https://essexflowers.us Essex Flowers Sun, 09 Aug 2026 22:54:08 +0000 https://essexflowers.us en https://essexflowers.us/HOME Sat, 14 Apr 2018 17:15:22 +0000 Essex Flowers https://essexflowers.us/HOME ESSEX FLOWERS https://essexflowers.us/INFO-1 Tue, 22 May 2018 00:11:29 +0000 Essex Flowers https://essexflowers.us/INFO-1 19 MONROE STREETNEW YORK, NY INFO@ESSEXFLOWERS.US The gallery is open Saturdays + Sundays 12 - 6 PM and by appointment. Click here to be added to our mailing list.Essex Flowers' front entrance and front gallery are wheelchair accessible. Our back gallery is accessible through a side entrance (please speak with the gallery sitter upon arrival). Our bathroom is not wheelchair accessible. &nbsp; https://essexflowers.us/FLOWERS-FESTIVAL-2026 Sun, 09 Aug 2026 22:54:08 +0000 Essex Flowers https://essexflowers.us/FLOWERS-FESTIVAL-2026 <img width="3024" height="4032" width_o="3024" height_o="4032" data-src="https://freight.cargo.site/t/original/i/a353c3814f184740a8f429bf3d5a37aa995bd697b935ade0a2e5a49a4e93bbc1/WhatsApp-Image-2026-08-11-at-10.45.40.jpeg" data-mid="251170580" border="0" src="https://freight.cargo.site/w/1000/i/a353c3814f184740a8f429bf3d5a37aa995bd697b935ade0a2e5a49a4e93bbc1/WhatsApp-Image-2026-08-11-at-10.45.40.jpeg" /> $10 SUGGESTED DONATION @ THE DOOR FRIDAY, August 21, 6:00 PM - 9:00 PM <img width="2730" height="3811" width_o="2730" height_o="3811" data-src="https://freight.cargo.site/t/original/i/b3cb8289580166f7db8d70368650487d98851a8bd630e320009cab61e18d33a7/MonicaWendel.jpeg" data-mid="251173924" border="0" data-scale="100" src="https://freight.cargo.site/w/1000/i/b3cb8289580166f7db8d70368650487d98851a8bd630e320009cab61e18d33a7/MonicaWendel.jpeg" /> Monica Wendel is Professor of Composition and Creative Writing at St. Thomas Aquinas College, where she has taught since 2010. A frequent collaborator with visual and performing artists, her writing focuses on the intersection of environmental writing and the medical humanities. Her stories are forthcoming from Broad Ripple Review, Fiction, and Ellery Queen Mystery Magazine, and her poetry has been published in the Bellevue Literary Review, Ploughshares, Rattle, and other journals. Her books and chapbooks are available online at www.monicawendel.com — <img width="870" height="806" width_o="870" height_o="806" data-src="https://freight.cargo.site/t/original/i/4b59ee3cafeaec131ec8d9407719035adfa1e34fd14f619236124ebfd5ba3201/Pichchenda-Bao.png" data-mid="251173927" border="0" src="https://freight.cargo.site/w/870/i/4b59ee3cafeaec131ec8d9407719035adfa1e34fd14f619236124ebfd5ba3201/Pichchenda-Bao.png" /> Pichchenda Bao (she/her) is a Cambodian American poet and writer, infant survivor of the Khmer Rouge regime, daughter of refugees and feminist stay-at-home mother. She is co-editor of the poetry anthology, Braving the Body (Harbor Editions) and serves on the editorial board of Queensbound, an audio poetry project for Queens, NY, and as a story coach for No, You Tell It, a switched-up storytelling show and podcast. Her most recent work has been published by Lily Poetry Review, SWWIM, Cultural Daily and elsewhere. She has received fellowships and awards from Aspen Words, Kundiman, Bethany Arts Community, and Queens Council on the Arts. She lives, writes and raises her three kids in New York City. More at&nbsp;www.pichchendabao.com. — <img width="3712" height="5568" width_o="3712" height_o="5568" data-src="https://freight.cargo.site/t/original/i/2d24e41341dbcb2518079b6169db95f86ea1a2609c38b13f5896a87af37cef38/Rita-Pafumi.jpeg" data-mid="251173928" border="0" src="https://freight.cargo.site/w/1000/i/2d24e41341dbcb2518079b6169db95f86ea1a2609c38b13f5896a87af37cef38/Rita-Pafumi.jpeg" /> Gabriella Rita Pafumi is a New York based writer and interdisciplinary theatre artist originally from the DC area. Pafumi is a recent graduate with her BA in theatre studies from the University of Northern Colorado, and has since been working in production and early childhood education since relocating to NY. They specialize in poetry, essays, and playwriting, and are constantly in search of stories that explore femininity, love, humanity, growth and change. You can find their short form writing on Substack. — <img width="371" height="552" width_o="371" height_o="552" data-src="https://freight.cargo.site/t/original/i/831e112bb4e53a1770e910c660f5b059213a9655e20d06cc41af75da029e4f24/RMFradkin.png" data-mid="251173929" border="0" src="https://freight.cargo.site/w/371/i/831e112bb4e53a1770e910c660f5b059213a9655e20d06cc41af75da029e4f24/RMFradkin.png" /> R.M. Fradkin has had short fiction published by Terrain, Fiddlehead, Florida Review, J Journal, and Cleaver Magazine, among others. Her stories have been nominated for a Pushcart Prize and Best Small Fictions. She has been awarded residencies at Art Farm in Nebraska, Hypatia-in-the-Woods in Washington, and the International Writers and Translators' Center of Rhodes, and was Writer-in-Residence at the Anchorage Museum. Outside of writing, she has worked at farms, forests, restaurants, and dinner circus theatres; been both an elementary and a high school teacher; run concert series and arts education programs, and is currently at new music collective Bang on a Can. R.M. Fradkin completed an MFA at Oregon State University and is completing a novel set in an experimental forest. — SATURDAY, August 22, 5:00 PM - 9:00 PM <img width="294" height="512" width_o="294" height_o="512" data-src="https://freight.cargo.site/t/original/i/37e8da099c1ddc472bc62f7cd3b87cfee9f99a2b23ffd5fcb63ad74138075ca3/DanielKent.jpg" data-mid="251173947" border="0" src="https://freight.cargo.site/w/294/i/37e8da099c1ddc472bc62f7cd3b87cfee9f99a2b23ffd5fcb63ad74138075ca3/DanielKent.jpg" /> Daniel Kent is a Canadian Multimedia Artist &amp; Designer located in Brooklyn, New York. He is the founder of FingerMade and Great Product Solutions, as well as the Design Director at Pioneer Works. He lives by the maxim "I do my wacky everyday to just keep myself alive." He has an advanced degree. — <img width="1433" height="1426" width_o="1433" height_o="1426" data-src="https://freight.cargo.site/t/original/i/3532e5ca389445ecea2ef1dc0a47d753308cc4be3b05425d24f984fdfc65d448/BenGodward.jpg" data-mid="251173951" border="0" src="https://freight.cargo.site/w/1000/i/3532e5ca389445ecea2ef1dc0a47d753308cc4be3b05425d24f984fdfc65d448/BenGodward.jpg" /> Ben Godward is an Artist living and making things in Brooklyn, NY.&nbsp; He has shown extensively in New York and beyond including such galleries as The Hole, Transmitter, McKenzie, Elijah Wheat Showroom, The Scully-Tomasko foundation, Marc Straus, Slag, Famous Accountants and NorteMaar. Godward has also completed large public art projects at Pacific Design Center, Albany International Airport, Franconia Sculpture Park, MN and Socrates Sculpture Park, Queens, NY. His work has been featured in Two Coats of Paint, The L Magazine, The Brooklyn Rail, Sculpture magazine and on WNYC Radio. — <img width="1359" height="1360" width_o="1359" height_o="1360" data-src="https://freight.cargo.site/t/original/i/582a3ecae9ae4fc5c573554366920a1e5635168a79a1cfe0b51ca029e9def2cc/RobRacine2026tilden.jpg" data-mid="251173930" border="0" src="https://freight.cargo.site/w/1000/i/582a3ecae9ae4fc5c573554366920a1e5635168a79a1cfe0b51ca029e9def2cc/RobRacine2026tilden.jpg" /> Rob Racine is a multidisciplinary artist. His latest series is an ongoing solo music-video album project exploring surreal, otherworldly environments through sound, rhythm, and visual synthesis. The work emerges as both a process and a space for healing and meditation, reimagining familiar places through altered perception. — <img width="1072" height="898" width_o="1072" height_o="898" data-src="https://freight.cargo.site/t/original/i/d231ced68627380e41de5e121f4b1c8f0aae7c029d8f767c05efa30fa70807f2/FaithLaRocque.jpg" data-mid="251173983" border="0" src="https://freight.cargo.site/w/1000/i/d231ced68627380e41de5e121f4b1c8f0aae7c029d8f767c05efa30fa70807f2/FaithLaRocque.jpg" /> Faith La Rocque is a visual artist living in Toronto, Canada. Working mainly in sculpture and installation, her work examines human experience through the lens of alternative health therapies, as both material and subject matter, to explore the desire for transformation. Bringing together therapeutic, natural and fabricated elements, she creates encounters that negotiate belief, vulnerability and the uncertain promise of healing. La Rocque received a BFA in Art History and Studio Art from Concordia University, Montreal (2003) and MFA in Tapestry, School of Drawing and Painting, from Edinburgh College of Art (2006).&nbsp;Since 2008, La Rocque and Denver-based artist Jaimie Henthorn have collaborated at a distance, creating and communicating with each other through performances, drawings, photographs and videos. For Flowers Festival, they will be exhibiting performance and drawings based on a Victorian therapeutic device called a “rocking bath.” — <img width="6480" height="4320" width_o="6480" height_o="4320" data-src="https://freight.cargo.site/t/original/i/c93cd34078cc3f69792858532243c1d75d2ef34ac418bdd7dd78db19a11faddd/JaimieHenthorn.jpg" data-mid="251173984" border="0" src="https://freight.cargo.site/w/1000/i/c93cd34078cc3f69792858532243c1d75d2ef34ac418bdd7dd78db19a11faddd/JaimieHenthorn.jpg" />Jaimie Henthorn‘s individual performance artworks disrupt established understanding of architectural spaces through intervention with the human body. Her collaborative works encompass additional topics. Multi-media projects with Toronto-based artist Faith LaRocque are based on the female body relating to its potential transformations, anxieties, and mythologies. And performances with the Crip Collective in Colorado emphasize the importance of the bodymind in the context of crip futurism.Jaimie received her PhD in Creative Practice as Research from University College London and an MFA from the University of Edinburgh. She has set site-specific performances at the U.S. Air Force Academy Cadet Chapel, the Salk Institute, and the Bauhaus Haus am Horn. — SUNDAY, August 23, 5:00 PM - 9:00 PM <img width="666" height="1000" width_o="666" height_o="1000" data-src="https://freight.cargo.site/t/original/i/45e05f4c3050bb61125c776a7fcf0ebace8763ab16232f4e295852431cad66d3/JorgeMorillo.jpg" data-mid="251174609" border="0" src="https://freight.cargo.site/w/666/i/45e05f4c3050bb61125c776a7fcf0ebace8763ab16232f4e295852431cad66d3/JorgeMorillo.jpg" /> Jorge Morillo lives and works in Harlem, New York. He is a video artist primarily working with found internet videos and footage from compact action cameras. He holds a BFA in Film from NYU Tisch. — <img width="3024" height="4032" width_o="3024" height_o="4032" data-src="https://freight.cargo.site/t/original/i/0631590d4e93c0da0a7fab745a099ea4f5e30b00eefddc7ca5d59327b10c76bc/KevinKelly.jpg" data-mid="251173922" border="0" src="https://freight.cargo.site/w/1000/i/0631590d4e93c0da0a7fab745a099ea4f5e30b00eefddc7ca5d59327b10c76bc/KevinKelly.jpg" /> Kevin Kelly is a video artist and writer who lives and works between CT and NYC. He was a participant of the Whitney Museum of American Art Independent Study Program 19-20. He has an MFA from Hunter College. Kevin has screened and exhibited at 80WSE Gallery, Rockaway Film Festival, Aegean Film Festival, Rencontres Internationales Paris/Berlin, Kassel Dokfest, Cecilia Jaime Gallery, Ghent, Belgium, KANSAS Gallery, NY, NY and Anthology Film Archives NY, NY. — <img width="384" height="512" width_o="384" height_o="512" data-src="https://freight.cargo.site/t/original/i/dd5022ccbc9b15335ab478561431f9042c35932d860e6e0ad5c018371727a5f8/SteveMykietyn.png" data-mid="251173933" border="0" src="https://freight.cargo.site/w/384/i/dd5022ccbc9b15335ab478561431f9042c35932d860e6e0ad5c018371727a5f8/SteveMykietyn.png" /> Steven Mykietyn is an artist based in Brooklyn NY and has most recently shown work at; Sweet Lorraine Gallery, (Brooklyn, 2025) Mothership, (Woodstock, 2024) O’Flaherty’s (NY, 2022) Underdonk, (NY, 2020) LUMP, (NC, 2019) Curated a major show of contemporary New York artists at Schelfhaudt Gallery, Bridgeport in 2023. Has attended residencies in Japan (AIAV), Bahrain (Bahrain National Museum), Finland (Titanik) and the UK (Cove Park). Mykietyn received a BFA from Massachusetts College of Art and an MFA from Edinburgh College of Art. He was founder of Orgy Park, an apartment gallery in Bushwick which held shows for emerging artists and now is a member of Essex Flowers. — <img width="1575" height="2100" width_o="1575" height_o="2100" data-src="https://freight.cargo.site/t/original/i/62f2901179a1ad62cdcf96f6d7274cb8dcc395776f516099c561ffd02f70263a/SiebrenVersteeg.png" data-mid="251173932" border="0" src="https://freight.cargo.site/w/1000/i/62f2901179a1ad62cdcf96f6d7274cb8dcc395776f516099c561ffd02f70263a/SiebrenVersteeg.png" /> Siebren Versteeg is an American artist known for his painting and video works created through digital processes. His multivalent practice responds to the technology of our time and the way we consume and deploy those technologies. Heralded by Vulture as "chaotic but illuminating", the magazine declared Versteeg the idol of "every Harry Potter-loving/Hackers-watching/anti-capitalist computer geek". Versteeg's work often relies on ready-made, online data sources for part of its media, with websites like Google, Flickr, and Wikipedia frequently collaborating with Versteeg's code. Throughout his career, Versteeg has playfully interacted with constructed identities and painterly abstraction through the use of code. Versteeg prefers to code in Lingo. The artist is known to re-articulate familiar presentation formats and information systems popularized online, "ultimately jamming their promise of stability and ubiquity". Drawing attention to the variety of opinions, sources, conversations, and enterprises that contribute to the internet's sprawling information landscape, Versteeg's work often intervenes between mass media and its end consumer For example, the artist has been known to use recognizable brand identifiers from major companies, such as Napster and Coca-Cola, to deliver a pithy comment, or the day's headlines from the AP Newswire. In one series of the artist's algorithmically generated artworks, Versteeg instructs his code to paint over the day's front page of a credible newspaper using brushstrokes programmed to mimic an Abstract Expressionist style. — FRIDAY, August 28, 5:00 PM - 9:00 PM <img width="3024" height="4032" width_o="3024" height_o="4032" data-src="https://freight.cargo.site/t/original/i/06e989556a1d2a6a38f7b81350674ddfee8e5f5ec25a8488750743b4e0e4df02/ChristineKelly.jpg" data-mid="251173913" border="0" src="https://freight.cargo.site/w/1000/i/06e989556a1d2a6a38f7b81350674ddfee8e5f5ec25a8488750743b4e0e4df02/ChristineKelly.jpg" /> Christine Kelly is a poet, artist, and performer living between North Adams, Massachusetts, and New York City. She is the author of the poetry collection Allow Me to Slip on Something a Little More Hypocycloid (PRROBLEM, 2025) and numerous chapbooks. Her performances have been presented at the Clark Art Institute, Cooper Union, the Poetic Research Bureau, and other venues. She is also the Senior Visual Arts Editor of Tupelo Quarterly. — <img width="1810" height="1200" width_o="1810" height_o="1200" data-src="https://freight.cargo.site/t/original/i/9532f29f6bd8c91db6657f9c53c21e4dc5a6d3abf245eb29cab23b6fa39b1b8c/Jacobsen_Ingrid_WritingHeadshot.jpg" data-mid="251174890" border="0" src="https://freight.cargo.site/w/1000/i/9532f29f6bd8c91db6657f9c53c21e4dc5a6d3abf245eb29cab23b6fa39b1b8c/Jacobsen_Ingrid_WritingHeadshot.jpg" /> Ingrid Jacobsen's poetry has appeared in Rattle, The Offing, and is forthcoming in Image. She has been nominated for a Pushcart Prize and her debut chapbook, Sonnets on the Attempted Murder of Me, Bugs B, was recently published by Can Press. She works at the Institute for Sustained Attention. — <img width="3024" height="3637" width_o="3024" height_o="3637" data-src="https://freight.cargo.site/t/original/i/8339507ef02181f0f640967c8121d65797e7529ffd85846b8789a79cb1073a9d/SamBreslin.jpg" data-mid="251174959" border="0" src="https://freight.cargo.site/w/1000/i/8339507ef02181f0f640967c8121d65797e7529ffd85846b8789a79cb1073a9d/SamBreslin.jpg" /> Samuel Breslin is a writer, performer, carpenter, and professor living in Queens. Their work has been published by Tagvverk, Abobo, Ethics Magazine, and others, and they have exhibited their text-based performance work with 2220 Arts + Archives (Los Angeles), the Brooklyn Rail, the Poetry Project, and the Metropolitan Salon Series, among others. They are a founding member of the film programming collective Light Field, which organizes an experimental film festival held annually in San Francisco, and hold an MFA from Bard. Beyond reading, writing, and performance, their favorite thing to do is play tennis with their partner in the bright sunshine. — <img width="378" height="504" width_o="378" height_o="504" data-src="https://freight.cargo.site/t/original/i/b33c542e021a5a84a96efc41103830259d92e03c2e5bc47966f36c4bf83ce915/Marc-Grubstein.jpg" data-mid="251173923" border="0" src="https://freight.cargo.site/w/378/i/b33c542e021a5a84a96efc41103830259d92e03c2e5bc47966f36c4bf83ce915/Marc-Grubstein.jpg" /> Marc Grubstein born 1969&nbsp;is a multimedia artist living in Brooklyn that works with paint, photography, sculpture and performance art. Marc’s artwork often contains dark humor. He attended Alfred and Pratt institute for undergrad and received his Masters from Cranbrook. Marc’s reason to make art is to become a better person. — SATURDAY, August 29, 5:00 PM - 9:00 PM <img width="3333" height="5000" width_o="3333" height_o="5000" data-src="https://freight.cargo.site/t/original/i/70a7e31e1c9e86d62c25548e3d849a116c936fd42bdf33c24e447a649e8d2fe8/Hannah-Spector-Headshot_Imagecredit_Bobby-Scheidemann_2.jpg" data-mid="251175011" border="0" src="https://freight.cargo.site/w/1000/i/70a7e31e1c9e86d62c25548e3d849a116c936fd42bdf33c24e447a649e8d2fe8/Hannah-Spector-Headshot_Imagecredit_Bobby-Scheidemann_2.jpg" /> Hannah Spector is an interdisciplinary artist, composer, and poet based in Austin, Texas. Spector thinks of language as a solid object—a concrete and spatial expression that can overturn limiting perceptions of the everyday. They are an Assistant Professor of Time &amp; Technology at UT Austin and a member of MASS Gallery. They curate the deep listening project, MASS Ambient. — <img width="3208" height="4096" width_o="3208" height_o="4096" data-src="https://freight.cargo.site/t/original/i/8ba4dfb3e730a266e5f751869b823f95c079ecd4dec93baaad375cecce720f47/AilynLee.JPG" data-mid="251175499" border="0" src="https://freight.cargo.site/w/1000/i/8ba4dfb3e730a266e5f751869b823f95c079ecd4dec93baaad375cecce720f47/AilynLee.JPG" /> Ailyn Lee is a New York–based interdisciplinary artist working across sculpture, painting, video, and performance. Her work draws from personal mythology, the subconscious, and childhood memories of her grandmother’s antique shop in Busan. Through a blend of found and handmade elements, she creates dreamlike characters and hybrid forms, weaving in recurring motifs such as butterflies, the moon, and fragmented bodies. Lee received her MFA in Fine Arts in 2022 and BFA in Illustration in 2017 from the School of Visual Arts in New York City. She has been an artist in residence at the International Studio &amp; Curatorial Program (ISCP), NARS Foundation, Wassaic Project, and Vermont Studio Center. Her work has been exhibited at A.I.R. Gallery, HERE Arts Center, SVA Chelsea Gallery, Wassaic Project, and Latitude Gallery, among others. — <img width="1200" height="1500" width_o="1200" height_o="1500" data-src="https://freight.cargo.site/t/original/i/be2d99004641d81ee389e18adf9458de8d8c0e283a80b748f5f6816ad2fd03b1/ZurielWaters.jpg" data-mid="251176111" border="0" src="https://freight.cargo.site/w/1000/i/be2d99004641d81ee389e18adf9458de8d8c0e283a80b748f5f6816ad2fd03b1/ZurielWaters.jpg" /> Artist and musician Zuriel Waters was born in 1984 in Philadelphia, PA, and lives and works in Brooklyn, NY. Received an MFA in Painting from the Rhode Island School of Design in 2010 and a BA in Interdisciplinary Studies from San Diego State University in 2007. Has shown work in group exhibitions throughout New York City at galleries such as Underdonk, CANADA, Tappeto Volante among others and has recently had solo and two person shows at Kathryn Markel Fine Arts and Deanna Evans Projects. — Play With Friends https://playwithfriends.org — <img width="3303" height="4963" width_o="3303" height_o="4963" data-src="https://freight.cargo.site/t/original/i/dc551642915a7672b70d97cf407e5f8f685b1291e310090b3347c9d6138cb840/Zachary-Koeber.jpeg" data-mid="251173935" border="0" src="https://freight.cargo.site/w/1000/i/dc551642915a7672b70d97cf407e5f8f685b1291e310090b3347c9d6138cb840/Zachary-Koeber.jpeg" />Zachary Koeber is a Brooklyn-based musician whose work blends ambient jazz, electronic, and experimental soundscapes. His recent solo projects under the alias Kroba focus on creating immersive, meditative environments, with performances at Ragas Live Festival, Basilica Hudson, and Chillits. In addition to his solo work, Zachary composes for film and dance, collaborates across various disciplines, and performs with projects such as Ace Bandage and Max in the World. — SUNDAY, August 30, 5:00 PM - 9:00 PM <img width="384" height="512" width_o="384" height_o="512" data-src="https://freight.cargo.site/t/original/i/f5e26f455346c2d28cc762474c5cb6d1b64e8bdfdad8f367316c52d9750c735c/YokoNips.jpg" data-mid="251176188" border="0" src="https://freight.cargo.site/w/384/i/f5e26f455346c2d28cc762474c5cb6d1b64e8bdfdad8f367316c52d9750c735c/YokoNips.jpg" /> Yoko Nips makes takoyaki at various bars, venues and breweries. Takoyaki is a ball-shaped Japanese snack made of a wheat flour–based batter and cooked in a special molded pan. Yoko Nips is also playing in 5 bands, making earring and crochet stuff. — <img width="384" height="512" width_o="384" height_o="512" data-src="https://freight.cargo.site/t/original/i/bc771cdb01544097b725418159eee2bef5eaae4196449fd920fa2bed136f8b95/DJSpanky.png" data-mid="251173915" border="0" src="https://freight.cargo.site/w/384/i/bc771cdb01544097b725418159eee2bef5eaae4196449fd920fa2bed136f8b95/DJSpanky.png" /> DJ Spanky&nbsp;started spinning in 1986 at Rochester Institute of technology for WITR modern music and host of a 5:30am morning show. Spanky also was also spinning records at parties and eventually moved to Chicago where he would DJ at Dreamers and other clubs in Chicago. This led to DJ Spanky continuing that in his move to Brooklyn where he spun at Enid‘s, Union Pool and Lala lounge. He is currently producing a music interview series on youtube.&nbsp; https://www.youtube.com/@spacewehear — <img width="512" height="384" width_o="512" height_o="384" data-src="https://freight.cargo.site/t/original/i/f635fe512c07eb83d8887dc09a1d7bb2dc2176ed53e413297ffcf6b2d2ddaaba/Bunnyman.jpg" data-mid="251173912" border="0" src="https://freight.cargo.site/w/512/i/f635fe512c07eb83d8887dc09a1d7bb2dc2176ed53e413297ffcf6b2d2ddaaba/Bunnyman.jpg" /> Bunnyman is a two person Voltron conjuring corrosive acid, cascading loops, and serpentine sequences out of a rabbit hole in Ridgewood, Queens. Built on repetition, ritual, and revelry. — <img width="1927" height="2894" width_o="1927" height_o="2894" data-src="https://freight.cargo.site/t/original/i/7a703824409d18e507d0bd5b0a2ee0c8447dee5dd83e6d125f615f6aa2af8f50/ZaneMorris.jpg" data-mid="251173936" border="0" src="https://freight.cargo.site/w/1000/i/7a703824409d18e507d0bd5b0a2ee0c8447dee5dd83e6d125f615f6aa2af8f50/ZaneMorris.jpg" /> Zane Morris (b. 1986) is an artist, musician and educator who generates sparse, non-representational portraiture and landscape realized in musical composition, performance, photography, video, print and design. Primarily embellishing hum with harmonized voice or guitar, Zane's recent vocal work is tethered to a sound sculpture that functions as an aural clock whose cyclical pitches follow the ascent and descent of the sun. — <img width="512" height="512" width_o="512" height_o="512" data-src="https://freight.cargo.site/t/original/i/1e6e70569d62f2b68ee3bcf230a8adff45d03297d123b24c1077e2cd33eb8b44/InvisibleCollegemp3.jpg" data-mid="251177253" border="0" src="https://freight.cargo.site/w/512/i/1e6e70569d62f2b68ee3bcf230a8adff45d03297d123b24c1077e2cd33eb8b44/InvisibleCollegemp3.jpg" /> An intergalactic hurricane of emotion. The Invisible College takes you on a journey from the eye of the storm. A reflection from another dimension. Michelle Procida - Voice/Guitar/Theremin Arii Ken - The Pipe The Invisible College: Curiosity Unleashed — <img width="512" height="384" width_o="512" height_o="384" data-src="https://freight.cargo.site/t/original/i/4ee680bba86296c952ce20fb1a6f6860e8d62afdf76351a04915e65300c26c35/HortenseLite.jpg" data-mid="251177261" border="0" src="https://freight.cargo.site/w/512/i/4ee680bba86296c952ce20fb1a6f6860e8d62afdf76351a04915e65300c26c35/HortenseLite.jpg" /> Hortense Lite is the guitar violence project of David Hallinger and Lindsay Tuttle. — <img width="390" height="512" width_o="390" height_o="512" data-src="https://freight.cargo.site/t/original/i/babd032cdf40cba98e23ad287cf1e638cdf597a73ed687a961852cc0734f9a65/Naga-Ecstasy.jpg" data-mid="251177304" border="0" src="https://freight.cargo.site/w/390/i/babd032cdf40cba98e23ad287cf1e638cdf597a73ed687a961852cc0734f9a65/Naga-Ecstasy.jpg" />NAGA-Ecstasy started his music career in Japan where his music was played on a Japanese radio program hosted by Ryuichi Sakamoto. In 2016, Aki traveled around Europe busking and performing live eccentric shows and gathering much public attention. He also plays as lead guitar for the Brooklyn based band, First President of Japan. NAGA-Ecstasy can be described as a Rock'n'Roll Electronica / Beat Performer and is based in New York City. — <img width="510" height="512" width_o="510" height_o="512" data-src="https://freight.cargo.site/t/original/i/da003781331b1bd6aa0b509b5887875a4fd09b6f27273aa53d81a7bef6d1cdc4/PaulMcMahon.jpg" data-mid="251177307" border="0" src="https://freight.cargo.site/w/510/i/da003781331b1bd6aa0b509b5887875a4fd09b6f27273aa53d81a7bef6d1cdc4/PaulMcMahon.jpg" />Paul McMahon is a multifaceted fixture of the cultural landscape of Woodstock and beyond. His wide-ranging and often low profile activities have been mentioned in the New York Times, which, on different occasions has noticed his bumperstickers, performance art, curating, visual art and music. He has produced ten albums, around 100 songs, most of which can be found on Youtube and Bandcamp. Flowers Fest 2026 is organized by Steven Mykietyn.&nbsp; https://essexflowers.us/PAST Thu, 31 May 2018 12:33:14 +0000 Essex Flowers https://essexflowers.us/PAST PAST EXHIBITIONS Erin Johnson: The Way Things Can Happen Rina Lam Goldfield: Forget Me Not A Shark’s Mouth Is a Whole Aquarium DOG NIGHTS&nbsp; EXPIRED Aaron Krach: Everything Is Different Now&nbsp; Camilla Padgitt-Coles: Ivy Meadows Sound &amp; Light HealingE.E. Ikeler: Horror Vacui Dino Takashi: island to URLand Essex Flowers Flowers Festival 2025 Overhang 2 Anne Marie Rooney + Julia Rooney: FLATSXinan Helen Ran: Silk CompassErnest Arthur Bryant III: NEW BLACK MEDIA The Second Room Human Mountain JANUS THE SKY’S FURY MIRRORS MINE: Art &amp; the Archive of Indeterminate Release Andrea Blum: MANILA Sara Stern: sand plays itself Essex Flowers Flower Festival 2024 Felix Kindermann: Social Inventories Christopher Corey Allen: Who Do You Think They’re Fooling: You? Laura Bernstein: The Curse of St. Vitus and the Rat-Catcher Linnea Vedder: The Earth Wants You Back Baruck Racine Arellano:&nbsp;Caminando con silencio / Walking with silence Sara Murphy: Tuning Jamie Chan and Sonya Derman: Indoor Interference Essex Flowers Holiday Auction ALPHABET SOUP Jonathan Ehrenberg: Half and Half is a Vampire Laugh Stephen Laub: The Daily Mirror Essex Flowers Flowers Fest 2023 Perennials: 10 Years of Essex Flowers Nancy Powhida: Oh Dear! Our Life was Like a Horror Show! (No Wonder You had to Learn to be Resourceful) Camilla Padgitt-Coles: Arco Íris Xinan Helen Ran: 7000SEEDS Samara Kupferberg: Wander Any Way Poyen Wang: Endearing Insanity Essex Flowers Popup Shop 2022 Magic Lantern Laura Bernstein: Hell Mouth Pooneh Maghazehe: Middleman Essex Flowers Flowers Fest 2022 Jonathan Ehrenberg: The Capital of Fine is OKStephen Derrickson: Danger in Paradise Seung-Min Lee and Michael Smith: ill-suited Sean McCarthy: Living, Breathing a circle is a thought pattern E.E. Ikeler: I AM NATURE Janine Polak: Swerve Kristen Jensen &amp; Emil Robinson: Flex Warrior Ester Partegàs &amp; Claire Watson: GuardianEssex FLowers Flowers Fest 2021 Amogus&nbsp; Cut-Ups Kathryn Kerr: Mosquito Valley Ben Hall:&nbsp;Jives &amp; Gambles One Foot In Jonathan Ehrenberg: Coordinates The Word For World Is Forest Rufus Tureen: Type Eyeshadow Moving Company and Friends: Deep Winter Healing&nbsp;Not One Day Rachel Domm: Inner Glow Body-Split Trick Sean McCarthy: Hiss My Way Down Envelope at Drawer NYC David Kennedy-Cutler: Keep Shop Remote&nbsp;Viewing The Essex Flowers Window Box Might Delete Later Janine Polak: Squeeze Three-Legged Race Monica Palma: Elbow to Knee Virginia Poundstone: Eye Strain Alternate Realities New York Flower Festival Karen Azoulay: Semi-Precious NADA House Psychedelic Healing Center Carnival Dreams Rufus Tureen: Moderne Man Linnea Vedder: Soft Skills&nbsp; Savannah Knoop :&nbsp;SCREENS, a project about “community” Nicholas Hamilton : If you want to keep a secret... Jonathan Hartshorn :&nbsp;Suckers, copycats, lollipops...Meet the Parents IN THE BACK SPACE Helen Xinan Ran: Point and Click Juvana Soliven - of the soft parts Linnea Vedder: The Doubly Balanced Sky: Explorations in Windows and Pairs Camilla Padgitt-Coles: Disco Nap Xinan Helen Ran et. al: Crumbs and Lather Zach Steinman: Pleasures Liliana Farber, Jacq Groves, Allison Reimus Sara Murphy: Increased Refusal Confetti falls from the ceiling Kabuya Pamela Bowens-Saffo: Tracks &amp; Bridges&nbsp; Dana Wood Zinsser: Guilt Quilt: Yucking My Yum Katya Rozanova: Important Structures Upheld Saira McLaren: Swish Clay Daniele Frazier: Climate Controlled Squish No Longer, Not Yet Sally Paul: Slits and Slots Inna Babaeva: Word of Mouth Earth Body Camilla Padgitt-Coles: The Tuning House Calvin Burton: Drawings Lydia McCarthy: Deep Cutz: Future Past Self Robert Scott Whipkey: Criteopolis Door #3 Katherine Aungier: Pip Squeak&nbsp; Elisa Soliven: Totems and Views AXxoN N.&nbsp; Irini Miga :&nbsp;Away is Another Way of Saying Here Ryan Cullen : A New Kind of Togetherness&nbsp;Rufus Tureen : Olde Man Janine Polak : Inside Out *** Aaron Krach, Julia Rooney, Emmy Thelander: Barely Fair, Chicago 2026 Patrick Carlin Mohundro: NADA New York 2024 New York Flower Festival Casting Inside Cynthia Carlson : Over Time Gangs of New York (Off-site at ADDS DONNA) R Blair Sullivan : Meanders (a Fugue) Patrick Brennan : Drifter Home Edition&nbsp;Rachel Domm : Premium, Original, &amp; 100% Fat-Free Lydia McCarthy : Non-Game Ecstasy Nickolaus Typaldos : War, Marriage, Money, Children Justin Berry : the dust never settlesThe SandsNew York Flower Festival 2017Tarwuk : help me, help youINTOTO 4 Jesse Hamerman : A Chronological Sequence of Swell ArtifactsIn the Mailbox : Why the Long Face curated by Jon Lutz Tatiana Kronberg : ExposureJeffrey Tranchell : LindaDust Stutter NADA New York 2017 Paul DeMuro Lan Tuazon Book Release : Rob K-S Nosegays, Tussie-Mussies or Posies Æthelred Eldridge Doreen Garner: Removing the Veil - Vanity as Material for Incision New York Flower Festival 2016Tisch Abelow &amp; Dakotah Savage: Perky BrachJustin Berry: PhotographsPerformance: All The Brown ButterfliesPatrick Brennan: Up Against NatureNVV: Book LaunchGlitch CultEva and Franco MattesLizzie Wright Panic Pants Anxiously Attached Phillip Birch and Auguste Rodin NADA New York 2015 Collagist/ish Christina Leung Melissa Brown Matt ConnollyMaria Acconci: Poetry ReadingAnne Eastman and Tatiana KronbergJoshua Smith2 Performances: Alina Tenser and Leah BeefermanShaun Krupa BHQFUJennifer SullivanPatrick BrennanYard ShowNortheast Corner at 2 Andy Meerow Kinesis PiecesPoetry and Book ReleaseNADA NYC Laura HuntEZ SpiritPersonal SpaceFrequencies Vol. 2Group Show https://essexflowers.us/Erin-Johnson-The-Way-Things-Can-Happen Sun, 21 Jun 2026 02:52:50 +0000 Essex Flowers https://essexflowers.us/Erin-Johnson-The-Way-Things-Can-Happen ERIN JOHNSONThe Way Things Can HappenJune 27 – August 1, 2026Opening Reception: Saturday, June 27, 3-7 PM <img width="3840" height="2160" width_o="3840" height_o="2160" data-src="https://freight.cargo.site/t/original/i/a05e475817ebf163881641b6ab9f8c35550d4bfd5ea8b7c7c9171ac3cfc636e6/STILL-2.jpg" data-mid="249688588" border="0" src="https://freight.cargo.site/w/1000/i/a05e475817ebf163881641b6ab9f8c35550d4bfd5ea8b7c7c9171ac3cfc636e6/STILL-2.jpg" />Still from Erin Johnson’s The Way Things Can Happen, 2026 &nbsp; Essex Flowers is pleased to present Erin Johnson’s solo exhibition The Way Things Can Happen which revisits The Day After (1983), the landmark made-for-television film depictinga nuclear attack on Kansas. Produced at the height of the Cold War, The Day After was filmed on location in Lawrence, Kansas, with a cast of more than 5,000 local residents. Blurring the distinction between everyday life and cinematic fiction, the film achieved the urgency and scale of live coverage of a national catastrophe, becoming one of the most-watched and politically consequential television broadcasts in American history and energizing anti-nuclear activism in the United States. In Johnson’s multi-channel video installation, former extras from The Day After recall scenes in which they performed more than four decades ago. They recount their memories without reference to the movie itself, describing instead experiences of panic, evacuation, injury, loss,and survival. As the distinction between performance and lived experience begins to dissolve, the work creates a space where fictional catastrophe and personal memory become inseparable. The Way Things Can Happen asks what it means for a city to perform its own destruction.Through the embodied memories of Lawrence residents, Johnson examines how imagined futures are woven into lived experience and how cultural anxieties persist across generations.The work unfolds across multiple temporalities at once: the Cold War, the decades that followed, the escalation of nuclear fears in the present, and the act of recollection itself. <img width="3840" height="2160" width_o="3840" height_o="2160" data-src="https://freight.cargo.site/t/original/i/da10a952d06a81e468c231f1dfe37f429b26b6fb6f5b8b170e1362d915e99b88/STILL-3.jpg" data-mid="249688589" border="0" src="https://freight.cargo.site/w/1000/i/da10a952d06a81e468c231f1dfe37f429b26b6fb6f5b8b170e1362d915e99b88/STILL-3.jpg" /> Erin Johnson, The Way Things Can Happen, video still, 2026 // Erin Johnson is an artist and filmmaker based in New York, NY. She received an MFA and a Certificate in New Media from the University of California, Berkeley in 2013, attended the Skowhegan School of Painting &amp; Sculpture in 2019, and has participated in residencies at the Jan van Eyck Academie (Maastricht, NL), Lower Manhattan Cultural Council (New York, NY), Hidrante (San Juan, PR), Lighthouse Works (Fishers Island, NY), Pioneer Works (Brooklyn, NY), among others. Her work has been exhibited or screened at venues including e-flux (New York, NY), BOAN1942 ARTSPACE (Seoul, KR), BOFFO (Fire Island, NY), Rencontres Internationales (Paris, FR / Berlin, DE), BIENALSUR (Buenos Aires, AR), MOCA (Toronto, CA), Munchmuseet (Oslo, NO), Sanatorium (Istanbul, TR), Times Square Arts (New York, NY), etc. galerie (Prague, CZ), Cinalfama (Lisbon, PT), deCordova Sculpture Park and Museum (Lincoln, MA), Billytown (The Hague, NL), Galleria Eugenia Delfini (Rome, IT), and REDCAT (Los Angeles, CA). Johnson is the Undergraduate Director and faculty member of the Studio Art Program at New York University. The Way Things Can Happen is curated by Sara Stern. // long weekend hours: the gallery will be open July 3rd, closed July 4th, &amp; open July 5th. https://essexflowers.us/CURRENT-1 Fri, 02 Dec 2022 15:57:08 +0000 Essex Flowers https://essexflowers.us/CURRENT-1 <img width="651" height="432" width_o="651" height_o="432" data-src="https://freight.cargo.site/t/original/i/0b17e7e8f35df49f12deafc079b90410948ab277377092489d38e17bb5da30c7/magiclantern1.png" data-mid="160826800" border="0" src="https://freight.cargo.site/w/651/i/0b17e7e8f35df49f12deafc079b90410948ab277377092489d38e17bb5da30c7/magiclantern1.png" /> <img width="651" height="432" width_o="651" height_o="432" data-src="https://freight.cargo.site/t/original/i/e35bba273547abbdcd6abeb680b2c230006a2721eccadceecce5ba351bbcd386/magiclantern2.png" data-mid="160826801" border="0" src="https://freight.cargo.site/w/651/i/e35bba273547abbdcd6abeb680b2c230006a2721eccadceecce5ba351bbcd386/magiclantern2.png" /> Magic Lantern Zachary Fabri, Benin Ford, Fabienne Lasserre, Jonathan Miralda and Andrés Villalobos, Richard Roth, Carolina Saquel, Maria Walker Curated by Calvin BurtonNovember 11 - December 11, 2022Opening Reception:&nbsp; Friday, November 11, 6 - 8pm Performance by Zachary Fabri:&nbsp; Sunday, November 20, 2:30pm For the mass loomed before her; it protruded; she felt it pressing on her eyeballs. -Virginia Woolf, To the Lighthouse A parable tells the story of a group of blind men who have never heard of an elephant and are given an opportunity to imagine what an elephant is by touching one. Approaching from different sides, each man touches only one part of the animal’s body—trunk, leg, tusk, torso—and arrives at a different conclusion: it must be a snake, a tree, a spear, a boulder. Each man is convinced he is right and the others wrong. It isn’t possible to apprehend the whole picture, so we work with the parts available to us. Our mind tends to make sense of the unfamiliar by reaching for the familiar, creating ballast in an unsteady world. And so the center of things eludes us. But while the mind is adept at interpreting experience, our bodies remain subject to forces beyond our ability to rationalize or explain. In the realm of the sensory, then, we may hope to find alternate routes, through a broader array of perspectives and towards a deeper awareness of the relationship of parts to whole. This exhibition gathers work that suggests a connection between the body and its surroundings through the senses of sight and touch, and their conflation in the haptic. Haptic seeing, or “touching with the eyes,” is a form of close viewing (in contrast to “optical” vision, which can be understood as seeing from a distance). As described by psychologist James J. Gibson, “the haptic is the sensory system through which one feels an object [relative] to the body and the body relative to an object… and by which… one is literally in touch with the environment.” Haptically-charged objects implicate the body, both in their form, and in their reception by the subject. Bypassing the brain, such objects act directly upon the central nervous system, placing bodily sensation at the center of experience. Painting and video both carry a tension between what we see and what is there. For painting, such tension is rooted in the co-experience of two and three dimensions. Richard Roth’s small painted cuboids amplify this paradox by integrating precisely-scaled geometric motifs across the rectangular facets—front, sides, bottom, top. While the crisp, hyperflat (almost virtual) surfaces seem contrived to provoke a purely optical response, the extension of volume into the viewer’s space subverts our tendency to merely look; we must contend with an object. The paintings seem to follow us as we move through the room. Whereas Roth’s calibrated design pushes seeing to the point of touching, both Maria Walker’s and Fabienne Lasserre’s processes move from the opposite direction: intuitively, through contact with materials. Walker sets up the formal conditions for her paintings prior to stretching the canvas by “drawing” on the stretcher with protruding pieces of wood. The resulting topography—often in a circular arrangement, with a combined centrifugal and centering force—subjects thin washes of color to the contingencies of gravity and viscosity. Acutely human in scale, these paintings compress time, and the flow of feeling and emotion that accompanies it, into matter. Lasserre welds her steel supports and incorporates other industrial elements, such as vinyl and fiberglass, inscribing visceral form and gesture within soaring curvilinear vectors. These conjunctions of weight and flight, like a dusty window (or mirror or lens), prompt the viewer to see something beyond (or through) the frame, while asserting their place in the world of objects. Benin Ford approaches the tradition of oil painting with images drawn from the TV shows of Black American popular culture of the 1970s and 80s that he grew up on, including Roots, Good Times, What’s Happening, and The Cosby Show. Not taking the image for granted, Ford brings renewed forces to bear on the protocols of representation, levering his sources towards a deeper reconstruction, layer-by-layer, of television light itself. Materializing the ephemeral glow of cathode ray tubes, the artist coaxes rote scripted moments into haunted fragments of memory. Zachary Fabri's and Carolina Saquel's use of the moving image also activates possibility within, and for, the senses. In Fabri’s video Mim Andar Avenida Canadá, filmed during a residency in a rural area of Minas Gerais, Brazil, the artist walks through a desolate industrial field, his all-white clothes collecting iron-rich dust. The camera, framing orange ground and blue sky, follows a body in rhythmic motion, exchanging physical traces, and ultimately merging with, the external world. For Back to Front Landscape, Saquel fixed a camera to the back of a car to film the dust cloud produced while driving on a dirt road in Sardinia, Italy; in the final video this footage is played in reverse. As it elongates the moment of becoming, the piece also depicts an obscuring of vision, evoking the limitations of sight conveyed by Wallace Stevens in Poem Written At Morning: &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;The truth must beThat you do not see, you experience, you feel,That the buxom eye brings merely its elementTo the total thing, a shapeless giant forcedUpward. Fabri’s video also incorporates reverse playback, which, like Saquel’s work, draws attention both to the physics of the camera and the composition of the material filmed—for both artists, dust. Fabri’s tossing of dirt into the wind, inverted, becomes a capturing of clouds, and suggests a return to the earth of the extracted iron for which this mining region is known. Saquel’s simple gesture, meanwhile, synthesizes past and future time, leaving us in a perpetual present, as if our eyes were seeing for the first time. If dust is both a subject and an object in the videos, it is also the basis for the pigments used in paint and ink. Suspended in liquid and spread across a surface, pigment doesn’t lose its geological valence, even as it is received by the eye as color. Andrés Villalobos and Jonathan Miralda activate this condition explicitly in their collaborative Perfume series, which presents vignettes and light phenomena drawn from the layered urban experience of Mexico City. In these drawings, the projected “dust” of the airbrush becomes an analog for the function of the eye: particles of light passing through the pupil become particles of pigment sprayed from a nozzle; a projection of light becomes a projection of matter. The nature of dust is to reveal as it conceals; simultaneously of earth and air, it presides over the exhibition. The title of the exhibition refers to a technological predecessor to the stereopticon and stereoscope. Two identical "slides" (which, prior to the invention of photography, were hand-painted on glass) were projected together on a wall to create a “three-dimensional” image. The light source for the projections was originally a flame (the "lantern"). It is tempting to imagine that these images, though composed purely of light, were in fact corporeal, and that this momentary embodiment of form, though explicable in scientific terms, could not be completely extricated from the presence of some unknowable force, what some might call “magic.” The materialization of sight (or visualization of touch) is more than just the co-experience of two senses—it is closer to a new (sixth) sense, a kind of supra-sensorial activity. Such sensory amplification pushes us beyond knowing in the conventional sense to a point where we can no longer rely on our cognitive faculties—a short-circuiting of the mind’s ability to convert experience into knowledge. Connecting with the unknowable, we unlearn something, leaving space for alternatives to understanding, and even possibilities for reconciliation. –&nbsp; Text by Calvin Burton Images: Carolina Saquel, Untitled (Landscape), photography. 2014–2016. Reflections upon landscape, vision, movement /stillness. Dust. The repetition of (almost) the same. 2018. ______________________________________________ Zachary Fabri is an interdisciplinary artist engaged in lens-based media, language systems, and public space, often complicating the boundaries of studio research, and social practice. This context specificity often yields work that includes video, performance, photography,&nbsp;installation, and design. He is the recipient of awards that include The Louis Comfort Tiffany Foundation Award, the Franklin Furnace Fund for Performance Art, the New York Foundation for the Arts fellowship, and the BRIC Colene Brown Art Prize. Fabri’s work has been exhibited at Ludwig Museum (Budapest), Recess (Brooklyn), Art in General (NY), The Studio Museum in Harlem, El Museo del Barrio (NY), The Walker Art Center (Minneapolis), The Brooklyn Museum, The Barnes&nbsp;Foundation (Philadelphia), and Performa. He has collaborated on projects at the Museum of Modern Art (NY), the Sharjah Biennial (UAE), and Pace gallery (NY). He recently completed a solo exhibition at CUE Art foundation in 2022 in New York. Benin Ford was born in Memphis, TN, and is currently based in Brooklyn, NY. He was a recipient of the Joan Mitchell Foundation’s Painters and Sculptors Grant in 2013. Ford has recently collaborated with choreographer Nia Love on the research platform and serial performance project g1(host), concerning the material and gestural afterlives of transatlantic slavery. His current painting projects continue to explore the political and visual unconscious of 1970s and 80s commercial network television. His current writing projects include an extended essay on the resonances of J. M. W. Turner’s Slavers Throwing Overboard the Dead and Dying, Typhoon Coming On and contemporary black art and thought. He has guest lectured at New York University and the University of Massachusetts, Amherst. He received an MFA/MS in Painting and Art History from Pratt Institute. Fabienne Lasserre, a 2019 John Simon Guggenheim Fellowship recipient, received her MFA from Columbia University. Her recent show, Eye Contact, TURN Gallery (NY), was reviewed by Anthony Hawley in artpapers. Other recent exhibits were held at Hallwalls Contemporary Arts Center, (Buffalo); Parisian Laundry Gallery (Montreal); and Palazzo Costa Tretenerro (Piacenza, Italy). Two-person exhibits include Safe Gallery, with Annette Wehrhahn (NY), and 315 Gallery, with Ezra Tessler (NY). Lasserre has participated in numerous group exhibitions including Ceysson de Bénétière (Luxembourg); Contemporary Arts Museum (Houston); Museo de Antioquia (Medellin), and Musée d’art contemporain de Montréal. In 2017, she was awarded the Saint-Gaudens Memorial Fellowship to produce two outdoor sculptures for the grounds of the park. In 2016-17, she received a Sharpe-Walentas Studio Program award. She is Director of the low-residency graduate program MFA in Studio Arts at MICA in Baltimore. Lasserre lives and works in Brooklyn. Jonathan Miralda Fuksman was born in Mexico City, where he currently lives and works. He received his Bachelor's degree in Visual Art from the ENPEG "La Esmeralda" in Mexico City. He has received grants from FONCA (2009, 2010) and la Fundación Colección Jumex (2007). Exhibitions include guadalajara90210 (Mexico City); Museo del Pueblo de Guanajuato; GAM (Mexico City); Museo Carrillo Gil (Mexico City); MUSAS (Sonora); Estudio Marte 221 (Mexico City); Galería MERCADO NEGRO (Puebla); Galería Toca (Mexico City); Paseo de las Artes Pedro de Mendoza (Buenos Aires); and ESPAC (Mexico City). Richard Roth’s work has been exhibited nationally and internationally. His exhibitions include Valletta Contemporary (Malta); Galerie Rob de Vries (The Netherlands); The Suburban (Oak Park, IL); Rocket Gallery (London); the Virginia Museum of Fine Arts; Reynolds Gallery (Richmond, VA); Feigen, Inc. (Chicago); the Whitney Museum of American Art (NY); OK Harris Gallery (NY); and Castelli Warehouse (NY). In 1991 he was the recipient of a Visual Artists Fellowship in Painting from the National Endowment for the Arts. He is the co-editor of the book, Beauty is Nowhere: Ethical Issues in Art and Design. His debut novel, NoLab, was published in 2019 by Owl Canyon Press. He received an MFA from the Tyler School of Art and a BFA from The Cooper Union. Carolina Saquel is a Paris-based visual artist and former lawyer. In 2003 she was selected in Le Fresnoy (France), a two years program that focuses on crossing fields between contemporary art and cinema. She uses the moving image as a medium for altering perceptions of temporality of seemingly unimportant events. Bodily gestures, the history of painting, nature stripped of human presence and cinematographic as well as literary references are points of departure for her video and photography. Her work has transitioned from reflections on painting- the frame as a window to the world- to what could be considered a sculptural use of the moving image. Included in various private and public collections internationally, her work has been shown in exhibitions and film/video festivals and screenings around the world, including Espai 13, Fundació Joan Miró, (Barcelona); Kadist Art Foundation (Paris); Harbourfront Centre (Toronto); Musée d’Art Moderne et Contemporain de Strasbourg; Grand Palais (Paris); Espace Culturel Louis Vuitton (Paris); Bloomberg Space (London); and Württembergischer Kunstverein (Stuttgart). Andrés Villalobos Cuevas was born in Mexico City, where he currently lives and works. He received his Bachelor's degree in Visual Art from the UNAM. Villalobos has participated in various collaborative projects, including the Taller de Imágenes en Movimiento del Centro Multimedia (2000, 2006), and he was a founding member of the artist cooperatives Cráter Invertido (2012-2020) and Vacaciones de trabajo (2019-present), and has been a member of Arts Collaboratory Network since 2015. He has published three book collections through funding from FPCC (2015, 2018); has organized two animation conferences with support from IMCINE (2016, 2017); and has received various grants from FONCA (2017, 2016, 2014, 2003). He is currently editor of Siempreeshoy, a collective newspaper. Exhibitions of his work include Documenta 15 (Kassel), Museo Carrillo Gil (Mexico City), MUSAS (Sonora), Leopold Museum (Viena), Galería Toca (Mexico City), Gwangju Biennal (Korea); Yakarta Biennial (2015), Venice Biennal (2015), Museo Universitario del Chopo (Mexico City), and Museo de Arte Moderno (Mexico City). Maria Walker received her MFA in Painting from Tyler School of Art and her BA in Visual Art from Brown University, where she also completed a Capstone Project in Poetry. In 2011 she attended the Skowhegan School for Painting and Sculpture. Walker’s work has been published in the Smithsonian Magazine and reviewed as a Critic’s Pick on Artforum.com. Her paintings and poems have been featured on numerous other sites including The Brooklyn Rail and New American Paintings, and her work has been shown widely in the United States, including in New York, Los Angeles, Chicago, Philadelphia, Baltimore, and Provincetown. Walker lives and works in Bronx, NY.Calvin Burton lives and works in Brooklyn. &nbsp;Previous curatorial projects include Present Company (Brooklyn) and Spring Break Art Fair (New York). &nbsp;Exhibitions of his work include Reynolds Gallery (Richmond), Tappeto Volante Projects (Brooklyn),&nbsp;&nbsp;Present Company (Brooklyn), Jack Hanley Gallery (New York), Cuchifritos (New York), Branch Gallery (Durham), Samson Projects (Boston), The Bronx Museum (Bronx), ADA Gallery (Richmond), Raw &amp; Co. (Cleveland), Second Street Gallery (Charlottesville), and Galería Ramón Alva de la Canal (Xalapa). <img width="1500" height="1000" width_o="1500" height_o="1000" data-src="https://freight.cargo.site/t/original/i/0379930e6ea591046524efb612f92f42be35d4cbaa0b2d31b5da5f307e028e74/01_DSCF4094.jpg" data-mid="160826803" border="0" src="https://freight.cargo.site/w/1000/i/0379930e6ea591046524efb612f92f42be35d4cbaa0b2d31b5da5f307e028e74/01_DSCF4094.jpg" /><img width="1500" height="1000" width_o="1500" height_o="1000" data-src="https://freight.cargo.site/t/original/i/9fdff04ac8d65dc1ad030bff5ccd980e85b06625c3ea239dfc7f2d01cacde802/02_DSCF4075.jpg" data-mid="160826804" border="0" src="https://freight.cargo.site/w/1000/i/9fdff04ac8d65dc1ad030bff5ccd980e85b06625c3ea239dfc7f2d01cacde802/02_DSCF4075.jpg" /><img width="1500" height="1000" width_o="1500" height_o="1000" data-src="https://freight.cargo.site/t/original/i/9c6430329663647d9087b88caea053e25616c3ff480e5d6b7b0bd656d9a2c6d2/03_DSCF4078.jpg" 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data-src="https://freight.cargo.site/t/original/i/097fa3b669b2d0b12bc09207f01d3f9178e89a756d59314afd60c524c4f4aa76/roth_mrearl.jpg" data-mid="160826817" border="0" src="https://freight.cargo.site/w/1000/i/097fa3b669b2d0b12bc09207f01d3f9178e89a756d59314afd60c524c4f4aa76/roth_mrearl.jpg" /><img width="1085" height="1500" width_o="1085" height_o="1500" data-src="https://freight.cargo.site/t/original/i/21cdd27890941d108232806a76ed7c03988241050a62af0c7df0acef25a89e07/roth_winnemuca.jpg" data-mid="160826818" border="0" src="https://freight.cargo.site/w/1000/i/21cdd27890941d108232806a76ed7c03988241050a62af0c7df0acef25a89e07/roth_winnemuca.jpg" /> https://essexflowers.us/PRCHECKLIST Fri, 20 Nov 2020 15:29:35 +0000 Essex Flowers https://essexflowers.us/PRCHECKLIST <img width="2550" height="3300" width_o="2550" height_o="3300" data-src="https://freight.cargo.site/t/original/i/b6413794ef14e5c2563c4631bf9f8aa54069b26de51405364e6b9597dac3926c/horror-vacui-pr-3-1.jpg" data-mid="239505769" border="0" src="https://freight.cargo.site/w/1000/i/b6413794ef14e5c2563c4631bf9f8aa54069b26de51405364e6b9597dac3926c/horror-vacui-pr-3-1.jpg" /> <img width="2550" height="3300" width_o="2550" height_o="3300" data-src="https://freight.cargo.site/t/original/i/b7cc3ad6320cb3ae11f36307c295da80c47f2a3c3eb21e6bec4204e343dc3647/horror-vacui-pr-3-2.jpg" data-mid="239505810" border="0" src="https://freight.cargo.site/w/1000/i/b7cc3ad6320cb3ae11f36307c295da80c47f2a3c3eb21e6bec4204e343dc3647/horror-vacui-pr-3-2.jpg" /> <img width="2550" height="3300" width_o="2550" height_o="3300" data-src="https://freight.cargo.site/t/original/i/311a4182e369cc903c4afa8fa29dd63cc65b7793ba43e1291c60755140fbc311/horror-vacui-checklist-3-1.jpg" data-mid="239505998" border="0" src="https://freight.cargo.site/w/1000/i/311a4182e369cc903c4afa8fa29dd63cc65b7793ba43e1291c60755140fbc311/horror-vacui-checklist-3-1.jpg" /> <img width="2550" height="3300" width_o="2550" height_o="3300" data-src="https://freight.cargo.site/t/original/i/07658c3e504524a82c67ac3f1ff8e77584aa925b8df42d561b3b8311ff966db6/horror-vacui-checklist-3-2.jpg" data-mid="239506008" border="0" src="https://freight.cargo.site/w/1000/i/07658c3e504524a82c67ac3f1ff8e77584aa925b8df42d561b3b8311ff966db6/horror-vacui-checklist-3-2.jpg" /> https://essexflowers.us/EXPIRED Thu, 05 Feb 2026 19:15:09 +0000 Essex Flowers https://essexflowers.us/EXPIRED apexart @ essex flowersEXPIRED February 7 - March 7, 2026Opening Reception: Saturday, February 7, 6 - 8pm <img width="2593" height="2562" width_o="2593" height_o="2562" data-src="https://freight.cargo.site/t/original/i/f5ffc8f82fa8ef8a48da8875f06773085570a52365f649cf957c61cb727638c8/Saft_BedtimeMask_2024_AcrylicOnCanvas_20x20inches.jpg" data-mid="244487347" border="0" src="https://freight.cargo.site/w/1000/i/f5ffc8f82fa8ef8a48da8875f06773085570a52365f649cf957c61cb727638c8/Saft_BedtimeMask_2024_AcrylicOnCanvas_20x20inches.jpg" /> Carol Saft, Bedtime Mask, 2024 Acrylic on canvas, 20 × 20”&nbsp;Curated by Roxanne WolanczykFeaturing work by Carol Saft, Kenneth Zoran Curwood and Roxanne Wolanczyk EXPIRED looks at how aging is framed in a culture that often treats relevance as temporary and youth as a requirement for visibility. The title plays on the dual meaning of expired: a Gen Z term for being past one's prime and a clinical expression for death. The exhibition asks how we confront time, transformation, and the inevitability of mortality. Saft's intimate paintings depict her wife beneath a red LED skincare mask, a tool marketed for rejuvenation. The glowing portraits convey tenderness while revealing the internalized pressures placed on aging bodies, turning self-care into a ritual shaped by cultural expectations. Curwood contributes multimedia works focused on obsolescence and time's passage. A mounted leaf slowly decays, and an analog sculpture modeled after an Amazon Echo humorously reflects the disconnect between older generations and rapidly changing technology. Wolanczyk presents text-based ceramic vessels that blend classical form with personal declaration. These works acknowledge both fragility and endurance as time reshapes the body and identity. They assert that relevance does not expire and claim space for continued transformation. A curatorial tour will be held on Instagram Live at 5pm on February 7th. Tune in here: @apexartnyc EXPIRED was selected through apexart’s Open Call (291 Church Street New York, NY 10013). For more information visit https://apexart.org/wolanczyk.php or contact maryam.ghoreishi@apexart.org EXPIRED gallery hours: Thursday - Sunday, 11am - 6pm PUBLIC PROGRAMMING Penny Arcade: Use By Due Date Penny Arcade presents a short performance in conjunction with Expired. Across a career spanning five decades, her work has confronted cultural expectations with wit, urgency, and incisive honesty. Her presence in the gallery affirms endurance—an artistic practice that continues to evolve, resisting erasure and expiration.Bio: Penny Arcade (Susana Ventura) is a New York–based performance artist, writer, and theater maker whose long-form, text-based work bridges experimental theater and performance art. Centered on community and cultural critique, her practice has established her as a true original on the mainstream international stage. In the Time That Remains — Closing Reception with Laetitia Barbier During the closing reception, visitors may reserve a brief private tarot session with Laetitia Barbier. Sessions take place in a quiet area toward the rear of the exhibition and are offered as part of the exhibition’s closing program. The gallery remains open and social, with the curator present throughout.Tarot sessions are by reservation, with walk-ins pending availability. Bio: Laetitia Barbier is an independent scholar, tarot reader, and teacher with a background in art history. Formerly the programming director at Morbid Anatomy, she is the author of Tarot and Divination Cards: A Visual Archive (2021) and regularly collaborates with artists and cultural institutions. https://essexflowers.us/Rina-Lam-Goldfield-Forget-Me-Not Thu, 21 May 2026 15:43:15 +0000 Essex Flowers https://essexflowers.us/Rina-Lam-Goldfield-Forget-Me-Not RINA LAM GOLDFIELD Forget Me NotMay 22 – June 21, 2026Opening Reception: May 22, 6 – 8pm <img width="4284" height="5712" width_o="4284" height_o="5712" data-src="https://freight.cargo.site/t/original/i/b43d8238082abc5d960dac0d7eec05d083bf8516d71ecd6c6c51635a891846af/Forget-Me-Not-Image.JPG" data-mid="248602766" border="0" src="https://freight.cargo.site/w/1000/i/b43d8238082abc5d960dac0d7eec05d083bf8516d71ecd6c6c51635a891846af/Forget-Me-Not-Image.JPG" />&nbsp; April 10,&nbsp;2026&nbsp;-&nbsp;New&nbsp;York&nbsp;🌷 Dear Rina, What is&nbsp;friendship? A half&nbsp;blank&nbsp;page,&nbsp;the&nbsp;bottom&nbsp;filled&nbsp;with&nbsp;loop-di-loops;&nbsp;another&nbsp;half&nbsp;page&nbsp;of&nbsp;calligraphic nonsense. Floating, cropped off the bottom right in playful cursive: An Enig. An enigma? What appears like a contemporary drawing is a spread from a 19th-century friendship album by a 17-year-old MaryMagdalene Russel.&nbsp;Young&nbsp;women,&nbsp;like&nbsp;her,&nbsp;filled&nbsp;pages&nbsp;with&nbsp;poetry,&nbsp;watercolors,&nbsp;and&nbsp;mementos,&nbsp;such&nbsp;as locks of hair, to memorialize friendships. After studying these albums at the New York Public Library, you created a suite of paintings that, in turn, memorialize the albums and the practice of their making. Alongside these paintings, you’ve made others to commemorate your own relationships. In your painted ode to Mary Magdalene’s pondering, the album spread swims in a bronze patina surrounded by distorted renditions of the text, as if peering through the edges of a magnifying glass. In other works, you render the fore-edge of an album and the patterned interior of an envelope, translating paper into oil paint trompe l’oeil. The meticulously replicated, gestural scrawls appear as organic as the handwritten originals. Rina,your urge to solidify the casual collages and&nbsp;doodles&nbsp;from&nbsp;these&nbsp;albums&nbsp;speaks&nbsp;to your devotion to friendship and your anxiety that it will never be recognized formally. In what ways do friendships get memorialized in 2026? In a tribute to one&nbsp;of&nbsp;your&nbsp;companionships,&nbsp;you&nbsp;draw leaf- and banner-like shapes from one of the albums and populate them with lists of alliterative words—one shape for b, c, d, etc.—which you explained are the most common phrases pulled from your text message thread with your friend, Joanne, categorized alphabetically. Smart phones do a decent job cataloguing the majority of our communication, but a record must be essentialized—as opposed to an archive of every detail—to be a functioning monument. Throughout the exhibition, forms float in the foreground between the viewer and your textural backgrounds which remind me of a book’s end papers. In some cases these are velvet beanbags used to delicately hold pages and in others they are decorative shapes appropriated from the albums. Both read like enigmatic iconography: symbols on their way to signifying a specific entity but lingering in the unformed state. In another painting, language playfully slips: be which? bewitch. The gestures from the friendship albums don’t have codified significance. They are intimate exchanges between a small group of friends: an interior language like the novel tongue childhood friends or twins use to communicate, gibberish to most ears. Like many forms of dialogue, the intimacy of the exchange can be&nbsp;more&nbsp;importantthan&nbsp;the&nbsp;message,&nbsp;particularly&nbsp;for&nbsp;people&nbsp;whose identities are misunderstood. Getting a message across is life affirming. Perhaps this is what Mary Magdalene Russel meant that friendship is an enigma—that meaning is highly specific within each one.The life changing injury I experienced at the beginning of this year has shown me the&nbsp;ways&nbsp;in&nbsp;which—practically speaking—friendships are a matter of survival. Yet in significant narratives from novels to films,&nbsp;family&nbsp;andromantic&nbsp;relationships&nbsp;are&nbsp;represented&nbsp;as&nbsp;primary.&nbsp;It’s&nbsp;often&nbsp;assumed&nbsp;that&nbsp;friendships,&nbsp;and&nbsp;the playfulness shared among friends, correspond with adolescence. But your paintings show friendship as something closer to Ursula K. LeGuin’s “basket stories” – rather than the conventional narratives of “spear stories” with heroes and plots, basket stories are “ecological… are made of newts, oats, gossip,” as you describe in your zine. The friendship albums live in this ecology. They consist of tactile exchanges—handcut flower silhouettes pasted on marbled paper, a book passed between friends to sign, their notes at angles reflecting their&nbsp;bodies’&nbsp;positions.&nbsp;Records&nbsp;ofthese&nbsp;group&nbsp;activities&nbsp;gather&nbsp;meaningful&nbsp;bits,&nbsp;rather&nbsp;than&nbsp;asserting it a priori. Your paintings, likewise, are careful, closely observed documents of organic patterns of exchange, within which the margins become the center story. -ET Text by&nbsp;Emmy&nbsp;Thelander <img width="1688" height="2250" width_o="1688" height_o="2250" data-src="https://freight.cargo.site/t/original/i/78fbb4c68ebda9d48923f2d020c7e7f1e388f70f9c13f2c2b8cbfa669330631c/Art-Grp.jpg" data-mid="250357214" border="0" src="https://freight.cargo.site/w/1000/i/78fbb4c68ebda9d48923f2d020c7e7f1e388f70f9c13f2c2b8cbfa669330631c/Art-Grp.jpg" /> <img width="1688" height="2250" width_o="1688" height_o="2250" data-src="https://freight.cargo.site/t/original/i/24d51015064d784ad374de4c6fd1774eeca25bfd6e2cde6821b18d485fd69683/Be-Which-Be-Witch.jpg" data-mid="250357215" border="0" src="https://freight.cargo.site/w/1000/i/24d51015064d784ad374de4c6fd1774eeca25bfd6e2cde6821b18d485fd69683/Be-Which-Be-Witch.jpg" /> <img width="1688" height="2250" width_o="1688" height_o="2250" data-src="https://freight.cargo.site/t/original/i/030126e924438baff991065bab5e1670f8c5dc4d94b8b9c4012eeaef26454563/MASH-1.jpg" data-mid="250357216" border="0" src="https://freight.cargo.site/w/1000/i/030126e924438baff991065bab5e1670f8c5dc4d94b8b9c4012eeaef26454563/MASH-1.jpg" /> <img width="1688" height="2250" width_o="1688" height_o="2250" data-src="https://freight.cargo.site/t/original/i/3e5fe26e7f5277373295f78544f99b7d06ba00d7ab4cdc932be16380b0f13c95/MASH-2.jpg" data-mid="250357217" border="0" src="https://freight.cargo.site/w/1000/i/3e5fe26e7f5277373295f78544f99b7d06ba00d7ab4cdc932be16380b0f13c95/MASH-2.jpg" /> <img width="2250" height="1687" width_o="2250" height_o="1687" data-src="https://freight.cargo.site/t/original/i/a7b7d66ce7168861b4b56bb0e52cf4270b3eceb17a90a2c0ea99d8584664bac7/What-is-Friendship.jpg" data-mid="250357218" border="0" data-scale="100" src="https://freight.cargo.site/w/1000/i/a7b7d66ce7168861b4b56bb0e52cf4270b3eceb17a90a2c0ea99d8584664bac7/What-is-Friendship.jpg" /> <img width="2250" height="1687" width_o="2250" height_o="1687" data-src="https://freight.cargo.site/t/original/i/9b9002a9e4982d7ad1b1a89267a1772e4005d3272cfc96d07d2c65885f5b0f8f/x-install-Forget-Me-Not-2.jpg" data-mid="250357219" border="0" src="https://freight.cargo.site/w/1000/i/9b9002a9e4982d7ad1b1a89267a1772e4005d3272cfc96d07d2c65885f5b0f8f/x-install-Forget-Me-Not-2.jpg" /> <img width="2250" height="1687" width_o="2250" height_o="1687" data-src="https://freight.cargo.site/t/original/i/80901ac14adb4b85e4c237d1edfe457faef191255dac35b2130422aec31e9d00/x-install-Forget-Me-Not-3.jpg" data-mid="250357220" border="0" src="https://freight.cargo.site/w/1000/i/80901ac14adb4b85e4c237d1edfe457faef191255dac35b2130422aec31e9d00/x-install-Forget-Me-Not-3.jpg" /> <img width="2250" height="1688" width_o="2250" height_o="1688" data-src="https://freight.cargo.site/t/original/i/3c209ff2cb3b2c533690ffcf1710bbe8fa0c099785d10a35b54a100ae425af8d/x-install-Forget-Me-Not-06.08.26-01.jpg" data-mid="250357221" border="0" src="https://freight.cargo.site/w/1000/i/3c209ff2cb3b2c533690ffcf1710bbe8fa0c099785d10a35b54a100ae425af8d/x-install-Forget-Me-Not-06.08.26-01.jpg" /> <img width="2250" height="1688" width_o="2250" height_o="1688" data-src="https://freight.cargo.site/t/original/i/bf2a058ce273e8c77f10033b039be5f57468cc4bfe24c0b792ed773af4ed8273/x-install-Forget-Me-Not.jpg" data-mid="250357222" border="0" src="https://freight.cargo.site/w/1000/i/bf2a058ce273e8c77f10033b039be5f57468cc4bfe24c0b792ed773af4ed8273/x-install-Forget-Me-Not.jpg" /> https://essexflowers.us/A-SHARK-S-MOUTH-IS-A-WHOLE-AQUARIUM Sat, 11 Apr 2026 14:29:16 +0000 Essex Flowers https://essexflowers.us/A-SHARK-S-MOUTH-IS-A-WHOLE-AQUARIUM A Shark’s Mouth Is a Whole AquariumApril 18 – May 17, 2026Opening Reception: Saturday, April 18, 6 – 8pm <img width="2916" height="1906" width_o="2916" height_o="1906" data-src="https://freight.cargo.site/t/original/i/4529f62ca194a6a1026c9c74caa50a492e0ecdf05b77fa01d877d65c8848f466/Lin_Hydra_large.jpg" data-mid="247211604" border="0" src="https://freight.cargo.site/w/1000/i/4529f62ca194a6a1026c9c74caa50a492e0ecdf05b77fa01d877d65c8848f466/Lin_Hydra_large.jpg" /> Candice Lin, Hydra, indigo, cochineal, turmeric and iron oxide on cotton, 46 x 88 inches, 2023&nbsp; Claudia BitránLucas Blalock Melissa Brown Jonathan Ehrenberg Kevin Ford Daniel Gordon Jibade-Khalil Huffman Meredith James Candice Lin Dana Lok Pooneh Maghazehe Sean McCarthy Shana Moulton Andrew Ross Curated by Jonathan Ehrenberg The warning at the beach is that the water’s full of sharks. There’s danger underwater and on land. The sun shines with a blinding glow over the sand. What's underwater is a dark menagerie, Seen blurrily by the imagination. I don't mean to be alarmist but: A Shark's Mouth is a Whole Aquarium If you look long enough, you've looked too long And seen and unseen all at once. —Anonymous The Question While the above poem might feel modern, it was written in the early 1800s, shortly after the London Zoo opened the world’s first sustainable aquarium. Common-seeming to us, an aquarium was a revelation to its first visitors, allowing them an undreamed of glimpse beneath the choppy mirrored surface of the sea. Thus, what reads as modernity in fact can be attributed to the timeless quality of surprise and uncertainty, feelings we share with our ancestors. As institutions, zoos also have ancestors. They are the offspring of museums, which began as private collections. The earliest of these, a Neo-Babylonian princess’s collection of Mesopotamian artifacts, dates back to 530 BC. Over the following centuries, some collectors focused on art, some on nature. Some, like Italian naturalist Ulisse Aldrovandi, aspired toward the encyclopedic—a collection of everything known.&nbsp;At this point museums encountered a philosophical question: How might we form a holistic sense of reality through a collection of static things? Two Solutions: A Mirror For philosopher Alfred North Whitehead, this question exposed a fault line in Western thought. Reality, he argues, is not a substance, but a process. Take, for example, sand, the essence of which is not a pile of grains, but a relentless self-generating shifting that grinds rock until it is part of itself—a process of breaking down what appears to be solid. However de Selby takes umbrage with Whitehead, writing, “He [Whitehead] describes sand as a ‘conceptual illusion,’ but in the same breath says that it ‘flows like water,’ so whose illusion is this? The greatest known mass of water, the Ocean, is a single stable substance as evidenced, refreshingly plainly, by our ability to reach it, and touch it, and feel our fingers become wet and salty. If Whitehead finds himself in mental cartwheels over his inability to understand the sand, it is his failing, not the sand’s. He must adjust himself, not Western philosophy” (de Selby, Codex §14). Conclusion In assembling this collection I have felt the tug and pull between Whitehead and de Selby.&nbsp;This is my sincere attempt to represent reality—but how best to do it? I’ve amassed objects and reconstructions of objects (which can be understood as both object and process). I’ve gathered illustrations and diagrams of processes (that can also be understood as objects). From far and wide, I’ve collected moving and stationary things. Throughout this quest of Representing Reality I’ve felt great clarity of purpose, but the next day these same pieces would seem unrelated and arbitrary as though assembled by a stranger. How can I be both the person who chose and the one utterly mystified? Anyway, I hope you might understand. —Grusha Povesilas, D.Sc.H. <img width="1500" height="844" width_o="1500" height_o="844" data-src="https://freight.cargo.site/t/original/i/898331049b90185ca5b60c3f09c02bb56557bdc6f61e71c748f8b73ef285ea70/1Moulton1500.jpg" data-mid="247589757" border="0" src="https://freight.cargo.site/w/1000/i/898331049b90185ca5b60c3f09c02bb56557bdc6f61e71c748f8b73ef285ea70/1Moulton1500.jpg" /> Shana Moulton The Galactic Pot Healer HD video 8:32 min 2010 <img width="1500" height="980" width_o="1500" height_o="980" data-src="https://freight.cargo.site/t/original/i/53a02e2d4a1609c86cf3bd3b4b949ba58db358faa229c1ca412f19d290f7d1b4/2Lin1500.jpg" data-mid="247589758" border="0" src="https://freight.cargo.site/w/1000/i/53a02e2d4a1609c86cf3bd3b4b949ba58db358faa229c1ca412f19d290f7d1b4/2Lin1500.jpg" />Candice Lin Hydra Indigo, cochineal, turmeric and iron oxide on cotton 46 x 88 inches 2023 <img width="998" height="1500" width_o="998" height_o="1500" data-src="https://freight.cargo.site/t/original/i/a1bf2952368e75f21d8e8542a3534e70a3cba71c3211d951b0f444f9c9cfbaf6/3Ehrenberg1500.jpg" data-mid="247589759" border="0" src="https://freight.cargo.site/w/998/i/a1bf2952368e75f21d8e8542a3534e70a3cba71c3211d951b0f444f9c9cfbaf6/3Ehrenberg1500.jpg" />Jonathan Ehrenberg Analogy Clay, wood, wire 25 x 11 x 10 inches 2026 <img width="1363" height="1500" width_o="1363" height_o="1500" data-src="https://freight.cargo.site/t/original/i/f8cc0b04b09e30f09762a9e3722fbaa875f04642a2ec3021bb3b1a938e45cc9c/4Lok1500.jpg" data-mid="247589760" border="0" src="https://freight.cargo.site/w/1000/i/f8cc0b04b09e30f09762a9e3722fbaa875f04642a2ec3021bb3b1a938e45cc9c/4Lok1500.jpg" />Dana Lok Skull Base Oil on paper 8 x 6 3/4 inches 2024 <img width="1500" height="1044" width_o="1500" height_o="1044" data-src="https://freight.cargo.site/t/original/i/0e91139ba98d4780a8d83dd85b2d9565b3f51c050a57ed6af1f1ddc77e0be956/5Lok1500.jpg" data-mid="247589761" border="0" src="https://freight.cargo.site/w/1000/i/0e91139ba98d4780a8d83dd85b2d9565b3f51c050a57ed6af1f1ddc77e0be956/5Lok1500.jpg" /> <img width="1500" height="1114" width_o="1500" height_o="1114" data-src="https://freight.cargo.site/t/original/i/a02931c0a1b731557e86eefc3a9b71526716e5fb58644cdf2bd94f93288c0aee/6Lok1500.jpg" data-mid="247589762" border="0" src="https://freight.cargo.site/w/1000/i/a02931c0a1b731557e86eefc3a9b71526716e5fb58644cdf2bd94f93288c0aee/6Lok1500.jpg" />Dana Lok Packed Tapestry II Oil on paper 6 x 11 inches 2024 (double-sided drawing) <img width="1500" height="1127" width_o="1500" height_o="1127" data-src="https://freight.cargo.site/t/original/i/52c60de54322ee32191632ca7e8f3f9215d3920083a2e7500993c600c3f35d04/7Gordon1500.jpg" data-mid="247589763" border="0" src="https://freight.cargo.site/w/1000/i/52c60de54322ee32191632ca7e8f3f9215d3920083a2e7500993c600c3f35d04/7Gordon1500.jpg" />Daniel Gordon White Ranunculus and Artichoke Pigment print with UV lamination 21 x 28 inches 2021 Edition of 3 + 1 AP (#2/3) <img width="1184" height="1500" width_o="1184" height_o="1500" data-src="https://freight.cargo.site/t/original/i/e3b876743626d614597dfbff720e1d89575265aadf52c0119a33990dda15d5f2/8Blalock1500.jpg" data-mid="247589764" border="0" src="https://freight.cargo.site/w/1000/i/e3b876743626d614597dfbff720e1d89575265aadf52c0119a33990dda15d5f2/8Blalock1500.jpg" />Lucas Blalock #4 Divney (Popeye) Archival inkjet print 74 x 53 1/2 inches 2019 <img width="1115" height="1500" width_o="1115" height_o="1500" data-src="https://freight.cargo.site/t/original/i/827310a60d684a85931771e57372dc5461035c4f48ed30155aaca93384e2836f/9a-Maghazehe1500.jpg" data-mid="247589765" border="0" src="https://freight.cargo.site/w/1000/i/827310a60d684a85931771e57372dc5461035c4f48ed30155aaca93384e2836f/9a-Maghazehe1500.jpg" />Pooneh Maghazehe More Waves on Waves, APDrypoint print 21 1/4 x 14 1/2 inches 2024 <img width="1500" height="1500" width_o="1500" height_o="1500" data-src="https://freight.cargo.site/t/original/i/2d487fc98035bbe7e1afd546113b9f23fda2921fb87a694f0fca5823704c5933/10Brown1500.jpg" data-mid="247589767" border="0" src="https://freight.cargo.site/w/1000/i/2d487fc98035bbe7e1afd546113b9f23fda2921fb87a694f0fca5823704c5933/10Brown1500.jpg" /> Melissa Brown Burn Out Flashe, oil, acrylic on dibond 47 x 47 inches 2021 <img width="1500" height="994" width_o="1500" height_o="994" data-src="https://freight.cargo.site/t/original/i/fda4fa20dae39c5682dd6ef839c932aaee62a0798769358afaa0ad6acbc814c6/11James1500.jpg" data-mid="247589768" border="0" src="https://freight.cargo.site/w/1000/i/fda4fa20dae39c5682dd6ef839c932aaee62a0798769358afaa0ad6acbc814c6/11James1500.jpg" />Meredith James Mobius City HD video 7:56 minutes 2015 <img width="1151" height="1500" width_o="1151" height_o="1500" data-src="https://freight.cargo.site/t/original/i/b2e14fab0502b3d4cda64d274eeda4806b5f2478f7c0409c6faacd64848c8094/12Ross1500.jpg" data-mid="247589769" border="0" src="https://freight.cargo.site/w/1000/i/b2e14fab0502b3d4cda64d274eeda4806b5f2478f7c0409c6faacd64848c8094/12Ross1500.jpg" />Andrew Ross Get Well Graphite on Shikoku surface gampi paper 23 x 18 inches 2019 <img width="1500" height="845" width_o="1500" height_o="845" data-src="https://freight.cargo.site/t/original/i/e888375b0250fdbf7ccee91573cc18a36222269b574d82c87272b00f67a3353d/13Huffman1500.jpg" data-mid="247589770" border="0" src="https://freight.cargo.site/w/1000/i/e888375b0250fdbf7ccee91573cc18a36222269b574d82c87272b00f67a3353d/13Huffman1500.jpg" />Jibade-Khalil Huffman Laugh to Keep From Crying HD video 26:58 minutes 2026 <img width="950" height="1500" width_o="950" height_o="1500" data-src="https://freight.cargo.site/t/original/i/d40ff5676eab801374d88563dfed93b54ba4b8dd022c91114c1955059551a5c7/14McCarthy1500.jpg" data-mid="247589771" border="0" src="https://freight.cargo.site/w/950/i/d40ff5676eab801374d88563dfed93b54ba4b8dd022c91114c1955059551a5c7/14McCarthy1500.jpg" /> Sean McCarthy Drawing for The Novice No. 1 Ink and blue pencil on paper 11 x 17 inches 2023 <img width="1000" height="1500" width_o="1000" height_o="1500" data-src="https://freight.cargo.site/t/original/i/4794a935d5e5c16ce7896635749ac579c72404042e6ba7e845bdd44448e93411/15Ford1500.jpg" data-mid="247589772" border="0" src="https://freight.cargo.site/w/1000/i/4794a935d5e5c16ce7896635749ac579c72404042e6ba7e845bdd44448e93411/15Ford1500.jpg" /> Kevin Ford Looking glASS Acrylic on panel in artist’s frame 21 x 25 x 4 inches 2026 <img width="854" height="1500" width_o="854" height_o="1500" data-src="https://freight.cargo.site/t/original/i/c1a1d540ed1b260f80628f09f94bd5bdd65ba60e1d755014e45359fb6976a43c/16Bitran1500.jpg" data-mid="247589773" border="0" src="https://freight.cargo.site/w/854/i/c1a1d540ed1b260f80628f09f94bd5bdd65ba60e1d755014e45359fb6976a43c/16Bitran1500.jpg" /> Claudia Bitrán Falling Video loop 2:08 minutes 2018 <img width="1500" height="1000" width_o="1500" height_o="1000" data-src="https://freight.cargo.site/t/original/i/cc8dc376f853b408e98a01223cfc256c806c69e63e70a77bc7dbf65e5fb033f2/17install1_s1500.jpg" data-mid="247589774" border="0" src="https://freight.cargo.site/w/1000/i/cc8dc376f853b408e98a01223cfc256c806c69e63e70a77bc7dbf65e5fb033f2/17install1_s1500.jpg" /> Installation view <img width="1500" height="998" width_o="1500" height_o="998" data-src="https://freight.cargo.site/t/original/i/21e6ea147334d44c6ab077a468f2134550c884a907c9266b9c558dbb35ecf6d1/18install2_1500.jpg" data-mid="247589775" border="0" src="https://freight.cargo.site/w/1000/i/21e6ea147334d44c6ab077a468f2134550c884a907c9266b9c558dbb35ecf6d1/18install2_1500.jpg" /> Installation view <img width="1500" height="985" width_o="1500" height_o="985" data-src="https://freight.cargo.site/t/original/i/2f400581855893d82225bf4e00ce9118b7814909f168fa9e1f8324199c530ba0/19install3_1500.jpg" data-mid="247589776" border="0" src="https://freight.cargo.site/w/1000/i/2f400581855893d82225bf4e00ce9118b7814909f168fa9e1f8324199c530ba0/19install3_1500.jpg" /> Installation view <img width="1500" height="1000" width_o="1500" height_o="1000" data-src="https://freight.cargo.site/t/original/i/5c4c0b53b2a15f1992c339417a12e92bc290dcfb5aef9ce768b8f0d43257f132/20install4_1500.jpg" data-mid="247589777" border="0" src="https://freight.cargo.site/w/1000/i/5c4c0b53b2a15f1992c339417a12e92bc290dcfb5aef9ce768b8f0d43257f132/20install4_1500.jpg" /> Installation view // Contributors Claudia Bitrán&nbsp;is a painter, video artist and teacher who spent her formative years in Santiago, Chile and currently lives in Brooklyn, NY. She holds an&nbsp;MFA in Painting from&nbsp;Rhode Island School of Design&nbsp;(2013), and a&nbsp;BFA from the&nbsp;Universidad Católica de Chile&nbsp;(2009).&nbsp;Among selected grants and awards are a&nbsp;Visual Arts Guggenheim Fellowship&nbsp;(2023), a&nbsp;FondArt Nacional Audiovisual&nbsp;(2022 and 2023),&nbsp;Emergency Grant Foundation for Contemporary Arts&nbsp;(2015),&nbsp;Jerome Foundation Grant for Emerging Filmmakers&nbsp;(2015),&nbsp;1st Prize Britney Spears Dance Challenge&nbsp;(2017), winner of the&nbsp;UFO McDonald’s Painting Competition&nbsp;(2016),&nbsp;1st mention at Bienal de Artes Mediales&nbsp;(2015), Museo de Bellas Artes, Santiago, Chile. Notable past solo exhibitions include&nbsp;Cristin Tierney Gallery (New York 2026), KIOSK&nbsp;(Ghent, Belgium 2025),&nbsp;Centro Cultural Matucana 100&nbsp;(Santiago 2023),&nbsp;Marytwo Gallery&nbsp;(Switzerland 2023),&nbsp;Signs and Symbols Gallery&nbsp;(NY 2022),&nbsp;Walter Storms Galerie&nbsp;(Munich 2020),&nbsp;Practice Gallery&nbsp;(PA 2018),&nbsp;Roswell Museum and Art Center&nbsp;(NM 2017),&nbsp;Museo de Artes Visuales&nbsp;(Santiago 2016). She has participated in group exhibitions, screenings and performances worldwide.&nbsp;Bitrán was a resident at&nbsp;Skowhegan School of Painting and Sculpture, Roswell Artist-in-Residence Program, Pioneer Works,&nbsp;Smack Mellon Studio Program, Bemis Center for Contemporary Arts, Outpost Projects and Wassaic Projects.&nbsp;She currently teaches in the painting departments at&nbsp;Pratt Institute&nbsp;and&nbsp;Lehman College&nbsp;and is an active lecturer for various art schools and institutions. Lucas Blalock is a Brooklyn-based photographer whose work is in the collections of the Dallas Museum of Art, Guggenheim Museum, Hammer Museum, Metropolitan Museum of Art, Museum of Fine Arts Boston, Portland Museum of Art, and the Whitney Museum of American Art, among many others. Recent solo exhibitions include Florida, 1989, at Galerie Eva Presenhuber, New York; Insoluble Pancakes, Galerie Rodolphe Janssen, Brussels; and An Enormous Oar, Institute of Contemporary Art, Los Angeles; recent group exhibitions include venues in Oslo, Miami, Moscow, Berlin, Beirut, Minneapolis, and New York, where his work was selected for the Whitney Biennial 2019. He and his art have been profiled in publications including Arforum, the New York Times, New Yorker, Art in America, Brooklyn Rail, BOMB Magazine, W Magazine, British Journal of Photography, and Time. He has published essays and interviews as author in the journal Objectiv, IMA Magazine, BOMB, Foam, and Mousse, among others. He teaches photography at Bard College. Melissa Brown lives and works in Brooklyn, New York. Her paintings explore mundane events in her life&nbsp;as otherworldly tapestries of symbols, alignments, hidden messages, invisible effects, and transformations, revealing reality to be much more complex than we perceive it to be. Recent solo and two person exhibitions include Window Shopping at Derek Eller Gallery, Flower Games, at Cellar Contemporary in Trento, Italy, Two Pair and Windows and Bars at Derek Eller Gallery in New York City, West Coast Paintings at Anat Ebgi in Los Angeles, Thrift Store Find at Andrew Rafacz Gallery in Chicago, Fountain, Melissa Brown and Jamie Bull at Dodd Gallery at the University of Georgia, Going AWOL at the Biggins Gallery, Auburn University. For over ten years she has organized poker tournaments where the wager is art at galleries, art fairs, and most recently, a tournament and exhibition titled Rules of the Game at the Center for Book Arts in New York City. She has participated in group exhibitions at the Pit LA, Canada, New York, Everyday Mooonday Seoul, Korea, Parker Gallery, Venus Over Manhattan, Mass MOCA, Gavin Brown’s Enterprise, Klaus Von Nichtssagend and Musée International Des Arts Modestes, France, and Deitch Projects, Los Angeles. In 2024-25, she was awarded a Sharpe-Walentas Studio Program residency and residencies at Yaddo and Headlands in 2026. &nbsp;In 2012, she was awarded the Joan Mitchell Painter’s Grant and a residency at the Joan Mitchell Center in 2019.&nbsp;Her work is in the permanent collections of the Whitney Museum of American Art, the Brooklyn Museum, the New York Department of Education and the Fidelity Corporate Collection. She is a Professor in studio art at Lehman College, CUNY. Jonathan Ehrenberg’s work has been included in exhibitions at MoMA PS1, SculptureCenter, The Drawing Center, Nicelle Beauchene Gallery, Ulterior (New York), Futura Center (Prague), The B3 Biennial (Frankfurt), Temnikova &amp; Kasela (Tallinn), and Nara Roesler (São Paulo). He has participated in residencies at LMCC Workspace, Harvestworks, Skowhegan, Triangle, The Fine Arts Work Center in Provincetown, Glenfiddich in Scotland, and Shandaken: Storm King, and his work has been reviewed in publications including The New York Times, The New Yorker, and Art in America. He received a BA from Brown University, and an MFA from Yale, and teaches at Lehman College, CUNY. He was born in New York, NY, where he currently lives and works. Kevin Ford received his MFA in Painting and Printmaking from Yale University and his BFA in from Boston University. His work has been included in solo exhibitions at March Gallery, NY, NY, Gallery Sanghyunze, Seoul, South Korea,&nbsp;12.26, Dallas, TX, Galerie Semiose, Paris, FR,&nbsp;Kate Werble Gallery, NY, NY, and Tops Gallery, Memphis, TN among others. His work has been included in group exhibitions at the Memphis Brooks Museum of Art, TN, Reyes Finn, MI, The Center for Maine Contemporary Art, ME, Inman Gallery, TX, Casey Kaplan Gallery, NY, and elsewhere. His work&nbsp;has been reviewed in Artforum, The New York Times,&nbsp;Hyperallergic, Burnaway, and other publications and it has been featured in V Magazine and included in the book Artists II. Daniel Gordon holds a BA from Bard College and an MFA from Yale School of Art, and he lives and works in Brooklyn, New York. He has staged solo exhibitions at Kasmin, New York (2023); Nazarian/Curcio, Los Angeles (2024); Huxley-Parlour, London (2024); Rose Kennedy Greenway, Boston, MA (2021-22); Houston Center for Photography, Houston, TX (2019) and Foam Museum, Amsterdam, Netherlands (2014), among other venues. He has participated in several additional museum exhibitions at the Berkshire Botanical Gardens, Stockbridge, MA (2022); J. Paul Getty Museum, Los Angeles (2018); Pier 24, San Francisco (2016); MoMA P.S. 1, Queens, New York (2010); The Museum of Modern Art, New York (2009). His work is included in the permanent collections of The Museum of Modern Art, New York; Solomon R. Guggenheim Museum, New York; Los Angeles County Museum of Art; Museum of Fine Arts, Houston; Fine Arts Museum of San Francisco; High Museum of Art, Atlanta; Pier 24, San Francisco; Foam Museum, Amsterdam, Netherlands; and the VandenBroek Foundation, Lisse, Netherlands. Gordon's most comprehensive monograph to date, New Canvas, was published by Chose Commune in 2022. He was included in&nbsp;Vitamin C+: Collage in Contemporary Art&nbsp;(Phaidon, 2023), a survey of contemporary artists whose practices demonstrate the wide-ranging possibilities of collage today. Additional publications of the artist's work include&nbsp;Houseplants&nbsp;(Aperture, 2019),&nbsp;Spaces, Faces, Tables and Legs&nbsp;(OSP, 2018),&nbsp;Intermissions&nbsp;(OSP, 2017),&nbsp;Still Life with Onions and Mackerel&nbsp;(OSP, 2014),&nbsp;Still Lifes, Portraits, and Parts&nbsp;(Mörel, 2013),&nbsp;Flowers and Shadows&nbsp;(Onestar Press, 2011), and&nbsp;Flying Pictures&nbsp;(powerHouse Books, 2009). Jibade-Khalil Huffman’s recent solo museum exhibitions include Brief Emotion, Frac Bretagne, Rennes, FR;&nbsp;You Are Here, Halsey Institute of Contemporary Art Charleston, SC; and&nbsp;Now That I Can Dance, Tufts University Art Gallery, Tufts University, Medford, MA. Huffman’s work has also been exhibited at museums and institutions including Wexner Center for the Arts, Ballroom Marfa, The Kitchen, MoCA Tucson, Swiss Institute, New York, Portland Institute of Contemporary Art, The Jewish Museum, Institute of Contemporary Art, Philadelphia, The Studio Museum in Harlem and the Hammer Museum. Huffman was educated at Bard College (BA), Brown University (MFA, Literary Arts), and USC (MFA, Studio Art), his awards include the Grolier Poetry Prize, the Jerome Foundation Travel Grant and fellowships from Bemis Center for Contemporary Arts, the Lighthouse Works, Lower Manhattan Cultural Council and the Millay Colony for the Arts. Huffman was a 2015-16 Artist in Residence at the Studio Museum in Harlem. His work is in the permanent collections of Dallas Museum of Art, Dallas, TX; Hammer Museum, Los Angeles, CA; Kadist, San Francisco, CA/Paris, FR; Pierce &amp; Hill Harper Arts Foundation, Detroit, MI; Studio Museum in Harlem, Harlem, NY; and Tufts University Art Collection, Medford, MA. Huffman lives and works in Los Angeles, CA. Meredith James completed her AB at Harvard University and her MFA at Yale University. She had a museum exhibition at the Queens Museum, NY and has had solo shows at Jack Hanley Gallery, NY; LaMontange Gallery, Boston; and Marc Jancou, NY. She has installed major public art projects at Socrates Sculpture Park, NY; The Rose Kennedy Greenway, Boston; and Lieu Histrorique National Center-Brébeuf, Quebec City. Candice Lin is an interdisciplinary artist and Associate Professor of Art at the University of California, Los Angeles. She holds a double BA in Semiotics and Visual Arts from Brown University and an MFA in New Genres from the San Francisco Art Institute. Incorporating installation, drawing, video, as well as living materials and processes, Lin’s work deals with the politics of representation with a focus on histories of colonialism and diaspora vis-à-vis race, gender, and sexuality. Lin has had recent solo exhibitions at Talbot Rice Gallery, Edinburgh, Scotland (2024); Canal Projects, New York (2023); Spike Island, Bristol, UK (2022); Carpenter Center for the Visual Arts, Cambridge (2022), Walker Art Center, Minneapolis (2021); Guangdong Times Museum, Guangzhou, China (2021); and Govett Brewster Art Gallery, New Plymouth, New Zealand (2020). Lin’s work showed at the 59th Venice Biennale, “The Milk of Dreams” (2022), Prospect.5 Triennial “Yesterday We Said Tomorrow” (2022), and both the 13th and 14th Gwangju Biennales (2021, 2023). She is the recipient of the 2024 Ruth Award, 2023 Arnoldo Pomodoro Sculpture Prize, a 2022 Gold Art Prize, and a 2019 Joan Mitchell Foundation Award, among others. Her work is part of the permanent collections of the Los Angeles County Museum of Art, Museum of Contemporary Art Los Angeles, Solomon R. Guggenheim Museum, and Walker Art Center. Dana Lok received an MFA from Columbia University in 2015 and attended Skowhegan School of Painting and Sculpture in 2016. In 2018, Lok was awarded the Rema Hort Mann Emerging Artist Grant. Solo exhibitions of her work include As Syllable from Sound, Miguel Abreu Gallery, New York (2024); Closer to the Metal, Clima, Milan (2023); Part and Parse, Miguel Abreu Gallery, New York (2022); One Second Per Second, PAGE, New York (2020); Words Without Skin, Clima, Milan (2019); Mind’s Mouth, Bianca D’Allessandro, Copenhagen (2018); Soft Fact, Clima, Milan (2017); and The Set of All Sets, Chewday’s, London (2016). Selected group shows include Eye of the Blackbird, Bo Bartlett Centerat Columbus State University, Columbus, GA (2025); Anything But Here, Candice Madey, New York (2025); Double Lift, David Petersen Gallery, Minneapolis (2024); Strange Sensation, Foyer LA, Los Angeles (2024); darling, your head’s not right, curated by Danica Lundy, François Ghebaly, New York (2023); Anything can pass before the eyes of a person, Derosia, New York (2023); X PINK 101, X Museum, Beijing (2023); The future perfect will have arrived, Shulamit Nazarian, Los Angeles (2023); Le Biscuit à Soupe, High Art, Arles, France (2022); Gravity, a proposal,Sikkema Jenkins &amp; Co., New York (2022); Regroup Show, Miguel Abreu Gallery (2021); Fifteen Painters, Andrew Kreps Gallery (2021); PAGE (NYC), Petzel Gallery(2021); and In Place Of, curated by Leah Pires, Miguel Abreu Gallery (2016), all in New York. Her work is held in the collections of Espacio 2021, La Palma; Pinault Collection; and X Museum, Beijing. Pooneh Maghazehe is a Brooklyn-based sculptor. Notable solo presentations include “Double Barrel” at Martos After Dark, “Half-Time” at KinoSaito Art Center in Verplank, NY and “2for1” at Brennan &amp; Griffin Gallery in New York, NY. Select group exhibitions include “Global Contemporary : Art Worlds After 1989” at ZKM Center for Art and Media, “Transnational Aesthetics'' 798 Biennal at BTAP Gallery, Etiquette for Lucid Dreaming” Gateway II at Newark Penn Station and “Iran Inside Out” at DePaul University Museum.&nbsp;A forthcoming four-person sculpture exhibition will travel between Geary Contemporary Gallery and the Bridgehampton Art Museum in Spring 2026.&nbsp;Her work has been featured in Artforum, BmoreArt, Contemporary Practices, Flaunt Magazine, Art Asia Pacific Magazine and Magazine 1. She received an MFA from Columbia University in 2011. Sean McCarthy received a BFA in Studio Art from the University of Texas at Austin and an MFA in Painting and Printmaking from Yale University. He has had solo exhibitions of his paintings and drawings at Fredericks &amp; Freiser and Essex Flowers (where his 2020 exhibition was named a must-see show by the editors of Artforum) in New York and the Palmer Gallery at Vassar College, as well as group exhibitions at Marlborough Chelsea and Kate Werble Gallery in New York, One in the Other in London, VOLTA in Basel, Tops Gallery in Memphis, and Ada Gallery in Richmond, among many other venues. His comics and zines have been featured in a global survey of zine culture at Cubitt Gallery in London and the Desert Island Comic Zine Party at the Whitney Museum of American Art, and he received a 2024 NYSCA/NYFA Artist Fellowship in Fiction for his work in comics. He is Associate Professor of Art at Lehman College of the City University of New York in the Bronx and has also taught studio art at Pratt Institute. He is a&nbsp;contributing writer at The Comics Journal and runs a Risograph press called Pollinator Print Works. He lives and works in the Hudson Valley, New York. Shana Moulton is a California-born-and based artist who works in video, performance, and installation. In 2002, Moulton began the video series Whispering Pines, in which she performs as Cynthia, an alter-ego searching for purpose and fulfillment through home decor, self-help paraphernalia, and cosmetic rituals. Moulton has had solo exhibitions at international institutions including MoMA, Palais De Tokyo, Yerba Buena Center for the Arts, Kunsthaus Glarus, Art in General, and the Zabludowicz Collection. Her work has been featured in Artforum, the New York Times, Art in America, Flash Art, BOMB, and Frieze, among others. Her single-channel videos are distributed by Electronic Arts Intermix. Maria Rapoport is a psychoanalyst and writer. Her psychoanalytic writing was a finalist for the National Association for the Advancement of Psychoanalysis Gradiva Award and received the National Institute for the Psychotherapies&nbsp;Educator’s Award. Her literary work has appeared in publications&nbsp;including BOMB Magazine, the Brooklyn Rail, The Iowa Review, The Rattling Wall, and The Pinch. She received an Iowa Review Award in creative nonfiction and has been awarded&nbsp;fellowships by the Edward Albee Foundation and the Lower Manhattan&nbsp;Cultural&nbsp;Council’s Workspace Program. She is currently working on a book of experimental short fiction and a nonfiction book about clinical application of neuropsychoanalysis. Andrew Ross is an artist working within the intersections of assemblage sculpture and digital imaging. He received his BFA from The Cooper Union in 2011, where he was awarded the Gelman Trust Award for Excellence in Sculpture. He attended Skowhegan School of Painting and Sculpture in 2011. He is currently an Adjunct Professor at SUNY New Paltz and The Cooper Union for the Advancement of Science and Art and has previously served as a visiting professor in Graduate Painting and Drawing at Virginia Commonwealth University. He’s been a resident or fellow of programs including The Windgate Artist in Residence at SUNY Purchase College of Art and Design, ISCP, The Triangle Arts Association, The Drawing Center's Open Sessions, LMCC's Swing Space, The Macedonia Institute, The Bruce High Quality Foundation, Atelier Mondial, and Two Trees’ Cultural Space Subsidy Program. He was awarded a Pollock-Krasner Foundation Grant in 2025. Ross&nbsp;has exhibited in group exhibitions at The Hessel Museum, The Drawing Center, The Studio Museum in Harlem, Artists Space, Center for the Humanities at CUNY Graduate Center, White Columns, and Greene Naftali. He has staged solo and two-person exhibitions at Thomas Erben Gallery, Kai Matsumiya Fine Arts Gallery, The Gallery at Heimbold Visual Arts Center, Signal, American Medium, Clima Gallery, and False Flag Gallery.&nbsp;Ross’ work has been reviewed in publications including Artforum, Art in America, Cultured, Flash Art, Mousse, and the Brooklyn Rail. Bringing together fourteen artists attuned to liminal, transformative states where the usual assumptions about the physical world fall apart, A Shark’s Mouth Is a Whole Aquarium assembles an experience in which “If you look long enough, you’ve looked too long/ And seen and unseen all at once.” Note: the gallery will be open on Fridays, Saturdays and Sundays during this exhibition.