Contemporary Art and Culture
Taiwanese visual artist Yu-Hsu Chou uses photography to ask: how much can we trust what we see? This question runs through all his images, whether landscape, digital signals, urban surfaces, or human shadow. However varied the subject matter is, each work evokes the gap between what is visible and what we believe it to be.
Continue reading “Yu-Hsu Chou: Beyond the Visible World”
Sojourn, a new body of work by Canadian-American painter Tim Kent, opened recently at Hollis Taggart’s Chelsea location runs through October 17. Ask Kent what the show is about. He gives you a clean, simple answer. The main idea is just taking a break from working too hard. It’s the kind of respite that chronically overworked New Yorkers rarely give themselves.
In Kent’s telling, rest isn’t relaxation. It’s rebellion.
Continue reading “Tim Kent’s Sojourn Was Never Actually a Rest”
Peter Blum Gallery is pleased to announce the representation of New York-based artist Marina Adams (b. 1960). The announcement follows Adams’s recent solo exhibition with the gallery, titled Works on Paper: A Survey (April 9–May 29, 2026), and its accompanying hardcover publication. Her work is currently on view in the group exhibition Clever, Quick, Magnetic: The Art of Witty Banter, curated by David Salle at Oklahoma Contemporary. Looking ahead, Adams’s work will be featured in Peter Blum Gallery’s booth presentation at The Armory Show (September 24–27, 2026), as well as in the group exhibition Abstract Expressionism: The East End, 1940 to Today at the Parrish Art Museum in Water Mill, New York (September 27, 2026–February 14, 2027).
Falcão explores the Black female body as a site where painterly experimentation and lived experience converge. Raised in Rio de Janeiro’s Irajá neighborhood, Falcão renders her figures in gestural brushwork and dense layers of impasto, working within a palette dominated by earth tones—umbers, reds, tans, and yellows. Though Falcão frequently depicts her own body, her figures resist self-portraiture, functioning instead as archetypes that challenge the expectations and stereotypes imposed upon Black Brazilian women.
Continue reading “Alexander Gray Associates Announces Representation of Márcia Falcão”
The liminal space between abstraction and figuration—between the defined and the loose, the restrained and the free—is the terrain of Laurie Nye’s first solo exhibition at Uffner & Liu in New York. In her new paintings, which range from intimate, jewel-like compositions to modestly monumental canvases, Nye proposes that everything we see can be two things at once: a flower and a portal, a tree and a cosmic axis, a landscape and a state of mind.
Wendy Olsoff and Penny Pilkington, co-founders of P•P•O•W, are pleased to announce the appointment of Trey Hollis as Managing Partner, based in New York.
As Managing Partner, Hollis will continue to oversee P•P•O•W’s programmatic activities, gallery operations, exhibition management, facilities, and the gallery’s participation in international art fairs. Collaborating closely with the gallery ownership, directors, and operations team, Hollis will help ensure the continued strength and efficiency of all aspects of the gallery while supporting P•P•O•W’s represented artists and exhibition program.
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Altarpieces—historically sites of devotion, revelation, and spiritual certainty—become something altogether different in Arghavan Khosravi’s What Remains, currently on view at Uffner & Liu through July 2. The exhibition brings together large-scale wall works, a freestanding sculpture, and an intimate suite of new altar-inspired paintings that continue Khosravi’s ongoing exploration of the forces that shape women’s lives under political, cultural, and religious systems of control. Drawing equally from Persian miniature painting and medieval European iconography, the artist constructs layered worlds where architectural structures become psychological spaces, symbols migrate across histories, and moments of resistance emerge within conditions of constraint. Rather than offering resolution, the works linger in states of suspension—between freedom and captivity, memory and displacement, devotion and doubt.
Continue reading “What Remains: in dialogue with Arghavan Khosravi”
Kanekalon hair, the synthetic fiber of braiding salons and everyday hair care, is the raw material of Your Birth is My Birth, a speculative universe currently taking over Jane Lombard Gallery through June 13th. Artists Merryn Omotayo Alaka and Sam Frésquez have spent nearly a decade building Hairland, a collaborative fictional ecosystem that began with large-scale tassel sculptures in a Phoenix nonprofit space and has grown into a fully realized botanical mythology.
Continue reading “Your Birth is My Birth at Jane Lombard: Merryn Omotayo Alaka and Sam Frésquez in Dialogue”
Aleksandra Scepanovic’s story begins in then-Yugoslavia, where the stark presence of brutalist architecture shaped her early sense of form and space. As a journalist during the 1990s she reported on the Balkan conflicts, bearing witness to the fractured landscapes of cities such as Sarajevo.
Continue reading “Aleksandra Scepanovic: Site Seen”
In 2019, an art acquisition trip brought curator Lan Shi from Beijing to New York. When the pandemic extended her stay, she shifted her focus and began working as a full-time freelance curator and art agent. Since then, she has organized more than a dozen exhibitions of varying scale, including her current project with artist Jeffrey Morabito.
Continue reading “Jeffrey Morabito: The Caged Bird Sings”