tree thorns, queen annes lace, mixed clay, switchgrass, resin
44 x 26 x 26 inches

Thanks to everyone who stopped by @independent_hq last weekend to see this new work! So fun to show alongside @daniellle_roberts_ with @fredericksandfreiser ✨✨✨

📷 @c_whittier

Trailways, 2026
Paper mache, antique paper, acacia thorns, wild rose thorns, ceiba tree thorns, queen annes lace, mixed clay, switchgrass, resin
44 x 26 x 26 inches

Thanks to everyone who stopped by @independent_hq last weekend to see this new work! So fun to show alongside @daniellle_roberts_ with @fredericksandfreiser ✨✨✨

📷 @c_whittier

Trailways, 2026
Paper mache, antique paper, acacia thorns, wild rose thorns, ceiba tree thorns, queen annes lace, mixed clay, switchgrass, resin
44 x 26 x 26 inches

Thanks to everyone who stopped by @independent_hq last weekend to see this new work! So fun to show alongside @daniellle_roberts_ with @fredericksandfreiser ✨✨✨

📷 @c_whittier

Trailways, 2026
Paper mache, antique paper, acacia thorns, wild rose thorns, ceiba tree thorns, queen annes lace, mixed clay, switchgrass, resin
44 x 26 x 26 inches

Thanks to everyone who stopped by @independent_hq last weekend to see this new work! So fun to show alongside @daniellle_roberts_ with @fredericksandfreiser ✨✨✨

📷 @c_whittier

@speakermenin visits the @independent_hq

@maria_calandra “Hancock Alameda”on view through June 13.

Photograph @c_whittier

Celebrating the incomparable Mary Reid Kelley, whose birthday was Saturday.

Across film, performance, painting, and verse, Mary Reid Kelley has built one of the most singular bodies of work of the last two decades: tragicomic, linguistically virtuosic, historically charged, and unmistakably her own. Her work moves through art history, politics, mythology, and popular culture with equal fluency, collapsing high and low into psychologically dense worlds where humor, grief, seduction, and violence coexist.

These recent trompe l’oeil paintings extend that sensibility into oil painting, transforming pinned scraps, reproductions, notes, cartoons, and historical fragments into unstable emotional architectures. At once parody and homage, the works revive the “letter rack” tradition while turning collage, memory, and wordplay into a deeply contemporary form of history painting.

@maryandpat

Celebrating the incomparable Mary Reid Kelley, whose birthday was Saturday.

Across film, performance, painting, and verse, Mary Reid Kelley has built one of the most singular bodies of work of the last two decades: tragicomic, linguistically virtuosic, historically charged, and unmistakably her own. Her work moves through art history, politics, mythology, and popular culture with equal fluency, collapsing high and low into psychologically dense worlds where humor, grief, seduction, and violence coexist.

These recent trompe l’oeil paintings extend that sensibility into oil painting, transforming pinned scraps, reproductions, notes, cartoons, and historical fragments into unstable emotional architectures. At once parody and homage, the works revive the “letter rack” tradition while turning collage, memory, and wordplay into a deeply contemporary form of history painting.

@maryandpat

Celebrating the incomparable Mary Reid Kelley, whose birthday was Saturday.

Across film, performance, painting, and verse, Mary Reid Kelley has built one of the most singular bodies of work of the last two decades: tragicomic, linguistically virtuosic, historically charged, and unmistakably her own. Her work moves through art history, politics, mythology, and popular culture with equal fluency, collapsing high and low into psychologically dense worlds where humor, grief, seduction, and violence coexist.

These recent trompe l’oeil paintings extend that sensibility into oil painting, transforming pinned scraps, reproductions, notes, cartoons, and historical fragments into unstable emotional architectures. At once parody and homage, the works revive the “letter rack” tradition while turning collage, memory, and wordplay into a deeply contemporary form of history painting.

@maryandpat

Celebrating the incomparable Mary Reid Kelley, whose birthday was Saturday.

Across film, performance, painting, and verse, Mary Reid Kelley has built one of the most singular bodies of work of the last two decades: tragicomic, linguistically virtuosic, historically charged, and unmistakably her own. Her work moves through art history, politics, mythology, and popular culture with equal fluency, collapsing high and low into psychologically dense worlds where humor, grief, seduction, and violence coexist.

These recent trompe l’oeil paintings extend that sensibility into oil painting, transforming pinned scraps, reproductions, notes, cartoons, and historical fragments into unstable emotional architectures. At once parody and homage, the works revive the “letter rack” tradition while turning collage, memory, and wordplay into a deeply contemporary form of history painting.

@maryandpat

Celebrating the incomparable Mary Reid Kelley, whose birthday was Saturday.

Across film, performance, painting, and verse, Mary Reid Kelley has built one of the most singular bodies of work of the last two decades: tragicomic, linguistically virtuosic, historically charged, and unmistakably her own. Her work moves through art history, politics, mythology, and popular culture with equal fluency, collapsing high and low into psychologically dense worlds where humor, grief, seduction, and violence coexist.

These recent trompe l’oeil paintings extend that sensibility into oil painting, transforming pinned scraps, reproductions, notes, cartoons, and historical fragments into unstable emotional architectures. At once parody and homage, the works revive the “letter rack” tradition while turning collage, memory, and wordplay into a deeply contemporary form of history painting.

@maryandpat

Celebrating the incomparable Mary Reid Kelley, whose birthday was Saturday.

Across film, performance, painting, and verse, Mary Reid Kelley has built one of the most singular bodies of work of the last two decades: tragicomic, linguistically virtuosic, historically charged, and unmistakably her own. Her work moves through art history, politics, mythology, and popular culture with equal fluency, collapsing high and low into psychologically dense worlds where humor, grief, seduction, and violence coexist.

These recent trompe l’oeil paintings extend that sensibility into oil painting, transforming pinned scraps, reproductions, notes, cartoons, and historical fragments into unstable emotional architectures. At once parody and homage, the works revive the “letter rack” tradition while turning collage, memory, and wordplay into a deeply contemporary form of history painting.

@maryandpat

@maria_calandra at @fredericksandfreiser exhibition walkthrough ✨ On view through June 13

🎨 Maria Calandra: Hancock Alameda
🗓 May 7–Jun 13, 2026
📍 Fredericks & Freiser

Maria Calandra’s exhibition Hancock Alameda at Fredericks & Freiser in New York presents new landscape paintings built from memory rather than direct observation. Referencing coastal paths, gardens, and mountain ranges across Maine, Northern California, and Brooklyn, Calandra compresses and reorganizes fragments of experience into continuous fields where sky, water, and vegetation circulate across the surface — landscapes that feel navigable but refuse a stable vantage point.

#art #FredericksFreiser #MariaCalandra

Come visit us this weekend @independent_hqBooth 419 with new work by @daniellle_roberts_ and @louisaowen

Danielle Roberts paints nocturnal scenes shaped by the filling of need and the indulgence of want. Her figures drift through a world of constant proximity, where closeness is ever-present but connection remains just out of reach.

Louisa Owen constructs unstable forms that oscillate between architecture and organism. Built from antique paper, thorns, and organic remnants, her sculptures take shape as memory and fragility accumulate into something that seems provisional yet remains uncompromising.

Together, Roberts and Owen operate at different registers of the same experience: one turning outward toward the luminous promise of contact, the other inward into structures where interior life gathers and takes form.

Photography by @c_whittier

Come visit us this weekend @independent_hqBooth 419 with new work by @daniellle_roberts_ and @louisaowen

Danielle Roberts paints nocturnal scenes shaped by the filling of need and the indulgence of want. Her figures drift through a world of constant proximity, where closeness is ever-present but connection remains just out of reach.

Louisa Owen constructs unstable forms that oscillate between architecture and organism. Built from antique paper, thorns, and organic remnants, her sculptures take shape as memory and fragility accumulate into something that seems provisional yet remains uncompromising.

Together, Roberts and Owen operate at different registers of the same experience: one turning outward toward the luminous promise of contact, the other inward into structures where interior life gathers and takes form.

Photography by @c_whittier

Come visit us this weekend @independent_hqBooth 419 with new work by @daniellle_roberts_ and @louisaowen

Danielle Roberts paints nocturnal scenes shaped by the filling of need and the indulgence of want. Her figures drift through a world of constant proximity, where closeness is ever-present but connection remains just out of reach.

Louisa Owen constructs unstable forms that oscillate between architecture and organism. Built from antique paper, thorns, and organic remnants, her sculptures take shape as memory and fragility accumulate into something that seems provisional yet remains uncompromising.

Together, Roberts and Owen operate at different registers of the same experience: one turning outward toward the luminous promise of contact, the other inward into structures where interior life gathers and takes form.

Photography by @c_whittier

Come visit us this weekend @independent_hqBooth 419 with new work by @daniellle_roberts_ and @louisaowen

Danielle Roberts paints nocturnal scenes shaped by the filling of need and the indulgence of want. Her figures drift through a world of constant proximity, where closeness is ever-present but connection remains just out of reach.

Louisa Owen constructs unstable forms that oscillate between architecture and organism. Built from antique paper, thorns, and organic remnants, her sculptures take shape as memory and fragility accumulate into something that seems provisional yet remains uncompromising.

Together, Roberts and Owen operate at different registers of the same experience: one turning outward toward the luminous promise of contact, the other inward into structures where interior life gathers and takes form.

Photography by @c_whittier

Come visit us this weekend @independent_hqBooth 419 with new work by @daniellle_roberts_ and @louisaowen

Danielle Roberts paints nocturnal scenes shaped by the filling of need and the indulgence of want. Her figures drift through a world of constant proximity, where closeness is ever-present but connection remains just out of reach.

Louisa Owen constructs unstable forms that oscillate between architecture and organism. Built from antique paper, thorns, and organic remnants, her sculptures take shape as memory and fragility accumulate into something that seems provisional yet remains uncompromising.

Together, Roberts and Owen operate at different registers of the same experience: one turning outward toward the luminous promise of contact, the other inward into structures where interior life gathers and takes form.

Photography by @c_whittier

Come visit us this weekend @independent_hqBooth 419 with new work by @daniellle_roberts_ and @louisaowen

Danielle Roberts paints nocturnal scenes shaped by the filling of need and the indulgence of want. Her figures drift through a world of constant proximity, where closeness is ever-present but connection remains just out of reach.

Louisa Owen constructs unstable forms that oscillate between architecture and organism. Built from antique paper, thorns, and organic remnants, her sculptures take shape as memory and fragility accumulate into something that seems provisional yet remains uncompromising.

Together, Roberts and Owen operate at different registers of the same experience: one turning outward toward the luminous promise of contact, the other inward into structures where interior life gathers and takes form.

Photography by @c_whittier

Come visit us this weekend @independent_hqBooth 419 with new work by @daniellle_roberts_ and @louisaowen

Danielle Roberts paints nocturnal scenes shaped by the filling of need and the indulgence of want. Her figures drift through a world of constant proximity, where closeness is ever-present but connection remains just out of reach.

Louisa Owen constructs unstable forms that oscillate between architecture and organism. Built from antique paper, thorns, and organic remnants, her sculptures take shape as memory and fragility accumulate into something that seems provisional yet remains uncompromising.

Together, Roberts and Owen operate at different registers of the same experience: one turning outward toward the luminous promise of contact, the other inward into structures where interior life gathers and takes form.

Photography by @c_whittier

We are pleased to present Danielle Roberts and Louisa Owen @independent_hq , opening Thursday, May 14 (by invitation) through May 17. Booth 419.

@daniellle_roberts_ paints nocturnal scenes shaped by the filling of need and the indulgence of want. Her figures drift through a world of constant proximity, where closeness is ever-present but connection remains just out of reach.

@louisaowen constructs unstable forms that oscillate between architecture and organism. Built from antique paper, thorns, and organic remnants, her sculptures take shape as memory and fragility accumulate into something that seems provisional yet remains uncompromising.

Together, Roberts and Owen operate at different registers of the same experience: one turning outward toward the luminous promise of contact, the other inward into structures where interior life gathers and takes form.

We are pleased to present Danielle Roberts and Louisa Owen @independent_hq , opening Thursday, May 14 (by invitation) through May 17. Booth 419.

@daniellle_roberts_ paints nocturnal scenes shaped by the filling of need and the indulgence of want. Her figures drift through a world of constant proximity, where closeness is ever-present but connection remains just out of reach.

@louisaowen constructs unstable forms that oscillate between architecture and organism. Built from antique paper, thorns, and organic remnants, her sculptures take shape as memory and fragility accumulate into something that seems provisional yet remains uncompromising.

Together, Roberts and Owen operate at different registers of the same experience: one turning outward toward the luminous promise of contact, the other inward into structures where interior life gathers and takes form.

Maria Calandra’s solo exhibition “Hancock Alameda” opens Thursday, May 7, 6pm to 8pm.

Wishing @lizzylunday a very happy birthday.

Using the compositional logic of Renaissance painting, Lunday’s work explores what it means to be visible now, where myth is largely shaped through self-generated celebrity, performative intimacy and constant flux.

Wishing @lizzylunday a very happy birthday.

Using the compositional logic of Renaissance painting, Lunday’s work explores what it means to be visible now, where myth is largely shaped through self-generated celebrity, performative intimacy and constant flux.

Wishing @lizzylunday a very happy birthday.

Using the compositional logic of Renaissance painting, Lunday’s work explores what it means to be visible now, where myth is largely shaped through self-generated celebrity, performative intimacy and constant flux.

Wishing @lizzylunday a very happy birthday.

Using the compositional logic of Renaissance painting, Lunday’s work explores what it means to be visible now, where myth is largely shaped through self-generated celebrity, performative intimacy and constant flux.

Wishing @lizzylunday a very happy birthday.

Using the compositional logic of Renaissance painting, Lunday’s work explores what it means to be visible now, where myth is largely shaped through self-generated celebrity, performative intimacy and constant flux.

Wishing @lizzylunday a very happy birthday.

Using the compositional logic of Renaissance painting, Lunday’s work explores what it means to be visible now, where myth is largely shaped through self-generated celebrity, performative intimacy and constant flux.

Wishing @lizzylunday a very happy birthday.

Using the compositional logic of Renaissance painting, Lunday’s work explores what it means to be visible now, where myth is largely shaped through self-generated celebrity, performative intimacy and constant flux.

Wishing @lizzylunday a very happy birthday.

Using the compositional logic of Renaissance painting, Lunday’s work explores what it means to be visible now, where myth is largely shaped through self-generated celebrity, performative intimacy and constant flux.

Wishing @lizzylunday a very happy birthday.

Using the compositional logic of Renaissance painting, Lunday’s work explores what it means to be visible now, where myth is largely shaped through self-generated celebrity, performative intimacy and constant flux.

Wishing @lizzylunday a very happy birthday.

Using the compositional logic of Renaissance painting, Lunday’s work explores what it means to be visible now, where myth is largely shaped through self-generated celebrity, performative intimacy and constant flux.

Wishing @lizzylunday a very happy birthday.

Using the compositional logic of Renaissance painting, Lunday’s work explores what it means to be visible now, where myth is largely shaped through self-generated celebrity, performative intimacy and constant flux.

Wishing @lizzylunday a very happy birthday.

Using the compositional logic of Renaissance painting, Lunday’s work explores what it means to be visible now, where myth is largely shaped through self-generated celebrity, performative intimacy and constant flux.

@maria_calandra “ Hancock Alameda” opens Thursday May 7, 6 pm to 8 pm.

Maria Calandra’s paintings begin with specific places (coastal paths, gardens, mountain ranges), often planted or cultivated by others. She paints in the studio from memory rather than direct observation. Referencing sites across Maine, Northern California, and Brooklyn, what emerges is not a fixed view, but a reconstruction of experience: fragments of landscape are compressed, scaled, and reorganized into a continuous field where foreground and distance no longer hold.

In these works, sky, water, and vegetation do not sit in separate zones but circulate across the surface. A horizon may appear, but it fails to stabilize the space; depth is suggested, then dissolved. The viewer is pulled into a place that feels navigable yet refuses a stable vantage point.

Calandra’s handling of paint reinforces this instability. Her surfaces appear dense and saturated, but are built through thin, fluid applications that allow color to pool, spread, and merge. This produces a tension between weight and liquidity. The movement of the brush feels continuous rather than fixed, built through repetition and rhythm rather than isolated gesture. Forms gather and hold, even as they threaten to slip apart. Color operates structurally rather than descriptively, organizing the image while simultaneously undoing it.

Pleasure is central to these paintings. Their color, movement, and abundance draw the viewer in, but not passively. What first reads as lush and immersive gradually reveals itself to resist orientation, as the eye moves continuously without settling and no single element holds.

Calandra approaches landscape not as a site to be described, but as something internalized and reconfigured. The result is a form of landscape painting less concerned with representation than with constructing perception itself.

Photograph @saraluckey