NADA - NY BASED EXHIBITORS

ABRI MARS is thrilled to present Gift, an exhibition featuring sculptural works by Michael Bühler-Rose, Kat Chamberlin, Joe Horner, and Chavis Mármol. Through diverse practices spanning sculpture, performance, rendering, and installation, the four artists investigate the act of giving as a complex site of social negotiation and spiritual ritual. Drawing on principles of symbolic interactionism, Gift investigates meaning as a fluid negotiation between symbols that inform our shared reality and objects that serve as a vessel for intent, status, devotion, and beauty.

May 8 - Jul 11

May 21 - Jul 2

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

Stephen Thorpe: Half in Love with Oblivion marks a significant shift following the artist's relocation to the Mojave Desert, opening the psychological interiority of his earlier domestic paintings outward into vast symbolic landscapes. Rooms give way to caves — spaces hewn from earth itself, ancient and geological — while mountains emerge through apertures and cavernous openings as archetypes of transcendence and transformation. The desert becomes not merely a setting but a field of perception in which inner and outer experience dissolve. Drawing on Romantic landscape painting, Symbolism, and Eastern philosophical traditions, Thorpe constructs psychological landscapes shaped as much by myth and memory as by observation.

May 8 - 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

Phuong Nguyen: No Still Waters examines the entanglement of ornament, identity, and power through a sustained engagement with Orientalism and the aesthetics of chinoiserie. Working across oil painting, wood carving, ceramics, and weaving, Nguyen interrogates how Southeast Asian — particularly Vietnamese — femininity has been constructed as image, surface, and object of desire. Hybrid works hover between image and artifact, where ornament accumulates and interrupts rather than decorates, and bodies appear fragmented or partially obscured — caught between visibility and erasure.

Apr 24 - May 16

One Too Many Mornings brings together Murray Clarke and Alberto Lamback around interiority as both physical space and psychological condition. Clarke's paintings layer recurring motifs — luxury pajamas, scarves, folded textiles — into staged yet lived-in compositions where pattern and texture structure the image as much as the objects themselves. Lamback's small-format panels work through condensation: fragments of skin, light, and flowers emerging and dissolving within soft, shifting atmospheres. One accumulates; the other disappears — both holding onto moments on the edge of slipping away.

Apr 24 - May 16

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

Jude Griebel: Nature Bends for You presents new Vitreous China ceramics made following a residency at Kohler Pottery Studios, merging human forms with the natural world in ways that are simultaneously amusing and troubling. Shining green hands enclose a cob of corn; oranges sacrifice themselves to juicing; flowers self-amputate; a fried egg teeters on Giacometti-thin legs. Griebel deploys anthropomorphism not as corporate cute-ification but as a wake-up call — restoring the magical thinking of childhood that once recognized everything as alive, before rational adulthood stripped sentience from creation.

Apr 25 - Jun 13

May 9 - Jun 27

Fire Island Sun centers on Chris Bogia's fifteen-year relationship with Fire Island—exploring its landscape, architecture, and LGBTQ+ cultural history through a material language that brings together both familiar and newly developed techniques. A six-foot yarn-and-wood mandala anchors the show, radiating in vibrant oranges and pinks. Boardwalk Compositions meander across the walls, built from reclaimed Cherry Grove planks and embellished with cast bronze push-pins, monarch wings, and ceramic snakes. The exhibition is Bogia’s love letter to a place of refuge, creative exchange, and community.

May 9 - Jun 27

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

'S, an exhibition of new paintings and works on paper by Margaret Curtis, depicts sprawling landscapes populated by larger-than-life figures assembled from neon signs and plywood billboard scraps. Familiar American tropes—a sheriff star, cowboy hats, guns, the striped legs of Uncle Sam, oil pipes—appear as towering constructions held aloft by rickety scaffolding, operating as facades that reveal the fragile architecture upon which gender politics and national identity are constructed.

Mar 19 - May 17

Diana Sofía Lozano: Under, Cover examines the entanglement of botanical aesthetics and aerial militarization, centering on the fumigation of coca crops in Colombia as an ongoing consequence of US drug war intervention. Video footage of herbicide clouds and teargas confronts viewers at the threshold, while mirrored sculptures featuring UV-printed orchids stage an abortive mirror stage — the flower's idealized image obstructing the viewer's own reflection. Clouds printed on mirrors become permanently reflective of surveillance systems rather than temporary cover from them. What appears natural has been naturalized through colonial observation and control.

Apr 23 - 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

From What I Gathered presents new work by Renelle White Buffalo. Drawing from the geology of her childhood and the concrete of her current city, White Buffalo transforms landscape and Lakota cultural practice into layered abstract paintings. Working with painterly strokes on translucent paper, she builds compositions through cutting, piecing, and collage, assembling them into hill-like forms or arrangements echoing gathered rocks and shells. The work invites reflection on how memory, culture, and land shape our understanding of place.

Apr 2 - May 16

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

May 15 - Jun 20

A Quiet Place represents the silent yet resolute metamorphosis of Maru Quiñonero's artistic practice. Working at the intersection of abstraction and recollection, Quiñonero's new pieces function as emotional anchors, offering structures where color and line meet. The exhibition incorporates paintings and crochet pieces, intertwining thought and fiber into physical structures that invite contemplation. Her work resists singular fixed interpretation, instead creating an elegant emotional cartography that invites viewers into a space where painting, word, and thread coexist.

In Somewhere in Time, Leyla Pekmen constructs a self-contained world shaped by water, light, and shifting time. Rooted in her ongoing engagement with landscape and memory, the works unfold as quiet, immersive scenes that move between observation and invention. Pekmen's use of bold color and controlled texture establishes a visual rhythm that is both structured and open-ended, where moments of stillness and movement coexist. Developed during a period marked by uncertainty, the exhibition becomes a quiet, optimistic gesture inviting viewers to slow down and reconnect with the simple, enduring magic of being.

A Bag to Breathe Into is SoMad's 2026 Mad World exhibition of environmental art, grounded in the framework of Intersectional Environmentalism—refusing to separate social justice from environmental collapse. The selected works challenge the systems that opporess both people and the environment, engaging with themes of colonialism, development, migration, stress, disability justice, and Afro-surrealism. Drawing from Kimberlé Crenshaw, the Combahee River Collective, and Joy Priest (whose poem provides the title), the exhibition seeks to imagine alternative systems of care and inspire cultural action in response to environmental injustices and collective anxieties. Featuring works by Faith Brown, Kelly Clare, Leo de Paula, Amber Doe, Anna Dossmann, Onaje Grant-Simmonds, Jiayi Gu, Melonie Knight, Keith Lafuente, Yutong Leah Liu, Meicen Meng, Sam Nguyen-Jones, Andrew Ordonez, Abdel Karim Ougri, Perry Picasshoe, María-Elena Pombo, Eleanor Mahin Thorp, Kathy Wu, Nadia Younes, Anxious to Make (Liat Berdugo and Emily Martinez), Aya Bundurakis, Leah Byck, Vardit Goldner, Karl Kaisel, Alexandra Kumala, Jihyun Lee, Lilian C. Scheuer, Máte Vargas, Mona Okulla Obua, Zain Alam, and Maya Nguyen.

Apr 18 - Jun 13

May 9 - Jun 9

Luci Spente is the first New York solo exhibition by Italian-born, Brooklyn-based artist Angelo Vasta, inaugurating Tappeto Volante Projects' new Tribeca space. Large-scale works on paper unfold against saturated nocturnal grounds, where figures emerge from darkness—leaning, folding, dissolving into one another in gestures of tenderness and grief. Vasta's background as a dance filmmaker lends each drawing a cinematic quality: a temporal fragment where motion, emotion, and memory remain in flux.

May 15 - Jun 27

Make It Make Sense brings together works by Callum Eaton, Daniel Roibal, Marco Paul Lorenzetti, and Olivier Souffrant—four artists with distinct, signature styles that complement rather than resemble one another. Eaton's photorealistic tulip, blown dramatically out of proportion, finds unexpected kinship with Roibal's serene color abstractions. Souffrant and Lorenzetti offer lively, layered scenes. Together, these artists remind us that meaning does not always come from similarity, but also from contrast, imagination, and the beauty of things that should not make sense, but somehow do.

May 12 - Jul 3