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Markus Brunetti’s fourth solo exhibition with Yossi Milo Gallery, “FACADES IV,” is on view through June 20, 2026 🏛️

Brunetti’s rendition of the Santiago de Compostela Cathedral (2009–2024) stands as one of the exhibition’s centerpieces. The monumental structure marks the culmination of the Camino de Santiago, the fabled millennium-old Christian pilgrimage route. Its eighteenth-century Baroque Obradoiro façade is resplendent with sculptural detail, crowned by a statue of St. James and flanked by the Bell and Ratchet towers. Brunetti’s repeated returns to and contemplation of the cathedral echo its thousands of yearly worshippers, while his rigorous practice preserves the legacy of architects and laborers across centuries.

Pictured (left to right):
Santiago de Compostela Cathedral (2009–2024), Archival Pigment Print, 83 3/4 × 54 1/4 in. (213 × 138 cm)

Venezia, II Redentore (2012–2023), Archival Pigment Print, 83 3/4 × 54 1/4 in. (213 × 138 cm)

Markus Brunetti’s fourth solo exhibition with Yossi Milo Gallery, “FACADES IV,” is on view through June 20, 2026 🏛️

Brunetti’s rendition of the Santiago de Compostela Cathedral (2009–2024) stands as one of the exhibition’s centerpieces. The monumental structure marks the culmination of the Camino de Santiago, the fabled millennium-old Christian pilgrimage route. Its eighteenth-century Baroque Obradoiro façade is resplendent with sculptural detail, crowned by a statue of St. James and flanked by the Bell and Ratchet towers. Brunetti’s repeated returns to and contemplation of the cathedral echo its thousands of yearly worshippers, while his rigorous practice preserves the legacy of architects and laborers across centuries.

Pictured (left to right):
Santiago de Compostela Cathedral (2009–2024), Archival Pigment Print, 83 3/4 × 54 1/4 in. (213 × 138 cm)

Venezia, II Redentore (2012–2023), Archival Pigment Print, 83 3/4 × 54 1/4 in. (213 × 138 cm)

#MarkusBrunetti at @yossimilo exhibition walkthrough ✨ On view through June 20

🎨 Markus Brunetti: FACADES IV
🗓 Apr 30–Jun 20, 2026
📍 Yossi Milo Gallery

Markus Brunetti’s exhibition FACADES IV at Yossi Milo in New York is the artist’s fourth solo show with the gallery, continuing his twenty-year mission to document Europe’s foremost religious architecture. Working with his partner and collaborator Betty Schöner from a converted firetruck-turned-photo lab, Brunetti photographs prominent churches, monasteries, and cathedrals in Italy, France, and Spain — taking thousands of shots per structure and composing them into monumental, hyper-detailed images that exceed the possibilities of any single photograph.

#art #yossimilogallery

OPENING TODAY | Yonathan Moore: Volutes 💡🏛️

Yossi Milo Gallery is pleased to present Volutes, a sculptural light installation created for NYCxDESIGN (@nycxdesign) by Yonathan Moore (@yonathanmoore.studio), on view at the gallery through May 17.

Designer and architect Yonathan Moore operates at the intersection of rigid industrial systems and fluid spatial experiences, exploring how cold materials can become expressive, evoking softness, movement, and emotional resonance. Drawing from both architectural history and contemporary fabrication technologies, Moore’s innovative approach investigates how familiar materials mutate and take on new roles across lighting, furniture, and installation.

Balancing softness and structure, Volutes reforges industrial aluminum extrusions into fluid, ribbon-like surfaces. Referencing both Ionic capitals and Art Deco’s organic decor, the installation continues Yonathan Moore’s ongoing exploration of the Flux Metal Drape system as both architectural language and sculptural form, blurring the line between functionality and ornamentation.

The exhibition will be celebrated with an opening reception tonight, May 13, from 6PM to 9 PM.

We’ll see you in Chelsea tonight.

OPENING TODAY | Yonathan Moore: Volutes 💡🏛️

Yossi Milo Gallery is pleased to present Volutes, a sculptural light installation created for NYCxDESIGN (@nycxdesign) by Yonathan Moore (@yonathanmoore.studio), on view at the gallery through May 17.

Designer and architect Yonathan Moore operates at the intersection of rigid industrial systems and fluid spatial experiences, exploring how cold materials can become expressive, evoking softness, movement, and emotional resonance. Drawing from both architectural history and contemporary fabrication technologies, Moore’s innovative approach investigates how familiar materials mutate and take on new roles across lighting, furniture, and installation.

Balancing softness and structure, Volutes reforges industrial aluminum extrusions into fluid, ribbon-like surfaces. Referencing both Ionic capitals and Art Deco’s organic decor, the installation continues Yonathan Moore’s ongoing exploration of the Flux Metal Drape system as both architectural language and sculptural form, blurring the line between functionality and ornamentation.

The exhibition will be celebrated with an opening reception tonight, May 13, from 6PM to 9 PM.

We’ll see you in Chelsea tonight.

OPENING TODAY | Yonathan Moore: Volutes 💡🏛️

Yossi Milo Gallery is pleased to present Volutes, a sculptural light installation created for NYCxDESIGN (@nycxdesign) by Yonathan Moore (@yonathanmoore.studio), on view at the gallery through May 17.

Designer and architect Yonathan Moore operates at the intersection of rigid industrial systems and fluid spatial experiences, exploring how cold materials can become expressive, evoking softness, movement, and emotional resonance. Drawing from both architectural history and contemporary fabrication technologies, Moore’s innovative approach investigates how familiar materials mutate and take on new roles across lighting, furniture, and installation.

Balancing softness and structure, Volutes reforges industrial aluminum extrusions into fluid, ribbon-like surfaces. Referencing both Ionic capitals and Art Deco’s organic decor, the installation continues Yonathan Moore’s ongoing exploration of the Flux Metal Drape system as both architectural language and sculptural form, blurring the line between functionality and ornamentation.

The exhibition will be celebrated with an opening reception tonight, May 13, from 6PM to 9 PM.

We’ll see you in Chelsea tonight.

OPENING TODAY | Yonathan Moore: Volutes 💡🏛️

Yossi Milo Gallery is pleased to present Volutes, a sculptural light installation created for NYCxDESIGN (@nycxdesign) by Yonathan Moore (@yonathanmoore.studio), on view at the gallery through May 17.

Designer and architect Yonathan Moore operates at the intersection of rigid industrial systems and fluid spatial experiences, exploring how cold materials can become expressive, evoking softness, movement, and emotional resonance. Drawing from both architectural history and contemporary fabrication technologies, Moore’s innovative approach investigates how familiar materials mutate and take on new roles across lighting, furniture, and installation.

Balancing softness and structure, Volutes reforges industrial aluminum extrusions into fluid, ribbon-like surfaces. Referencing both Ionic capitals and Art Deco’s organic decor, the installation continues Yonathan Moore’s ongoing exploration of the Flux Metal Drape system as both architectural language and sculptural form, blurring the line between functionality and ornamentation.

The exhibition will be celebrated with an opening reception tonight, May 13, from 6PM to 9 PM.

We’ll see you in Chelsea tonight.

OPENING TODAY | Yonathan Moore: Volutes 💡🏛️

Yossi Milo Gallery is pleased to present Volutes, a sculptural light installation created for NYCxDESIGN (@nycxdesign) by Yonathan Moore (@yonathanmoore.studio), on view at the gallery through May 17.

Designer and architect Yonathan Moore operates at the intersection of rigid industrial systems and fluid spatial experiences, exploring how cold materials can become expressive, evoking softness, movement, and emotional resonance. Drawing from both architectural history and contemporary fabrication technologies, Moore’s innovative approach investigates how familiar materials mutate and take on new roles across lighting, furniture, and installation.

Balancing softness and structure, Volutes reforges industrial aluminum extrusions into fluid, ribbon-like surfaces. Referencing both Ionic capitals and Art Deco’s organic decor, the installation continues Yonathan Moore’s ongoing exploration of the Flux Metal Drape system as both architectural language and sculptural form, blurring the line between functionality and ornamentation.

The exhibition will be celebrated with an opening reception tonight, May 13, from 6PM to 9 PM.

We’ll see you in Chelsea tonight.

OPENING TODAY | Yonathan Moore: Volutes 💡🏛️

Yossi Milo Gallery is pleased to present Volutes, a sculptural light installation created for NYCxDESIGN (@nycxdesign) by Yonathan Moore (@yonathanmoore.studio), on view at the gallery through May 17.

Designer and architect Yonathan Moore operates at the intersection of rigid industrial systems and fluid spatial experiences, exploring how cold materials can become expressive, evoking softness, movement, and emotional resonance. Drawing from both architectural history and contemporary fabrication technologies, Moore’s innovative approach investigates how familiar materials mutate and take on new roles across lighting, furniture, and installation.

Balancing softness and structure, Volutes reforges industrial aluminum extrusions into fluid, ribbon-like surfaces. Referencing both Ionic capitals and Art Deco’s organic decor, the installation continues Yonathan Moore’s ongoing exploration of the Flux Metal Drape system as both architectural language and sculptural form, blurring the line between functionality and ornamentation.

The exhibition will be celebrated with an opening reception tonight, May 13, from 6PM to 9 PM.

We’ll see you in Chelsea tonight.

OPENING TODAY | Yonathan Moore: Volutes 💡🏛️

Yossi Milo Gallery is pleased to present Volutes, a sculptural light installation created for NYCxDESIGN (@nycxdesign) by Yonathan Moore (@yonathanmoore.studio), on view at the gallery through May 17.

Designer and architect Yonathan Moore operates at the intersection of rigid industrial systems and fluid spatial experiences, exploring how cold materials can become expressive, evoking softness, movement, and emotional resonance. Drawing from both architectural history and contemporary fabrication technologies, Moore’s innovative approach investigates how familiar materials mutate and take on new roles across lighting, furniture, and installation.

Balancing softness and structure, Volutes reforges industrial aluminum extrusions into fluid, ribbon-like surfaces. Referencing both Ionic capitals and Art Deco’s organic decor, the installation continues Yonathan Moore’s ongoing exploration of the Flux Metal Drape system as both architectural language and sculptural form, blurring the line between functionality and ornamentation.

The exhibition will be celebrated with an opening reception tonight, May 13, from 6PM to 9 PM.

We’ll see you in Chelsea tonight.

Yossi Milo is excited to invite the public to join us tomorrow, Thursday, May 14, for the ADAA’s Chelsea Gallery Walk (@the_adaa) 🌃

The gallery will be open with extended hours from 10 AM to 8 PM.

In addition, visitors will also have the opportunity to experience Yonathan Moore’s (@yonathanmoore.studio) VOLUTES, a light installation created for NYCxDESIGN Festival (@nycxdesign), on view in the gallery forum through May 17.

More information and works from Markus Brunetti’s exhibition can be found on our website — head to the link in our bio for more 🏛️🏰

We’ll see you in Chelsea on Thursday night!

Meghann Riepenhoff at the Rencontres d’Arles

Yossi Milo is excited to announce Meghann Riepenhoff’s (@meghannriepenhoff) upcoming solo exhibition, “Upwelling,” at the Rencontres d’Arles (@rencontresarles), France. A suite of large-scale cyanotypes will be exhibited in the Cloître Saint-Trophime, a twelfth-century cloister in the heart of Arles, opening on July 6 and will be on view through October 4, 2026.

The exhibition considers the complex nature of human relationships to landscape, the sublime, time, and impermanence. In oceanography, upwelling is the process by which waves, wind, and the earth’s rotation bring cold, nutrient-rich water to the surface, sustaining marine ecosystems. The term also describes a powerful building of emotional or political momentum. By working collaboratively with land shaped by contamination, extraction, and climate disruption, the artist examines not only the profound ways humans shape the environment, but how it has transformed us in return.

OPENING TOMORROW | Markus Brunetti: FACADES IV 🏛️✨

We’re excited to welcome viewers to #MarkusBrunetti ‘s ‘FACADES IV.’ The show will be celebrated with an artist’s reception from 6-8 PM tomorrow, Thursday, April 30, 2026.

Brunetti’s practice could be likened to Bernd and Hilla Becher’s serial photographs documenting German industrial buildings, yet the artist likens his methods more closely to conventions of Old Master painting. Though digital, the hand-constructed nature of the FACADES series speaks to the same root concerns for which contemporary audiences turn to traditional mediums—a dedication to beauty crafted for aesthetic and spiritual transcendence 💭

Pictured: Molfetta, Duomo die San Corado, 2011-2026, Archival Pigment Print, 70 13/16” x 59” (180 x 150 cm)

Pieter Hugo’s (@pieter.hugo.official) solo exhibition ‘What the Light Falls On’ is on view now at KYOCERA Museum of Art, Kyoto, Japan, located in Main Building South Wing 2F, as part of KYOTOGRAPHIE International Photography Festival (@kyotographie). The exhibition is presented by Stevenson Gallery, Cape Town, South Africa (@stevenson_za), and runs through Sunday, May 17 📸💡

From KYOCERA: “Comprising more than 100 images taken over the last 23 years, What the Light Falls On is Pieter Hugo’s meditation on life – focusing on birth, death, and the rites between. The title is a response to photographer Helmar Lerski’s assertion that “in every human being there is everything; the question is only what the light falls on”. Hugo answers this by accumulating a vibrant archive of human presence. While his earlier projects took the form of photo essays built around defined themes, here he attempts to give a visual answer to one of life’s most profound questions: what it means to be alive.”

Pieter Hugo’s (@pieter.hugo.official) solo exhibition ‘What the Light Falls On’ is on view now at KYOCERA Museum of Art, Kyoto, Japan, located in Main Building South Wing 2F, as part of KYOTOGRAPHIE International Photography Festival (@kyotographie). The exhibition is presented by Stevenson Gallery, Cape Town, South Africa (@stevenson_za), and runs through Sunday, May 17 📸💡

From KYOCERA: “Comprising more than 100 images taken over the last 23 years, What the Light Falls On is Pieter Hugo’s meditation on life – focusing on birth, death, and the rites between. The title is a response to photographer Helmar Lerski’s assertion that “in every human being there is everything; the question is only what the light falls on”. Hugo answers this by accumulating a vibrant archive of human presence. While his earlier projects took the form of photo essays built around defined themes, here he attempts to give a visual answer to one of life’s most profound questions: what it means to be alive.”

Pieter Hugo’s (@pieter.hugo.official) solo exhibition ‘What the Light Falls On’ is on view now at KYOCERA Museum of Art, Kyoto, Japan, located in Main Building South Wing 2F, as part of KYOTOGRAPHIE International Photography Festival (@kyotographie). The exhibition is presented by Stevenson Gallery, Cape Town, South Africa (@stevenson_za), and runs through Sunday, May 17 📸💡

From KYOCERA: “Comprising more than 100 images taken over the last 23 years, What the Light Falls On is Pieter Hugo’s meditation on life – focusing on birth, death, and the rites between. The title is a response to photographer Helmar Lerski’s assertion that “in every human being there is everything; the question is only what the light falls on”. Hugo answers this by accumulating a vibrant archive of human presence. While his earlier projects took the form of photo essays built around defined themes, here he attempts to give a visual answer to one of life’s most profound questions: what it means to be alive.”

Pieter Hugo’s (@pieter.hugo.official) solo exhibition ‘What the Light Falls On’ is on view now at KYOCERA Museum of Art, Kyoto, Japan, located in Main Building South Wing 2F, as part of KYOTOGRAPHIE International Photography Festival (@kyotographie). The exhibition is presented by Stevenson Gallery, Cape Town, South Africa (@stevenson_za), and runs through Sunday, May 17 📸💡

From KYOCERA: “Comprising more than 100 images taken over the last 23 years, What the Light Falls On is Pieter Hugo’s meditation on life – focusing on birth, death, and the rites between. The title is a response to photographer Helmar Lerski’s assertion that “in every human being there is everything; the question is only what the light falls on”. Hugo answers this by accumulating a vibrant archive of human presence. While his earlier projects took the form of photo essays built around defined themes, here he attempts to give a visual answer to one of life’s most profound questions: what it means to be alive.”

Today is the last day to view ‘Into the Blue Again,’ Linus Borgo’s second solo exhibition with the gallery 💙💭

The exhibition’s title, Into the Blue Again, is borrowed from a lyric in the Talking Heads’ 1981 hit song “Once in a Lifetime,” where singer David Byrne grapples with a sudden disbelief at the facts of his life. The song is structured around a looping, regular groove that pushes on to infinity: “Letting the days go by / Water flowing underground / Into the blue again.” This is Borgo’s blue: a life both momentary and ad infinitum, where healing can be as uncomfortable as any change.

Artworks Pictured:
Slide 1. The Impossibility of Unlearning, 2024, Oil on Linen, 60” x 24” (152.4 x 61 cm)
Slide 4. Voicemail Blues, 2024, Oil on Linen, 54” x 46” (137 x 117 cm)

Today is the last day to view ‘Into the Blue Again,’ Linus Borgo’s second solo exhibition with the gallery 💙💭

The exhibition’s title, Into the Blue Again, is borrowed from a lyric in the Talking Heads’ 1981 hit song “Once in a Lifetime,” where singer David Byrne grapples with a sudden disbelief at the facts of his life. The song is structured around a looping, regular groove that pushes on to infinity: “Letting the days go by / Water flowing underground / Into the blue again.” This is Borgo’s blue: a life both momentary and ad infinitum, where healing can be as uncomfortable as any change.

Artworks Pictured:
Slide 1. The Impossibility of Unlearning, 2024, Oil on Linen, 60” x 24” (152.4 x 61 cm)
Slide 4. Voicemail Blues, 2024, Oil on Linen, 54” x 46” (137 x 117 cm)

Today is the last day to view ‘Into the Blue Again,’ Linus Borgo’s second solo exhibition with the gallery 💙💭

The exhibition’s title, Into the Blue Again, is borrowed from a lyric in the Talking Heads’ 1981 hit song “Once in a Lifetime,” where singer David Byrne grapples with a sudden disbelief at the facts of his life. The song is structured around a looping, regular groove that pushes on to infinity: “Letting the days go by / Water flowing underground / Into the blue again.” This is Borgo’s blue: a life both momentary and ad infinitum, where healing can be as uncomfortable as any change.

Artworks Pictured:
Slide 1. The Impossibility of Unlearning, 2024, Oil on Linen, 60” x 24” (152.4 x 61 cm)
Slide 4. Voicemail Blues, 2024, Oil on Linen, 54” x 46” (137 x 117 cm)

Today is the last day to view ‘Into the Blue Again,’ Linus Borgo’s second solo exhibition with the gallery 💙💭

The exhibition’s title, Into the Blue Again, is borrowed from a lyric in the Talking Heads’ 1981 hit song “Once in a Lifetime,” where singer David Byrne grapples with a sudden disbelief at the facts of his life. The song is structured around a looping, regular groove that pushes on to infinity: “Letting the days go by / Water flowing underground / Into the blue again.” This is Borgo’s blue: a life both momentary and ad infinitum, where healing can be as uncomfortable as any change.

Artworks Pictured:
Slide 1. The Impossibility of Unlearning, 2024, Oil on Linen, 60” x 24” (152.4 x 61 cm)
Slide 4. Voicemail Blues, 2024, Oil on Linen, 54” x 46” (137 x 117 cm)

Today is the last day to view ‘Into the Blue Again,’ Linus Borgo’s second solo exhibition with the gallery 💙💭

The exhibition’s title, Into the Blue Again, is borrowed from a lyric in the Talking Heads’ 1981 hit song “Once in a Lifetime,” where singer David Byrne grapples with a sudden disbelief at the facts of his life. The song is structured around a looping, regular groove that pushes on to infinity: “Letting the days go by / Water flowing underground / Into the blue again.” This is Borgo’s blue: a life both momentary and ad infinitum, where healing can be as uncomfortable as any change.

Artworks Pictured:
Slide 1. The Impossibility of Unlearning, 2024, Oil on Linen, 60” x 24” (152.4 x 61 cm)
Slide 4. Voicemail Blues, 2024, Oil on Linen, 54” x 46” (137 x 117 cm)

Today is the last day to view ‘Into the Blue Again,’ Linus Borgo’s second solo exhibition with the gallery 💙💭

The exhibition’s title, Into the Blue Again, is borrowed from a lyric in the Talking Heads’ 1981 hit song “Once in a Lifetime,” where singer David Byrne grapples with a sudden disbelief at the facts of his life. The song is structured around a looping, regular groove that pushes on to infinity: “Letting the days go by / Water flowing underground / Into the blue again.” This is Borgo’s blue: a life both momentary and ad infinitum, where healing can be as uncomfortable as any change.

Artworks Pictured:
Slide 1. The Impossibility of Unlearning, 2024, Oil on Linen, 60” x 24” (152.4 x 61 cm)
Slide 4. Voicemail Blues, 2024, Oil on Linen, 54” x 46” (137 x 117 cm)

Shikeith (@shikeith) is profiled in T Magazine (@tmagazine) in a studio visit interview by writer Rose Courteau, with photography by D’Angelo Lovell Williams. Head to the link in our bio for the full article.

This feature coincides with the launch of Project Blue Space, Shikeith’s interdisciplinary platform investigating the profound historical, cultural, and political connections between Black communities and bodies of water. @projectbluespace is supported by the Mellon Foundation (@mellonfoundation).

The launch of Project Blue Space also marks the unveiling of Hold, neon-and-steel sculpture by the artist on view at Arts Landing in downtown Pittsburgh, PA, commissioned by the Pittsburgh Cultural Trust (@culturaltrust).

Shikeith (@shikeith) is profiled in T Magazine (@tmagazine) in a studio visit interview by writer Rose Courteau, with photography by D’Angelo Lovell Williams. Head to the link in our bio for the full article.

This feature coincides with the launch of Project Blue Space, Shikeith’s interdisciplinary platform investigating the profound historical, cultural, and political connections between Black communities and bodies of water. @projectbluespace is supported by the Mellon Foundation (@mellonfoundation).

The launch of Project Blue Space also marks the unveiling of Hold, neon-and-steel sculpture by the artist on view at Arts Landing in downtown Pittsburgh, PA, commissioned by the Pittsburgh Cultural Trust (@culturaltrust).

Shikeith (@shikeith) is profiled in T Magazine (@tmagazine) in a studio visit interview by writer Rose Courteau, with photography by D’Angelo Lovell Williams. Head to the link in our bio for the full article.

This feature coincides with the launch of Project Blue Space, Shikeith’s interdisciplinary platform investigating the profound historical, cultural, and political connections between Black communities and bodies of water. @projectbluespace is supported by the Mellon Foundation (@mellonfoundation).

The launch of Project Blue Space also marks the unveiling of Hold, neon-and-steel sculpture by the artist on view at Arts Landing in downtown Pittsburgh, PA, commissioned by the Pittsburgh Cultural Trust (@culturaltrust).

Shikeith (@shikeith) is profiled in T Magazine (@tmagazine) in a studio visit interview by writer Rose Courteau, with photography by D’Angelo Lovell Williams. Head to the link in our bio for the full article.

This feature coincides with the launch of Project Blue Space, Shikeith’s interdisciplinary platform investigating the profound historical, cultural, and political connections between Black communities and bodies of water. @projectbluespace is supported by the Mellon Foundation (@mellonfoundation).

The launch of Project Blue Space also marks the unveiling of Hold, neon-and-steel sculpture by the artist on view at Arts Landing in downtown Pittsburgh, PA, commissioned by the Pittsburgh Cultural Trust (@culturaltrust).

Shikeith (@shikeith) is profiled in T Magazine (@tmagazine) in a studio visit interview by writer Rose Courteau, with photography by D’Angelo Lovell Williams. Head to the link in our bio for the full article.

This feature coincides with the launch of Project Blue Space, Shikeith’s interdisciplinary platform investigating the profound historical, cultural, and political connections between Black communities and bodies of water. @projectbluespace is supported by the Mellon Foundation (@mellonfoundation).

The launch of Project Blue Space also marks the unveiling of Hold, neon-and-steel sculpture by the artist on view at Arts Landing in downtown Pittsburgh, PA, commissioned by the Pittsburgh Cultural Trust (@culturaltrust).

Shikeith (@shikeith) is profiled in T Magazine (@tmagazine) in a studio visit interview by writer Rose Courteau, with photography by D’Angelo Lovell Williams. Head to the link in our bio for the full article.

This feature coincides with the launch of Project Blue Space, Shikeith’s interdisciplinary platform investigating the profound historical, cultural, and political connections between Black communities and bodies of water. @projectbluespace is supported by the Mellon Foundation (@mellonfoundation).

The launch of Project Blue Space also marks the unveiling of Hold, neon-and-steel sculpture by the artist on view at Arts Landing in downtown Pittsburgh, PA, commissioned by the Pittsburgh Cultural Trust (@culturaltrust).

OPENING NEXT WEEK | Markus Brunetti: FACADES IV 🏛️💡

We’re pleased to announce ‘FACADES IV,’ #MarkusBrunetti ‘s fourth solo exhibition with the gallery. The show will be celebrated with an artist’s reception from 6-8 PM on Thursday, April 30, 2026. This exhibition comes after more than twenty years of joint work on the ‘FACADES’ series by Markus Brunetti and his partner and collaborator, Betty Schöner.

Brunetti’s new works further his mission to document Europe’s religious architecture, and ‘FACADES IV’ emphasizes his visions of prominent churches, monasteries, and cathedrals in Italy, France, and Spain. These buildings are representative of Europe’s foremost religious architecture, and Brunetti has finally realized them in the ‘FAÇADES’ series after having spent more than two decades constantly refining his self-devised photographic technique.

Head to the link in our bio for more information and to see more works by the artist 🌐✨

Pictured: Amalfi, Duomo di Sant’Andrea Apostolo, 2010-2026, Archival Pigment Print, Image: 38 9/16” x 38 9/16” (98 x 98 cm), Paper: 43 1/4” x 43 1/4” (110 x 110 cm)

CLOSING THIS WEEK | Linus Borgo: Into the Blue Again 💙

Don’t miss the final week to see Linus Borgo’s (@linusborgo) solo exhibition ‘Into the Blue Again,’ on view through this Saturday, April 25 📞

Pictured: Voicemail Blues, 2024, Oil on Linen, 54” x 46” (137 x 117 cm)

CLOSING THIS WEEK | Linus Borgo: Into the Blue Again 💙

Don’t miss the final week to see Linus Borgo’s (@linusborgo) solo exhibition ‘Into the Blue Again,’ on view through this Saturday, April 25 📞

Pictured: Voicemail Blues, 2024, Oil on Linen, 54” x 46” (137 x 117 cm)

We’re delighted to share that Alison Rossiter’s Semblance, Man Ray Tapestry (2025) has been acquired by the Herbert F. Johnson Museum of Art, Cornell University, Ithaca, NY (@thejohnsonmuseum).

The work is from Rossiter’s series ‘Semblance, Man Ray Tapestry,’ which debuted in the artist’s fourth solo exhibition with Yossi Milo, ‘Semblance.’ Further works by the artist are on view in our presentation at the Dallas Art Fair through tomorrow, Sunday, April 19 💫

Pictured:
1. ‎Alison Rossiter, Semblance, Man Ray Tapestry, 2025, Sixteen Gelatin Silver Prints, Dimensions, each element: 4 1/4” x 3 1/4” (11 x 8 cm), Framed: 22 3/8” x 18 3/8” (57 x 47 cm)
2. [Installation view] Alison Rossiter: Semblance. Yossi Milo, New York, NY. January 15 - March 21, 2026.

#alisonrossiter

We’re delighted to share that Alison Rossiter’s Semblance, Man Ray Tapestry (2025) has been acquired by the Herbert F. Johnson Museum of Art, Cornell University, Ithaca, NY (@thejohnsonmuseum).

The work is from Rossiter’s series ‘Semblance, Man Ray Tapestry,’ which debuted in the artist’s fourth solo exhibition with Yossi Milo, ‘Semblance.’ Further works by the artist are on view in our presentation at the Dallas Art Fair through tomorrow, Sunday, April 19 💫

Pictured:
1. ‎Alison Rossiter, Semblance, Man Ray Tapestry, 2025, Sixteen Gelatin Silver Prints, Dimensions, each element: 4 1/4” x 3 1/4” (11 x 8 cm), Framed: 22 3/8” x 18 3/8” (57 x 47 cm)
2. [Installation view] Alison Rossiter: Semblance. Yossi Milo, New York, NY. January 15 - March 21, 2026.

#alisonrossiter