Lower East Side / East Village

Dweller is Tiran Willemse’s first solo exhibition and debut in moving image and sound. A new three-channel film with spatial audio, shot in Alpine sites marked by migration, stages slow, looping gestures shaped by ritual and the four elements. Black embodiment is framed as a charged site of disruption between subject/object and life/death. Stairwell sound layers untranslated Afrikaans dialogue with his grandparents and glossolalia, invoking exile, colonial violence, and endurance.

Jan 21 - Apr 12

A Flower in the Ending is a solo exhibition by Brooklyn-based artist Donyel Ivy-Royal. Working across painting, photography, sound, and installation, Ivy-Royal draws on personal lineage, memory, and place to collapse past and present timelines. His practice engages impermanence through mark-making shaped by graffiti, photography, and sound, transforming erasure, repetition, and translation into material processes.

Feb 12 - Mar 21

Baroque Apocalypse draws on sonoluminescence as a metaphor for transformation, where pressure yields light and sound. Anne Katrine Senstad creates a vertical field of neon columns that turns architecture into a ceremonial passage, animated by noble gases and shifting color. Paired with a four-channel composition by JG Thirlwell, the installation unfolds over time, suspending perception and revealing tension between material containment and luminous flux.

Feb 11 - Apr 18

C00174: Michael Yaniro and Raphael Taylor is a two-person exhibition pairing Yaniro’s rubber paintings and drawings with Taylor’s site-specific sculptural installation. The presentation places two- and three-dimensional works in dialogue through material experimentation and spatial intervention.

Mar 6 - Mar 29

In Soft Proof, Cortney Andrews presents photographs and mixed-media works where cameras and screens stand in for the body. Viewfinders, mirrors, and devices frame fragmented figures, creating a loop in which subject and apparatus exchange roles. An iPad displaying intimate images becomes a proxy body. Borrowing the term for a provisional print, Andrews treats perception as adjustable and unstable, casting photography as both capture and enclosure.

Mar 5 - Mar 29

Mar 14 - May 2

Do Not Be Afraid features Leonardo Madriz’s illuminated hanging sculptures built from knotted rope, found objects, and handblown glass. Suspended like sentinels, they evoke guard, refuge, and peril through charged materials—barbed wire, flags, IV bags, knives, hubcaps, masks, and counterfeit goods—left legible with their histories intact. Rope structures each work, while light animates and transforms debris into ritual-like forms poised between collapse and transcendence.

Mar 12 - May 2

Back Stitch surveys Elaine Reichek’s work from 1971 to 1979 alongside recent reworkings of early pieces. Incorporating thread, fabric, and organdy, the exhibition traces her shift from painting to sewing, using grids, repetition, and modular structures. Archival materials contextualize works that engage postminimal strategies, feminist craft histories, and the material language of textiles.

Feb 21 - Apr 4

Everything She Touches presents Alix Vernet’s wall-mounted works derived from casts and rubbings of New York City streets and architecture. Using molds taken from manhole covers, facades, and gravestones, Vernet produces ceramic sculptures and foil rubbings that register public surfaces and shared movement through space. The presentation reflects her sustained dialogue with Sari Dienes’s earlier rubbings from similar sites.

Feb 4 - Mar 21

Two, Sacha Ingber’s second solo exhibition at Uffner & Liu, fills the gallery with resin wall works, conjoined ceramics, and functional sculptures built around paired forms. Drawing on Pre-Columbian vessels, domestic memory, and architecture, Ingber creates tactile objects where bodies, homes, and furniture intersect. Handcrafted materials—ceramic, resin, plaster, textile, and metal—form interdependent structures that explore proximity, shared interiors, and relational space.

Mar 12 - May 9

The Knot, Alex Carver’s third solo exhibition at Miguel Abreu Gallery, presents twelve paintings built through frottage, monoprinting, and brushwork. Beginning with low-relief sculptures placed behind canvas, Carver drags oil paint across the surface to capture their traces, evoking imaging technologies like scans or X-rays. Inspired by anatomical studies and medical imagery, the works form dense, vibrating surfaces where impressions emerge and dissolve within shifting pictorial space.

Mar 12 - May 9

Cauldron presents new paintings by Sascha Braunig that draw on literary and symbolic references, including Lisa Tuttle’s novella My Death. The works reflect on cycles of creation, influence, and artistic inheritance, likened to the looping form of a serpent. Moving closer to autobiography, Braunig’s paintings consider painting itself as an autonomous force, a circulating field where writers and artists exchange creative energy across time.

Mar 12 - Apr 25

Constructed Tensions brings together Agustín Fernández, Jenny Snider, and Dorian Gaudin in an examination of pressure within form and structure. Fernández compresses biomorphic and mechanical elements into dense, regulated compositions. Snider translates urban architecture into rhythmic, modular fields of color. Gaudin’s steel wall works act as spatial drawings, suggesting frameworks under strain. Together, they present tension as intrinsic to material and geometry.

Mar 12 - May 2

MARC STRAUS presents a sixth solo exhibition by Jong Oh featuring Line Sculptures, Folding Drawings, and Light Drawings made from wire, Plexiglas, light, and small objects. Created through a dialogue with the surrounding architecture, the works form delicate frameworks that shift perception between object and space. As viewers move around them, reflections, lines, and light alter the experience of the gallery, encouraging slow looking and heightened awareness of spatial relationships.

Mar 13

REBIRTH is an exhibition dedicated to Gaetano Pesce. Anchoring the presentation is Les Halles, 1979, shown publicly for the first time in over three decades. Also on view are the Pratt Chairs, 1984, including the original first nine and later reissued editions, early prototypes from the Broadway series, 1993, and archival works that examine the relationship between art and design.

Feb 26

In Untitled (radiators, zip ties), Bat-Ami Rivlin fills the gallery with locally sourced cast-iron radiators bound by zip ties. The spare installation heightens the authority of these everyday materials. Radiators carry decades of habitation and shape domestic space through heat and placement, while disposable ties signal urgency and control. By staging their function, Rivlin reveals how such objects quietly organize, regulate, and structure lived environments.

Mar 11 - Apr 12

Mar 5 - Apr 12

Quinha Faria: Receptors presents carved paintings, woven works, and sculptures that treat art as porous, responsive bodies. Working with wood, rayon, medical materials, and found textiles, she embeds, sands, dyes, and layers surfaces to evoke cellular exchange and relational bonds. Drawing on nursing and diasporic histories, her forms hover between fragility and structure, inviting viewers to move through shifting networks of attachment and care.

Mar 5 - Apr 18

Meeting in Motion presents new paintings by Grace Rosario Perkins. Rooted in her connections to the Southwest, the works layer color fields with text, symbols, and materials such as crushed salt, crystal, and personal ephemera. Moving between abstraction and autobiography, the paintings foreground process, accumulation, and gesture as forms of self-definition and reflection.

Mar 7 - Apr 18