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Lindsay Adams builds upon a long artistic lineage of artists engaging with the color black throughout the history of painting and abstraction. Painters as diverse as Francisco Goya, Eugène Delacroix, and Kazimir Malevich deployed black to evoke drama, horror, the psychological intensity of violence and struggle, and even spirituality over the ages. Adams repositions this legacy within a broader contemporary conversation among artists such as Mary Lovelace O’Neal and Raymond Sanders, whose practices similarly explore the conceptual and material possibilities of black within abstraction.

Luminous blues, pinks, and yellows move across the surface in energetic brushstrokes. Color is not fixed but accumulative and responsive, emerging through a process of addition, removal, and rearticulation, with each layer carrying the essence of prior decisions. Adams’ gestures defy containment, the marks are unbound. Through chiaroscuro, she activates moments of luminosity and obscurity, allowing forms to emerge, recede, and dissolve within the surface.

Images: Lindsay Adams, let’s watch the thunderstorms from the front porch, 2026, oil, oil pastel, and oil stick on canvas, 24 x 24 inches; Installation view of Lindsay Adams: SOIL at Sean Kelly, New York, April 17 – May 30, 2026, Photography: Jason Wyche, Courtesy: Sean Kelly, New York

@lindsaybriadams #SeanKellyNY

Lindsay Adams builds upon a long artistic lineage of artists engaging with the color black throughout the history of painting and abstraction. Painters as diverse as Francisco Goya, Eugène Delacroix, and Kazimir Malevich deployed black to evoke drama, horror, the psychological intensity of violence and struggle, and even spirituality over the ages. Adams repositions this legacy within a broader contemporary conversation among artists such as Mary Lovelace O’Neal and Raymond Sanders, whose practices similarly explore the conceptual and material possibilities of black within abstraction.

Luminous blues, pinks, and yellows move across the surface in energetic brushstrokes. Color is not fixed but accumulative and responsive, emerging through a process of addition, removal, and rearticulation, with each layer carrying the essence of prior decisions. Adams’ gestures defy containment, the marks are unbound. Through chiaroscuro, she activates moments of luminosity and obscurity, allowing forms to emerge, recede, and dissolve within the surface.

Images: Lindsay Adams, let’s watch the thunderstorms from the front porch, 2026, oil, oil pastel, and oil stick on canvas, 24 x 24 inches; Installation view of Lindsay Adams: SOIL at Sean Kelly, New York, April 17 – May 30, 2026, Photography: Jason Wyche, Courtesy: Sean Kelly, New York

@lindsaybriadams #SeanKellyNY

Lindsay Adams builds upon a long artistic lineage of artists engaging with the color black throughout the history of painting and abstraction. Painters as diverse as Francisco Goya, Eugène Delacroix, and Kazimir Malevich deployed black to evoke drama, horror, the psychological intensity of violence and struggle, and even spirituality over the ages. Adams repositions this legacy within a broader contemporary conversation among artists such as Mary Lovelace O’Neal and Raymond Sanders, whose practices similarly explore the conceptual and material possibilities of black within abstraction.

Luminous blues, pinks, and yellows move across the surface in energetic brushstrokes. Color is not fixed but accumulative and responsive, emerging through a process of addition, removal, and rearticulation, with each layer carrying the essence of prior decisions. Adams’ gestures defy containment, the marks are unbound. Through chiaroscuro, she activates moments of luminosity and obscurity, allowing forms to emerge, recede, and dissolve within the surface.

Images: Lindsay Adams, let’s watch the thunderstorms from the front porch, 2026, oil, oil pastel, and oil stick on canvas, 24 x 24 inches; Installation view of Lindsay Adams: SOIL at Sean Kelly, New York, April 17 – May 30, 2026, Photography: Jason Wyche, Courtesy: Sean Kelly, New York

@lindsaybriadams #SeanKellyNY

“Moving beyond the objective, they focused on finding form in light, shadow, and pattern, where the subjective became abstract, and the quotidian became more expressive and at times, sensual.” - Jeffrey Grove, Director, Museums & Publications, Sean Kelly

Acutely attuned to subtle nuances of color, tone, and light, and the dynamics of space that her works occupy, Sam Moyer’s interest in materiality and the relationship between organic and constructed form drives a practice unrestricted by traditional notions of beauty, or distinctions between painting and sculpture.

Each of Moyer’s large paintings is a unique composition of variegated and multi-hued sections of repurposed marble, slate and stone combined with fabrics in a spectrum of colors. By embedding fragments of reclaimed marble into textured, hand-painted surfaces, Moyer highlights the interplay between natural material and artistic intervention.

Images: Sam Moyer, Blue Harpoon Hosta, 2018, marble, hand painted canvas mounted to MDF panel, 74 7/8 x 49 3/16 x 1 1/4 inches Photo: JSP Art Photography

@sammemoyer #SamMoyer #SeanKellyGallery

“Moving beyond the objective, they focused on finding form in light, shadow, and pattern, where the subjective became abstract, and the quotidian became more expressive and at times, sensual.” - Jeffrey Grove, Director, Museums & Publications, Sean Kelly

Acutely attuned to subtle nuances of color, tone, and light, and the dynamics of space that her works occupy, Sam Moyer’s interest in materiality and the relationship between organic and constructed form drives a practice unrestricted by traditional notions of beauty, or distinctions between painting and sculpture.

Each of Moyer’s large paintings is a unique composition of variegated and multi-hued sections of repurposed marble, slate and stone combined with fabrics in a spectrum of colors. By embedding fragments of reclaimed marble into textured, hand-painted surfaces, Moyer highlights the interplay between natural material and artistic intervention.

Images: Sam Moyer, Blue Harpoon Hosta, 2018, marble, hand painted canvas mounted to MDF panel, 74 7/8 x 49 3/16 x 1 1/4 inches Photo: JSP Art Photography

@sammemoyer #SamMoyer #SeanKellyGallery

“I wanted to develop a body of work on the premise of filtering down sculpture to its most primitive action. It’s most simple action.” - Jose Dávila

In The Simple Act of Positioning, the sculptures create situations in which materials encounter one another, and new relationships become visible. In this sense, Dávila’s work returns to a gesture that lies close to the origin of sculpture itself: the simple act of placing one thing beside another, allowing matter, space, and human attention to converge.

Jose Dávila: The Simple Act of Positioningis on view through May 30, 2026, at Sean Kelly, New York.

Video by Sean Kelly Gallery

@josedavila #JoseDávila #SeanKellyNY

Our booth at TEFAF New York features a salon-style installation of intimate smaller works highlighting pieces from a broad range of artistic practices.

Edgar Degas’s drawing study for the painting Joséphine Gaujelin, 1867, depicts the delicate hands of the dancer and actress, shifting from robust lines to subtle shading rendered in pencil. A 1947 drawing by Louise Bourgeois depicts a totemic figure connecting the body, psyche and subjectivity, revealing the artist’s subconscious through her daily drawing ritual. Rooted in Latin American traditions, Hilda Palafox’s work on paper engages with the body’s relationship to the land, addressing themes of identity and resilience through a distinctly feminine lens.

Evocative of the natural world, Janaina Tschäpe’s biomorphic forms and gestural marks of her watercolor painting functions as an expression of the artist’s interior thoughts. Pioneering Cuban artist Loló Soldevilla employs a mirror effect technique in her geometric abstraction, in which elements are reflected, with slight variations, across a vertical axis, mimicking the forms undulating in a dynamic musical composition.

TEFAF New York
Stand #330
Park Avenue Armory
May 15-19, 2026

Images: Sean Kelly at TEFAF New York 2026, May 15-19, 2026, New York, New York, Stand 330, Photo: Sebastiano Pellion di Persano, Courtesy: Sean Kelly New York

@janainatschape @poni @laurentgrasso @magdiel448 @tefaf @the_adaa

Our booth at TEFAF New York features a salon-style installation of intimate smaller works highlighting pieces from a broad range of artistic practices.

Edgar Degas’s drawing study for the painting Joséphine Gaujelin, 1867, depicts the delicate hands of the dancer and actress, shifting from robust lines to subtle shading rendered in pencil. A 1947 drawing by Louise Bourgeois depicts a totemic figure connecting the body, psyche and subjectivity, revealing the artist’s subconscious through her daily drawing ritual. Rooted in Latin American traditions, Hilda Palafox’s work on paper engages with the body’s relationship to the land, addressing themes of identity and resilience through a distinctly feminine lens.

Evocative of the natural world, Janaina Tschäpe’s biomorphic forms and gestural marks of her watercolor painting functions as an expression of the artist’s interior thoughts. Pioneering Cuban artist Loló Soldevilla employs a mirror effect technique in her geometric abstraction, in which elements are reflected, with slight variations, across a vertical axis, mimicking the forms undulating in a dynamic musical composition.

TEFAF New York
Stand #330
Park Avenue Armory
May 15-19, 2026

Images: Sean Kelly at TEFAF New York 2026, May 15-19, 2026, New York, New York, Stand 330, Photo: Sebastiano Pellion di Persano, Courtesy: Sean Kelly New York

@janainatschape @poni @laurentgrasso @magdiel448 @tefaf @the_adaa

Kehinde Wiley’s work is situated within the lineage of Western portraiture, asserting a space for Black and brown bodies within a tradition that has long excluded them. As a contemporary artist of the grand manner of portrait painting—invoking the iconic historical artists, Reynolds, Gainsborough, Titian, Ingres, amongst others—Wiley appropriates and transforms the stylistic codes of power, elegance, and divinity. His sitters are portrayed with regal poise and striking presence, their contemporary clothing and attitudes juxtaposed against richly patterned, often fantastical backdrops that reference historic decorative traditions from various cultures.

Wiley’s deployment of religious and monarchical motifs positions his subject as both saint and sovereign, destabilizing expectations around race, class, and historical memory. The painting resists easy interpretation, embodying the ambiguity that lies at the heart of Wiley’s practice. By placing Black and brown subjects within frameworks traditionally reserved for white aristocracy or religious exaltation, Wiley creates a powerful tension between representation and erasure, reverence and critique. His portraits are at once deeply rooted in history and radically contemporary, offering a vital reimagining of identity, agency, and glory in today’s visual culture.

TEFAF New York 2026
Stand #330
Park Avenue Armory
Public Dates: May 15-19, 2026

Images: Kehinde Wiley, Portrait of Olawaiye Ebubechukwu Olagoke, 2024, oil on panel, painting: 6 x 5 1/4 inches, framed: 16 11/16 x 15 7/8 x 3 3/8 inches

@kehindewiley @tefaf @the_adaa #TEFAFNY

Kehinde Wiley’s work is situated within the lineage of Western portraiture, asserting a space for Black and brown bodies within a tradition that has long excluded them. As a contemporary artist of the grand manner of portrait painting—invoking the iconic historical artists, Reynolds, Gainsborough, Titian, Ingres, amongst others—Wiley appropriates and transforms the stylistic codes of power, elegance, and divinity. His sitters are portrayed with regal poise and striking presence, their contemporary clothing and attitudes juxtaposed against richly patterned, often fantastical backdrops that reference historic decorative traditions from various cultures.

Wiley’s deployment of religious and monarchical motifs positions his subject as both saint and sovereign, destabilizing expectations around race, class, and historical memory. The painting resists easy interpretation, embodying the ambiguity that lies at the heart of Wiley’s practice. By placing Black and brown subjects within frameworks traditionally reserved for white aristocracy or religious exaltation, Wiley creates a powerful tension between representation and erasure, reverence and critique. His portraits are at once deeply rooted in history and radically contemporary, offering a vital reimagining of identity, agency, and glory in today’s visual culture.

TEFAF New York 2026
Stand #330
Park Avenue Armory
Public Dates: May 15-19, 2026

Images: Kehinde Wiley, Portrait of Olawaiye Ebubechukwu Olagoke, 2024, oil on panel, painting: 6 x 5 1/4 inches, framed: 16 11/16 x 15 7/8 x 3 3/8 inches

@kehindewiley @tefaf @the_adaa #TEFAFNY

Hugo McCloud’s still-life flower series began as a meditative practice—a daily ritual and quiet, repetitive gesture—that has evolved into a nuanced body of work that explores beauty and fragility, while increasingly attending to light, shadow, and perception.

Each composition is constructed from fragments of single-use plastic sourced from everyday waste, cut, heated, and adhered onto panel, then elaborated with oil paint to further define the floral elements. As the series has developed, McCloud has placed greater emphasis on shifting light—how illumination activates the surface, catches edges, and produces subtle transitions across the composition. Shadows are equally central to the compositions, grounding the arragements while introducing a temporal dimension that shifts with viewing conditions.

Referencing the long tradition of floral still-life painting, McCloud reimagines the genre through a contemporary lens, juxtaposing plastic’s durability with oil paint’s historical associations. This material tension is heightened by the interplay of light and shadow, which gives the works a quiet sense of movement despite their fixed form.

TEFAF New York 2026
Stand #330
Park Avenue Armory
Public Dates: May 15-19, 2026

Images: Hugo McCloud, blended certainties, 2026, oil paint and single use plastic mounted on panel, 46 5/8 x 41 1/8 x 2 1/4 inches © Hugo McCloud Courtesy: the artist and Sean Kelly, New York

@hugomccloudstudio @tefaf @the_adaa #TEFAFNY

Hugo McCloud’s still-life flower series began as a meditative practice—a daily ritual and quiet, repetitive gesture—that has evolved into a nuanced body of work that explores beauty and fragility, while increasingly attending to light, shadow, and perception.

Each composition is constructed from fragments of single-use plastic sourced from everyday waste, cut, heated, and adhered onto panel, then elaborated with oil paint to further define the floral elements. As the series has developed, McCloud has placed greater emphasis on shifting light—how illumination activates the surface, catches edges, and produces subtle transitions across the composition. Shadows are equally central to the compositions, grounding the arragements while introducing a temporal dimension that shifts with viewing conditions.

Referencing the long tradition of floral still-life painting, McCloud reimagines the genre through a contemporary lens, juxtaposing plastic’s durability with oil paint’s historical associations. This material tension is heightened by the interplay of light and shadow, which gives the works a quiet sense of movement despite their fixed form.

TEFAF New York 2026
Stand #330
Park Avenue Armory
Public Dates: May 15-19, 2026

Images: Hugo McCloud, blended certainties, 2026, oil paint and single use plastic mounted on panel, 46 5/8 x 41 1/8 x 2 1/4 inches © Hugo McCloud Courtesy: the artist and Sean Kelly, New York

@hugomccloudstudio @tefaf @the_adaa #TEFAFNY

Hugo McCloud’s still-life flower series began as a meditative practice—a daily ritual and quiet, repetitive gesture—that has evolved into a nuanced body of work that explores beauty and fragility, while increasingly attending to light, shadow, and perception.

Each composition is constructed from fragments of single-use plastic sourced from everyday waste, cut, heated, and adhered onto panel, then elaborated with oil paint to further define the floral elements. As the series has developed, McCloud has placed greater emphasis on shifting light—how illumination activates the surface, catches edges, and produces subtle transitions across the composition. Shadows are equally central to the compositions, grounding the arragements while introducing a temporal dimension that shifts with viewing conditions.

Referencing the long tradition of floral still-life painting, McCloud reimagines the genre through a contemporary lens, juxtaposing plastic’s durability with oil paint’s historical associations. This material tension is heightened by the interplay of light and shadow, which gives the works a quiet sense of movement despite their fixed form.

TEFAF New York 2026
Stand #330
Park Avenue Armory
Public Dates: May 15-19, 2026

Images: Hugo McCloud, blended certainties, 2026, oil paint and single use plastic mounted on panel, 46 5/8 x 41 1/8 x 2 1/4 inches © Hugo McCloud Courtesy: the artist and Sean Kelly, New York

@hugomccloudstudio @tefaf @the_adaa #TEFAFNY

TEFAF New York 2026 is now open! Visit us at Stand 330 with a curated presentation that brings together historical and contemporary visionaries in discourse. Encompassing painting, sculpture, photography and works on paper, the booth is an investigation into history, materiality, and form.

Our booth features the work of Magdiel García Almanza, Louise Bourgeois, Julian Charrière, Jose Dávila, Marcel Duchamp, Laurent Grasso, Rebecca Horn, Idris Khan, Hugo McCloud, Sam Moyer, Shahzia Sikander, and Kehinde Wiley.

A salon-style installation of intimate smaller works features pieces from a broad range of artistic practices including Louise Bourgeois, Edgar Degas, Hilda Palafox, Loló Soldevilla, and Janiana Tschäpe.

Collectively, each artworks exemplify Sean Kelly Gallery’s commitment to exhibiting artists whose unique practices challenge conventional norms and inspire discourse surrounding art history and the contemporary issues of today.

TEFAF New York 2026
Stand #330
Park Avenue Armory
Public Dates: May 15-19, 2026

Images: Sean Kelly at TEFAF New York 2026, May 15-19, 2026, New York, New York, Stand 330, Photo: Sebastiano Pellion di Persano, Courtesy: Sean Kelly New York

@magdiel448 @julian.charriere @josedavila @laurentgrasso @idriskhan_studio @hugomccloudstudio @sammemoyer @poni @shahzia.sikander @shahzia_sikander_studio @janainatschape @kehindewiley @tefaf @the_adaa #TEFAFNY

TEFAF New York 2026 is now open! Visit us at Stand 330 with a curated presentation that brings together historical and contemporary visionaries in discourse. Encompassing painting, sculpture, photography and works on paper, the booth is an investigation into history, materiality, and form.

Our booth features the work of Magdiel García Almanza, Louise Bourgeois, Julian Charrière, Jose Dávila, Marcel Duchamp, Laurent Grasso, Rebecca Horn, Idris Khan, Hugo McCloud, Sam Moyer, Shahzia Sikander, and Kehinde Wiley.

A salon-style installation of intimate smaller works features pieces from a broad range of artistic practices including Louise Bourgeois, Edgar Degas, Hilda Palafox, Loló Soldevilla, and Janiana Tschäpe.

Collectively, each artworks exemplify Sean Kelly Gallery’s commitment to exhibiting artists whose unique practices challenge conventional norms and inspire discourse surrounding art history and the contemporary issues of today.

TEFAF New York 2026
Stand #330
Park Avenue Armory
Public Dates: May 15-19, 2026

Images: Sean Kelly at TEFAF New York 2026, May 15-19, 2026, New York, New York, Stand 330, Photo: Sebastiano Pellion di Persano, Courtesy: Sean Kelly New York

@magdiel448 @julian.charriere @josedavila @laurentgrasso @idriskhan_studio @hugomccloudstudio @sammemoyer @poni @shahzia.sikander @shahzia_sikander_studio @janainatschape @kehindewiley @tefaf @the_adaa #TEFAFNY

TEFAF New York 2026 is now open! Visit us at Stand 330 with a curated presentation that brings together historical and contemporary visionaries in discourse. Encompassing painting, sculpture, photography and works on paper, the booth is an investigation into history, materiality, and form.

Our booth features the work of Magdiel García Almanza, Louise Bourgeois, Julian Charrière, Jose Dávila, Marcel Duchamp, Laurent Grasso, Rebecca Horn, Idris Khan, Hugo McCloud, Sam Moyer, Shahzia Sikander, and Kehinde Wiley.

A salon-style installation of intimate smaller works features pieces from a broad range of artistic practices including Louise Bourgeois, Edgar Degas, Hilda Palafox, Loló Soldevilla, and Janiana Tschäpe.

Collectively, each artworks exemplify Sean Kelly Gallery’s commitment to exhibiting artists whose unique practices challenge conventional norms and inspire discourse surrounding art history and the contemporary issues of today.

TEFAF New York 2026
Stand #330
Park Avenue Armory
Public Dates: May 15-19, 2026

Images: Sean Kelly at TEFAF New York 2026, May 15-19, 2026, New York, New York, Stand 330, Photo: Sebastiano Pellion di Persano, Courtesy: Sean Kelly New York

@magdiel448 @julian.charriere @josedavila @laurentgrasso @idriskhan_studio @hugomccloudstudio @sammemoyer @poni @shahzia.sikander @shahzia_sikander_studio @janainatschape @kehindewiley @tefaf @the_adaa #TEFAFNY

TEFAF New York 2026 is now open! Visit us at Stand 330 with a curated presentation that brings together historical and contemporary visionaries in discourse. Encompassing painting, sculpture, photography and works on paper, the booth is an investigation into history, materiality, and form.

Our booth features the work of Magdiel García Almanza, Louise Bourgeois, Julian Charrière, Jose Dávila, Marcel Duchamp, Laurent Grasso, Rebecca Horn, Idris Khan, Hugo McCloud, Sam Moyer, Shahzia Sikander, and Kehinde Wiley.

A salon-style installation of intimate smaller works features pieces from a broad range of artistic practices including Louise Bourgeois, Edgar Degas, Hilda Palafox, Loló Soldevilla, and Janiana Tschäpe.

Collectively, each artworks exemplify Sean Kelly Gallery’s commitment to exhibiting artists whose unique practices challenge conventional norms and inspire discourse surrounding art history and the contemporary issues of today.

TEFAF New York 2026
Stand #330
Park Avenue Armory
Public Dates: May 15-19, 2026

Images: Sean Kelly at TEFAF New York 2026, May 15-19, 2026, New York, New York, Stand 330, Photo: Sebastiano Pellion di Persano, Courtesy: Sean Kelly New York

@magdiel448 @julian.charriere @josedavila @laurentgrasso @idriskhan_studio @hugomccloudstudio @sammemoyer @poni @shahzia.sikander @shahzia_sikander_studio @janainatschape @kehindewiley @tefaf @the_adaa #TEFAFNY

TEFAF New York 2026 is now open! Visit us at Stand 330 with a curated presentation that brings together historical and contemporary visionaries in discourse. Encompassing painting, sculpture, photography and works on paper, the booth is an investigation into history, materiality, and form.

Our booth features the work of Magdiel García Almanza, Louise Bourgeois, Julian Charrière, Jose Dávila, Marcel Duchamp, Laurent Grasso, Rebecca Horn, Idris Khan, Hugo McCloud, Sam Moyer, Shahzia Sikander, and Kehinde Wiley.

A salon-style installation of intimate smaller works features pieces from a broad range of artistic practices including Louise Bourgeois, Edgar Degas, Hilda Palafox, Loló Soldevilla, and Janiana Tschäpe.

Collectively, each artworks exemplify Sean Kelly Gallery’s commitment to exhibiting artists whose unique practices challenge conventional norms and inspire discourse surrounding art history and the contemporary issues of today.

TEFAF New York 2026
Stand #330
Park Avenue Armory
Public Dates: May 15-19, 2026

Images: Sean Kelly at TEFAF New York 2026, May 15-19, 2026, New York, New York, Stand 330, Photo: Sebastiano Pellion di Persano, Courtesy: Sean Kelly New York

@magdiel448 @julian.charriere @josedavila @laurentgrasso @idriskhan_studio @hugomccloudstudio @sammemoyer @poni @shahzia.sikander @shahzia_sikander_studio @janainatschape @kehindewiley @tefaf @the_adaa #TEFAFNY

TEFAF New York 2026 is now open! Visit us at Stand 330 with a curated presentation that brings together historical and contemporary visionaries in discourse. Encompassing painting, sculpture, photography and works on paper, the booth is an investigation into history, materiality, and form.

Our booth features the work of Magdiel García Almanza, Louise Bourgeois, Julian Charrière, Jose Dávila, Marcel Duchamp, Laurent Grasso, Rebecca Horn, Idris Khan, Hugo McCloud, Sam Moyer, Shahzia Sikander, and Kehinde Wiley.

A salon-style installation of intimate smaller works features pieces from a broad range of artistic practices including Louise Bourgeois, Edgar Degas, Hilda Palafox, Loló Soldevilla, and Janiana Tschäpe.

Collectively, each artworks exemplify Sean Kelly Gallery’s commitment to exhibiting artists whose unique practices challenge conventional norms and inspire discourse surrounding art history and the contemporary issues of today.

TEFAF New York 2026
Stand #330
Park Avenue Armory
Public Dates: May 15-19, 2026

Images: Sean Kelly at TEFAF New York 2026, May 15-19, 2026, New York, New York, Stand 330, Photo: Sebastiano Pellion di Persano, Courtesy: Sean Kelly New York

@magdiel448 @julian.charriere @josedavila @laurentgrasso @idriskhan_studio @hugomccloudstudio @sammemoyer @poni @shahzia.sikander @shahzia_sikander_studio @janainatschape @kehindewiley @tefaf @the_adaa #TEFAFNY

TEFAF New York 2026 is now open! Visit us at Stand 330 with a curated presentation that brings together historical and contemporary visionaries in discourse. Encompassing painting, sculpture, photography and works on paper, the booth is an investigation into history, materiality, and form.

Our booth features the work of Magdiel García Almanza, Louise Bourgeois, Julian Charrière, Jose Dávila, Marcel Duchamp, Laurent Grasso, Rebecca Horn, Idris Khan, Hugo McCloud, Sam Moyer, Shahzia Sikander, and Kehinde Wiley.

A salon-style installation of intimate smaller works features pieces from a broad range of artistic practices including Louise Bourgeois, Edgar Degas, Hilda Palafox, Loló Soldevilla, and Janiana Tschäpe.

Collectively, each artworks exemplify Sean Kelly Gallery’s commitment to exhibiting artists whose unique practices challenge conventional norms and inspire discourse surrounding art history and the contemporary issues of today.

TEFAF New York 2026
Stand #330
Park Avenue Armory
Public Dates: May 15-19, 2026

Images: Sean Kelly at TEFAF New York 2026, May 15-19, 2026, New York, New York, Stand 330, Photo: Sebastiano Pellion di Persano, Courtesy: Sean Kelly New York

@magdiel448 @julian.charriere @josedavila @laurentgrasso @idriskhan_studio @hugomccloudstudio @sammemoyer @poni @shahzia.sikander @shahzia_sikander_studio @janainatschape @kehindewiley @tefaf @the_adaa #TEFAFNY

Sean Kelly Gallery is delighted to return to TEFAF New York today for the Preview with a curated presentation that brings together historical and contemporary visionaries in discourse. Encompassing painting, sculpture, photography and works on paper, the booth is an investigation into history, materiality, and form.

Rebecca Horn’s sculpture employs mechanized styluses piercing a vitrine, echoing the body and recalling the armatures used in her early performances. This particular vitrine, the title of which translates roughly as “Swirling Eyes,” was made at the time Horn was creating her body landscape paintings, works in which she references the figure through the repetition of circles, a symbol of unity and infinity, with no beginning and no end.

The mechanized wire needles or styluses move in and out of the vitrine repetitively, referencing the body as well as the needles and armatures she attached to her body in many of her early performances, which were about exploring and “feeling” space. Through her use of movement and the circle Horn strongly alludes to the work of Marcel Duchamp, an artist of great importance to her, referencing his utilization of his optical Roto Reliefs.

TEFAF New York 2026
Stand #330
Park Avenue Armory
Public Dates: May 15-19, 2026

Image: Rebecca Horn, Augen Wirbel, 2015, steel, glass, painting on the surface of the glass, electronic device, motor, brass, wire, vitrine: 39 3/8 x 27 9/16 x 7 1/2 inches © Rebecca Horn Courtesy: the artist and Sean Kelly, New York

@tefaf @the_adaa #SeanKellyGallery

Sean Kelly Gallery is delighted to return to TEFAF New York today for the Preview with a curated presentation that brings together historical and contemporary visionaries in discourse. Encompassing painting, sculpture, photography and works on paper, the booth is an investigation into history, materiality, and form.

Rebecca Horn’s sculpture employs mechanized styluses piercing a vitrine, echoing the body and recalling the armatures used in her early performances. This particular vitrine, the title of which translates roughly as “Swirling Eyes,” was made at the time Horn was creating her body landscape paintings, works in which she references the figure through the repetition of circles, a symbol of unity and infinity, with no beginning and no end.

The mechanized wire needles or styluses move in and out of the vitrine repetitively, referencing the body as well as the needles and armatures she attached to her body in many of her early performances, which were about exploring and “feeling” space. Through her use of movement and the circle Horn strongly alludes to the work of Marcel Duchamp, an artist of great importance to her, referencing his utilization of his optical Roto Reliefs.

TEFAF New York 2026
Stand #330
Park Avenue Armory
Public Dates: May 15-19, 2026

Image: Rebecca Horn, Augen Wirbel, 2015, steel, glass, painting on the surface of the glass, electronic device, motor, brass, wire, vitrine: 39 3/8 x 27 9/16 x 7 1/2 inches © Rebecca Horn Courtesy: the artist and Sean Kelly, New York

@tefaf @the_adaa #SeanKellyGallery

Sean Kelly Gallery is delighted to participate in TEFAF New York 2026 with a curated presentation that brings together historical and contemporary visionaries in discourse. Encompassing painting, sculpture, photography and works on paper, the booth is an investigation into history, materiality, and form.

Our booth features the work of Magdiel García Almanza, Louise Bourgeois, Julian Charrière, Jose Dávila, Marcel Duchamp, Laurent Grasso, Rebecca Horn, Idris Khan, Hugo McCloud, Sam Moyer, Shahzia Sikander, and Kehinde Wiley.

A salon-style installation of intimate smaller works features pieces from a broad range of artistic practices including Louise Bourgeois, Edgar Degas, Hilda Palafox, Loló Soldevilla, and Janiana Tschäpe.

Collectively, each artworks exemplify Sean Kelly Gallery’s commitment to exhibiting artists whose unique practices challenge conventional norms and inspire discourse surrounding art history and the contemporary issues of today.

@magdiel448 @julian.charriere @josedavila @laurentgrasso @idriskhan_studio @hugomccloudstudio @sammemoyer @poni @shahzia.sikander @shahzia_sikander_studio @janainatschape @kehindewiley @tefaf @the_adaa

Lindsay Adams (@Lindsaybriadams) is an artist whose paintings explore memory, place, imagination, and the emotional resonance of color through abstraction and gesture. Living with cerebral palsy, Adams approaches painting as both a physical and psychological space, where movement, perception, and personal history become embedded within the surface of the work.

In ‘SOIL’, her first solo exhibition at Sean Kelly Gallery, Adams presents eight new paintings that begin from a foundation of lamp black, using darkness as a generative starting point from which color and form emerge. Balancing luminosity with absorption, the works explore both the visibility and invisibility of Blackness while paying homage to the women in her family through deeply personal abstractions rooted in emotion, memory, and presence.

‘SOIL’ is on view at Sean Kelly Gallery (@seankellygallery) through May 30.

“Stacking, elevating, interrupting, or misaligning are gestures that point simultaneously to archaic forms of construction and to contemporary ways of structuring meaning.” - Jose Dávila

In the twentieth century, artists including Marcel Duchamp and Jannis Kounellis further demonstrated how meaning can emerge through acts of selection and placement. Duchamp’s readymades revealed that repositioning an object could radically shift its significance, while Kounellis explored how materials such as coal, steel, or burlap acquire historical and symbolic weight when placed within carefully constructed contexts.

Dávila continues this dialogue whilst foregrounding it in the physical realities of weight and gravity. In the studio, materials are moved, rotated, stacked, and repositioned until a relation appears that feels both precarious and inevitable. Gravity becomes an active collaborator in this process: once an object is placed, its consequences are real, and stability is never entirely guaranteed.

Images: Jose Dávila, Fundamental Concern, 2026, concrete, travertine marble and rocks
97 5/8 x 25 1/2 x 25 5/8 inches Photo: Agustín Arce © Jose Dávila Courtesy: the artist and Sean Kelly, New York; Installation view of Jose Dávila: The Simple Act of Positioning at Sean Kelly, New York, April 17 – May 30, 2026, Photography: Jason Wyche, Courtesy: Sean Kelly, New York

@josedavila #JoseDávila #SeanKellyNY

“Stacking, elevating, interrupting, or misaligning are gestures that point simultaneously to archaic forms of construction and to contemporary ways of structuring meaning.” - Jose Dávila

In the twentieth century, artists including Marcel Duchamp and Jannis Kounellis further demonstrated how meaning can emerge through acts of selection and placement. Duchamp’s readymades revealed that repositioning an object could radically shift its significance, while Kounellis explored how materials such as coal, steel, or burlap acquire historical and symbolic weight when placed within carefully constructed contexts.

Dávila continues this dialogue whilst foregrounding it in the physical realities of weight and gravity. In the studio, materials are moved, rotated, stacked, and repositioned until a relation appears that feels both precarious and inevitable. Gravity becomes an active collaborator in this process: once an object is placed, its consequences are real, and stability is never entirely guaranteed.

Images: Jose Dávila, Fundamental Concern, 2026, concrete, travertine marble and rocks
97 5/8 x 25 1/2 x 25 5/8 inches Photo: Agustín Arce © Jose Dávila Courtesy: the artist and Sean Kelly, New York; Installation view of Jose Dávila: The Simple Act of Positioning at Sean Kelly, New York, April 17 – May 30, 2026, Photography: Jason Wyche, Courtesy: Sean Kelly, New York

@josedavila #JoseDávila #SeanKellyNY

“Stacking, elevating, interrupting, or misaligning are gestures that point simultaneously to archaic forms of construction and to contemporary ways of structuring meaning.” - Jose Dávila

In the twentieth century, artists including Marcel Duchamp and Jannis Kounellis further demonstrated how meaning can emerge through acts of selection and placement. Duchamp’s readymades revealed that repositioning an object could radically shift its significance, while Kounellis explored how materials such as coal, steel, or burlap acquire historical and symbolic weight when placed within carefully constructed contexts.

Dávila continues this dialogue whilst foregrounding it in the physical realities of weight and gravity. In the studio, materials are moved, rotated, stacked, and repositioned until a relation appears that feels both precarious and inevitable. Gravity becomes an active collaborator in this process: once an object is placed, its consequences are real, and stability is never entirely guaranteed.

Images: Jose Dávila, Fundamental Concern, 2026, concrete, travertine marble and rocks
97 5/8 x 25 1/2 x 25 5/8 inches Photo: Agustín Arce © Jose Dávila Courtesy: the artist and Sean Kelly, New York; Installation view of Jose Dávila: The Simple Act of Positioning at Sean Kelly, New York, April 17 – May 30, 2026, Photography: Jason Wyche, Courtesy: Sean Kelly, New York

@josedavila #JoseDávila #SeanKellyNY

At Museo Correr, two visions of time collide: with neoclassical sculptures seeking to immortalize the human form in stone, and the turning tide of Spiral Economy’ revealing the limits of our boundless consumerism of both natural and unnatural resources.

It plays on the concept of cabinets of curiosity—the Wunderkammer—traditionally used to display conquered and collected objects, driven by Western narratives of exploration and power.

In this exhibition, that perspective is challenged by the circular, metabolic logic of the Earth. By placing ancient ammonites inside the spiraling coils of a vending machine, the work critiques the illusion of infinite resources, collapsing deep geological time into the instant gratification of modern trade.

Video: Julian Charrière, Installation view, Spiral Economy: Charrière and Canova, Museo Correr, Venice, Italy, 2026 © The Artist / VG Bild-Kunst, Bonn, 2026 Courtesy of The Artist, Sean Kelly, OMR, Galerie Tschudi, Dittrich & Schlechtriem, Sies+Höke Video by Artbeats

@julian.charriere #JulianCharrière @visitmuve artbeatsberlin #visitMUVE