Tribeca / SoHo

Recursion is Agnieszka Kurant’s second solo exhibition with Marian Goodman Gallery, bringing together new and recent works developed through collaborations with scientists, engineers, and theorists. The works examine collective and nonhuman intelligences, recursive systems, and digital capitalism, addressing how data, labor, language, and prediction shape biological, technological, and social forms.

Feb 6 - Mar 21

Sweat Models 1991-2026 focuses on Michael Joo’s early works from the 1990s, shaped by his studies in biology and attention to scientific, domestic, and artistic spaces as sites of knowledge production. Using industrial materials, research tools, and sensory substances, the works address the body through systems of measurement, consumption, and abstraction. The presentation reflects on vulnerability, identity, and the limits of perception shaped by its historical moment.

Feb 20 - Apr 18

Titanic, A Deep Emotion is a solo exhibition by Claudia Bitrán presenting a three-channel film installation and related works. The project is a collaborative remake of Titanic, reconstructed scene by scene using lo-fi materials, visible production methods, and collective participation. Paintings, props, drawings, and material remnants extend the film into the gallery, emphasizing process, artifice, and communal labor.

Feb 20 - Mar 28

DIMIN presents Everywhen, Justine Hill’s new series of non-rectangular paintings centered on a recurring form: the bend. Curved, humanoid silhouettes meet expansive polka-dotted skies, collapsing figure and environment into equal scale. Built from layered, cut-fabric shapes and wet-on-wet fields, works like Bend 15 turn abstraction bodily while holding cosmic scope. Inspired by the sky goddess Nut in Luxor, Hill imagines time as elastic, folded, and renewable.

Feb 13 - Mar 21

Mar 6 - Apr 12

Soft Edges pairs Vivian Springford and Kiah Celeste in a cross-generational exchange on how energy moves through matter and how equilibrium is unsettled and regained. Springford paints from an aerial vantage, tracing circulation and unseen currents, while Celeste works at bodily scale, assembling precarious sculptures from domestic and industrial remnants. Both collapse boundaries between self and environment, proposing balance as a shifting, relational state.

Feb 28 - Mar 28

In Electro Slag, Jeff Williams presents new sculptures that merge animal and mineral through cast forms, recycled slag, and industrial fragments. Using crushing, fusing, and melting, he creates stalactite- and stalagmite-like structures that rise and descend within the space. Inspired by feral hog disturbances and ancient cave formations in Central Texas, the works contrast rapid ecological damage with slow geological record, questioning how matter holds time and experience.

Feb 26 - Apr 11

In Time’s a Goon, Will Hutnick presents paintings that treat time as a force shaping identity and change. Beginning with wax pastel rubbings of local plants on raw canvas, he organizes organic forms into grids, then layers acrylic and linework to create shifting, geological surfaces. Repeated compositions unfold like film stills, where small variations alter perception. Order and disruption coexist, reflecting how external systems and lived experience continually reshape the self.

Feb 27 - Apr 11

For over two decades, Jonathan Ehrenberg has created staged worlds—films, digital forms, and now clay sculptures of everyday objects encircled by small paintings. This new constellation, developed since the pandemic and his entry into fatherhood, feels like the visible crest of a larger, submerged project. His work hovers at the edge of language and memory, evoking the effort to recall names, time, and shared experience while remaining aware of unseen depths.

Feb 27 - Apr 11

Studio Visit is a curatorial project initiated by Anicka Yi and Josh Kline, following their earlier collaboration in the collective Circular File. Conceived as an art installation, the project examines the artist’s studio in the 21st century as both material infrastructure and conceptual site. It considers how artistic labor is structured, valued, and shaped by proximity, shared space, and collective exchange beyond the studio as a private site.

Feb 27 - Apr 11

Justice [laughter] Justice is a site specific sculptural installation by Paz Sher and marks the artist’s first solo exhibition in New York. Sher constructs immersive environments in which arranged objects and spatial gestures form unstable, interrelated systems. The installation foregrounds material tension and ambiguity, inviting embodied and perceptual engagement.

Feb 27 - Mar 27

fragile architect(ure) examines memory as a constructed spatial phenomenon shaped by accumulation, fragmentation, and reconfiguration. Works by Ben Blaustein, Russell Maltz, Alex Stern, and Emerald Rose Whipple address how images, structures, and materials carry unstable narratives across time. Through installations, paintings, and image-based works, the exhibition considers memory as an architecture that is continually built, dismantled, and re-formed.

Feb 13 - Mar 21

Rob Davis: Apollo presents nocturnal oil paintings drawn from memories of the American South. Empty interiors and quiet exurban scenes—rumpled beds, vacant bleachers, a truck on a lawn—convey absence and unease. Referencing traditions from Wyeth to Goya and Dutch still life, Davis infuses ordinary objects with portent, pairing homespun detail with a subtle, lingering sense of dread.

Mar 5 - Apr 18

In Portraits, Mariah Robertson presents new photograms and aluminum paintings, including a monumental work, extending her process-driven practice. Created through rapid, chance-based darkroom sequences, recurring circular forms anchor the prints and prompt painted responses. By translating photograms into paint, she probes authorship and control, treating photography and painting as interconnected systems of material investigation.

Feb 20 - Apr 11

Field Recordings gathers works by seven artists who translate fragments of the physical world into altered copies. From plaster coins and bronze chair caning to photograms made with chameleons and illusionistic photographs, each piece shifts between object and image, surface and depth. These works embrace distortion, residue, and material quirks, probing reproduction, perception, and the unstable line between original and replica.

Mar 6 - Apr 11

In Unreliable Narrators, Rochelle Voyles explores the cyclical nature of humanity’s patterns and the underlying impulses that drive behavior. Mining historical textile diagrams and vintage magazines, Voyles arranges fragments of different moments and settings, people, objects, and places meticulously in collage on-wood cut sculpture. Layering and abstracting time, the work reveals and challenges the social narratives embedded in found images, exposing how history and collective memory are constructed and repeated.

Mar 12 - Apr 11

Alec Dartley’s Landscapes presents a series of gouache and oil paintings capturing the Palisades area of New Jersey. Using both plein air and studio-based approaches, Dartley balances direct engagement with nature and introspective reinterpretation. His outdoor works embrace shifting light and weather, while his studio pieces rely on memory and intuition. Featuring a large-scale oil painting and 12 gouache works, the exhibition reflects the intersection of external landscapes and inner vision.

Mar 6 - Apr 25

The Gifts features new oil on canvas paintings by Quentin James McCaffrey that examine perception, time, and spatial illusion. Small-scale interiors incorporate mirrors, rugs, bouquets, and miniature paintings, often arranged as diptychs and triptychs. Repeated imagery and subtle shifts emphasize temporal change. The exhibition includes an eleven-panel work that unfolds across a wall, extending the artist’s exploration of reflection and constructed space.

Feb 20 - Mar 28

Megumi Yuasa: Letter to the World is the first US exhibition of the Japanese Brazilian sculptor, bringing together works from the early 1970s to 2025. Surveying six decades, the presentation traces Yuasa’s evolving use of ceramic, metal, and stone through recurring forms such as clouds, seeds, and avian motifs. New works produced in New York extend his exploration of balance, gravity, and material transformation.

Mar 5 - Apr 11

Origin of the Tiger marks Yu Ji’s New York debut, presenting sculptures and installations shaped by three years between Shanghai, Cambodia, and NYC. Using wood, plaster, reed mats, and cast body parts, she gathers fragments of migration, memory, and collaboration. Adjustable chairs, children’s voices, and a monumental composite figure reference a Cambodian folktale and restoration history, embracing instability and collective resilience.

Mar 6 - Apr 11

Feb 21 - May 9

Melissa Brown presents mixed media paintings drawn from New York City storefronts. Combining screen printed photographs with impasto and airbrushed passages, the works depict retail displays, reflections, and staged interiors. Based on studies made on site, the paintings examine window displays as spaces of desire, fantasy, and persuasion, recording a fading form of street level visual culture shaped by commerce and observation.

Feb 20 - Mar 21