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Who could’ve seen this coming‼️ Peep this month’s editors’ selects through the link in our bio ⭐️

Featured artists:
@whitneyaoldenburg
@dpfstudio
@aurarosenberg and Egon Schiele
@danielle_mckinney_
@joshbrainin
@akwasibrenyamensa
@paula.turmina

Featured galleries:
@____chart____
@parent.company.gallery
@meredithrosengallery
@marianneboeskygallery
@tala.chicago
@hannahtraore
@institutodevision

Thank you to our writers:
@apresmoitheflood
@agenericartaccount
@izzy.desantis
@mmor.art
@mllecolettex
@stinaelia
@sonrisason

Who could’ve seen this coming‼️ Peep this month’s editors’ selects through the link in our bio ⭐️

Featured artists:
@whitneyaoldenburg
@dpfstudio
@aurarosenberg and Egon Schiele
@danielle_mckinney_
@joshbrainin
@akwasibrenyamensa
@paula.turmina

Featured galleries:
@____chart____
@parent.company.gallery
@meredithrosengallery
@marianneboeskygallery
@tala.chicago
@hannahtraore
@institutodevision

Thank you to our writers:
@apresmoitheflood
@agenericartaccount
@izzy.desantis
@mmor.art
@mllecolettex
@stinaelia
@sonrisason

Who could’ve seen this coming‼️ Peep this month’s editors’ selects through the link in our bio ⭐️

Featured artists:
@whitneyaoldenburg
@dpfstudio
@aurarosenberg and Egon Schiele
@danielle_mckinney_
@joshbrainin
@akwasibrenyamensa
@paula.turmina

Featured galleries:
@____chart____
@parent.company.gallery
@meredithrosengallery
@marianneboeskygallery
@tala.chicago
@hannahtraore
@institutodevision

Thank you to our writers:
@apresmoitheflood
@agenericartaccount
@izzy.desantis
@mmor.art
@mllecolettex
@stinaelia
@sonrisason

Who could’ve seen this coming‼️ Peep this month’s editors’ selects through the link in our bio ⭐️

Featured artists:
@whitneyaoldenburg
@dpfstudio
@aurarosenberg and Egon Schiele
@danielle_mckinney_
@joshbrainin
@akwasibrenyamensa
@paula.turmina

Featured galleries:
@____chart____
@parent.company.gallery
@meredithrosengallery
@marianneboeskygallery
@tala.chicago
@hannahtraore
@institutodevision

Thank you to our writers:
@apresmoitheflood
@agenericartaccount
@izzy.desantis
@mmor.art
@mllecolettex
@stinaelia
@sonrisason

Who could’ve seen this coming‼️ Peep this month’s editors’ selects through the link in our bio ⭐️

Featured artists:
@whitneyaoldenburg
@dpfstudio
@aurarosenberg and Egon Schiele
@danielle_mckinney_
@joshbrainin
@akwasibrenyamensa
@paula.turmina

Featured galleries:
@____chart____
@parent.company.gallery
@meredithrosengallery
@marianneboeskygallery
@tala.chicago
@hannahtraore
@institutodevision

Thank you to our writers:
@apresmoitheflood
@agenericartaccount
@izzy.desantis
@mmor.art
@mllecolettex
@stinaelia
@sonrisason

Who could’ve seen this coming‼️ Peep this month’s editors’ selects through the link in our bio ⭐️

Featured artists:
@whitneyaoldenburg
@dpfstudio
@aurarosenberg and Egon Schiele
@danielle_mckinney_
@joshbrainin
@akwasibrenyamensa
@paula.turmina

Featured galleries:
@____chart____
@parent.company.gallery
@meredithrosengallery
@marianneboeskygallery
@tala.chicago
@hannahtraore
@institutodevision

Thank you to our writers:
@apresmoitheflood
@agenericartaccount
@izzy.desantis
@mmor.art
@mllecolettex
@stinaelia
@sonrisason

Who could’ve seen this coming‼️ Peep this month’s editors’ selects through the link in our bio ⭐️

Featured artists:
@whitneyaoldenburg
@dpfstudio
@aurarosenberg and Egon Schiele
@danielle_mckinney_
@joshbrainin
@akwasibrenyamensa
@paula.turmina

Featured galleries:
@____chart____
@parent.company.gallery
@meredithrosengallery
@marianneboeskygallery
@tala.chicago
@hannahtraore
@institutodevision

Thank you to our writers:
@apresmoitheflood
@agenericartaccount
@izzy.desantis
@mmor.art
@mllecolettex
@stinaelia
@sonrisason

Who could’ve seen this coming‼️ Peep this month’s editors’ selects through the link in our bio ⭐️

Featured artists:
@whitneyaoldenburg
@dpfstudio
@aurarosenberg and Egon Schiele
@danielle_mckinney_
@joshbrainin
@akwasibrenyamensa
@paula.turmina

Featured galleries:
@____chart____
@parent.company.gallery
@meredithrosengallery
@marianneboeskygallery
@tala.chicago
@hannahtraore
@institutodevision

Thank you to our writers:
@apresmoitheflood
@agenericartaccount
@izzy.desantis
@mmor.art
@mllecolettex
@stinaelia
@sonrisason

Who could’ve seen this coming‼️ Peep this month’s editors’ selects through the link in our bio ⭐️

Featured artists:
@whitneyaoldenburg
@dpfstudio
@aurarosenberg and Egon Schiele
@danielle_mckinney_
@joshbrainin
@akwasibrenyamensa
@paula.turmina

Featured galleries:
@____chart____
@parent.company.gallery
@meredithrosengallery
@marianneboeskygallery
@tala.chicago
@hannahtraore
@institutodevision

Thank you to our writers:
@apresmoitheflood
@agenericartaccount
@izzy.desantis
@mmor.art
@mllecolettex
@stinaelia
@sonrisason

Part of the 2026 Whitney Biennial, @maia.pologies’s performance piece “BEING MOVED” humorously critiques the arbitrary, stifling rules of conduct within institutional museum spaces. The site-specific work simulates the absurd yet routine acts of museum visitors and staff, while also engaging with works from the @whitneymuseum’s permanent collection.

Read @asiastewart’s full review of “BEING MOVED” at our link in bio!
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#impulse #art #performance #whitneybiennial #museum

Part of the 2026 Whitney Biennial, @maia.pologies’s performance piece “BEING MOVED” humorously critiques the arbitrary, stifling rules of conduct within institutional museum spaces. The site-specific work simulates the absurd yet routine acts of museum visitors and staff, while also engaging with works from the @whitneymuseum’s permanent collection.

Read @asiastewart’s full review of “BEING MOVED” at our link in bio!
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#impulse #art #performance #whitneybiennial #museum

Part of the 2026 Whitney Biennial, @maia.pologies’s performance piece “BEING MOVED” humorously critiques the arbitrary, stifling rules of conduct within institutional museum spaces. The site-specific work simulates the absurd yet routine acts of museum visitors and staff, while also engaging with works from the @whitneymuseum’s permanent collection.

Read @asiastewart’s full review of “BEING MOVED” at our link in bio!
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#impulse #art #performance #whitneybiennial #museum

Part of the 2026 Whitney Biennial, @maia.pologies’s performance piece “BEING MOVED” humorously critiques the arbitrary, stifling rules of conduct within institutional museum spaces. The site-specific work simulates the absurd yet routine acts of museum visitors and staff, while also engaging with works from the @whitneymuseum’s permanent collection.

Read @asiastewart’s full review of “BEING MOVED” at our link in bio!
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#impulse #art #performance #whitneybiennial #museum

Part of the 2026 Whitney Biennial, @maia.pologies’s performance piece “BEING MOVED” humorously critiques the arbitrary, stifling rules of conduct within institutional museum spaces. The site-specific work simulates the absurd yet routine acts of museum visitors and staff, while also engaging with works from the @whitneymuseum’s permanent collection.

Read @asiastewart’s full review of “BEING MOVED” at our link in bio!
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#impulse #art #performance #whitneybiennial #museum

Part of the 2026 Whitney Biennial, @maia.pologies’s performance piece “BEING MOVED” humorously critiques the arbitrary, stifling rules of conduct within institutional museum spaces. The site-specific work simulates the absurd yet routine acts of museum visitors and staff, while also engaging with works from the @whitneymuseum’s permanent collection.

Read @asiastewart’s full review of “BEING MOVED” at our link in bio!
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#impulse #art #performance #whitneybiennial #museum

Part of the 2026 Whitney Biennial, @maia.pologies’s performance piece “BEING MOVED” humorously critiques the arbitrary, stifling rules of conduct within institutional museum spaces. The site-specific work simulates the absurd yet routine acts of museum visitors and staff, while also engaging with works from the @whitneymuseum’s permanent collection.

Read @asiastewart’s full review of “BEING MOVED” at our link in bio!
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#impulse #art #performance #whitneybiennial #museum

Thank you @impulse_magazine_ for recognizing me as one of the four standouts during @focusartfair NYC, where 50+ artists exhibited their work.
I’m honored to be included alongside so many talented artists and galleries. Moments like these remind me how grateful I am to share my work and story through fine art photography.
Thank you as well to @karimbenz and @erkoozaki 🫶🏽
Also @pinas_sadya for the custom 1 of 1 Filipino Pineapple Silk jacket 🫶🏽

Thank you @impulse_magazine_ for recognizing me as one of the four standouts during @focusartfair NYC, where 50+ artists exhibited their work.
I’m honored to be included alongside so many talented artists and galleries. Moments like these remind me how grateful I am to share my work and story through fine art photography.
Thank you as well to @karimbenz and @erkoozaki 🫶🏽
Also @pinas_sadya for the custom 1 of 1 Filipino Pineapple Silk jacket 🫶🏽

Thank you @impulse_magazine_ for recognizing me as one of the four standouts during @focusartfair NYC, where 50+ artists exhibited their work.
I’m honored to be included alongside so many talented artists and galleries. Moments like these remind me how grateful I am to share my work and story through fine art photography.
Thank you as well to @karimbenz and @erkoozaki 🫶🏽
Also @pinas_sadya for the custom 1 of 1 Filipino Pineapple Silk jacket 🫶🏽

Thank you @impulse_magazine_ for recognizing me as one of the four standouts during @focusartfair NYC, where 50+ artists exhibited their work.
I’m honored to be included alongside so many talented artists and galleries. Moments like these remind me how grateful I am to share my work and story through fine art photography.
Thank you as well to @karimbenz and @erkoozaki 🫶🏽
Also @pinas_sadya for the custom 1 of 1 Filipino Pineapple Silk jacket 🫶🏽

Thank you @impulse_magazine_ for recognizing me as one of the four standouts during @focusartfair NYC, where 50+ artists exhibited their work.
I’m honored to be included alongside so many talented artists and galleries. Moments like these remind me how grateful I am to share my work and story through fine art photography.
Thank you as well to @karimbenz and @erkoozaki 🫶🏽
Also @pinas_sadya for the custom 1 of 1 Filipino Pineapple Silk jacket 🫶🏽

Thank you @impulse_magazine_ for recognizing me as one of the four standouts during @focusartfair NYC, where 50+ artists exhibited their work.
I’m honored to be included alongside so many talented artists and galleries. Moments like these remind me how grateful I am to share my work and story through fine art photography.
Thank you as well to @karimbenz and @erkoozaki 🫶🏽
Also @pinas_sadya for the custom 1 of 1 Filipino Pineapple Silk jacket 🫶🏽

Thank you @impulse_magazine_ for recognizing me as one of the four standouts during @focusartfair NYC, where 50+ artists exhibited their work.
I’m honored to be included alongside so many talented artists and galleries. Moments like these remind me how grateful I am to share my work and story through fine art photography.
Thank you as well to @karimbenz and @erkoozaki 🫶🏽
Also @pinas_sadya for the custom 1 of 1 Filipino Pineapple Silk jacket 🫶🏽

Pursuing an artistic study of national architectures, economics, and aesthetics, @sophie.kovel probes at historical U.S. diplomatic structures in recent works.

On the occasion of the exhibition "False Sponsor," @raygunmfg reflects on the impact Kovel’s works have had in shifting perception across public trusts and private spaces. Read the full interview at the link in our bio!

Pursuing an artistic study of national architectures, economics, and aesthetics, @sophie.kovel probes at historical U.S. diplomatic structures in recent works.

On the occasion of the exhibition "False Sponsor," @raygunmfg reflects on the impact Kovel’s works have had in shifting perception across public trusts and private spaces. Read the full interview at the link in our bio!

Pursuing an artistic study of national architectures, economics, and aesthetics, @sophie.kovel probes at historical U.S. diplomatic structures in recent works.

On the occasion of the exhibition "False Sponsor," @raygunmfg reflects on the impact Kovel’s works have had in shifting perception across public trusts and private spaces. Read the full interview at the link in our bio!

Pursuing an artistic study of national architectures, economics, and aesthetics, @sophie.kovel probes at historical U.S. diplomatic structures in recent works.

On the occasion of the exhibition "False Sponsor," @raygunmfg reflects on the impact Kovel’s works have had in shifting perception across public trusts and private spaces. Read the full interview at the link in our bio!

Pursuing an artistic study of national architectures, economics, and aesthetics, @sophie.kovel probes at historical U.S. diplomatic structures in recent works.

On the occasion of the exhibition "False Sponsor," @raygunmfg reflects on the impact Kovel’s works have had in shifting perception across public trusts and private spaces. Read the full interview at the link in our bio!

This May, @focusartfair returned to Chelsea Industrial for its fourth New York iteration, hosting over 40 booths that highlight contemporary art from Asia. Partnering with LG, the fair places“Human-Technology Coexistence” at its thematic center, exploring how viewers can experience wonder, nostalgia, and transmuted materials in digital utopias.

Read IMPULSE writer @bri.ng.schwartz’s review of the fair through the link in our bio!

@ikseonartscenter @venjhaminreyes @kentosenga_0323 @digitalbeing @lgusa @chelseaindustrial

This May, @focusartfair returned to Chelsea Industrial for its fourth New York iteration, hosting over 40 booths that highlight contemporary art from Asia. Partnering with LG, the fair places“Human-Technology Coexistence” at its thematic center, exploring how viewers can experience wonder, nostalgia, and transmuted materials in digital utopias.

Read IMPULSE writer @bri.ng.schwartz’s review of the fair through the link in our bio!

@ikseonartscenter @venjhaminreyes @kentosenga_0323 @digitalbeing @lgusa @chelseaindustrial

This May, @focusartfair returned to Chelsea Industrial for its fourth New York iteration, hosting over 40 booths that highlight contemporary art from Asia. Partnering with LG, the fair places“Human-Technology Coexistence” at its thematic center, exploring how viewers can experience wonder, nostalgia, and transmuted materials in digital utopias.

Read IMPULSE writer @bri.ng.schwartz’s review of the fair through the link in our bio!

@ikseonartscenter @venjhaminreyes @kentosenga_0323 @digitalbeing @lgusa @chelseaindustrial

This May, @focusartfair returned to Chelsea Industrial for its fourth New York iteration, hosting over 40 booths that highlight contemporary art from Asia. Partnering with LG, the fair places“Human-Technology Coexistence” at its thematic center, exploring how viewers can experience wonder, nostalgia, and transmuted materials in digital utopias.

Read IMPULSE writer @bri.ng.schwartz’s review of the fair through the link in our bio!

@ikseonartscenter @venjhaminreyes @kentosenga_0323 @digitalbeing @lgusa @chelseaindustrial

Currently on view at @resnickpasslof, “How Asian Is It?” tackles its titular question through the lens of painterly abstraction—or, more accurately, examines abstraction’s rich and varied manifestations through the works of late-20th-century Asian American artists, many of whom were members of Godzilla, the 1990s New York-based arts network. IMPULSE writer @matildalinberke considers the exhibition in relation to the larger discourse on how marginalized identities mediate, and oftentimes confine, artistic expression within the canon of American contemporary art. Read the full review through our link in bio!

The exhibition is curated by Lilly Wei @ellekaywei.
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#impulse #art #abstractpainting #asianamericanart #groupshow

Currently on view at @resnickpasslof, “How Asian Is It?” tackles its titular question through the lens of painterly abstraction—or, more accurately, examines abstraction’s rich and varied manifestations through the works of late-20th-century Asian American artists, many of whom were members of Godzilla, the 1990s New York-based arts network. IMPULSE writer @matildalinberke considers the exhibition in relation to the larger discourse on how marginalized identities mediate, and oftentimes confine, artistic expression within the canon of American contemporary art. Read the full review through our link in bio!

The exhibition is curated by Lilly Wei @ellekaywei.
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#impulse #art #abstractpainting #asianamericanart #groupshow

Currently on view at @resnickpasslof, “How Asian Is It?” tackles its titular question through the lens of painterly abstraction—or, more accurately, examines abstraction’s rich and varied manifestations through the works of late-20th-century Asian American artists, many of whom were members of Godzilla, the 1990s New York-based arts network. IMPULSE writer @matildalinberke considers the exhibition in relation to the larger discourse on how marginalized identities mediate, and oftentimes confine, artistic expression within the canon of American contemporary art. Read the full review through our link in bio!

The exhibition is curated by Lilly Wei @ellekaywei.
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#impulse #art #abstractpainting #asianamericanart #groupshow

Currently on view at @resnickpasslof, “How Asian Is It?” tackles its titular question through the lens of painterly abstraction—or, more accurately, examines abstraction’s rich and varied manifestations through the works of late-20th-century Asian American artists, many of whom were members of Godzilla, the 1990s New York-based arts network. IMPULSE writer @matildalinberke considers the exhibition in relation to the larger discourse on how marginalized identities mediate, and oftentimes confine, artistic expression within the canon of American contemporary art. Read the full review through our link in bio!

The exhibition is curated by Lilly Wei @ellekaywei.
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#impulse #art #abstractpainting #asianamericanart #groupshow

Currently on view at @resnickpasslof, “How Asian Is It?” tackles its titular question through the lens of painterly abstraction—or, more accurately, examines abstraction’s rich and varied manifestations through the works of late-20th-century Asian American artists, many of whom were members of Godzilla, the 1990s New York-based arts network. IMPULSE writer @matildalinberke considers the exhibition in relation to the larger discourse on how marginalized identities mediate, and oftentimes confine, artistic expression within the canon of American contemporary art. Read the full review through our link in bio!

The exhibition is curated by Lilly Wei @ellekaywei.
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#impulse #art #abstractpainting #asianamericanart #groupshow

Amidst a controversial start to the 2026 @labiennale, American Pavilion curator Jeffrey Uslip, no stranger to controversy himself, sat down with IMPULSE correspondent @annika.aiko to express his thoughts and intentions coming off the first opening weeks. Read the full interview through our link in bio!
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#impulse #art #venicebiennale #curator #americanpavilion

Amidst a controversial start to the 2026 @labiennale, American Pavilion curator Jeffrey Uslip, no stranger to controversy himself, sat down with IMPULSE correspondent @annika.aiko to express his thoughts and intentions coming off the first opening weeks. Read the full interview through our link in bio!
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#impulse #art #venicebiennale #curator #americanpavilion

Amidst a controversial start to the 2026 @labiennale, American Pavilion curator Jeffrey Uslip, no stranger to controversy himself, sat down with IMPULSE correspondent @annika.aiko to express his thoughts and intentions coming off the first opening weeks. Read the full interview through our link in bio!
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#impulse #art #venicebiennale #curator #americanpavilion

Amidst a controversial start to the 2026 @labiennale, American Pavilion curator Jeffrey Uslip, no stranger to controversy himself, sat down with IMPULSE correspondent @annika.aiko to express his thoughts and intentions coming off the first opening weeks. Read the full interview through our link in bio!
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#impulse #art #venicebiennale #curator #americanpavilion

Amidst a controversial start to the 2026 @labiennale, American Pavilion curator Jeffrey Uslip, no stranger to controversy himself, sat down with IMPULSE correspondent @annika.aiko to express his thoughts and intentions coming off the first opening weeks. Read the full interview through our link in bio!
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#impulse #art #venicebiennale #curator #americanpavilion

In the recent group exhibition “Mulberry Bend” presented by Protocinema @protocinema at Immigrant Social Services’ @storefrontforideas, Canal Street Research Association (CSRA), David L. Johnson, Sidian Liu, and Paul Pfeiffer grapple with the political and social underpinnings of space, material, and development.

IMPULSE writer Delaney Chieyen Holton @martinwongdaughter examines how exactly the exhibition grapples with this politicization of space and materiality within the context of development in Manhattan’s Chinatown.

@dylanskim @protocinema @canal_street_research @david_johnso @ccinstar @pmp2021
Protocinema’s Emerging Curator Series 2025-26 is mentored by @spiritomari @jessicaskwok @christopherylew

Read the full review at the link in our bio!

In the recent group exhibition “Mulberry Bend” presented by Protocinema @protocinema at Immigrant Social Services’ @storefrontforideas, Canal Street Research Association (CSRA), David L. Johnson, Sidian Liu, and Paul Pfeiffer grapple with the political and social underpinnings of space, material, and development.

IMPULSE writer Delaney Chieyen Holton @martinwongdaughter examines how exactly the exhibition grapples with this politicization of space and materiality within the context of development in Manhattan’s Chinatown.

@dylanskim @protocinema @canal_street_research @david_johnso @ccinstar @pmp2021
Protocinema’s Emerging Curator Series 2025-26 is mentored by @spiritomari @jessicaskwok @christopherylew

Read the full review at the link in our bio!

In the recent group exhibition “Mulberry Bend” presented by Protocinema @protocinema at Immigrant Social Services’ @storefrontforideas, Canal Street Research Association (CSRA), David L. Johnson, Sidian Liu, and Paul Pfeiffer grapple with the political and social underpinnings of space, material, and development.

IMPULSE writer Delaney Chieyen Holton @martinwongdaughter examines how exactly the exhibition grapples with this politicization of space and materiality within the context of development in Manhattan’s Chinatown.

@dylanskim @protocinema @canal_street_research @david_johnso @ccinstar @pmp2021
Protocinema’s Emerging Curator Series 2025-26 is mentored by @spiritomari @jessicaskwok @christopherylew

Read the full review at the link in our bio!

In the recent group exhibition “Mulberry Bend” presented by Protocinema @protocinema at Immigrant Social Services’ @storefrontforideas, Canal Street Research Association (CSRA), David L. Johnson, Sidian Liu, and Paul Pfeiffer grapple with the political and social underpinnings of space, material, and development.

IMPULSE writer Delaney Chieyen Holton @martinwongdaughter examines how exactly the exhibition grapples with this politicization of space and materiality within the context of development in Manhattan’s Chinatown.

@dylanskim @protocinema @canal_street_research @david_johnso @ccinstar @pmp2021
Protocinema’s Emerging Curator Series 2025-26 is mentored by @spiritomari @jessicaskwok @christopherylew

Read the full review at the link in our bio!

In the recent group exhibition “Mulberry Bend” presented by Protocinema @protocinema at Immigrant Social Services’ @storefrontforideas, Canal Street Research Association (CSRA), David L. Johnson, Sidian Liu, and Paul Pfeiffer grapple with the political and social underpinnings of space, material, and development.

IMPULSE writer Delaney Chieyen Holton @martinwongdaughter examines how exactly the exhibition grapples with this politicization of space and materiality within the context of development in Manhattan’s Chinatown.

@dylanskim @protocinema @canal_street_research @david_johnso @ccinstar @pmp2021
Protocinema’s Emerging Curator Series 2025-26 is mentored by @spiritomari @jessicaskwok @christopherylew

Read the full review at the link in our bio!

This May, twelve graduate students at @ccsbard exhibited their theses at Hessel Museum of Art.

IMPULSE writer @jonahjames.r explores how each graduate’s curation grapples with “unearthing archives and lost histories” in the age of information, guided by the exhibition title “Everything That Happens Will Happen Today.”

Read the full review at the link in our bio!

The CCS Bard Class of 2026 is Ray Camp, Alma Chaouachi, Mike Curran, Christopher Gianunzio, Lila Gould, Bruna Grinsztejn, Grace Harmer, Gladys Lou, Devon Ma, Truth Murray-Cole, Emily Nola, and Amy Yuanchen Qian.
@raygunmfg @al_mouta @christophergianunzio.zip @lilabgould @brunagrinsztejn_ @graceeharmer @gladysgoldfish @devon__ma @truthcole @emilynola @amamyqqq @mike.r.curran

This May, twelve graduate students at @ccsbard exhibited their theses at Hessel Museum of Art.

IMPULSE writer @jonahjames.r explores how each graduate’s curation grapples with “unearthing archives and lost histories” in the age of information, guided by the exhibition title “Everything That Happens Will Happen Today.”

Read the full review at the link in our bio!

The CCS Bard Class of 2026 is Ray Camp, Alma Chaouachi, Mike Curran, Christopher Gianunzio, Lila Gould, Bruna Grinsztejn, Grace Harmer, Gladys Lou, Devon Ma, Truth Murray-Cole, Emily Nola, and Amy Yuanchen Qian.
@raygunmfg @al_mouta @christophergianunzio.zip @lilabgould @brunagrinsztejn_ @graceeharmer @gladysgoldfish @devon__ma @truthcole @emilynola @amamyqqq @mike.r.curran

This May, twelve graduate students at @ccsbard exhibited their theses at Hessel Museum of Art.

IMPULSE writer @jonahjames.r explores how each graduate’s curation grapples with “unearthing archives and lost histories” in the age of information, guided by the exhibition title “Everything That Happens Will Happen Today.”

Read the full review at the link in our bio!

The CCS Bard Class of 2026 is Ray Camp, Alma Chaouachi, Mike Curran, Christopher Gianunzio, Lila Gould, Bruna Grinsztejn, Grace Harmer, Gladys Lou, Devon Ma, Truth Murray-Cole, Emily Nola, and Amy Yuanchen Qian.
@raygunmfg @al_mouta @christophergianunzio.zip @lilabgould @brunagrinsztejn_ @graceeharmer @gladysgoldfish @devon__ma @truthcole @emilynola @amamyqqq @mike.r.curran

This May, twelve graduate students at @ccsbard exhibited their theses at Hessel Museum of Art.

IMPULSE writer @jonahjames.r explores how each graduate’s curation grapples with “unearthing archives and lost histories” in the age of information, guided by the exhibition title “Everything That Happens Will Happen Today.”

Read the full review at the link in our bio!

The CCS Bard Class of 2026 is Ray Camp, Alma Chaouachi, Mike Curran, Christopher Gianunzio, Lila Gould, Bruna Grinsztejn, Grace Harmer, Gladys Lou, Devon Ma, Truth Murray-Cole, Emily Nola, and Amy Yuanchen Qian.
@raygunmfg @al_mouta @christophergianunzio.zip @lilabgould @brunagrinsztejn_ @graceeharmer @gladysgoldfish @devon__ma @truthcole @emilynola @amamyqqq @mike.r.curran

This May, twelve graduate students at @ccsbard exhibited their theses at Hessel Museum of Art.

IMPULSE writer @jonahjames.r explores how each graduate’s curation grapples with “unearthing archives and lost histories” in the age of information, guided by the exhibition title “Everything That Happens Will Happen Today.”

Read the full review at the link in our bio!

The CCS Bard Class of 2026 is Ray Camp, Alma Chaouachi, Mike Curran, Christopher Gianunzio, Lila Gould, Bruna Grinsztejn, Grace Harmer, Gladys Lou, Devon Ma, Truth Murray-Cole, Emily Nola, and Amy Yuanchen Qian.
@raygunmfg @al_mouta @christophergianunzio.zip @lilabgould @brunagrinsztejn_ @graceeharmer @gladysgoldfish @devon__ma @truthcole @emilynola @amamyqqq @mike.r.curran

“Apple Face: The Push and Pull of Surrealism at Mriya Gallery” (excerpt) on IMPULSE Magazine

I am pleased to share that I wrote a new review for IMPULSE Magazine on the “Apple Face” exhibition held at Mriya Gallery in Tribeca last month. Below is an excerpt and you can find the link to the full article in one of my recent stories.

If one were to throw a stone in Tribeca or Chelsea, it would likely hit a show grappling with the legacies of Surrealism, one of the most influential art movements of the twentieth century. Surrealism, both as a movement and an art historical term, occupies convoluted and liminal ground, maintaining different—at times contradictory—meanings across various contexts. The Whitney Museum’s recent Sixties Surreal exhibition demonstrated that there are many types of surrealism. Mriya Gallery in Tribeca recently echoed this proposition with Apple Face, a group exhibition titled after Belgian Surrealist René Magritte’s famed Son of Man (1964). Though nominally rooted in a Magrittean strain of Surrealism, the exhibition mobilizes this reference as a thematic springboard, a point of departure from which each artist generates distinct associations.

The exhibition, curated by Aidana Bergali, opens onto a surreal scene: a full-scale motorcycle installed in the middle of the gallery alongside two remote-control airplanes. These works by Kevin Russell Draper—the only sculptures in a show of paintings—could well be the military toys from a Malcolm Morley painting translated into three-dimensional form, occupying the personal space of visitors in unsettling proximity. Given Surrealism’s origins at a time of socio-political turmoil in the 1920s, there is a foreboding quality to these sculptures that subtly speaks to the state of the world in 2026.

#artcritic #artcritics #artreview #artwriting #contemporaryartgallery

“Apple Face: The Push and Pull of Surrealism at Mriya Gallery” (excerpt) on IMPULSE Magazine

I am pleased to share that I wrote a new review for IMPULSE Magazine on the “Apple Face” exhibition held at Mriya Gallery in Tribeca last month. Below is an excerpt and you can find the link to the full article in one of my recent stories.

If one were to throw a stone in Tribeca or Chelsea, it would likely hit a show grappling with the legacies of Surrealism, one of the most influential art movements of the twentieth century. Surrealism, both as a movement and an art historical term, occupies convoluted and liminal ground, maintaining different—at times contradictory—meanings across various contexts. The Whitney Museum’s recent Sixties Surreal exhibition demonstrated that there are many types of surrealism. Mriya Gallery in Tribeca recently echoed this proposition with Apple Face, a group exhibition titled after Belgian Surrealist René Magritte’s famed Son of Man (1964). Though nominally rooted in a Magrittean strain of Surrealism, the exhibition mobilizes this reference as a thematic springboard, a point of departure from which each artist generates distinct associations.

The exhibition, curated by Aidana Bergali, opens onto a surreal scene: a full-scale motorcycle installed in the middle of the gallery alongside two remote-control airplanes. These works by Kevin Russell Draper—the only sculptures in a show of paintings—could well be the military toys from a Malcolm Morley painting translated into three-dimensional form, occupying the personal space of visitors in unsettling proximity. Given Surrealism’s origins at a time of socio-political turmoil in the 1920s, there is a foreboding quality to these sculptures that subtly speaks to the state of the world in 2026.

#artcritic #artcritics #artreview #artwriting #contemporaryartgallery

“Apple Face: The Push and Pull of Surrealism at Mriya Gallery” (excerpt) on IMPULSE Magazine

I am pleased to share that I wrote a new review for IMPULSE Magazine on the “Apple Face” exhibition held at Mriya Gallery in Tribeca last month. Below is an excerpt and you can find the link to the full article in one of my recent stories.

If one were to throw a stone in Tribeca or Chelsea, it would likely hit a show grappling with the legacies of Surrealism, one of the most influential art movements of the twentieth century. Surrealism, both as a movement and an art historical term, occupies convoluted and liminal ground, maintaining different—at times contradictory—meanings across various contexts. The Whitney Museum’s recent Sixties Surreal exhibition demonstrated that there are many types of surrealism. Mriya Gallery in Tribeca recently echoed this proposition with Apple Face, a group exhibition titled after Belgian Surrealist René Magritte’s famed Son of Man (1964). Though nominally rooted in a Magrittean strain of Surrealism, the exhibition mobilizes this reference as a thematic springboard, a point of departure from which each artist generates distinct associations.

The exhibition, curated by Aidana Bergali, opens onto a surreal scene: a full-scale motorcycle installed in the middle of the gallery alongside two remote-control airplanes. These works by Kevin Russell Draper—the only sculptures in a show of paintings—could well be the military toys from a Malcolm Morley painting translated into three-dimensional form, occupying the personal space of visitors in unsettling proximity. Given Surrealism’s origins at a time of socio-political turmoil in the 1920s, there is a foreboding quality to these sculptures that subtly speaks to the state of the world in 2026.

#artcritic #artcritics #artreview #artwriting #contemporaryartgallery

“Apple Face: The Push and Pull of Surrealism at Mriya Gallery” (excerpt) on IMPULSE Magazine

I am pleased to share that I wrote a new review for IMPULSE Magazine on the “Apple Face” exhibition held at Mriya Gallery in Tribeca last month. Below is an excerpt and you can find the link to the full article in one of my recent stories.

If one were to throw a stone in Tribeca or Chelsea, it would likely hit a show grappling with the legacies of Surrealism, one of the most influential art movements of the twentieth century. Surrealism, both as a movement and an art historical term, occupies convoluted and liminal ground, maintaining different—at times contradictory—meanings across various contexts. The Whitney Museum’s recent Sixties Surreal exhibition demonstrated that there are many types of surrealism. Mriya Gallery in Tribeca recently echoed this proposition with Apple Face, a group exhibition titled after Belgian Surrealist René Magritte’s famed Son of Man (1964). Though nominally rooted in a Magrittean strain of Surrealism, the exhibition mobilizes this reference as a thematic springboard, a point of departure from which each artist generates distinct associations.

The exhibition, curated by Aidana Bergali, opens onto a surreal scene: a full-scale motorcycle installed in the middle of the gallery alongside two remote-control airplanes. These works by Kevin Russell Draper—the only sculptures in a show of paintings—could well be the military toys from a Malcolm Morley painting translated into three-dimensional form, occupying the personal space of visitors in unsettling proximity. Given Surrealism’s origins at a time of socio-political turmoil in the 1920s, there is a foreboding quality to these sculptures that subtly speaks to the state of the world in 2026.

#artcritic #artcritics #artreview #artwriting #contemporaryartgallery

“Apple Face: The Push and Pull of Surrealism at Mriya Gallery” (excerpt) on IMPULSE Magazine

I am pleased to share that I wrote a new review for IMPULSE Magazine on the “Apple Face” exhibition held at Mriya Gallery in Tribeca last month. Below is an excerpt and you can find the link to the full article in one of my recent stories.

If one were to throw a stone in Tribeca or Chelsea, it would likely hit a show grappling with the legacies of Surrealism, one of the most influential art movements of the twentieth century. Surrealism, both as a movement and an art historical term, occupies convoluted and liminal ground, maintaining different—at times contradictory—meanings across various contexts. The Whitney Museum’s recent Sixties Surreal exhibition demonstrated that there are many types of surrealism. Mriya Gallery in Tribeca recently echoed this proposition with Apple Face, a group exhibition titled after Belgian Surrealist René Magritte’s famed Son of Man (1964). Though nominally rooted in a Magrittean strain of Surrealism, the exhibition mobilizes this reference as a thematic springboard, a point of departure from which each artist generates distinct associations.

The exhibition, curated by Aidana Bergali, opens onto a surreal scene: a full-scale motorcycle installed in the middle of the gallery alongside two remote-control airplanes. These works by Kevin Russell Draper—the only sculptures in a show of paintings—could well be the military toys from a Malcolm Morley painting translated into three-dimensional form, occupying the personal space of visitors in unsettling proximity. Given Surrealism’s origins at a time of socio-political turmoil in the 1920s, there is a foreboding quality to these sculptures that subtly speaks to the state of the world in 2026.

#artcritic #artcritics #artreview #artwriting #contemporaryartgallery

“Apple Face: The Push and Pull of Surrealism at Mriya Gallery” (excerpt) on IMPULSE Magazine

I am pleased to share that I wrote a new review for IMPULSE Magazine on the “Apple Face” exhibition held at Mriya Gallery in Tribeca last month. Below is an excerpt and you can find the link to the full article in one of my recent stories.

If one were to throw a stone in Tribeca or Chelsea, it would likely hit a show grappling with the legacies of Surrealism, one of the most influential art movements of the twentieth century. Surrealism, both as a movement and an art historical term, occupies convoluted and liminal ground, maintaining different—at times contradictory—meanings across various contexts. The Whitney Museum’s recent Sixties Surreal exhibition demonstrated that there are many types of surrealism. Mriya Gallery in Tribeca recently echoed this proposition with Apple Face, a group exhibition titled after Belgian Surrealist René Magritte’s famed Son of Man (1964). Though nominally rooted in a Magrittean strain of Surrealism, the exhibition mobilizes this reference as a thematic springboard, a point of departure from which each artist generates distinct associations.

The exhibition, curated by Aidana Bergali, opens onto a surreal scene: a full-scale motorcycle installed in the middle of the gallery alongside two remote-control airplanes. These works by Kevin Russell Draper—the only sculptures in a show of paintings—could well be the military toys from a Malcolm Morley painting translated into three-dimensional form, occupying the personal space of visitors in unsettling proximity. Given Surrealism’s origins at a time of socio-political turmoil in the 1920s, there is a foreboding quality to these sculptures that subtly speaks to the state of the world in 2026.

#artcritic #artcritics #artreview #artwriting #contemporaryartgallery

“Apple Face: The Push and Pull of Surrealism at Mriya Gallery” (excerpt) on IMPULSE Magazine

I am pleased to share that I wrote a new review for IMPULSE Magazine on the “Apple Face” exhibition held at Mriya Gallery in Tribeca last month. Below is an excerpt and you can find the link to the full article in one of my recent stories.

If one were to throw a stone in Tribeca or Chelsea, it would likely hit a show grappling with the legacies of Surrealism, one of the most influential art movements of the twentieth century. Surrealism, both as a movement and an art historical term, occupies convoluted and liminal ground, maintaining different—at times contradictory—meanings across various contexts. The Whitney Museum’s recent Sixties Surreal exhibition demonstrated that there are many types of surrealism. Mriya Gallery in Tribeca recently echoed this proposition with Apple Face, a group exhibition titled after Belgian Surrealist René Magritte’s famed Son of Man (1964). Though nominally rooted in a Magrittean strain of Surrealism, the exhibition mobilizes this reference as a thematic springboard, a point of departure from which each artist generates distinct associations.

The exhibition, curated by Aidana Bergali, opens onto a surreal scene: a full-scale motorcycle installed in the middle of the gallery alongside two remote-control airplanes. These works by Kevin Russell Draper—the only sculptures in a show of paintings—could well be the military toys from a Malcolm Morley painting translated into three-dimensional form, occupying the personal space of visitors in unsettling proximity. Given Surrealism’s origins at a time of socio-political turmoil in the 1920s, there is a foreboding quality to these sculptures that subtly speaks to the state of the world in 2026.

#artcritic #artcritics #artreview #artwriting #contemporaryartgallery

“Apple Face: The Push and Pull of Surrealism at Mriya Gallery” (excerpt) on IMPULSE Magazine

I am pleased to share that I wrote a new review for IMPULSE Magazine on the “Apple Face” exhibition held at Mriya Gallery in Tribeca last month. Below is an excerpt and you can find the link to the full article in one of my recent stories.

If one were to throw a stone in Tribeca or Chelsea, it would likely hit a show grappling with the legacies of Surrealism, one of the most influential art movements of the twentieth century. Surrealism, both as a movement and an art historical term, occupies convoluted and liminal ground, maintaining different—at times contradictory—meanings across various contexts. The Whitney Museum’s recent Sixties Surreal exhibition demonstrated that there are many types of surrealism. Mriya Gallery in Tribeca recently echoed this proposition with Apple Face, a group exhibition titled after Belgian Surrealist René Magritte’s famed Son of Man (1964). Though nominally rooted in a Magrittean strain of Surrealism, the exhibition mobilizes this reference as a thematic springboard, a point of departure from which each artist generates distinct associations.

The exhibition, curated by Aidana Bergali, opens onto a surreal scene: a full-scale motorcycle installed in the middle of the gallery alongside two remote-control airplanes. These works by Kevin Russell Draper—the only sculptures in a show of paintings—could well be the military toys from a Malcolm Morley painting translated into three-dimensional form, occupying the personal space of visitors in unsettling proximity. Given Surrealism’s origins at a time of socio-political turmoil in the 1920s, there is a foreboding quality to these sculptures that subtly speaks to the state of the world in 2026.

#artcritic #artcritics #artreview #artwriting #contemporaryartgallery

“Apple Face: The Push and Pull of Surrealism at Mriya Gallery” (excerpt) on IMPULSE Magazine

I am pleased to share that I wrote a new review for IMPULSE Magazine on the “Apple Face” exhibition held at Mriya Gallery in Tribeca last month. Below is an excerpt and you can find the link to the full article in one of my recent stories.

If one were to throw a stone in Tribeca or Chelsea, it would likely hit a show grappling with the legacies of Surrealism, one of the most influential art movements of the twentieth century. Surrealism, both as a movement and an art historical term, occupies convoluted and liminal ground, maintaining different—at times contradictory—meanings across various contexts. The Whitney Museum’s recent Sixties Surreal exhibition demonstrated that there are many types of surrealism. Mriya Gallery in Tribeca recently echoed this proposition with Apple Face, a group exhibition titled after Belgian Surrealist René Magritte’s famed Son of Man (1964). Though nominally rooted in a Magrittean strain of Surrealism, the exhibition mobilizes this reference as a thematic springboard, a point of departure from which each artist generates distinct associations.

The exhibition, curated by Aidana Bergali, opens onto a surreal scene: a full-scale motorcycle installed in the middle of the gallery alongside two remote-control airplanes. These works by Kevin Russell Draper—the only sculptures in a show of paintings—could well be the military toys from a Malcolm Morley painting translated into three-dimensional form, occupying the personal space of visitors in unsettling proximity. Given Surrealism’s origins at a time of socio-political turmoil in the 1920s, there is a foreboding quality to these sculptures that subtly speaks to the state of the world in 2026.

#artcritic #artcritics #artreview #artwriting #contemporaryartgallery

“Apple Face: The Push and Pull of Surrealism at Mriya Gallery” (excerpt) on IMPULSE Magazine

I am pleased to share that I wrote a new review for IMPULSE Magazine on the “Apple Face” exhibition held at Mriya Gallery in Tribeca last month. Below is an excerpt and you can find the link to the full article in one of my recent stories.

If one were to throw a stone in Tribeca or Chelsea, it would likely hit a show grappling with the legacies of Surrealism, one of the most influential art movements of the twentieth century. Surrealism, both as a movement and an art historical term, occupies convoluted and liminal ground, maintaining different—at times contradictory—meanings across various contexts. The Whitney Museum’s recent Sixties Surreal exhibition demonstrated that there are many types of surrealism. Mriya Gallery in Tribeca recently echoed this proposition with Apple Face, a group exhibition titled after Belgian Surrealist René Magritte’s famed Son of Man (1964). Though nominally rooted in a Magrittean strain of Surrealism, the exhibition mobilizes this reference as a thematic springboard, a point of departure from which each artist generates distinct associations.

The exhibition, curated by Aidana Bergali, opens onto a surreal scene: a full-scale motorcycle installed in the middle of the gallery alongside two remote-control airplanes. These works by Kevin Russell Draper—the only sculptures in a show of paintings—could well be the military toys from a Malcolm Morley painting translated into three-dimensional form, occupying the personal space of visitors in unsettling proximity. Given Surrealism’s origins at a time of socio-political turmoil in the 1920s, there is a foreboding quality to these sculptures that subtly speaks to the state of the world in 2026.

#artcritic #artcritics #artreview #artwriting #contemporaryartgallery

“Apple Face: The Push and Pull of Surrealism at Mriya Gallery” (excerpt) on IMPULSE Magazine

I am pleased to share that I wrote a new review for IMPULSE Magazine on the “Apple Face” exhibition held at Mriya Gallery in Tribeca last month. Below is an excerpt and you can find the link to the full article in one of my recent stories.

If one were to throw a stone in Tribeca or Chelsea, it would likely hit a show grappling with the legacies of Surrealism, one of the most influential art movements of the twentieth century. Surrealism, both as a movement and an art historical term, occupies convoluted and liminal ground, maintaining different—at times contradictory—meanings across various contexts. The Whitney Museum’s recent Sixties Surreal exhibition demonstrated that there are many types of surrealism. Mriya Gallery in Tribeca recently echoed this proposition with Apple Face, a group exhibition titled after Belgian Surrealist René Magritte’s famed Son of Man (1964). Though nominally rooted in a Magrittean strain of Surrealism, the exhibition mobilizes this reference as a thematic springboard, a point of departure from which each artist generates distinct associations.

The exhibition, curated by Aidana Bergali, opens onto a surreal scene: a full-scale motorcycle installed in the middle of the gallery alongside two remote-control airplanes. These works by Kevin Russell Draper—the only sculptures in a show of paintings—could well be the military toys from a Malcolm Morley painting translated into three-dimensional form, occupying the personal space of visitors in unsettling proximity. Given Surrealism’s origins at a time of socio-political turmoil in the 1920s, there is a foreboding quality to these sculptures that subtly speaks to the state of the world in 2026.

#artcritic #artcritics #artreview #artwriting #contemporaryartgallery

“Apple Face: The Push and Pull of Surrealism at Mriya Gallery” (excerpt) on IMPULSE Magazine

I am pleased to share that I wrote a new review for IMPULSE Magazine on the “Apple Face” exhibition held at Mriya Gallery in Tribeca last month. Below is an excerpt and you can find the link to the full article in one of my recent stories.

If one were to throw a stone in Tribeca or Chelsea, it would likely hit a show grappling with the legacies of Surrealism, one of the most influential art movements of the twentieth century. Surrealism, both as a movement and an art historical term, occupies convoluted and liminal ground, maintaining different—at times contradictory—meanings across various contexts. The Whitney Museum’s recent Sixties Surreal exhibition demonstrated that there are many types of surrealism. Mriya Gallery in Tribeca recently echoed this proposition with Apple Face, a group exhibition titled after Belgian Surrealist René Magritte’s famed Son of Man (1964). Though nominally rooted in a Magrittean strain of Surrealism, the exhibition mobilizes this reference as a thematic springboard, a point of departure from which each artist generates distinct associations.

The exhibition, curated by Aidana Bergali, opens onto a surreal scene: a full-scale motorcycle installed in the middle of the gallery alongside two remote-control airplanes. These works by Kevin Russell Draper—the only sculptures in a show of paintings—could well be the military toys from a Malcolm Morley painting translated into three-dimensional form, occupying the personal space of visitors in unsettling proximity. Given Surrealism’s origins at a time of socio-political turmoil in the 1920s, there is a foreboding quality to these sculptures that subtly speaks to the state of the world in 2026.

#artcritic #artcritics #artreview #artwriting #contemporaryartgallery

“Apple Face: The Push and Pull of Surrealism at Mriya Gallery” (excerpt) on IMPULSE Magazine

I am pleased to share that I wrote a new review for IMPULSE Magazine on the “Apple Face” exhibition held at Mriya Gallery in Tribeca last month. Below is an excerpt and you can find the link to the full article in one of my recent stories.

If one were to throw a stone in Tribeca or Chelsea, it would likely hit a show grappling with the legacies of Surrealism, one of the most influential art movements of the twentieth century. Surrealism, both as a movement and an art historical term, occupies convoluted and liminal ground, maintaining different—at times contradictory—meanings across various contexts. The Whitney Museum’s recent Sixties Surreal exhibition demonstrated that there are many types of surrealism. Mriya Gallery in Tribeca recently echoed this proposition with Apple Face, a group exhibition titled after Belgian Surrealist René Magritte’s famed Son of Man (1964). Though nominally rooted in a Magrittean strain of Surrealism, the exhibition mobilizes this reference as a thematic springboard, a point of departure from which each artist generates distinct associations.

The exhibition, curated by Aidana Bergali, opens onto a surreal scene: a full-scale motorcycle installed in the middle of the gallery alongside two remote-control airplanes. These works by Kevin Russell Draper—the only sculptures in a show of paintings—could well be the military toys from a Malcolm Morley painting translated into three-dimensional form, occupying the personal space of visitors in unsettling proximity. Given Surrealism’s origins at a time of socio-political turmoil in the 1920s, there is a foreboding quality to these sculptures that subtly speaks to the state of the world in 2026.

#artcritic #artcritics #artreview #artwriting #contemporaryartgallery

“Apple Face: The Push and Pull of Surrealism at Mriya Gallery” (excerpt) on IMPULSE Magazine

I am pleased to share that I wrote a new review for IMPULSE Magazine on the “Apple Face” exhibition held at Mriya Gallery in Tribeca last month. Below is an excerpt and you can find the link to the full article in one of my recent stories.

If one were to throw a stone in Tribeca or Chelsea, it would likely hit a show grappling with the legacies of Surrealism, one of the most influential art movements of the twentieth century. Surrealism, both as a movement and an art historical term, occupies convoluted and liminal ground, maintaining different—at times contradictory—meanings across various contexts. The Whitney Museum’s recent Sixties Surreal exhibition demonstrated that there are many types of surrealism. Mriya Gallery in Tribeca recently echoed this proposition with Apple Face, a group exhibition titled after Belgian Surrealist René Magritte’s famed Son of Man (1964). Though nominally rooted in a Magrittean strain of Surrealism, the exhibition mobilizes this reference as a thematic springboard, a point of departure from which each artist generates distinct associations.

The exhibition, curated by Aidana Bergali, opens onto a surreal scene: a full-scale motorcycle installed in the middle of the gallery alongside two remote-control airplanes. These works by Kevin Russell Draper—the only sculptures in a show of paintings—could well be the military toys from a Malcolm Morley painting translated into three-dimensional form, occupying the personal space of visitors in unsettling proximity. Given Surrealism’s origins at a time of socio-political turmoil in the 1920s, there is a foreboding quality to these sculptures that subtly speaks to the state of the world in 2026.

#artcritic #artcritics #artreview #artwriting #contemporaryartgallery

“Apple Face: The Push and Pull of Surrealism at Mriya Gallery” (excerpt) on IMPULSE Magazine

I am pleased to share that I wrote a new review for IMPULSE Magazine on the “Apple Face” exhibition held at Mriya Gallery in Tribeca last month. Below is an excerpt and you can find the link to the full article in one of my recent stories.

If one were to throw a stone in Tribeca or Chelsea, it would likely hit a show grappling with the legacies of Surrealism, one of the most influential art movements of the twentieth century. Surrealism, both as a movement and an art historical term, occupies convoluted and liminal ground, maintaining different—at times contradictory—meanings across various contexts. The Whitney Museum’s recent Sixties Surreal exhibition demonstrated that there are many types of surrealism. Mriya Gallery in Tribeca recently echoed this proposition with Apple Face, a group exhibition titled after Belgian Surrealist René Magritte’s famed Son of Man (1964). Though nominally rooted in a Magrittean strain of Surrealism, the exhibition mobilizes this reference as a thematic springboard, a point of departure from which each artist generates distinct associations.

The exhibition, curated by Aidana Bergali, opens onto a surreal scene: a full-scale motorcycle installed in the middle of the gallery alongside two remote-control airplanes. These works by Kevin Russell Draper—the only sculptures in a show of paintings—could well be the military toys from a Malcolm Morley painting translated into three-dimensional form, occupying the personal space of visitors in unsettling proximity. Given Surrealism’s origins at a time of socio-political turmoil in the 1920s, there is a foreboding quality to these sculptures that subtly speaks to the state of the world in 2026.

#artcritic #artcritics #artreview #artwriting #contemporaryartgallery

“Apple Face: The Push and Pull of Surrealism at Mriya Gallery” (excerpt) on IMPULSE Magazine

I am pleased to share that I wrote a new review for IMPULSE Magazine on the “Apple Face” exhibition held at Mriya Gallery in Tribeca last month. Below is an excerpt and you can find the link to the full article in one of my recent stories.

If one were to throw a stone in Tribeca or Chelsea, it would likely hit a show grappling with the legacies of Surrealism, one of the most influential art movements of the twentieth century. Surrealism, both as a movement and an art historical term, occupies convoluted and liminal ground, maintaining different—at times contradictory—meanings across various contexts. The Whitney Museum’s recent Sixties Surreal exhibition demonstrated that there are many types of surrealism. Mriya Gallery in Tribeca recently echoed this proposition with Apple Face, a group exhibition titled after Belgian Surrealist René Magritte’s famed Son of Man (1964). Though nominally rooted in a Magrittean strain of Surrealism, the exhibition mobilizes this reference as a thematic springboard, a point of departure from which each artist generates distinct associations.

The exhibition, curated by Aidana Bergali, opens onto a surreal scene: a full-scale motorcycle installed in the middle of the gallery alongside two remote-control airplanes. These works by Kevin Russell Draper—the only sculptures in a show of paintings—could well be the military toys from a Malcolm Morley painting translated into three-dimensional form, occupying the personal space of visitors in unsettling proximity. Given Surrealism’s origins at a time of socio-political turmoil in the 1920s, there is a foreboding quality to these sculptures that subtly speaks to the state of the world in 2026.

#artcritic #artcritics #artreview #artwriting #contemporaryartgallery

“Apple Face: The Push and Pull of Surrealism at Mriya Gallery” (excerpt) on IMPULSE Magazine

I am pleased to share that I wrote a new review for IMPULSE Magazine on the “Apple Face” exhibition held at Mriya Gallery in Tribeca last month. Below is an excerpt and you can find the link to the full article in one of my recent stories.

If one were to throw a stone in Tribeca or Chelsea, it would likely hit a show grappling with the legacies of Surrealism, one of the most influential art movements of the twentieth century. Surrealism, both as a movement and an art historical term, occupies convoluted and liminal ground, maintaining different—at times contradictory—meanings across various contexts. The Whitney Museum’s recent Sixties Surreal exhibition demonstrated that there are many types of surrealism. Mriya Gallery in Tribeca recently echoed this proposition with Apple Face, a group exhibition titled after Belgian Surrealist René Magritte’s famed Son of Man (1964). Though nominally rooted in a Magrittean strain of Surrealism, the exhibition mobilizes this reference as a thematic springboard, a point of departure from which each artist generates distinct associations.

The exhibition, curated by Aidana Bergali, opens onto a surreal scene: a full-scale motorcycle installed in the middle of the gallery alongside two remote-control airplanes. These works by Kevin Russell Draper—the only sculptures in a show of paintings—could well be the military toys from a Malcolm Morley painting translated into three-dimensional form, occupying the personal space of visitors in unsettling proximity. Given Surrealism’s origins at a time of socio-political turmoil in the 1920s, there is a foreboding quality to these sculptures that subtly speaks to the state of the world in 2026.

#artcritic #artcritics #artreview #artwriting #contemporaryartgallery

“Apple Face: The Push and Pull of Surrealism at Mriya Gallery” (excerpt) on IMPULSE Magazine

I am pleased to share that I wrote a new review for IMPULSE Magazine on the “Apple Face” exhibition held at Mriya Gallery in Tribeca last month. Below is an excerpt and you can find the link to the full article in one of my recent stories.

If one were to throw a stone in Tribeca or Chelsea, it would likely hit a show grappling with the legacies of Surrealism, one of the most influential art movements of the twentieth century. Surrealism, both as a movement and an art historical term, occupies convoluted and liminal ground, maintaining different—at times contradictory—meanings across various contexts. The Whitney Museum’s recent Sixties Surreal exhibition demonstrated that there are many types of surrealism. Mriya Gallery in Tribeca recently echoed this proposition with Apple Face, a group exhibition titled after Belgian Surrealist René Magritte’s famed Son of Man (1964). Though nominally rooted in a Magrittean strain of Surrealism, the exhibition mobilizes this reference as a thematic springboard, a point of departure from which each artist generates distinct associations.

The exhibition, curated by Aidana Bergali, opens onto a surreal scene: a full-scale motorcycle installed in the middle of the gallery alongside two remote-control airplanes. These works by Kevin Russell Draper—the only sculptures in a show of paintings—could well be the military toys from a Malcolm Morley painting translated into three-dimensional form, occupying the personal space of visitors in unsettling proximity. Given Surrealism’s origins at a time of socio-political turmoil in the 1920s, there is a foreboding quality to these sculptures that subtly speaks to the state of the world in 2026.

#artcritic #artcritics #artreview #artwriting #contemporaryartgallery

“Apple Face: The Push and Pull of Surrealism at Mriya Gallery” (excerpt) on IMPULSE Magazine

I am pleased to share that I wrote a new review for IMPULSE Magazine on the “Apple Face” exhibition held at Mriya Gallery in Tribeca last month. Below is an excerpt and you can find the link to the full article in one of my recent stories.

If one were to throw a stone in Tribeca or Chelsea, it would likely hit a show grappling with the legacies of Surrealism, one of the most influential art movements of the twentieth century. Surrealism, both as a movement and an art historical term, occupies convoluted and liminal ground, maintaining different—at times contradictory—meanings across various contexts. The Whitney Museum’s recent Sixties Surreal exhibition demonstrated that there are many types of surrealism. Mriya Gallery in Tribeca recently echoed this proposition with Apple Face, a group exhibition titled after Belgian Surrealist René Magritte’s famed Son of Man (1964). Though nominally rooted in a Magrittean strain of Surrealism, the exhibition mobilizes this reference as a thematic springboard, a point of departure from which each artist generates distinct associations.

The exhibition, curated by Aidana Bergali, opens onto a surreal scene: a full-scale motorcycle installed in the middle of the gallery alongside two remote-control airplanes. These works by Kevin Russell Draper—the only sculptures in a show of paintings—could well be the military toys from a Malcolm Morley painting translated into three-dimensional form, occupying the personal space of visitors in unsettling proximity. Given Surrealism’s origins at a time of socio-political turmoil in the 1920s, there is a foreboding quality to these sculptures that subtly speaks to the state of the world in 2026.

#artcritic #artcritics #artreview #artwriting #contemporaryartgallery

“Apple Face: The Push and Pull of Surrealism at Mriya Gallery” (excerpt) on IMPULSE Magazine

I am pleased to share that I wrote a new review for IMPULSE Magazine on the “Apple Face” exhibition held at Mriya Gallery in Tribeca last month. Below is an excerpt and you can find the link to the full article in one of my recent stories.

If one were to throw a stone in Tribeca or Chelsea, it would likely hit a show grappling with the legacies of Surrealism, one of the most influential art movements of the twentieth century. Surrealism, both as a movement and an art historical term, occupies convoluted and liminal ground, maintaining different—at times contradictory—meanings across various contexts. The Whitney Museum’s recent Sixties Surreal exhibition demonstrated that there are many types of surrealism. Mriya Gallery in Tribeca recently echoed this proposition with Apple Face, a group exhibition titled after Belgian Surrealist René Magritte’s famed Son of Man (1964). Though nominally rooted in a Magrittean strain of Surrealism, the exhibition mobilizes this reference as a thematic springboard, a point of departure from which each artist generates distinct associations.

The exhibition, curated by Aidana Bergali, opens onto a surreal scene: a full-scale motorcycle installed in the middle of the gallery alongside two remote-control airplanes. These works by Kevin Russell Draper—the only sculptures in a show of paintings—could well be the military toys from a Malcolm Morley painting translated into three-dimensional form, occupying the personal space of visitors in unsettling proximity. Given Surrealism’s origins at a time of socio-political turmoil in the 1920s, there is a foreboding quality to these sculptures that subtly speaks to the state of the world in 2026.

#artcritic #artcritics #artreview #artwriting #contemporaryartgallery

Woah mama… art fair week 🐇

We had a triple events bender last week, thank you so much to all who made it out!

1-2: “Seeing Multiples: Print Editions, Value, and Affordability in a Changing Art Market,” a panel hosted by @abronsartscenter and moderated by @x_jenny_wang

A special thank you to our panelists:
@little_mouse_diuguid
@em.ill.e
@jeannemasel
Anna Mesman @affordableartfairnyc
@murielquancard

Photography by Victoria Reshetnikov @victoriareshetnikov

3-4: “The Shapes of Painting,” a conversation between @econover and @michelleagrabner, co-produced by @independent_hq, @abattoirgallery and @impulse_magazine_

Photography by Parker Calvert / CKA. Courtesy of Independent. @photo_by_cka

5-6: Art Week Kickoff @beverlysnyc co-hosted by @impulse_magazine_ and @ni____________ne

Photography by Victoria Reshetnikov

@domingocomms @culturalcounsel

Woah mama… art fair week 🐇

We had a triple events bender last week, thank you so much to all who made it out!

1-2: “Seeing Multiples: Print Editions, Value, and Affordability in a Changing Art Market,” a panel hosted by @abronsartscenter and moderated by @x_jenny_wang

A special thank you to our panelists:
@little_mouse_diuguid
@em.ill.e
@jeannemasel
Anna Mesman @affordableartfairnyc
@murielquancard

Photography by Victoria Reshetnikov @victoriareshetnikov

3-4: “The Shapes of Painting,” a conversation between @econover and @michelleagrabner, co-produced by @independent_hq, @abattoirgallery and @impulse_magazine_

Photography by Parker Calvert / CKA. Courtesy of Independent. @photo_by_cka

5-6: Art Week Kickoff @beverlysnyc co-hosted by @impulse_magazine_ and @ni____________ne

Photography by Victoria Reshetnikov

@domingocomms @culturalcounsel

Woah mama… art fair week 🐇

We had a triple events bender last week, thank you so much to all who made it out!

1-2: “Seeing Multiples: Print Editions, Value, and Affordability in a Changing Art Market,” a panel hosted by @abronsartscenter and moderated by @x_jenny_wang

A special thank you to our panelists:
@little_mouse_diuguid
@em.ill.e
@jeannemasel
Anna Mesman @affordableartfairnyc
@murielquancard

Photography by Victoria Reshetnikov @victoriareshetnikov

3-4: “The Shapes of Painting,” a conversation between @econover and @michelleagrabner, co-produced by @independent_hq, @abattoirgallery and @impulse_magazine_

Photography by Parker Calvert / CKA. Courtesy of Independent. @photo_by_cka

5-6: Art Week Kickoff @beverlysnyc co-hosted by @impulse_magazine_ and @ni____________ne

Photography by Victoria Reshetnikov

@domingocomms @culturalcounsel

Woah mama… art fair week 🐇

We had a triple events bender last week, thank you so much to all who made it out!

1-2: “Seeing Multiples: Print Editions, Value, and Affordability in a Changing Art Market,” a panel hosted by @abronsartscenter and moderated by @x_jenny_wang

A special thank you to our panelists:
@little_mouse_diuguid
@em.ill.e
@jeannemasel
Anna Mesman @affordableartfairnyc
@murielquancard

Photography by Victoria Reshetnikov @victoriareshetnikov

3-4: “The Shapes of Painting,” a conversation between @econover and @michelleagrabner, co-produced by @independent_hq, @abattoirgallery and @impulse_magazine_

Photography by Parker Calvert / CKA. Courtesy of Independent. @photo_by_cka

5-6: Art Week Kickoff @beverlysnyc co-hosted by @impulse_magazine_ and @ni____________ne

Photography by Victoria Reshetnikov

@domingocomms @culturalcounsel

Woah mama… art fair week 🐇

We had a triple events bender last week, thank you so much to all who made it out!

1-2: “Seeing Multiples: Print Editions, Value, and Affordability in a Changing Art Market,” a panel hosted by @abronsartscenter and moderated by @x_jenny_wang

A special thank you to our panelists:
@little_mouse_diuguid
@em.ill.e
@jeannemasel
Anna Mesman @affordableartfairnyc
@murielquancard

Photography by Victoria Reshetnikov @victoriareshetnikov

3-4: “The Shapes of Painting,” a conversation between @econover and @michelleagrabner, co-produced by @independent_hq, @abattoirgallery and @impulse_magazine_

Photography by Parker Calvert / CKA. Courtesy of Independent. @photo_by_cka

5-6: Art Week Kickoff @beverlysnyc co-hosted by @impulse_magazine_ and @ni____________ne

Photography by Victoria Reshetnikov

@domingocomms @culturalcounsel

Woah mama… art fair week 🐇

We had a triple events bender last week, thank you so much to all who made it out!

1-2: “Seeing Multiples: Print Editions, Value, and Affordability in a Changing Art Market,” a panel hosted by @abronsartscenter and moderated by @x_jenny_wang

A special thank you to our panelists:
@little_mouse_diuguid
@em.ill.e
@jeannemasel
Anna Mesman @affordableartfairnyc
@murielquancard

Photography by Victoria Reshetnikov @victoriareshetnikov

3-4: “The Shapes of Painting,” a conversation between @econover and @michelleagrabner, co-produced by @independent_hq, @abattoirgallery and @impulse_magazine_

Photography by Parker Calvert / CKA. Courtesy of Independent. @photo_by_cka

5-6: Art Week Kickoff @beverlysnyc co-hosted by @impulse_magazine_ and @ni____________ne

Photography by Victoria Reshetnikov

@domingocomms @culturalcounsel

TEFAF NY 2026 @parkavearmory on view through Tuesday

@tefaf @nararoesler @carlitocarvalhosa @benbrownfinearts @mignonigallery evahpade @thaddaeusropac @dominiquefung @massimodecarlogallery @osbornesamuelgallery @offerwaterman @manolovaldes @galeriemariawettergren @hauserwirth @thepage_gallery @gwonosang @jung_kuho @sarahmyerscoughgallery @galeriecapitain @galerie.lefebvre @studiomonicabonvicini

TEFAF NY 2026 @parkavearmory on view through Tuesday

@tefaf @nararoesler @carlitocarvalhosa @benbrownfinearts @mignonigallery evahpade @thaddaeusropac @dominiquefung @massimodecarlogallery @osbornesamuelgallery @offerwaterman @manolovaldes @galeriemariawettergren @hauserwirth @thepage_gallery @gwonosang @jung_kuho @sarahmyerscoughgallery @galeriecapitain @galerie.lefebvre @studiomonicabonvicini

TEFAF NY 2026 @parkavearmory on view through Tuesday

@tefaf @nararoesler @carlitocarvalhosa @benbrownfinearts @mignonigallery evahpade @thaddaeusropac @dominiquefung @massimodecarlogallery @osbornesamuelgallery @offerwaterman @manolovaldes @galeriemariawettergren @hauserwirth @thepage_gallery @gwonosang @jung_kuho @sarahmyerscoughgallery @galeriecapitain @galerie.lefebvre @studiomonicabonvicini

TEFAF NY 2026 @parkavearmory on view through Tuesday

@tefaf @nararoesler @carlitocarvalhosa @benbrownfinearts @mignonigallery evahpade @thaddaeusropac @dominiquefung @massimodecarlogallery @osbornesamuelgallery @offerwaterman @manolovaldes @galeriemariawettergren @hauserwirth @thepage_gallery @gwonosang @jung_kuho @sarahmyerscoughgallery @galeriecapitain @galerie.lefebvre @studiomonicabonvicini

TEFAF NY 2026 @parkavearmory on view through Tuesday

@tefaf @nararoesler @carlitocarvalhosa @benbrownfinearts @mignonigallery evahpade @thaddaeusropac @dominiquefung @massimodecarlogallery @osbornesamuelgallery @offerwaterman @manolovaldes @galeriemariawettergren @hauserwirth @thepage_gallery @gwonosang @jung_kuho @sarahmyerscoughgallery @galeriecapitain @galerie.lefebvre @studiomonicabonvicini

TEFAF NY 2026 @parkavearmory on view through Tuesday

@tefaf @nararoesler @carlitocarvalhosa @benbrownfinearts @mignonigallery evahpade @thaddaeusropac @dominiquefung @massimodecarlogallery @osbornesamuelgallery @offerwaterman @manolovaldes @galeriemariawettergren @hauserwirth @thepage_gallery @gwonosang @jung_kuho @sarahmyerscoughgallery @galeriecapitain @galerie.lefebvre @studiomonicabonvicini

TEFAF NY 2026 @parkavearmory on view through Tuesday

@tefaf @nararoesler @carlitocarvalhosa @benbrownfinearts @mignonigallery evahpade @thaddaeusropac @dominiquefung @massimodecarlogallery @osbornesamuelgallery @offerwaterman @manolovaldes @galeriemariawettergren @hauserwirth @thepage_gallery @gwonosang @jung_kuho @sarahmyerscoughgallery @galeriecapitain @galerie.lefebvre @studiomonicabonvicini

TEFAF NY 2026 @parkavearmory on view through Tuesday

@tefaf @nararoesler @carlitocarvalhosa @benbrownfinearts @mignonigallery evahpade @thaddaeusropac @dominiquefung @massimodecarlogallery @osbornesamuelgallery @offerwaterman @manolovaldes @galeriemariawettergren @hauserwirth @thepage_gallery @gwonosang @jung_kuho @sarahmyerscoughgallery @galeriecapitain @galerie.lefebvre @studiomonicabonvicini

TEFAF NY 2026 @parkavearmory on view through Tuesday

@tefaf @nararoesler @carlitocarvalhosa @benbrownfinearts @mignonigallery evahpade @thaddaeusropac @dominiquefung @massimodecarlogallery @osbornesamuelgallery @offerwaterman @manolovaldes @galeriemariawettergren @hauserwirth @thepage_gallery @gwonosang @jung_kuho @sarahmyerscoughgallery @galeriecapitain @galerie.lefebvre @studiomonicabonvicini

TEFAF NY 2026 @parkavearmory on view through Tuesday

@tefaf @nararoesler @carlitocarvalhosa @benbrownfinearts @mignonigallery evahpade @thaddaeusropac @dominiquefung @massimodecarlogallery @osbornesamuelgallery @offerwaterman @manolovaldes @galeriemariawettergren @hauserwirth @thepage_gallery @gwonosang @jung_kuho @sarahmyerscoughgallery @galeriecapitain @galerie.lefebvre @studiomonicabonvicini

TEFAF NY 2026 @parkavearmory on view through Tuesday

@tefaf @nararoesler @carlitocarvalhosa @benbrownfinearts @mignonigallery evahpade @thaddaeusropac @dominiquefung @massimodecarlogallery @osbornesamuelgallery @offerwaterman @manolovaldes @galeriemariawettergren @hauserwirth @thepage_gallery @gwonosang @jung_kuho @sarahmyerscoughgallery @galeriecapitain @galerie.lefebvre @studiomonicabonvicini

TEFAF NY 2026 @parkavearmory on view through Tuesday

@tefaf @nararoesler @carlitocarvalhosa @benbrownfinearts @mignonigallery evahpade @thaddaeusropac @dominiquefung @massimodecarlogallery @osbornesamuelgallery @offerwaterman @manolovaldes @galeriemariawettergren @hauserwirth @thepage_gallery @gwonosang @jung_kuho @sarahmyerscoughgallery @galeriecapitain @galerie.lefebvre @studiomonicabonvicini

TEFAF NY 2026 @parkavearmory on view through Tuesday

@tefaf @nararoesler @carlitocarvalhosa @benbrownfinearts @mignonigallery evahpade @thaddaeusropac @dominiquefung @massimodecarlogallery @osbornesamuelgallery @offerwaterman @manolovaldes @galeriemariawettergren @hauserwirth @thepage_gallery @gwonosang @jung_kuho @sarahmyerscoughgallery @galeriecapitain @galerie.lefebvre @studiomonicabonvicini

TEFAF NY 2026 @parkavearmory on view through Tuesday

@tefaf @nararoesler @carlitocarvalhosa @benbrownfinearts @mignonigallery evahpade @thaddaeusropac @dominiquefung @massimodecarlogallery @osbornesamuelgallery @offerwaterman @manolovaldes @galeriemariawettergren @hauserwirth @thepage_gallery @gwonosang @jung_kuho @sarahmyerscoughgallery @galeriecapitain @galerie.lefebvre @studiomonicabonvicini

TEFAF NY 2026 @parkavearmory on view through Tuesday

@tefaf @nararoesler @carlitocarvalhosa @benbrownfinearts @mignonigallery evahpade @thaddaeusropac @dominiquefung @massimodecarlogallery @osbornesamuelgallery @offerwaterman @manolovaldes @galeriemariawettergren @hauserwirth @thepage_gallery @gwonosang @jung_kuho @sarahmyerscoughgallery @galeriecapitain @galerie.lefebvre @studiomonicabonvicini

TEFAF NY 2026 @parkavearmory on view through Tuesday

@tefaf @nararoesler @carlitocarvalhosa @benbrownfinearts @mignonigallery evahpade @thaddaeusropac @dominiquefung @massimodecarlogallery @osbornesamuelgallery @offerwaterman @manolovaldes @galeriemariawettergren @hauserwirth @thepage_gallery @gwonosang @jung_kuho @sarahmyerscoughgallery @galeriecapitain @galerie.lefebvre @studiomonicabonvicini

TEFAF NY 2026 @parkavearmory on view through Tuesday

@tefaf @nararoesler @carlitocarvalhosa @benbrownfinearts @mignonigallery evahpade @thaddaeusropac @dominiquefung @massimodecarlogallery @osbornesamuelgallery @offerwaterman @manolovaldes @galeriemariawettergren @hauserwirth @thepage_gallery @gwonosang @jung_kuho @sarahmyerscoughgallery @galeriecapitain @galerie.lefebvre @studiomonicabonvicini

TEFAF NY 2026 @parkavearmory on view through Tuesday

@tefaf @nararoesler @carlitocarvalhosa @benbrownfinearts @mignonigallery evahpade @thaddaeusropac @dominiquefung @massimodecarlogallery @osbornesamuelgallery @offerwaterman @manolovaldes @galeriemariawettergren @hauserwirth @thepage_gallery @gwonosang @jung_kuho @sarahmyerscoughgallery @galeriecapitain @galerie.lefebvre @studiomonicabonvicini

TEFAF NY 2026 @parkavearmory on view through Tuesday

@tefaf @nararoesler @carlitocarvalhosa @benbrownfinearts @mignonigallery evahpade @thaddaeusropac @dominiquefung @massimodecarlogallery @osbornesamuelgallery @offerwaterman @manolovaldes @galeriemariawettergren @hauserwirth @thepage_gallery @gwonosang @jung_kuho @sarahmyerscoughgallery @galeriecapitain @galerie.lefebvre @studiomonicabonvicini

TEFAF NY 2026 @parkavearmory on view through Tuesday

@tefaf @nararoesler @carlitocarvalhosa @benbrownfinearts @mignonigallery evahpade @thaddaeusropac @dominiquefung @massimodecarlogallery @osbornesamuelgallery @offerwaterman @manolovaldes @galeriemariawettergren @hauserwirth @thepage_gallery @gwonosang @jung_kuho @sarahmyerscoughgallery @galeriecapitain @galerie.lefebvre @studiomonicabonvicini