TRIBECA GALLERY NIGHT

A group exhibition that examines the chair as receptacle, object, and idea. The exhibition brings together chairs that are utilitarian, chairs transformed into the subject of art, and artworks that deal with chair-ness itself. Gertrude Abercrombie, Yto Barrada, José Bento, Dike Blair, David Byrne, Jim Dine, Urs Fischer, Hugh Hayden, Donald Judd, Alicja Kwade, Bob Law, Robert Longo, René Magritte, Sylvia Plimack Mangold, André Masson, Louise Nevelson, Isamu Noguchi and Isamu Kenmochi, Adam Pendleton, Ryan Preciado, Robert Rauschenberg, Lucas Samaras, Julian Schnabel, Joel Shapiro, Arlene Shechet, Kiki Smith, Andy Warhol, Lawrence Weiner, Robert Wilson

Apr 17 - May 23

Joan Semmel: Continuities presents recent paintings in which Semmel, in her nineties, continues to paint her own body as an authored image — internalized rather than observed. Saturated hues move across flesh in broad passages; figures emerge and dissolve; layering allows multiple versions of the body to coexist on the same surface. Presented simultaneously in New York and Brussels, the exhibition's dual structure mirrors the paintings' own logic of doubling and multiplicity, extending presence across two cities while affirming the transatlantic bonds of feminist thought and cultural exchange.

Apr 17 - May 30

Alejandro Cardenas: ARACHNE returns to drawing as the foundation of Cardenas' practice, with oil paintings on linen depicting faceless figures dancing, embracing, and exploring a millennia-old abandoned city. Conceived in Madrid, the exhibition extends into the gallery itself through a hand-drawn pencil grid on the walls, with ephemeral drawings that echo the world within the paintings. Living amid the weight of Madrid's art history has freed Cardenas from the pressures of contemporary artist identity, making this among his most personal bodies of work.

May 8 - Jun 13

Vaughn Spann: (All) Americans continues Spann's investigation of abstraction and figuration as vehicles for exploring space, time, and memory. Approaching painting through color, line, and shape while acknowledging that subjectivity cannot be separated from the studio, Spann draws on deeply personal experience to generate content through form. Unconventional materials and stylistic separations extend his ongoing reconciliation between formal inquiry and personal and historical narrative.

May 8 - Jun 13

Andrew Edlin Gallery presents Orbit, the fourth solo exhibition for Karla Knight. The exhibition features works filled with invented symbols, glyphs, and characters that evoke a hidden structure or language. Knight's paintings, drawings, and tapestries contain floating otherworldly orbs, diagrammatic constellations, and a script of characters that appear simultaneously meaningful and opaque. The exhibition includes a laboratory-like room offering insight into her creative process, alongside works from series such as Blue Libra and pieces titled Feelers, Unusual Stars, and Fun with Science. Knight's work, informed by her upbringing in a household attuned to the occult and paranormal, maintains an epistemological suspension that invites viewers to inhabit uncertainty rather than resolve meaning.

May 2 - Jun 13

Eileen Agar: Leaves of the World presents works spanning 1927 to 1980, underscoring collage as both technique and worldview — a means of synthesizing diverse references, spiritual and formal relationships, and autobiography. Agar maintained a tenuous relationship with Surrealism, drawing equally on Cubism and abstraction while injecting persistent irreverence and wit. Her encounter with Paul Nash in the mid-1930s deepened a lifelong fascination with found objects and the ecology of the sea. From poured enamel experiments to the bold swirls of her late acrylic works, a persistent curiosity and sense of freedom unite the practice across five decades.

Apr 24 - Jun 20

Head Stretch brings together Felipe Barsuglia, Allan Gandhi, Luciana Maas, Flora Rebollo, Gokula Stoffel, and Erika Verzutti — artists united not by shared aesthetics but by a shared studio building in São Paulo nicknamed "Predinho." Friendships, studio visits, and late-night conversations generated the kaleidoscopic dialogue that shaped the exhibition. Paintings crawl up walls and crowd into corners, creating new associations as disparate visual languages abut one another — demonstrating that an artwork exists beyond its own frame, expanded by every viewer who brings their own experience to it.

Apr 24 - Jun 20

Kings and Conquerors presents paintings by Iranian-born, New York-based Orkideh Torabi. Grounded in the style of Persian miniatures, the works undermine male-dominated hierarchies by positing masculinity as farce. Men appear dependent, buffoonish, and powerless while women take the reins—literally and otherwise. Painted in festive yellows and pinks using a layered dye-transfer technique, the works inherit a tradition of criticizing power through humor. In Torabi's world, the joke is always on the patriarch.

Apr 10 - May 16

Seung Ah Paik: Suspended Landscapes presents paintings that depict the artist's own body — intertwined hands, feet, limbs, torsos — from an uncanny first-person perspective that mirrors how we perceive our corporeal selves. Drawing on portrait techniques from the late Joseon Dynasty, Paik reproduces the specificities of her own skin with meticulous fidelity, connecting body parts at unexpected and contorted angles. The resulting works stand as an antithesis to filtered ideals of beauty, foregrounding the body as a living, cartographic archive.

Apr 24 - May 30

Violet Dennison brings together new paintings built around a recurring floral form derived from Jacob's Ladder — a mutable motif that accumulates, fragments, and recombines across surfaces drawing from Damascus tiles, Qing Dynasty ceramics, and digital processes of cropping, stretching, and layering. The paintings hold competing logics in tension: the physical quality of hand and tool — brushes, squeegees — against the directive logic of masking and vectors. Refusing resolution, the work sustains these opposing structures within an artificial, generative ornamental system.

Apr 24 - May 30

Renée Green: Secret originates from the artist's 1993 residency in Le Corbusier's semi-abandoned housing block in Firminy, France. Combining black-and-white photographs, three-channel video, and multilingual soundtracks, the work examines the building as modern ruin through personal observation and social document. Green juxtaposes her diaristic voice against the realities of immigrant residents and an international art exhibition, probing utopia, inhabitancy, and travel. Expanded in 2006 and 2010, the work returns now to New York where it was first shown.

Apr 10 - May 16

James Benjamin Franklin: Primary pushes Franklin's cast-resin paintings into new asymmetry and textural adventurousness, with shapes ranging from destabilized rhomboids to what the gallery describes as demented shamrocks. Carefully pre-planned through preparatory drawings, the works are then built through spraying, pouring, scraping, and squeegeeing across inlaid fabrics — exactitude colliding with improvisation. The title resists its own premise: rather than proposing a return to origins, the paintings locate the "primary" as something buried, partially visible, and continually redefined through accumulation and erasure.

Apr 23 - May 30

Apr 25 - May 30

CrossLypka: [title needed] presents ceramic works made through a collaborative process in which Tyler and Kyle Lypka pass pieces back and forth — line drawing translated into ceramic form, glazes applied in sequence — each work transformed by both artists' touch and the unpredictable effects of fire, heat, and gravity. The resulting forms are almost biological, rendered in just-off symmetry, their surfaces oblique and open to projection rather than narration. The collaboration poses a quiet question: is it possible to share intuition with another person? The answer, as Lypka puts it, is "sort of, but never completely."

Apr 25 - May 30

Jakkai Siributr: There’s no Place presents large textile installations addressing Thailand’s social history, grief, and the effects of the pandemic. Centered on an ongoing collaborative embroidery project begun in a refugee camp, the exhibition links personal and communal stories. Works made from discarded uniforms and family textiles reflect on labor, displacement, and remembrance, inviting visitors to contribute through public workshops.

Jan 31 - May 23

Mary Stephenson: Big Dance centers on a commanding large-scale painting of a vacant labyrinthine corridor — doorways opening to nowhere, rectangles tilting at unstable angles — that serves as both structural and pictorial passageway into the exhibition. Surfaces treated with rabbit-skin glaze allow oil paint to seep and pool rather than rest, producing uneven monochromes where images appear submerged or rising from within. Quasi-still lifes of Peter Pan collars, books, and vessels arrive mid-dissolution, capturing the futility of controlling feeling or time. The work contests nostalgia, embracing instead the conflicted coexistence of desire and mourning.

Apr 24 - Jun 6

Kim Dacres: Lost on a Two Way Street expands her signature practice of reclaimed tire sculpture into new busts, medallions, and flag works that reckon with the relentless assault on universal rights over the past eighteen months. Classical busts — historically reserved for figures of authority — honor the Black and Brown women of Harlem's uptown life, with elaborate rubber buns and braiding exalting the care invested in self-presentation amid harsh conditions. A new "Flaggish" series responds to Jelani Cobb's writing on contingent citizenship, flags fraying at the seams with anonymous faces replacing stars. Stevie Wonder's "As" provides the emotional compass throughout.

May 7 - Jun 20

CHART presents hardening the braces, Whitney Oldenburg’s second solo exhibition with the gallery, featuring new sculptures and drawings. Using materials such as boat hulls, horse collars, and water containers, Oldenburg assembles large, anthropomorphic forms that reflect cycles of consumption, preparedness, and uncertainty. Her charcoal drawings echo skeletal and fossil-like structures, considering preservation, accumulation, and the fragile balance between human systems and the natural world.

Apr 17 - May 30

Erica Mao: Wading Through Time presents new paintings and ceramic sculptures in which Mao's ghostly "protagonists" dissolve into increasingly monochromatic environments — vivid red, deep blue, sea green — navigating frenetic, dreamlike terrains. More gestural and atmospheric than her earlier work, the paintings incorporate layers of muslin into the canvas, disrupting the surface with texture and spatial complexity. A multi-level ceramic installation translates this painted world into roofless shack-like structures bearing traces of the protagonists across their glazed surfaces. Together the works use the metaphor of wading — slow, deliberate movement through memory and experience — to explore shelter, survival, and the search for connection.

Apr 28 - May 30

May 8 - Jun 27

May 1 - May 30

May 8 - Jun 13

A three-woman exhibition of paintings by Andrea Castillo, Nancy Elsamanoudi, and Baran Shafiey. While the three artists take different approaches to presenting the human figure, their practices are united by the elevation of the mundane and the importance of communities of individuals intentionally or unintentionally acting in solidarity.

Apr 25 - May 30

Francesca Mollett makes abstract paintings that react to space and context. Her works are reflections of light and surface formed through a fluid yet precise process. Compositions evolve by extracting observations from an image, which transforms in a practice of analysing the shifting passages of paint as tension between luminosity and solidity develops.

May 15 - Jun 18

Mar 27 - May 16

May 1 - Jun 6

May 8 - Jun 20

May 10 - Jul 3

Apr 24 - Jul 31

May 1 - Jun 20

May 1 - Jun 20

May 15 - Jun 27

Juanita McNeely: Holding Back spans works from the 1980s through her late career, unified by deep cobalts and ultramarines that animate figures — human and animal, often simultaneously — in radically destabilized pictorial space. Ladders, windowpanes, netting, mirrors, and shadows fracture compositions into multiple planes that multiply and collapse at once. The earliest work, Pre-Abortion Law Remembrance (1985), connects to her pathbreaking Whitney-held nine-panel painting, reckoning with the violence of her near-fatal fight for a life-saving procedure. Across all, McNeely transforms the ugly and terrible into something radiant.

Apr 10 - May 16

Your Birth is My Birth transforms Jane Lombard Gallery into a conservatory of botanical fiction by Merryn Omotayo Alaka and Sam Frésquez. Five species of sculptures—Listening Roots, Hearing Bells, Mother & Child, Stacking Pearls, and Umbra Pods—form a speculative ecosystem in which evolution stems from synthetic Kanekalan Hair. Lush, glossy, and meticulously combed, the works look to the natural world to explore physical sensations of intimacy, familiarity, and otherness.

May 1 - Jun 13

Let the Music Play is a posthumous exhibition of work by Walter Robinson. Wickedly smart and struck with a trickster's lunacy, Robinson spent his career inhabiting the society of the spectacle as a citizen outsider—translating consumer desire, guilty pleasures, and corporate banality into paintings that are as troubling as they are satisfying. The exhibition includes his final AI experiments, provocations that remain very much of this moment.

May 2 - Jun 6

Apr 10 - May 9

May 15 - Jun 20

May 15 - Jun 20

Time and Light presents a series of large scale works on panel by Yoshitaka Amano, alongside a selection of lithographs. The series takes its premise as a cosmological pursuit: light moves forward, time chases after it, and from that trajectory all chaos—and all creation—emerges. Amano’s paintings trace this passage, giving form to a universe in perpetual becoming. Whether time will ever catch light, no one knows. But unless he keeps painting, he will never be able to see it. This exhibition spans Lomex gallery’s two New York locations: 89 Walker Street, #2R, and 86 Walker Street, 3rd Floor.

Apr 24 - May 23

Emily Kraus’s first New York solo exhibition presents large-scale abstract paintings shaped by a physically intensive process. Working within a custom steel apparatus that pulls canvas through rollers, she applies paint by hand as the surface moves, allowing chance and gesture to interact. Vertical striations and flowing color create rhythmic compositions influenced by abstraction, photography, and music, while the monumental works extend into the gallery space and emphasize the physical act of painting.

Apr 10 - Jun 13

Paul Pretzer: The Way You Make Me Feel presents a new body of work that distills Pretzer's sustained investigation into the mechanics of image-making. Pared-down scenes hold moments in suspension — a figure cradling an elephant's trunk with ceremonial care, an embrace with subtle misalignment, a still life collapsing romantic symbolism with theatrical excess. Pale, red-haired figures recur as a condition of perception rather than narrative, rooted in Pre-Raphaelite lineage yet absorbed into personal mythology. Emotion is not expressed but staged: assembled through gesture, color, and relation, then deliberately withheld from resolution.

May 15 - Jun 27

May 8 - Jun 20

Julie Mehretu: Our Days, Like a Shadow (a non-abiding hauntology) brings together new Black Paintings and a collaboration with sculptor Nairy Baghramian — TRANSpaintings/Upright Brackets — translucent works on monofilament polyester that liberate painting from the wall, absorbing light, shadow, and viewers into their permeable surfaces. The Black Paintings begin from saturated black grounds, building emergent chromatic strata through improvisation rather than image. Choreographer John Jasperse's new dance work Wandering activates all three gallery floors over four evenings, the dancing body becoming witness, activator, and ghost among the paintings.

Apr 14 - Jun 6

Mar 13 - May 23

May 12 - Jun 27

"How Beautiful This Living Thing Is" gathers works by nine artists — Sheyla Baykal, Susan Brockman, Ray Johnson, Greer Lankton, Joseph Raffael, Gary Schneider, Paul Thek, Ann Wilson, and David Wojnarowicz — united by their friendship with photographer Peter Hujar. Inspired by the wordless zine Newspaper that Hujar published in 1968, the exhibition explores kinship, mentorship, and the invisible connections beneath the surface of shared artistic lives. Friendship, the curator notes, abhors order — it moves backwards and forwards across time, resisting the neatness of chronology.

Apr 22 - May 30

Peter Hujar: The Gracie Mansion Show re-stages the now-legendary exhibition that took place in New York’s East Village in 1986, one year before the artist’s death. For the show, Gracie Mansion Gallery presented seventy photographs arranged in a long, two-row grid. Portraits of friends and fellow artists appeared alongside nudes, landscapes, animals, and images of abandoned buildings, with genres and subjects freely intermingled. In honor of its fortieth anniversary, Ortuzar’s exhibition presents a version of the original 1986 layout, offering contemporary viewers a chance to experience Hujar’s work as he conceived it, with its non-hierarchical sequencing encouraging open-ended associations and offering rare insight into how he understood the relationships between his images.

Apr 22 - May 30

Pilot Light is a group exhibition featuring new and recent work by Bre Andy, Praise Fuller, Gerald Lovell, Devin N. Morris, Nickola Pottinger, Curtis Talwst Santiago, and Taylor Simmons. The works span painting, sculpture, and multi-media installation. Named for the small flame that burns regardless of outside conditions, the exhibition is shaped by endurance rather than spectacle. Artistic practice here is understood as caregiving, a commitment to community and the unwavering spark that makes creation possible.

May 2 - Jun 6

Martin Wong: Popeye centers on eight large-scale Popeye painted sculptures — kinetic cutouts created in the last decade of Wong's life, intended to be motorized and rarely exhibited — brought together and activated for the first time. Toggling between Op Art, Tibetan Citipati, the Terracotta Army, and Saturday morning cartoons, the works collapse hierarchies between high and low, East and West, comics and canon. Beyond pop cultural commentary, Wong's Popeyes carry an erotic charge — necks rising from valentines, noses and sailor-capped heads rendered phallic — consistent with the homoerotic undercurrent running throughout his career.

Apr 18 - May 30

Works on Paper: A Survey presents over three decades of works on paper by Marina Adams, spanning 1994 to 2025. Beginning with the umbrella pines of Rome and returning to tree forms on Long Island, the exhibition traces a full-circle evolution in Adams's abstract language—one that understands abstraction as a synthesis of body and mind. Color, form, and gesture move freely but forcefully, pushing to the edge of the page and continuing off it in every direction.

Apr 9 - May 29

5, 7, 9, 11, 13 is a group exhibition with sculptures and drawings by Walter De Maria, Jasper Marsalis, Park McArthur, and Sung Tieu. The show’s title comes from the work by De Maria, which comprises nine stainless steel polygonal rods that are each either 5-, 7-, 9-, 11-, or 13-sided. Though their approaches differ, each artist’s work references systems of measurement and mechanisms of control, whether musical, mathematical, or spatial. Centering on themes of causality and performance, the selection of works allows for the reexamination of the personal and social structures that inform everyday experiences. All four artists have incorporated sound into their practice at some point. This connection is underscored with a sound piece program presented during the course of the exhibition.

Apr 30 - Jun 20

Bu Shi: The Lighthouse presents new small-scale paintings suffused with dark reds, ochres, and blues — landscapes suspended between dusk and dream, where sea, night, and solitary figure dissolve into one another. The lighthouse of the title never appears; it remains an absent metaphor, a point of reference sensed but unseen. Rooted in seal engraving and calligraphy, Bu Shi's precise, rhythmic compositions incorporate occult objects, recurring self-portraits, and drifting moths as enigmatic keys connecting present to past, identity to inheritance.

Apr 24 - May 30

Debbie Lawson: In a Cowslip's Bell I Lie presents life-sized animal sculptures — bears, cougars, wild dogs, monkeys — that emerge from Persian carpets through trompe-l'oeil effects, patterns meticulously aligned to create seamless continuous surfaces. Taking its title from Shakespeare's The Tempest, the exhibition imagines creatures breaking free from the decorative forms that have long subsumed them — from heraldic carvings to William Morris designs. For Lawson, these animals are also avatars of women historically confined to the domestic and the decorative, their considerable creative talents trapped within the daily grind.

Apr 23 - May 30

May 8 - May 30

New York City Circa 1960: Works from the Collection of Robert A. Ellison Jr. brings together paintings and works on paper by fifteen artists active around 1960, centered on the collection of Robert A. Ellison, Jr. Rooted in downtown Manhattan's Tenth Street scene, the exhibition captures a community navigating productive tension between abstraction and figuration in the wake of Abstract Expressionism. Ellison's own work appears alongside that of his contemporaries, reflecting the camaraderie and restless experimentation that shaped new directions in American art.

May 8 - Jul 2

At over one hundred years old, Ce Roser remains a vital link to the history of American abstraction. A member of American Abstract Artists and a feminist activist who co-organized the landmark 1973 exhibition Women Choose Women, Roser has spent decades making colorful, dynamic paintings that critics have compared to Kandinsky's early improvisations. This exhibition presents work by an artist whose life and practice span the full arc of American modernism.

May 1 - Jun 20

Nina Hartmann: Actualization Machine draws on declassified CIA documents and Cold War parapsychological research — MKUltra, the Stargate Project, Soviet psychic operatives — to construct shaped encaustic panels, resin sculptures, and lightboxes that operate as diagrammatic compositions across individual works. The resulting pieces sit at the intersection of mysticism, magic, and institutional power, conceived as deliberate destabilizations of presumed knowledge systems. Hartmann uses this focused Cold War history as an entry point into a broader inquiry: how humans are shaped daily by information, aesthetics, symbolism, and context.

Apr 24 - May 30

Mmangaliso Nzuza: Ballad of the Peacock centers on a recurring figure — bold yet quiet, shapeshifting across canvases — who occupies scenes drawn from western art history, contemporary Black fashion, and the stillness of KwaZulu-Natal. Rendered with sure dark outlines and impressionist-inflected paint, the figures resist dissolving into their settings, asserting strong definition of self against field. Fashion operates throughout as second skin and armor: to peacock is to prepare to be seen while remaining, in Nzuza's hands, too cool to return the gaze. The work situates itself firmly in the present — nonchalant, hyper-aware, always at home.

Apr 24 - May 17

Usha Seejarim: Used inaugurates Southern Guild's New York space with sculptural and wall-based works that foreground the material and affective traces of continual labour. Drawing on Sara Ahmed's writing on use as "a sweaty verb," Seejarim reconfigures domestic objects — primarily wooden clothespins arranged into dense accumulative fields — into structures that make visible the invisible, feminised work of the domestic sphere. Grids give way to deviation; circular forms introduce cyclical temporalities; gestural markings resembling scars and wounds speak to harm embedded not in rupture but in repetition and endurance.

Apr 24 - May 17

IM Youngzoo: The Late 故 explores how superstition, belief, and religious faith take shape in contemporary life, and their unexpected proximity to modern science and technology. IM's work is informed by personal histories of shamanistic traditions and Korea's rapid technological transformation. Yet rather than positioning the two against each other, she treats them as overlapping survival technologies—frameworks through which humans engage with death and existential uncertainty. The exhibition unfolds as a performative site where digital signals and ancestral gestures intersect, blurring distinctions between sensing and belief.

May 15 - Jul 25

May 1 - May 23

May 1 - Jun 6

Apr 24 - May 23

May 15 - Jun 20

E'wao Kagoshima: Deconstructed Bodies presents mixed-media drawings and collage works from the late 1970s and early 1980s, made in the years following Kagoshima's move from Tokyo to New York in 1976. Surrealistic imagery inspired by the Vienna School of Fantastic Realism depicts the human body in states of flux — disintegrating, transforming, and reforming into cyborgian articulations. Collages incorporate imagery from vintage gay erotica magazines alongside cut paper and painted fragments, their surfaces cut, unfurled, and peeled back so that pictorial matrix merges with support. The deconstructed body becomes a scaffold for contradiction, mutability, and the experience of existing in a new environment.

Apr 24 - Jun 6

Stephen Lichty: Ghost Stone centers on quartz sourced from Liberty Hill Diggings — a defunct Gold Rush-era mine in the Sierra Nevada's western foothills, where 19th-century hydraulic mining caused severe environmental devastation before being banned. The mine's boulders, only accessible because of that destructive extraction, now anchor a site-specific three-work exhibition that holds the Sierra Nevada's antagonistic contradictions in tension: scarred extraction site and protected National Forest, environmental ruin and pristine natural beauty. Lichty's decade-long engagement with this material traces the fraught origins of what he found.

May 8 - Jul 3

May 16 - Jun 13

Dead Channel is an exhibition of new paintings by Kirsten Deirup, borrowing its title from the opening line of William Gibson's 1984 science-fiction novel Neuromancer, which imagines a world in which human consciousness interfaces with cyberspace. Corded telephones, computer keyboards, and CDs populate Deirup’s painterly mechanical graveyards—obsolete media treated not as nostalgia but as haunted thresholds. Into this landscape she introduces new beings: part mythical creature, part digital ghost, their toothy grimaces offset by iridescent feathers and jeweled adornments, confronting the viewer directly.

Apr 24 - May 30

Cocoons of silk ready to be wound is an exhibition of new fabric works by Xi Li that expand upon the metaphor of image as container. Drawing from decorative arts encyclopedias, architecture surveys, and craft manuals, Li scans, prints, photographs, and collages her sources through degrees of removal and transformation. The resulting semi-translucent fabric works—stretched against wooden box frames—filter imagery through silk, assuming a hazy ephemerality akin to fragmented memory. Like cocoons, the works unravel only to be rewound again.

Apr 24 - May 30

Witness Marks is an exhibition of handmade paper works by SR Lejeune, charting the overlooked traces adorning city sidewalks. Informed by a daily commute during a fellowship at Dieu Donné in New York, Lejeune creates composite images of treaded surfaces—pulling from photographs and memory alike. A witness mark is persistent visual information that exposes how something was made. These works hold the memory of tools, infrastructure, stains, and imprints: the dense record of daily life underfoot.

Apr 24 - May 30

What Holds, What Lingers brings together Elizabeth Dimitroff, Alice Ningci Jiang, Paulina Moncada, and Yutong Yin around liminality, memory, and shifting notions of place. Jiang's atmospheric figures drift through luminous landscapes between flight and dissolution; Dimitroff places anonymous figures in physically improbable postures against ungrounded fields; Yin's quietly deflected portrait subjects create charged encounters with what is withheld from view; Moncada constructs Andean tropical landscapes where interior and exterior thresholds blur. Across all four practices, identity forms through transition rather than certainty.

May 8 - Jun 13

Sylvia Trotter Ewens: Echoes of Elsewhere presents layered atmospheric paintings that navigate memory, identity, and the terrain between cultures. Born in Honduras and raised in Montreal after being adopted as an infant, Trotter Ewens digitally composites photographs from both places before translating them into paint — constructing landscapes where tropical foliage and northern environments intermingle, neither fully here nor there. Surfaces remain deliberately unresolved, exposing underlayers and drips that mirror the impermanence of the spaces depicted. An undercurrent of grief for her adoptive mother, who bridged her connection to Honduras, carries the "elsewhere" of the title beyond geography into something metaphysical.

Apr 24 - May 30

May 5 - Jun 6

Apr 30 - Jun 27

May 2 - Jun 13

May 2 - Jun 13