TEFAF - NY BASED EXHIBITORS

Lightness of Form is an exhibition by acclaimed British designer Terence Woodgate. Shown for the first time in New York, the works are a refined study in balance, where structural innovation meets sculptural clarity. Developed in close dialogue with pioneering engineer John Barnard, this presentation brings a focused selection of works—Chaise Longue and Wedge Desk—to a new audience, continuing an exploration of space, movement, and minimalism across contexts.

May 13 - Oct 18

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

Celia Paul: Innervisions marks Paul's first exhibition with Gladstone, presenting new paintings made from her long-held London studio overlooking the British Museum. Paul paints herself, her mother, and sisters not as motifs but as relationships shaped by grief and the ordinary weather of family life — figures that emerge from quiet fields with unshowy gravity, holding people in time rather than describing them. Alongside portraits, the sea recurs as counterpoint: an expanse that refuses enclosure. Throughout, Paul steadily reclaims authorship on her own terms.

Apr 28 - Jun 13

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

With this new body of work, Dávila continues his investigation into one of sculpture's most elemental gestures: the act of placing one thing in relation to another. Rather than transforming materials through carving or modeling, he works through deliberate positioning, arranging elements so that relationships and tensions emerge between them. Stones, concrete, steel beams, sandbags, and geometric volumes come together in configurations that appear both precise and improbable, registering weight, gravity, and balance in newly perceived ways.

Apr 16 - May 30

In SOIL, Adams reflects on questions of place, memory, and emotional terrain to create psychological landscapes rather than fixed imagery. In this way, each painting becomes a world built through experimentation, where memory, intuition, and material process converge. Rooted in a deep commitment to the possibilities of painting, the exhibition reveals Adams’s continued mastery of color, surface, and gesture, whilst affirming the color black as a generative ground from which new visual worlds can emerge.

Apr 16 - May 30

Lucia Laguna: Apenas meus cabelos são brancos… [Only my hair is white…] presents new paintings from Laguna's ongoing Pequenos formatos and Paisagem series, reflecting a recent shift prompted by her move from a suburban Rio de Janeiro garden to a denser urban apartment in Laranjeiras. Windows, doors, and tiles frame semi-abstracted landscapes where exuberant bursts of flora — trees, flowers, birds, human forms — persist against architectural geometry. The works address the fracturing of natural spaces amid urban development while conveying Laguna's personal vision of a world she observes with both precision and adoration.

May 14 - Jun 27

This survey of Italian painter Domenico Gnoli (1933–1970) features paintings, drawings, etchings, notebooks, and letters from his brief yet prolific life. The exhibition traces his evolution from illustrator and set designer to master painter. His works magnify everyday objects—such as clothing, hair, and furniture—with meticulous detail, suspending them in compositions that are simultaneously absorbing and quietly unsettling accounts of contemporary life.

Mar 18 - May 23

Baladas debuts a series of paintings by Armig Santos that explore the artist’s personal and pastoral relationship to the islands of Puerto Rico, drawing upon historical, archival, and ecological sources. With the exhibition’s title, Santos nods to José Luis González’s 1978 novel Balada de otro tiempo (Ballad of Another Time), which remains a significant representation of traditional farming—or campesino—culture in Puerto Rico. Each a ballad to Puerto Rico, the paintings hold the past up against the present.

Apr 16 - Jun 13

Kelly Akashi: Heirloom turns toward loss and grief, asking how absence is held, transmitted, and given form. Bronze roses and irises cast directly from Akashi's garden — where her home and studio once stood — become relics of domesticity and care. A monumental rendering of an inherited stone ring, enlarged to geological scale, stages a confrontation with grief's capacity to exceed containment. Corten steel panels cut from her grandmother's lace tablecloth demarcate a space of interruption that resists closure, their weathering surface accumulating time as structural integrity. Glass works complete the exhibition, including a mallow plant — a species that emerges from disturbed soil — recreated with its root system exposed.

May 12 - Jul 25

Jan 15 - Mar 14

Apr 22 - Jul 31

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

Huguette Caland: My Home charts five decades of Caland's practice across Beirut, Paris, and Los Angeles, tracing a career defined by displacement and liberation. From early color-field abstractions to the erotically charged Bribes de corps series, through encoded Silent Letters and late Rossinantes sculptures, Caland consistently rendered the body as both intimate terrain and cartographic field. As curator Tarini Malik writes, "home was a rendering and a reflection of the self" — a conviction that animates every turn in this groundbreaking, continent-spanning practice.

May 12 - Jul 25