Sculptural Garden, Installation Shot, photo courtesy of Hollis Taggart
Seeing John Knuth’s exhibition, The Hot Garden, at Hollis Taggart’s new downtown outpost was wonderful, surreal, energetic, and unexpected. This is Knuth’s first major body of work following the devastating Eaton Fire in January 2025, which destroyed the artist’s home and archive. This exhibition gives us an opportunity to see fragments of the past and the birth or rebirth of something entirely new out of the ashes, embodying the quote in the press release from Octavia Butler’s Parable of the Sower, writer and once Altadena resident, “All that you touch, you change. All that you change, changes you.”
Weihui Lu at Wave Hill, March 2025, photograph by Jan Dickey
Terra Keck and Jan Dickey caught up with artist Weihui Lu a couple of weeks after she completed a residency at Wave Hill in the Bronx. At the time, Weihui was reflecting on that experience while also preparing for her current solo show, when there is no longer a danger of frost, at Tempest Gallery in Ridgewood, Queens. An installation artist with roots in Chinese landscape painting, Weihui continues to explore impermanence, a delicate and sparing use of material, and humankind’s relationship to the natural environment. Her installation at Tempest draws its source material from an aging greenhouse she spent time contemplating during her residency at Wave Hill—understood as a physical embodiment of human systems of care, including their inevitable collapse and repair.
The Field is All Around Us: Scott Sueme’s Solo at Uprise Art Will Change How You See Space
Installation shot of Field in The Wind, Scott Sueme, Uprise Art, 2025
In Scott Sueme’s latest collaboration with Uprise Art, the artist asks, “If you are called to look, what do you see?” In fact, I pose the question to you right now. As you lie in bed reading this when you really should be asleep or as you doomscroll art news to avoid doomscrolling national news, Sueme calls you to look with the consideration of someone devoted to noticing the breath within the breath, the moment within the moment.
Water moves. It reflects, absorbs, distorts. It never repeats itself. River-Rising, a four-channel video installation by Ellen Kozak and Scott D. Miller, is built on these elements. Filmed along three river estuaries—the Garonne in France, the Bilbao Estuary, and the Hudson River—the work isolates the shifting surfaces of water.
Thomas Motley’s first novel, The Art of Farming: Sketches of a Life in the Country, is rooted in stewardship—a shared responsibility for the earth, animals, and one another. This theme has become more central to his paintings over time, though respect for nature has always been part of his work. His non-fiction writing and lectures on organic farming have also reflected this idea.
Kariann Fuqua, Emergent Strategies: In Defense of Weeds, 2025. installation shot: front gallery. Image credit, Brad Farwell
In her latest exhibition, Emergent Strategies: In Defense of Weeds, Kariann Fuqua invites viewers to reconsider their relationship with the natural world—specifically the wild plants we so often dismiss as nuisances. Through a collection of drawings, photographs and found objects gathered from her acre of land in Mississippi, Fuqua examines the ecological and cultural narratives tied to “weeds,” challenging the capitalist obsession with control that underpins the American lawn.
Katerina Lanfranco is a painter most known for her magical and fantastical colorful paintings. She recently embarked on a new challenge in her solo show Snowed-In, which is one of her most ambitious projects yet, as she let her viewers in on the process.
Untitled, 2023, Digital image etched into glass, paint. 20 x 20.
Jennifer Trask’s materials—whether bone, wood, metal, or antique fragments—function as collaborators in her sculpting process. Their physical properties and embedded histories guide her decisions, shaping how she responds to their density, grain, and structural limits.
A Celebratory Retrospective of an Artist’s Life and Journey of Dreaming, Perseverance, Activism, & Unconscious Expression.”
The retrospective of Bascha Mon’s paintings at Tappeto Volante offers a focused look at an artist whose career has been shaped by both creative achievements and personal struggles. Mon first gained recognition in the 1970s and 80s, with numerous exhibitions and critical acclaim. However, her trajectory was interrupted by health challenges that led to a long period of seclusion. During this time, she continued to work from her basement studio in New Jersey, expanding her creative vocabulary across various mediums while remaining largely out of the public eye. In recent years, Mon turned to digital platforms like Facebook and Instagram. Paola Gallio, the exhibition curator and gallery co-founder, describes this phase as “dissolving the physical isolation that had once defined her situation.” These platforms allowed Mon to reconnect with the art community and sustain an active, visible presence. Gallio emphasizes that “Mon’s modest basement studio became a metaphor for boundless creative space,” where the constraints of physical isolation were replaced by the limitless possibilities of virtual engagement. For deeper insights into the retrospective, Gallio’s interview with Art Spiel offers further reflections on Mon’s artistic journey and the significance of this exhibition.
New Bather, 2023, 20″ x 16″, oil, glitter on canvas
Farrell Brickhouse’s exhibition at JJ Murphy Gallery in the Lower East Side marks a significant milestone in Brickhouse’s artistic journey. It is his first solo exhibition at the gallery and his first one-person show in over a decade. The works on display, all created between 2020 and 2024 at his new home and studio in Hudson, NY, provide an insight into the artist’s evolution in painting and picture-making over this period.
