FRIEZE - NY BASED EXHIBITORS

Tanya Merrill: What Does the Dog Say? presents new paintings that examine humanity's relationship to nature and cultural portrayals of gender through invented narratives populated by animals and figures caught in moments of introspection, fervor, or mischief. Three canvases imagine scenes pairing women and dogs — each simultaneously referencing real figures in Merrill's life and personas from literature and art history — rendered in a minimal primary palette that echoes the simplicity of the children's book that gives the show its title. Sketched lines lend the canvases effervescence and immediacy, while recurring symbols build a mythology across works.

Apr 24 - May 30

Sam Falls: Amongst the Living brings together painting, ceramics, photography, and sculpture in Falls' fourth solo exhibition with 303 Gallery. Returning to traditional photography after abandoning it a decade ago, he expands and collapses mediums developed through durational, site-specific engagement with nature. Ceramics fossilize plants in clay at the zenith of their life cycle; vases arranged with seasonal flowers — inspired by Sogetsu Ikebana — become records of the time and place they are viewed. Terrazzo sculptures composed of healing gemstones are oriented horizontally and meant to be touched, inviting engagement over reverence.

Apr 24 - May 30

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

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

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

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

May 15 - Jun 20

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

Nnena Kalu: Index presents Vortex Drawings from 2018 — works on paper built from systematic repetition of marks and gestures that record the movement of the body over time rather than depicting external subjects. Color operates as kinetic force alongside line, layered mosaics of reds, greens, pinks, and blues drifting and clustering into form. Drawing on Charles Sanders Peirce's concept of the index — a sign produced by actual contact with its object — Kalu's lines create meaning through physicality and emotion, accumulating into rhythmic terrains that are felt before they are interpreted.

Apr 24 - Jun 6

May 8 - Jun 27

Jasper Johns: Copy/Trace focuses on two related processes running through Johns's practice across six decades — copying and tracing — as deployed in drawings, prints, and works on plastic. Curated by Jeffrey Weiss, the exhibition brings together works in which Johns copies one of his own paintings, leaves bodily imprints, or traces existing images through translucent supports. Drawn from museums, private collections, and Johns's own holdings, the presentation illuminates how meaning and making are inextricably linked in his work.

May 7 - Jun 26

David Zwirner is pleased to present Gerhard Richter’s celebrated photorealist landscape paintings from the 1960s to the 2000s, which will be paired with a considered selection of works from his Abstrakte Bilder (Abstract Paintings, 1976–2017) series. Taking place at the gallery’s 537 West 20th Street location in New York, Gerhard Richter: Landschaften will feature loans from significant private and museum collections, as well as works lent from the artist’s personal collection. Richter began to engage the subject of landscape almost six decades ago in the late 1960s, creating atmospheric compositions based on snapshots from his travels. These paintings evoke art-historical precedents while eschewing traditional notions of the aesthetic sublime. In the following years, he continued to create landscape paintings based on photographic sources, often working on them at the same time as his abstract paintings so that each body of work might inform the underlying pictorial concerns expressed by the other. Displayed in dialogue in this exhibition, these two aspects of Richter’s oeuvre will together illustrate the artist’s enduring investigation into the nature of images and the perception of reality—how it is personally interpreted, mediated by the external world, and visually portrayed through painting.

This exhibition presents new and recent paintings and works on paper by Lisa Yuskavage. Including large and small format canvases and drawings on Color-aid paper using pastel, gouache, egg tempera, and collage, the works extend her exploration of the studio and the figure. Layered compositions and saturated color examine perception, narrative, and the act of painting.

David Zwirner is pleased to announce Set in Stone, an expansive group exhibition organized in collaboration with Galerie Kugel, the renowned Parisian gallery of pre-twentieth-century European fine art and antiques, and curated by Emma Kronman. On view at David Zwirner’s East 69th Street location in New York, this presentation will place a considered group of paintings and sculpture by contemporary artists from the gallery’s program in conversation with Galerie Kugel’s holdings of antique hardstone objects dating from classical antiquity through the nineteenth century. Inspired by some of the qualities that have influenced artists over history to work with stone, the exhibition will center on four themes that speak to process and appearance—luminosity, translucency, assemblage, and colorlessness—and will illustrate these complementary concerns through unexpected juxtapositions of medium and technique. While the works on view will range widely in how each artist makes use of light, color, texture, and scale, the presentation suggests insightful resonances among this diversity and demonstrates the continued relevance of such formal investigations. In pursuit of visual splendor and material complexity, these artists find a shared visual language that spans millennia, geography, and cultural contexts.

Giuseppe Penone: The Reflection of Bronze marks Penone's first New York exhibition with Gagosian, presenting two major bodies of work curated by Adam D. Weinberg. Rooted in the Arte Povera artist's late-1960s exploration of trees, the sculptures use bronze to trace time and perpetual change — not as permanent substitute for organic material but as a profound response to enduring artistic questions. Structured across three rooms, the exhibition opens with a cork-lined environment and Marsia (2024), two connected branches evoking the flayed satyr of Greek myth, one bark-covered, one bare.

Apr 22 - Jul 2

Helen Frankenthaler: The Moment and the Distance surveys four decades of painting from 1960 to 1992, featuring more than twenty of Frankenthaler's largest and most ambitious canvases arranged by decade. Taking its title from a 1975 essay by poet Barbara Guest, the exhibition traces Frankenthaler's continual reinvention — from diluted oil on untreated canvas through her shift to large flat slabs of acrylic color, to the layered accumulations of her final decade. Allusions to landscape, conversations with art history, and the fluid interplay of freedom and restraint run throughout a practice she described as "inner amorphous worlds or depths exploding on the surface."

Apr 30 - Jul 2

Anselm Kiefer: Seal My Ears Shut and I Shall Hear You Still presents new paintings exploring feminine archetypes and landscape as symbolic form, drawing on Rilke, Caspar David Friedrich, and classical mythology. Executed in oil, acrylic, shellac, gold leaf, and verdigris sediment of electrolysis — a material produced by electrical current through copper and salts — the heavily textured surfaces embody the luminosity and transformation found in nature. Nymphs, mythological metamorphoses, and the goddess Tyche emerge from dense landscapes, while a painter's palette suspended over bare winter limbs invokes art's potential to hold both natural reality and artistic truth simultaneously.

May 15 - Jun 27

Marcel Duchamp inaugurates Gagosian's new ground-floor space at 980 Madison Avenue — the same building where Duchamp's readymade editions made their American debut at Cordier & Ekstrom in 1965. The exhibition brings together iconic readymades produced in 1964 with Italian gallerist Arturo Schwarz, including Fountain, Bicycle Wheel, Bottle Dryer, and L.H.O.O.Q. — editions that memorialized a lost original oeuvre while subverting authorship and originality. The presentation coincides with Duchamp's first US retrospective since 1973, currently on view at MoMA.

Apr 25 - Jun 27

This exhibition presents six important early works by Robert Rauschenberg from the Cy Twombly Foundation, organized during the centennial of the artist's birth. The works, selected from Twombly's personal collection, document key milestones of Rauschenberg's early development, including one of his earliest known surviving sculptures from 1950, the life-size photogram Untitled (1950), and key examples from the Black Painting, Elemental Sculpture, and Combine series. Together, they chart Rauschenberg's engagement with Marcel Duchamp's radical reconception of art making and his commitment to acting in the gap between art and life, while anticipating the incorporation of technology and performance into his practice.

Apr 25 - Jun 27

Eliza Douglas: GHOSTS reworks paintings exhibited over the past decade at Air de Paris by superimposing manipulated UV prints of selfies taken by her aunt, investigative journalist Leslie Kean, who believes the images contain unexplainable effects. The resulting canvases partially veil existing compositions with enigmatic visual intrusions, creating a cannibalizing ouroboros — Douglas consuming her own prior body of work to produce something new. Long preoccupied with appropriation, doubling, and art's status as consumable good, Douglas here turns those strategies inward, illuminating what Mark Fisher called the endless repackaging of cultural products.

May 12 - Jul 31

May 10 - Jun 21

May 10 - Jun 21

Kay WalkingStick: Mesas/Mountains/Sky presents new paintings on panel and paper spanning landscapes across Colorado, California, Arizona, New Mexico, Idaho, and Rhode Island. Working from memory after visiting sites in person, WalkingStick moves between watercolor and oil, precision and expressiveness. Central to the work is her overlay of Indigenous patterning — researched in Smithsonian archives — onto painted surfaces as a gesture of reclamation and protection. Complementing the American landscape tradition, the works reclaim land not as territory but as a site of cultural memory and ancestral continuity.

Apr 11 - May 30

Life with P. explores a lesser-known side of Philip Guston’s practice, focusing on works inspired by his marriage to poet Musa McKim and their life in Woodstock. The exhibition includes Guston’s “Poem Pictures,” drawings responding to McKim’s writing, along with large figurative paintings never previously exhibited. It coincides with a new publication featuring McKim’s journals from 1966–1976, edited by their daughter, Musa Mayer.

Apr 21 - Jul 10

Firelei Báez: Feet squelching on wet grass, nourished by uncertaint spans two floors with new paintings, works on paper, and large-scale bronze sculptures extending Báez's engagement with colonial legacies and the spiritual reverberations of the African diaspora. The centerpiece, View of Nature (2026), stretches eight panels across an entire wall, reworking an 1852 climate engraving into a liquid, atmospheric palimpsest where taxonomic structure flickers beneath layered foliage and light. Two towering bronze ciguapas — female tricksters of Dominican folklore adorned with real feathers and sculpted foliage — kneel and coil under the tension between history's weight and the possibility of freedom. Upstairs, monumental works on paper shift toward the cellular and cosmic, demanding slower, sensation-based reading.

May 12 - Jul 31

Carol Rama: I See You You See Me gathers key works spanning six decades of the radical Italian artist's career, from 1947 through 1998. Working across paint, textile, sculpture, and bricolage, Rama forged connections between desire, sacrifice, eroticism, repression, and rebellion in ways largely dismissed during her lifetime. Organized by Carlo Knoell, the exhibition brings renewed focus to the formal breadth of a practice that has exerted growing influence on contemporary artists who recognize in Rama an unwavering belief in visual art as a tool for liberation.

May 12 - Jul 31

Paula Turmina: Space is Punk presents paintings that resist clarity and stability at a moment when outer space is increasingly mapped, owned, and instrumentalized. Drawing on thinkers including Lucian Walkowicz and Cris van Eijk, Turmina questions who gets to determine the future of space — and imagines it reclaimed as something more collective and poetic. The works open room for imagination precisely within crisis, proposing the sky as a site of refusal rather than conquest.

Fred Tomaselli: Blooms Disrupted takes the garden as its primary subject, using it as a counterweight to the urgent rush of news and media. Resin paintings fuse organic matter, photographic collage, and dense ornamentation into botanical worlds of kaleidoscopic detail — flowers revealed as constructed collages, vines and ferns collapsing distinctions between time, location, and season. New York Times front pages are disrupted with gouache and collage, marginalized stories about climate and immigration replacing dominant headlines. In Month of August (evening), a Mexican sunflower pushes through a lattice of August 2025 headlines, holding nature's persistence against the ceaseless weight of the news.

May 15 - Jun 27

Mary Sully presents the first solo gallery exhibition in New York of Sully's "personality prints" — inventive drawings begun in the late 1920s that portray celebrities through a sophisticated synthesis of representational and abstract elements, modern design, and Native American art forms. Each work maps the proliferating networks of the modern mechanical age through its subject, merging Sully's knowledge of contemporary art movements with Indigenous visual traditions into a dazzling and wholly original body of work. The exhibition is curated by Jenelle Porter and organized in collaboration with the Mary Sully Foundation.

May 15 - Jun 27

May 12 - Jul 10

Contracorrientes (Countercurrents) pairs Miguel Covarrubias and Dr. Lakra — born nearly seven decades apart — around a shared precocity, counterhegemonic perspective, and mastery of line. Covarrubias's Bali illustrations and Pacific cartography meet Lakra's reworked Bhutanese iconography and large-scale tattooing map of the Pacific Rim. Both artists use the body as a primary site of expression, movement generating form across caricature, monoprint, and ceramic. Together they propose alternative spatial and cultural relationships, centering the Pacific rather than Europe and marked bodies over mapped territory.

May 13 - Jun 13

Mar 13 - May 23

Miguel Abreu Gallery is pleased to announce the opening, on Friday, May 15, of Blast Beat, Kate Mosher Hall’s second solo exhibition at the gallery. Comprised of ten new silkscreened paintings alongside a group of etchings and several metal elements, the exhibition will be inaugurated with a performance by the artist on opening night. Organized by Andrew Lampert, the late Ken Jacobs’ short video, Other Urban Lives, from 2023, will be screened on a loop in the small entrance gallery, as part of The Whole Shebang: Celebrating Ken & Flo Jacobs, a city-wide tribute to the two giants of experimental cinema.

May 15 - Jun 27

Amelia Toledo and Cristina Canale: On the Nature of Figures brings together two Brazilian artists across generations around a shared investigation of form as process. Toledo — a central figure in 20th-century Brazilian art in dialogue with Lygia Clark and Lygia Pape — displaced constructive tradition by incorporating natural materials and organic processes, reconfiguring abstraction as sensorial experience. Canale's paintings build dense chromatic fields in which figures emerge and dissolve within magmatic and oceanic atmospheres, figure and ground perpetually unstable. In both practices, form presents itself as a field in transformation where the forces that constitute it become visible.

May 12 - Jul 3

"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

Emily Kam Kngwarray: The Turning Season surveys the career of the Anmatyerr Elder and custodian of Alhalker, from batik works of the early 1980s through her final canvases of the mid-1990s. Rooted in the Dreaming — a lived worldview in which ancestral creation stories animate land, people, and time — Kngwarray's paintings embody rather than depict the rhythms of her Country. The rhizomatic paths of the pencil yam, whose seeds give the artist her middle name, animate her iconic dot compositions; colors shift with the seasons, subdued in dry periods and vivid after rain. In fewer than a decade of painting on canvas, she produced some 3,000 works.

May 14 - Aug 14

Julian Schnabel: Italy Through Its Trees presents map drawings and plate paintings centered on the umbrella pine — the iconic Pinus pinea of Rome's Villa Borghese and the groves surrounding his house in Ansedonia. Schnabel sourced 18th-century maps of Italy, reproducing them at large scale and laying down the thin trunks and luscious canopies of pines across their boundaries. The corresponding plate paintings, made on the floor with paint mixed directly on shattered crockery surfaces, mark the first time Schnabel has made drawings for paintings. Not depictions of trees but extensions of their essence, the works oscillate between the pictorial and the physical — "always congealing and becoming unhinged."

May 14 - Aug 14

David Hockney: The Moon Room presents fifteen iPad paintings from Hockney's Moon Room series, made during the COVID-19 pandemic at his 17th-century farmhouse in Normandy. Capturing the moon's changing phases from various vantage points across his twelve-acre farm, the works are meditative and dreamlike — made possible by the iPad's backlit screen, which allowed Hockney to draw moonlit shadows cast by trees on grass in near-total darkness. Marking the series' first New York showing, the exhibition reflects his enduring preoccupation with light, ephemerality, and nature's cycles of renewal.

May 14 - Aug 14

Paul Thek: Dream of Vanishing presents more than fifty paintings, sculptures, and drawings spanning Thek's career from the early 1960s through his death in 1988, including a suite of never-before-seen ten-foot scrolls gifted to Robert Wilson. The exhibition foregrounds Thek's painting practice — long overshadowed by his infamous Technological Reliquaries, the wax "meat pieces" that skewered Minimalism and Pop with Catholic grotesquerie — tracing his work from Italian canvases through the "bad paintings" of his final years, made in the face of an AIDS diagnosis. Taking its title from a line in one of his notebooks, the show honors Thek's lifelong preoccupation with disappearance, erasure, and the ephemeral.

May 15 - Aug 14

Nick Doyle: Collective Hallucinations brings together large-scale denim collages and an immersive AI-powered psychic parlor installation to examine the mythology of the American West and its digital successor. Denim — evoking Americana, capitalism, and masculinity — is tailored into symbols of the West: aviators, cacti, car keys, mountainscapes locked behind chain-link fences and boarded with brick. At the center, an AI avatar named Ava dispenses sassy oracular wisdom while mining visitors for data, revealing that artificial intelligence and western myth are selling the same thing through the same dubious strategy — telling us what we want to hear.

Apr 24 - May 30

Apr 24 - May 30

Apr 24 - Jul 11

Yeni Mao: Love Songs presents cyborg assemblages in which found or bronze-cast objects — collected stones, glass, articulated ceramics, and cows' tongues cast in bronze — are cradled in hand-made nickel-plated steel armatures that emerge from the gallery's architecture. Though referencing industrial production, each sculpture is made by hand in Mao's Mexico City studio, grinding marks and welded lines remaining visible beneath the mirror-like surface. Viewers navigate the work bodily — avoiding sharp spikes, crouching to see internal structures, finding themselves reflected in the polished metal — the laboring body placed in negotiation with the apparatus it desires.

May 8 - 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

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

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

Mark Manders presents new bronze busts, sculptural landscapes, and paintings that populate the gallery like frozen thoughts — a scenography of the mind. Two monumental heads anchor the ground floor: Bonewhite Clay Head with Vertical-Cloud, its cracked surface ancient and otherworldly, and Monument, a bronze female head made in memory of his mother's silent grief, a lump visible on the figure's throat like words unable to break free. Bone-white recurs throughout alongside self-made newspapers containing all existing English words in random order, framing spare paintings like windows onto an ambiguous chronology. Gravity, melancholy, and the permeable boundary between painting and sculpture define Manders's fictional world.

Apr 30 - Jun 13

This solo exhibition of Pacita Abad features works from her Door to Life series, inspired by her travels in Yemen. Drawing from the architecture and decorative arts of historic Sanaa, the works reference painted doors and stained glass gamariya windows, translating these visual sources into compositions that reflect place, pattern, and cultural memory.

Apr 30 - Jun 20

White Cube presents an exhibition of works by American artist David Hammons and the late Greek-Italian artist Jannis Kounellis, marking the first two-person exhibition of their work in over 30 years. The presentation revisits a significant moment in the artists’ practices, when they met and exhibited together in the early 1990s at the American Academy in Rome. Celebrating their friendship and a shared material intelligence, the presentation brings together key works made by the artists from the 1950s on.

Apr 30 - Jun 13

Anton Kern Gallery presents an exhibition of bronze sculptures and painted Styrofoam reliefs by Lin May Saeed, whose practice is centered on interspecies solidarity, animal liberation, and a dark, irreverent humor directed at human hubris. Working primarily in Styrofoam, Saeed created part-image, part-object panels that follow no academic rules, alongside a menagerie of named and unnamed bronze figures — each curious in both senses, strange and exhibiting curiosity. Simple but never naïve, her works open onto other ways of living, making art against the casual violence humans do daily.

May 12 - Jul 2

Nobuyoshi Araki and Roe Ethridge brings together two bodies of work from Araki's archive alongside new and revisited work by Ethridge, selected and sequenced by Ethridge. New prints from Ethridge's Floral Arrangements (1995–97/2026) — pinhole photographs of flowers arranged against hand-painted textiles — find unintended dialogue with Araki's Painted Flowers, where bouquets were dripped with Liquitex before being photographed. In both practices, painterly intervention transforms the photograph into a site of layered construction. Araki's Flower Cemetery and Tokyo Nude complete the exhibition, the latter collapsing private and public by pairing female nudes with the naked backstreets of the city.

May 12 - Jul 2

May 14 - Jun 20

May 12 - Jul 10

James Miller: Doppler Highway presents new paintings made with reflective materials and reactive pigments that catch and scatter light, installed within Anton Kern's glass-enclosed window space. Drawing on cinematic projection techniques and practical effects — lo-fi means of rendering artificial galactic and fantastical spaces — the works engage cameraless photography, paranormal imaging, and deep-sea visualization as reference points. Presented within the glass enclosure, the paintings interact with changing light conditions and environmental interference, activating their complex surfaces in response to movement and the surrounding street.

May 8 - Jul 2