NEW YORK—Anat Ebgi is pleased to present new paintings by New York-based artist Alannah Farrell. The exhibition, entitled Solastalgia, is Farrell’s third solo exhibition with the gallery. On view at 372 Broadway from September 9 through October 17. An opening reception will be held on Wednesday, September 9, 6-8 pm.

Solastalgia is a term coined by environmental philosopher Glenn Albrect in 2003. It is a composite word referring to the mixed feelings of solace, desolation, and pain experienced as the result of the immediate loss or assaulting changes to one’s home environment. While it relates particularly to the effects of facing ecological disasters resulting from the climate crisis, Farrell’s usage expands the term, reflecting broadly on the emotional heaviness of facing second or third-order effects including civic neglect, population collapse, and increasingly grave economic situations. This exhibition is a poignant ode to the rural community in the remote southern tier region of New York State where Farrell grew up. Coupling scenes of decaying architecture with tender portrait paintings for which the artist is best known, Farrell builds a visual story of an altered reality that contemplates the unbearable strangeness and overwhelming beauty of a place changing while one is living in it.

Inspired by the eerie imagery of George Tooker, Hans Bellmer, and erotic compositions by photographer Pierre Molinier, Farrell’s depictions of their life and surroundings appear as near-cinematic scenes rife with psychodrama. In a double portrait, Surrender and Longing, two nude figures crowd the foreground of a train crossing. As one bends over the other, wrapping their arms and torso around the crawling figure, their tight pose compresses against the lower half of the composition. The pair are bathed in the light of a hazy, yet brilliant sundown and the silence of a completely deserted main street in the near distance.

Farrell’s paintings are always painted from life, registering the importance of personal relationships and the particulars of the environments in which the compositions unfold. There are scenes of emptied parking lots, vacant commercial spaces, and the exhibition’s titular painting, which depicts a condemned school auditorium viewed through a shattered window pane, each rendered with the same sensitivity they approach portraiture. During the year Farrell worked on the exhibition, multiple sites were demolished or shuttered forever, heightening the elegiac quality of the works and the feeling of a world slipping away. Dirtied snowbanks, rusting iron, peeling paint, empty store shelves, and forgotten objects are the textures that speak to bleak realities of neglect, entropy, and time’s steady, downward pull.

Against this backdrop, a portrait called Benjamin (Iron Pond) shows a nude male crouching in a white bathtub, surrounded by dense houseplants. Leaning forward, his gaze averted, he tends to the vines and flowers with his watering can. As with many of Farrell’s portraits, the parenthetical in their titles indicate particulars related to the subject or sometimes where the painting was made. In this case, Iron Pond refers to the name of this man’s antique shop in the town. The portrait speaks to an unusual concentration on care and cultivation, amidst Farrell’s depictions of decay, and speaks to the difficulty of remaining in place while the world around one changes, deteriorates, or is forgotten. 

Light binds these different modes of looking and varied subject matter together: streetlamps cast luminous cones across wet pavement, railroad signals flash across skin, fluorescent grocery fixtures glow with saturated color, and bodies emerge from night-darkened landscapes. Farrell’s heightened palette—of greens and reds and oranges—transforms ordinary surroundings into radioactive fields of tension. The people and places they observe with equal specificity and empathy, grounding the exhibition’s sense of loss in the material details of a community on the brink of total collapse.

Alannah Farrell (b. 1988, Kingston, NY) is a queer painter who lives and works in New York. Farrell completed their BFA at The Cooper Union, New York, NY in 2011. Recent solo exhibitions include Erect, Alexander Gray Associates, Germantown, NY; Serenade, Anat Ebgi, Los Angeles, CA; and I Want To Thank You, Harper’s, New York, NY. They have exhibited their work in group exhibitions at galleries including Warnes Contemporary, New York, NY; Bitter Gallery, New York, NY; Friedrichs Pontone Gallery, New York, NY; Fragment, New York, NY; Karma, New York; NY; Lyles & King, New York, NY; Green Family Art Foundation, Dallas, TX; Richard Heller Gallery, Santa Monica, CA; The Painting Center, New York; Theirry Goldberg Gallery, New York; UTA Artist Space, Los Angeles; and Anat Ebgi, Los Angeles / New York. Farrell’s work is in the permanent collection of the Institute of Contemporary Art, Miami.

NEW YORK—Anat Ebgi is pleased to present new oil paintings and glazed ceramic sculptures by Chicago-based artist Soumya Netrabile. The exhibition, entitled Field Conditions, is Netrabile’s second solo exhibition at the gallery. On view at 372 Broadway from September 9 through October 17. An opening reception will be held on Wednesday September 9, 6-8 pm.

The term Field Conditions is mainly used to describe weather-related conditions for sports games. It is also used to report on the physical environment for construction sites and air traffic control. These reports indicate how the physical environment may affect playability, aviation hazards, or construction site realities. For an artist, the field conditions might be physical external conditions such as humidity or temperature, but the metaphor can be extended to the mental and physical state of the artist—how, on any given day, elusive pressures and assumptions influence the painting environment in the studio from one day to the next.

In Netrabile’s paintings, rounded and irregular shapes accumulate over time into dense clusters of intermingling line and color. She embraces the freedom and openness of abstraction to “process happenings in the world,” unconstrained by preconceived ideas. Allowing her materials to speak, they find their eventual bulbous shapes, elongated contours, and interconnected compartments. The juxtaposition of tangles of brushwork and directional masses in the foreground against banded atmospheres of colored ground, creates a compression of space beneath, relating to complex relationships and networks that form the natural world.

Netrabile’s sculptures fold tubular and ribbon-like shapes into asymmetrical mounds defined by overlap and interconnected voids. Pitted textures, segmentation, and visible hand-modeling emphasize the material qualities of the clay, while pooled glazes accentuate seams, ridges, and change in surface relief. Moving continually between broad structures and intricate details, Netrabile’s compositions expand and contract space. Together, the works in the exhibition speak through the rising and falling sense of uncovering unutterable stirrings within.

Soumya Netrabile (b. 1966, Bangalore, India) received a BFA from the School of the Art Institute of Chicago and a B.S. in Electrical Engineering from Rutgers University. Recent solo exhibitions include A Stone in my Pocket, Union Pacific, London, UK; Holding Current, Rachel Uffner, New York, NY; mono no aware, Andrew Rafacz, Chicago, IL; and Soft Fascination, Gana Art, Seoul, KR. Netrabile has exhibited work in exhibitions at museums and galleries including Kunsthal N, Copenhagen, DK; Project 88, Mumbai, IN;  Anthony Meier, Mill Valley, CA; Anat Ebgi, Los Angeles / New York; Karma, New York, NY; Pt. 2 Gallery, Oakland, CA; Alexander Berggruen, New York, NY; and Stellarhighway, Brooklyn, NY, among others. Netrabile’s work has been acquired by public collections including Orange County Museum of Art, Costa Mesa, CA; Crocker Art Museum, Sacramento, CA; and University Club of Chicago, Chicago, IL. Netrabile lives and works in Chicago, IL.

NEW YORK — Anat Ebgi is pleased to announce Illuminations, a group exhibition curated by Angela Lane. On view at 372 Broadway in Tribeca from June 26 through August 7, with an opening reception Friday, June 26 from 6-8 pm.

Ben Cauchi
James Cherry
Ryan Driscoll
Garry Fabian Miller
Timo Fahler
Shawn Huckins
Nova Jiang
Brad Kahlhamer
Mia Kokkoni
Danielle Kosann
Angela Lane
Enrique Martínez Celaya
Kayla Risko
Barbara Takenaga
Dannielle Tegeder

Illuminations presents 15 artists who treat light as material—visible energy, luminosity, and color—as well as artists who explore light as a metaphor for truth, knowledge, hope, and safety. Light reaches far beyond the material world; it is a marvelous force and mystery. Scientific knowledge can measure light with remarkable accuracy, yet the quantum reality it reveals remains far stranger than everyday experience suggests. While we can understand how the brain processes electrical signals, how physical light translates into our subjective, conscious experience of color and vision remains an unsolved enigma. This sentiment echoes Emily Dickinson’s evocation in her poem “A Light Exists in Spring” of an illumination of color pressing on the body and the landscape, emphasizing subjective sensation over scientific confirmation.

A Color stands abroad
On Solitary Fields
That Science cannot overtake
But Human Nature feels.

The same photons measured by physicists have been revered by artists and theologians for millennia as charged symbols. Inspired from life as well as imagination, the artworks highlight the intimate relationship between seeing and creating. In Genesis, the world begins when the light is divided from the darkness, bringing order and knowledge to the world, producing purpose from chaos. From this primal division emerge fundamental conditions of existence: shape, color, the passage of time, and perception itself.

Bridging light’s elusive metaphysical meanings with its pastoral, celestial, and cosmic sublime, this exhibition aims to challenge viewers to reconsider how light shapes human consciousness and our understanding of reality by focusing on works that weave together scientific enquiry, spiritual symbolism, and artistic practices that harness light.

NEW YORK — Anat Ebgi is pleased to present All Things Held Between, Megan Gabrielle Harris’s first solo exhibition with the gallery and debut in New York. The exhibition is on view at 372 Broadway from June 26 through August 7 with a reception on Friday June 26 from 6-8 pm.

Megan Gabrielle Harris’s paintings typically feature women of color depicted as powerful, regal, and divine, often set against rich and vibrant backdrops. In All Things Held Between, Harris expands her focus slightly, allowing the landscape to take a more central role. Many of these scenes are inhabited by the same solitary women who appear throughout her work, depicted at moments of leisure and reflection.

Built up from many thinly applied layers, she bases her compositions on memories of landscapes from her life growing up in Northern California and scenery recalled from travels to alluring places such as South Africa, Hawaii, and Italy. The women, who are dominant subjects of several works, are inspired by an amalgamation of women from her family, sometimes based on personal photographs, or wearing clothes that belonged to her grandmother or mother, adding to the paintings’ sense of reflection and timelessness.

The largest painting in the exhibition features a distant view of a lone tree at the edge of the ocean, framed by gently sloping hills. Titled Shangri-La, it was made during Harris’s three-month residency at the New York-based Mack Art Foundation. This painting marks the first time Harris has worked at such a panoramic, mural-like scale, requiring a more physical approach in which the entire body becomes engaged in the act of painting. Extending far beyond the intimate dimensions of her earlier works, Shangri-La creates an enveloping viewing experience, distilling the visible world into a scene of stillness. The solitary tree on the horizon serves as a subtle focal point, echoing the women in other works, while reinforcing Harris’s theme of introspection.

The same sense of ease and comfort extends to Harris’s figures, rendered in simplified, gestural brushwork and luminous color. Whether gazing into the distance or resting with their eyes closed, they appear deeply surrendered to their surroundings. This imagined world is almost Edenic, as women recline in tender meadows, wander through lush valleys, and inhabit landscapes defined by tranquil sense of regeneration. 

Megan Gabrielle Harris (b. 1990, Sacramento, CA) received a B.A. in Art History from California State University, Sacramento. She has exhibited work with De Buck Gallery, New York, NY; PARISTEXASLA Gallery, Los Angeles, CA; Nolan House in Governor’s Island, NY; Out of Africa Gallery (OOA), Sitges, Spain; SHOWstudio Gallery, London, UK; Bonhams, Paris, FR; RBM Latitudes, Johannesburg, ZA; Christie’s, London, UK; and Unit 1 Gallery / Workshop, London, UK. In 2025 Harris completed artist residencies with the Mack Art Foundation in Greenpoint, Brooklyn, NY and Villa Lena in Turin, IT. Harris divides her time between Brooklyn, NY and Sacramento, CA.

NEW YORK — Anat Ebgi is pleased to present Tech Duinn, Ryan Driscoll’s second solo exhibition with the gallery and debut in New York and will include new oil paintings and watercolors. The exhibition is on view at 372 Broadway from May 2 through June 13 with an artist reception on Saturday May 2 from 4-6 pm.

The exhibition takes its title from Tech Duinn, meaning “House of Donn” or “House of the Dark One;” it refers to a dwelling in Irish mythology where the souls of the dead gather before passing onward to the afterlife. Driscoll’s newest works construct a self-contained mythological system that explores the mysteries of death and the realms beyond. Frontal figures of idealized bodies rendered with a disciplined smoothness recalling academic and Renaissance painting recur across the exhibition as presiding sentinel-like forms that watch over this place.

Around them, Driscoll assembles dense constellations of symbols—serpents, flames, hybrid creatures, architectural fragments, and radiant geometries—that operate with the clarity of emblems and ground his visual language. Each painting holds a fixed image, structured through symmetry, repetition, and a tightly managed hierarchy of form and color.

Driscoll’s work makes associative references to classical sculpture, devotional icon painting, Symbolist figuration and Romantic landscapes, absorbing these sources into a consistent pictorial logic. The central figure often asserts authority through scale and placement, while surrounding clusters of faces, attendant bodies, or ornamental systems compress the pictorial field around them.

Across the exhibition, Driscoll maintains a precise control of surface and finish. Figures are frequently rendered in monochrome, evoking marble or cast forms, while select elements—eyes, flames, or internal structures—are heightened through concentrated color, asserting their mythological charge and situating them within an unfamiliar non-reality. Carefully controlled light and the absence of visible brushwork stabilizes the compositions as fully resolved objects.

Driscoll’s cosmology, constructed through fragments of literature, observation of the real world, and invention from his own imagination, fits seamlessly into centuries old traditions of the occult and the mystical. Serpentine forms trace continuous paths through the compositions, linking figures and reinforcing a shared visual vocabulary. His articulation of this world—its characters, causes, and internal relations—suggest an ordered realm governed by a constant and eerie logic.

Ryan Driscoll (b. 1992, Corby, UK) received his BA in Fine Art from Camberwell College of Art, London. He has exhibited his work in solo and group presentations including at Soft Opening, London, UK; Anat Ebgi, Los Angeles, CA; STEMS, Brussels, BE; Grimm, Amsterdam, NL; and Meredith Rosen Gallery, New York, NY. In 2018 Driscoll won the British LGBTQ+ Awards Art Initiative. He held his first solo exhibition in the United States, Sigil, at Anat Ebgi and had works in the group exhibition, Eugenics in the Garden, at Tureen gallery in Dallas alongside Louise Lawlor, Terry Adkins, and Kayode Ojo among others. Driscoll lives and works in Corby, UK.

NEW YORK — Anat Ebgi is pleased to present Landscape With Legs, Janet Werner’s first exhibition with the gallery in New York, on view at 372 Broadway from May 2 through June 13. The exhibition continues Werner’s longstanding investigations in female portraiture that draw from both fashion imagery and art historical references.

On Saturday, May 2, at 4pm the artist will be in conversation with curator and writer Anaïs Castro with a reception to follow.

Werner begins a new painting by collaging two or more images culled from her vast collection of fashion magazines accumulated in her studio over the past 25 years. The juxtapositions create breaks in the image where the joined elements align or misalign; sometimes there is a vertical split, or a horizontal one, while others are altered with folds or tears. These interruptions alter the original sources radically enough for Werner to begin painting from a place of discovery, allowing her to push to new ways to investigate the narrative of the fictional portrait.

A dynamic force persists between the original images and Werner’s alterations, opening up a set of existential questions. The introduction of landscapes extends these inquiries, representing spaces that remain unknown and ungraspable. Werner stages her figures within landscapes—multiple times removed from reality—drawing on reinterpretations of Edvard Munch, Caspar David Friedrich, and Jean-Antoine Watteau. These environments share a sense of the staged, the choreographed, and the romanticised. Werner’s engagement with artifice uncovers something evasive about human psychology. 

This exhibition title, Landscape with Legs, follows a convention from art history that describes a picture’s contents in terms of the subject paired with an object (e.g., Woman with a Parrot; Boy with a Greyhound). Landscape with Legs subverts this trope, upending various hierarchies, giving figure and ground equal importance. It conjures an absurd idea of a moveable landscape that could get up and walk away if it wished to. 

Though Werner’s subjects circulate within popular media, these women are not necessarily famous, nor are the paintings intended to replicate their likenesses. While they are not invented from pure imagination, the final result is not pre-meditated either; Werner allows herself to deviate dramatically from her references in the process of painting. Werner’s paintings are layered, recording hesitation and revision, pulling figures in and out of legibility through a process of renegotiation, interruption, and accumulation. Passages of her initial drawing and underpainting, various stages of full rendering or unpainted edges remain in the final composition, leaving some air and space to breathe.

Ruffles, lace, silks of haute couture and the wild countryside filled with bramble, grasses, and riverbanks, become passages through which Werner paints toward the human interior. Attention to lips, eyes, hair, and pose may anchor the composition, while a sense of emotional truth emerges through fragile, responsive, painterly decisions. In this exhibition Werner is dealing with continuity in a new way—the exterior world and the inner world of the psyche—are combined in one image. Through undoing, dismantling, and fracturing spatial logic, Werner allows multiple moments and movements to collapse into a single, seamless image. Beginning with the collision of her found images, Werner eliminates the possibility of a singular reading, instead her paintings bare traces of contradiction and shifting subjectivities.

Janet Werner (b. 1959, Winnipeg, Manitoba) received her MFA from Yale University, after which she returned to Canada, where she taught at the University of Saskatchewan from 1987 to 1999 and Concordia University, Montréal, from 1999 to 2019. In 2019 Musée d’art contemporain de Montréal mounted a monographic exhibition Janet Werner. Previous to that from 2013-2015 a solo survey exhibition of her work Another Perfect Day, organized by the Kenderline Art Gallery, University of Saskatchewan, toured to five locations in Canada, including the Esker Foundation, Calgary; the McIntosh Gallery, Ontario; Galerie de l’UQAM, Montreal; and the Doris McCarthy Gallery, Toronto.

Recent gallery exhibitions include Anat Ebgi, Los Angeles, CA; Almine Rech, Brussels and London; Kasmin Gallery, New York, NY; Gallery 12.26, Dallas, TX; Bradley Ertaskiran, Montréal, QC; and Arsenal Contemporary, New York, NY. Her works are in the collections of the National Gallery of Canada, Ottawa; Musée du Québec, Quebec City; Musée d’art contemporain, Montreal; The Art Gallery of Ontario (AGO), Toronto; Canadian Embassy in Berlin; Mackenzie Art Gallery, Regina; Winnipeg Art Gallery, McEvoy Foundation for the Arts, San Francisco, CA; and numerous private and corporate collections. Werner lives and works in Montréal, Québec.

Anat Ebgi is pleased to announce Semblance, a solo exhibition by Los Angeles artist Jessica Taylor Bellamy on view at 372 Broadway from March 13 through April 25, 2026. This is Bellamy’s first solo exhibition in New York and third with the gallery. An opening reception will take place on Friday, March 13 from 5-8pm.

Jessica Taylor Bellamy employs elements of surrealism and pop art, composing dreamy images from fragments of mass-media clipped from newspapers, bureaucratic documents, mail, along with personal identity markers such as signatures, private letters, and fingerprints. These are layered together with hand painted imagery of luminous skylines, sunsets, and cloud formations. Working through what she describes as “trying to bridge a distance,” Bellamy’s hybrid approach examines archives and memory through their circulating physical material—keepsakes, paperwork, and photographs. Her work collapses hierarchies between thematic motifs: the mundane, the life-changing, the disposable, the human, and the symbolic within the same fuzzy field of information. 

Paper operates as a connecting line between fragility, nostalgia, and intimacy. Mining her growing archive of ephemera—newspapers, mail, handwritten notes, personal letters, checks, envelopes, diaries—Bellamy cuts, photographs, and rearranges, to create large-scale silkscreens. The screen-printed elements are then carefully layered over hand-painted passages. Each part of her paintings are rendered in oil, including the silkscreens, for which Bellamy thins her paint to an ink-like viscosity to pass through the fine mesh screen. The resulting paintings are thoughtful combinations of collaged silkscreened imagery over underpainting and layered glazes of fully rendered luminous skyscapes, where documentary fragments poetically interpose against atmospheric scenes. 

Bellamy attends to multiple meanings of “mark making” and “leaving a mark,” from the fingerprint and stamp in Forever and the floral tire tread in Wheel of Fortune: Dizzy, to the process of silkscreening, the allowance for misregistrations, and brush-to-canvas painted mark itself. She collapses multiple distinctions: between mass media and personal or private information, between mechanical reproduction and hand-painted gesture, and between depiction and representation. Viewers look through, around, and against veils of language and data as these hybrid surfaces accumulate idyllic light and textual residue; context is embedded and estranged through her process of layering, transfer, and painterly revision.

Memory is a layered field. In Forget-me-not, Bellamy overlays painted and green blossoms with silkscreened pages of a letter typed by her grandfather, recording memories of surviving the pogroms in Odessa in 1905. Other works incorporate diary entries, her father’s fingerprint from his Resident Alien card, an “Original Document” stamp, and the “Sorry I missed you” hanger, each are markers of a life and sites where memory is recorded and remade. The tangibility of these recorded memories is softened through her layering, reaching into the world of dreams. The implications of movement—the wheel turning, a door unlocking, horizons shifting—suggest that time rolls on marking each of us. The exhibition title, Semblance connotes an outward similarity—a veneer or apparent form that resembles what is expected, while the underlying reality remains different. Bellamy’s work operates within this tension between appearance and actuality, where images carry layered and altered meanings.

Jessica Taylor Bellamy (b. 1992, Whittier, CA) received an MFA from the Roski School of Art at the University of Southern California in 2022 and a BA in Political Science from the University of Southern California in 2014. Her work has been featured in exhibitions with Benton Museum of Art, Claremont, CA; Anat Ebgi, Los Angeles / New York; UTA Artist Space, Los Angeles, CA; GRIMM, New York, NY; Charlie James Gallery, Los Angeles, CA; Make Room LA, Los Angeles, CA; Superposition Gallery hosted at Ochi Aux, Los Angeles, CA; and Lyles and King Gallery, New York, NY. Bellamy is the recipient of artist grants from Los Angeles Lakers sponsored ‘In the Paint’ art program 2024-25 and LACE (Los Angeles Contemporary Exhibitions) Lighting Fund 2025. Her work is in the permanent collection of the California African American Museum, Los Angeles, CA. Bellamy lives and works in Los Angeles, CA.

Anat Ebgi is pleased to announce In the Body of Light, a solo exhibition by Mexican artist Ileana García Magoda on view at 372 Broadway from March 13 through April 25, 2026. This is Magoda’s first solo exhibition in New York and second with the gallery. An opening reception will take place on Friday, March 13 from 5-8pm.

Somatic awareness, ecological intimacy, and spiritual receptivity guide Magoda’s approach to painting and art making. Her recent paintings translate the sensations of light absorbed through the skin during preparatory sunbaths she takes as a “warm up” prior to working in the studio, part of a practice of healing and treating chronic spinal pain. The heat of the sun, the exertion of sweat, and the rhythm of breath translate into gesture and tempo, forming radiant fields of blooming color. 

Magoda’s works are influenced by seasonal cycles, Impressionist studies of light, and spiritual traditions such as Theosophy that regard the artist as medium; they speak to biological process, vision, touch, absorption, and energy. She accepts occurrences of chance marks—made by staining and spreading of material—as equal to intentional brushwork. Although her paintings have long drawn inspiration from plant life and natural environments, it is since her move to Acatitlán, Mexico, in the mountainous countryside, that her tended garden and surrounding landscape have become increasingly personal and central to the work. The tactile intimacy of gardening, with hands pressing into soil to plant, weed, and care for living matter, echoes Magoda’s use of canvas dyed with inks, whose folds, impressions, and irregularities she associates with the “scars of life.” 

From afar, fields of color cohere into luminous atmospheres; at close range, they dissolve into loam and mineral. Her intense palette of hot orange, fuchsia, and acid green registers the sensation of heat on skin, the shimmer of light filtering through foliage, and the cyclical vitality of her garden. Radiant halos of vermilion and pollen-yellow bloom through veils of moss and shadow, as dew kissed grass encases golden discs. Compositional architecture, structured around vertical stalk-like growths, fronds, clusters of blossom heads imply gravity and response to environmental forces such as wind and heat. This oscillation reflects the artist’s observation of the garden through seasonal cycles of flowering, trimming, decay, and regeneration. 

Informed by diverse art historical lineages such as spiritualist feminism, medieval visionary imagery, and metaphysical philosophies Magoda’s works resonate with the search for connection between body, environment, and consciousness. Her sensitive use of gold evokes the sacred luminosity of religious iconography and manuscript illumination, where light is rendered as a divine presence, transforming the surface into a field of spiritual radiance. In her works, surface is a record of pressure, mutability, and touch, carrying the marks of care.

Ileana García Magoda (b. 1985, Mexico City) studied Graphic Design at the National Autonomous University of Mexico, Mexico City. Magoda has exhibited her work internationally at galleries including Anat Ebgi, Los Angeles / New York; Emma Donnersberg Gallery, Paris, FR; Bernheim Gallery, Zurich, CH; Whitewall Projects, Paris, FR; EDJI Gallery, Brussels, BE; and The Black Piglet, Mexico City, MX, among others. Magoda lives and works in Acatitlán, Mexico.

LEER EN ESPAÑOL

Anat Ebgi is pleased to announce Wild Reveries, an exhibition of new paintings by British artist Jemima Murphy. This is Murphy’s first solo exhibition in New York and second occasion exhibiting with the gallery. On view at 372 Broadway in Tribeca from January 9 through February 28, with an opening reception on Friday, January 9 from 6-8pm.

Jemima Murphy’s painted fields of shifting impressions emerge from an attentiveness to the physicality of paint and rhythmic mark making. Gesturing toward the natural world, Murphy describes her works as reimagined landscapes. Her works evoke cycles of blooming, drifting, and dispersal found in the natural world, while resisting fixed and literal depictions. Instead, they propose landscapes of sensation, where touch, tempo, and chromatic intensity break open new modes of perception.

Rooted in the long lineage of British and European sensorial abstraction, Murphy employs a recurring vocabulary of brush strokes. Sheer, organic, dripping, these motifs repeat with variation across multiple canvases building expansive, porous fields. Through this process of accumulation and layering, her compositions become defined by density and motion, aligning her practice with the legacies of transatlantic postwar abstraction. 

The compositions behave like unfolding events, stages upon which innumerable gestures accumulate into dramatic, choreographed rhythms. For Murphy—who studied at the American Academy of Dramatic Arts in New York prior to completing her fine art coursework in London—the act of painting is inseparable from understanding movement. This includes the physicality of applying paint to canvas as well as the embodied movement of the viewing subject. Sweeping arcs, looping strokes, and cascading spume index the body’s velocity and the passage of time. The works in Wild Reveries retain the ‘live’ quality of performance and a character of openness, poised between the intuitive and the improvised, with marks coalescing in cloud-like congregation.

In tandem with the physicality of her medium, Murphy draws on the psychological and emotional potential of color. As a central character in these abstract dramas, color serves as emotional register and structural force. Dominant chromatic keys anchor each painting; tonal gradations of violet, ultramarine, magenta, or moss green, determine mood and atmosphere. These quite saturated passages sit, twist, and hover within translucent washes, meeting and mixing in the frothy and luminous surfaces.

Jemima Murphy (b. 1992, London, UK) graduated from City & Guilds of London Art School. Murphy’s work was the subject of a two-person exhibition Tracing organized by Anat Ebgi and Victoria Miro Projects (2025); and solo exhibitions at Victoria Miro Projects, Online (2024) and EDJI Gallery, Brussels, Belgium (2023). Group exhibitions include Coming Up Roses, Berntson Bhattacharjee, London, UK (2025); A New British Modernity, Burberry Seoul Flagship, Seoul, Korea (2024); lbf @ the lake, lbf contemporary, Muskoka, Canada (2024); Gesture & Form: Women in Abstraction, Almine Rech, New York, USA (2024); In The Know, Show, Green Family Art Foundation, Texas, USA (2024); Something Woman* This Way Comes, Patricia Low Contemporary, Gstaad, Switzerland (2024); Beautiful Twisted Mind, MINT Gallery, Munich, Germany (2023); and Beyond Figuration: Then and Now, Gillian Jason Gallery, London, UK (2023).

Her work has been acquired by various public and private collections including Midas Collection, Los Angeles, USA; Green Family Art Foundation, Texas, USA; The Nixon Collection, London, UK; and The Scalpel Building Collection, London, UK. Murphy lives and works in London, UK.

Anat Ebgi is pleased to announce Crisis Management, an exhibition of paintings by American artist Gloria Klein. This is Klein’s first solo exhibition with the gallery in New York. On view at 372 Broadway in Tribeca from January 9 through February 28, with an opening reception on Friday, January 9 from 6-8pm.

Gloria Klein’s mature works are rooted in repetition and systemic order, developed through an enigmatic and self-determined process in which repeated strokes accumulate into vibrating fields of diagonal hatch marks. She once remarked “I regard each of those hatch marks as participants, as individuals. Together they create lines. The lines then became ‘individuals’ that are part of larger patterns.” Klein’s compositions push against the limits of comfort, forming dense structures that evoke psychological or urban chaos: the jostling of bodies in a crowd, visual overload of signage, or the coded language of digital information.

Born and raised in Brooklyn amid rapid social, cultural, and aesthetic shifts, Klein first studied economics at Brooklyn College, City University of New York. This early training sharpened Klein’s sensitivity to how individual choices accrue into collective behavior, expressed later in her work through the discrete unit of the hatch mark, whose accumulation and interaction produce larger patterns and systemic pictorial effects. She subsequently attended the Brooklyn Museum School of Art and the Art Students League of New York. Building on these foundations, in 1970, with a letter of recommendation from Roy Lichtenstein, Klein enrolled at Hunter College, where she studied with conceptual artists Robert Barry and Robert Swain.

Crisis Management presents paintings Klein made in New York during the late 1980s and early 90s, a period in which her syntax expanded into the modular and asymmetrical. While her earliest hatch marks served as a type of fundamental expressive ‘unit,’ this later period of work performs a détournement—transforming the diagonal slash into optical scores of nested squares, pixelated interruptions, and sequential ornament. These works pursue order within shifting fields and interlocking grounds that refer back to modernist grids while subtly undermining their authoritative stability. Her paintings are both arresting and slow burning, grabbing viewers with their complex harmonies and sense of constant movement. Klein imparts her boisterous paintings with emotive and rational perspective, sifting through the complexity of people and society, life’s problems and solutions, movements, feelings, and experiences. 

Across the works in this exhibition we see Klein’s layering of systems become increasingly complex. Her patterns and systems also turn prepositional; compositions are superimposed upon, abutted against, and embedded within one another. Klein described her works as “pictures of the structure of reality and the structure of space,” and the works in this exhibition reveal her efforts to extend that ambition. Almost algorithmic, the works read as frequencies, digital signals, or early lines of code, yet they are charged with human irregularity.

Klein’s orientation toward understanding aggregated behavior underlies the mathematical rigor with which she allocated color, density, and interval. Klein felt that her patterns “related to the world around [her]” and articulated that they emerged from observing “systems and sub-systems in our society, and the way individuals behave in large and small groups and on their own.” Animated by analytic clarity, she noted, “I want to make visible what is already there, to bring and illuminate the underlying structure.” Her obsessive pursuit of order exposes the friction between the cool authority of a system and the messy realities of lived experience. Formulas falter and transcendental ascension through rationalism fails the stress testing of her palette and rules-based systems. Multilayering, sequencing, and interlocking thus serve as metaphors for layers of consciousness, perception, social harmony or disharmony, and for the interaction of individuals and groups in society.

Gloria Klein (b. 1936, Brooklyn, NY; d. 2021) exhibited widely in group and solo exhibitions throughout the 1970s and 80s and was actively involved in alternative art networks. She exhibited in A Lesbian Show (1978) curated by Harmony Hammond at 112 Green St. Workshop, contributed work for Heresies Magazine “Lesbian Art and Artists” issue (1977), curated 10 Downtown 10 Years (1977) at MoMA P.S.1., and was active with the Criss-Cross Art Cooperative group. Klein exhibited her work at galleries and museums including The Aldrich Museum, Ridgefield, CT; The Brooklyn Museum, Brooklyn, NY; P.S.1., Long Island City, NY; Hunter College, New York, NY; 112 Workshop, New York, NY; and A.I.R., New York, NY, among many others.

During her lifetime, Klein was awarded several awards, including artists’ residences, scholarships, and grants such as the International Women’s Year Award (1975-76); Studio Space at Vermont Studio School, Johnson, VT (1988); Honorable Mention, Turchin Center for Visual Arts, Boone, North Carolina (2005); Adolph & Esther Gottlieb Foundation Grant (2005), and Pollock/Krasner Foundation Grant (2007). Her work can be found in many private and public collections, including The Blanton Museum of Art at the University of Texas at Austin, Chase Manhattan Bank, Chemical Bank, Citibank, Lehmann Brothers Corporation, Sherman and Sterling, Swiss Reinsurance Company, and Texaco, to name a few. 

In 2024, Anat Ebgi presented the first solo exhibition of Klein’s work in Los Angeles. A forthcoming monograph on Klein’s work will be published in 2026.

Anat Ebgi is pleased to announce If Wishes Were Horses, Beggars Would Ride, a solo exhibition by Jason Bailer Losh on view at 372 Broadway from October 31 through December 20, 2025. This is Losh’s third solo exhibition with the gallery and brings together new paintings, sculptures, and video work in a site specific installation designed and built by the artist. An opening reception will take place on Friday, October 31 from 6-8 pm.

Jason Bailer Losh interweaves the legacies of high Modernism and folk art to create work imbued with nostalgia, whimsy, and formal rigor. The works seem somehow disjointed from time, appearing one moment as if they were long lost midcentury masterpieces, and the next as if they were born yesterday in his studio. Despite this, each work reveals itself to be deeply personal, rooted in Losh’s personal history and the lives of his family. 

To make his sculptures, Losh mixes fabricated and found objects, many of which were gifted to him by his sculptor father-in-law as a part of their creative familial exchange. The works are playful yet elegant, the spiritual descendants of both funky, folky artists like H.C. Westerman and austere aesthetes like Constantin Brancusi. Like the objects used in his sculptures, this unexpected mixture of high and low is also a part of his life’s story. Growing up in a working class Iowa family, his early artistic vocabulary was wholly demotic—he decided to pursue art simply because a teacher noticed that he was skilled at drawing—and was expanded to include the so-called “fine arts” only much later, when he attended college. As a result, his sculptures share equal kinship with knick-knacks and other varieties of domestic flotsam and the works of Modernist masters like Anthony Caro, who he reveres. 

Losh’s foray into painting, which he initially studied at school, springs similarly from his upbringing. In these works, Losh reproduces mid-century domestic interiors from found photographs, which he fragments, warps, and cobbles together. The living spaces are simple, the kind of middle class homes that were emblematic of the postwar American dream of Losh’s parents, the vanishing of which has been the backdrop of his life. Here, the work’s fragmentation speaks the unreliable nature of memory, both person and cultural, and the related chimeric quality of nostalgia, which lends a warm patina to the past that it might not deserve.  

There is an inescapable archetypal and folkloric quality to much of Losh’s work. His sculptures, for instance, are often totemic in their construction, and gesture ambiguously towards various ancient religious and memorial structures, which lends the works a gravitas belied by their humble materials. Relatedly, his recent paintings are populated by animal familiars—a deer, an owl, a tortoise—who seem conjured out of fairy tales. These creatures appear to act as a kind of stand-in for Losh himself, indicating a yearning to return to a mythic time that he never really knew.  

In his recent work, however, he’s been more forward-looking. He has begun to train a custom AI to produce warped, strange versions of his paintings for him, which he translates from the screen onto the canvas. In these works, Losh gives a surreal twist to his domestic interiors, suggesting a kind of dark flip side to the wistful tenor of the previous paintings. While nostalgia is poignant precisely because past remains forever unreachable, Losh suggests that as we are forced down the AI rabbit hole, the future becomes more discomfiting precisely because it is unstoppable.

Jason Bailer Losh (b. 1977, Denison, Iowa) received his MFA from School of Visual Arts, New York.His work has been exhibited at such institutions as LAXART, Los Angeles; Socrates Sculpture Park, New York; FLAG Art Foundation, New York; and Fairview Museum of Art and History, Fairview, Utah. He has had solo exhibitions at Anat Ebgi, Los Angeles; ZieherSmith, New York; and Control Room, Los Angeles. He has participated in group exhibitions including ‘Rockaway!’, organized by Klaus Biesenbach at PS1/Rockaway Surf Club, New York; ‘Soft Target’, curated by Phil Chang and Matthew Porter at M+B Gallery, Los Angeles; and ‘Building Materials’, curated by Lucas Blalock at Control Room, Los Angeles. Losh lives and works in Connecticut.

Anat Ebgi is pleased to announce Penumbra, a solo exhibition by Swedish artist Sigrid Sandström on view at 372 Broadway from October 31 through December 20, 2025. This is Sandström’s fourth solo exhibition with the gallery and presents new paintings all made during 2025. An opening reception will take place on Friday, October 31 from 6-8 pm.

Rising and dissolving like weather fronts, Sigrid Sandström’s colors pool, seep, and bleed into one another with the liquidity of atmosphere. Her elemental abstractions conjure storms, skies, seas, and celestial bodies, as she explores painting’s capacity to give form to that which is fleeting, immaterial, and beyond human scale. Working within the history of Abstraction, Sandström draws inspiration from disciplines spanning geography, sociology, and philosophy as a sustained meditation on color, gesture, and the mutable forces of the natural world.

Control and accident are structuring principals as she builds surfaces through a unification of gesture and form. Sandström’s hand is ever present; it circles, elongates, collapses, draws, washes, blends, stiffens, harmonizes, organizes, quiets, and brightens with exacting intention. Meanwhile the paint, an unruly body, stains, seeps, covers, leeches, and dissolves—soaking through the weave of the raw canvas obeying its own material laws and properties. Vapors, gravities, sensory unities, animate each composition. These are physical conditions: forces subject to absorption and dispersion, orchestrated by Sandström, pushing toward a delicate compositional balance.

Her marks emphasize fluidity, chance, and permeability. Acrylic, thinned to the consistency of watercolor, sodden the canvas while feathering at the edges. Here we discover the gravity of pigment; at times it blooms into dense knots of darkness, while at others it dissolves into vaporous veils. These variations of measured formation and collapsing loss capture the agency of the artist’s hand against the autonomy of her materials, situating the work within a lineage of movement, process, and action painting.

Planetary and geometric, a small circular motif appears across Sandström’s canvases. These small orbs—dots, discs, balls—anchor and punctuate otherwise diffuse and yielding fields. Sometimes rendered as precise red, or pale white points, the glowing orbs are interjections, dense counterweights, they serve as cosmological markers or exclamations. They suggest suns, moons, or planets, orienting the gaze in relation to vast atmospheric washes. Their recurrence imbues the work with a sense of continuity and links individual paintings to one another, to the process of looking, to cycles, to unfolding time.

Penumbra is both astronomical phenomena and metaphor. It refers to the dim, partial region at the edge of a shadow, a fading outer region, the softening boundary where light and darkness commingle. Not entirely occluded, it is relational and conditional, its presence is dependent on another body’s cast. Sandström’s paintings inhabit this zone of suspended looking, the penumbral coexistence of opposing forces, where the eye wanders along the luminous edge of dissolving darkness. 

Sigrid Sandström (b. 1970, Stockholm, Sweden) studied at Cooper Union School of Art, New York, NY (1995); earned a BFA at Academie Minerva, Groningen, The Netherlands (1997); attended Skowhegan School of Painting and Sculpture, Skowhegan, ME (2000); and received an MFA in Painting from Yale University, New Haven, CT (2001).

Residencies, grants and fellowships include Stiftung Kunstdepot Artist Residency, Göschenen, Switzerland, 2023,  Brown Foundation Fellows Program at the Dora Maar House, Ménerbes, France (2018), The 2008 Painters and Sculptors Grant from the Joan Mitchell Foundation and the John Simon Guggenheim Memorial Foundation Fellowship, New York (2008). Sandström was a recipient of a Core fellowship at the Museum of Fine Arts, Houston (2001-2003).

Sandström’s work is in the public collections of the Museum of Fine Arts Houston, Houston, TX; Moderna Museet, Stockholm, Sweden; Borås Konstmuseum, Borås, Sweden; Malmö konstmuseum, Malmö, Sweden; The Public art Agency, Sweden; Ulrich Museum of Art, Wichita, KS; Västerås konstmuseum, Västerås, Sweden, and Yale University Art Gallery, New Haven, CT.

Sandström is currently a professor at the Academy of Fine Arts, University of the Arts, Helsinki, and has previously held positions as a professor at the Royal Institute of Art in Stockholm (2010-2020) and an Assistant Professor at Bard College, New York (2005-2010). Sandström lives and works in Stockholm, Sweden.

Anat Ebgi is pleased to announce Mapping the Middle, a solo exhibition of new paintings by Los Angeles artist Erin Wright. This is the artist’s first solo exhibition with the gallery and in New York City. On view at 372 Broadway from September 5 through October 18, an opening reception will take place on Friday, September 5 from 6-8 pm.

In this focused suite, structure, surface, and perception converge in a rigorous examination of domestic architecture. Executed at near one-to-one scale and developed iteratively, each canvas builds on the last through the precise and rule-bound logic of architectural drafting. Largely evacuated of personal gesture, particular details admit moments of intimacy and observation from the artist’s daily life, her son seated at the threshold of a glass door, her wife’s bare feet standing at the top of the staircase, a neighborhood cat napping on a skylight. For Wright, ‘the middle’ names the domestic threshold, the “literal thickness where interior and exterior find common ground. At the edge of buildings, intimacy and exposure meet to form a zone of transition.”

The compositions begin on the floor as pink-pencil drawings and progress through a multilayered spray process, finished with delicate brushwork detailing. Isometric projection organizes the compositions, distinct not only for its diagrammatic accuracy, but also for its conceptual implications of non-hierarchical order. There are no vanishing points, no figures elevated above the painting’s ground. Wright articulates headers, sills, reveals, and seams with tectonic clarity. The resulting paintings are contemplative stages, neither interior nor exterior, neither fully flat nor illusionistically deep, recasting assumptions of indoor-outdoor California life as questions of domestic solitude, sightlines, and civilization’s relationship to nature. In Wright’s terms, the middle is “the threshold between dreams and things.”

Wright treats the American house as subject and instrument, drawing focus on thresholds, apertures, and finishes—tiles, blinds, curtains, skylights, stair tread. Surface is rendered with industrial calm that traces a lineage to art historical genres such as Precisionism’s measured geometries and the cool scrutiny of Photorealism. Specified materiality: woodgrain, stucco, hardware, and powder coated metal recall architectural visualization and product photography as much as studio painting. The house is a catalogue of discreet parts. Painted nearly to the edge, Wright leaves a fractional border around the compositions reinforcing the idea of the two-dimensional display. These are images as spec sheets, as propositions.

Wright’s specific color palette binds these paintings in a single climate. Blushes, warm wood, greens—bleached or rich—circulate from canvas to canvas as they shift from ornamental notation to optical field. Throughout, viewers are taken through the technologies of seeing: frames emphasize, shadows diagram, reflections and window frosting suggest filters and screens. Eschewing the heroic author, the signature mark, Wright tests how the removal of the personal gesture opens a door for projection and presence. Together, these paintings are devices for looking and reveling in the private delight it enables.

Erin Wright (b. 1990, Memphis, TN) is a painter and professor of architecture at Woodbury University. She studied fine arts at The School of the Art Institute of Chicago (BFA, 2012) and architecture at the University of California, Los Angeles (M. Arch, 2016). She is an adjunct professor of architecture at Woodbury University, Burbank, CA. Her paintings have been exhibited in numerous solo and group exhibitions at galleries including Anat Ebgi, Los Angeles, CA; MAKI Gallery, Tokyo, Japan; Sow & Tailor, Los Angeles, CA; Field Projects New York, NY; Trestle Gallery, Brooklyn, NY; Showhouse Jay, Antwerp, BE; Maple Street Construct, Omaha, NE; and Storefront for Art and Architecture, New York, NY. Her work has been featured in New American Paintings, Architectural Digest, and The New York Times. Wright’s work is in the permanent collection of the Perez Art Museum, Miami, FL and the NexAir and Wynn Infiniti corporate collection. Wright lives and works in Los Angeles, CA.

Anat Ebgi is pleased to announce A Boy That Don’t Bleed, an exhibition by Caleb Hahne Quintana. This is Hahne Quintana’s second solo exhibition with the gallery. On view at 372 Broadway in Tribeca from September 5 through October 18, with an opening reception on Friday, September 5 from 6-8 pm.

Building on earlier explorations of family, friendship, and the memory of home, A Boy That Don’t Bleed marks a turn inward in Hahne Quintana’s practice. This new body of work explores the mysteries of selfhood and the unconscious through the solitary figure of an adolescent boy depicted in repose and moments of contemplation. Where previous exhibitions bathed figures in the mythic light of radiant landscapes, these new paintings mark a tonal and formal shift, embracing a more ascetic, introspective, and somber mood.

This recurring, unnamed figure emerges from the canvases in ochre, cadmium, and umber, illuminated by light that is precise and atmospheric. A quiet tension unfolds between the drama of illumination and the stillness of introspection. Hahne Quintana constructs a world where light and shadow act as narrative forces—isolating a gesture, a shoulder, the sheen of sweat, the pages of a book. His process is deliberate and considered; each painting begins with graphite drawings, followed by gouache and wax pastel studies to refine color, scale, composition, and emotional tone.

Threaded through these quiet compositions are recurring motifs that lend the work a mythic undercurrent. Most prominent among them is the figure of a horse—a sentinel to the boy—an ancestral guide throughout his odyssey from inner awakening to self-realization. This human-equine relationship suggests a private mythology that Hahne Quintana constructs through repetition and atmosphere, something felt more than explicitly told. A chromatic thread of cobalt blue runs through the exhibition, marking the boy’s passage from scene to scene with emotional charge. Rather than presenting a fixed narrative, these works evoke a world shaped by the quiet weight of being observed, remembered, or in the process of becoming.

The title, A Boy That Don’t Bleed deepens the exhibition’s emotional terrain. Borrowed from a line in a poem written by the artist, the phrase evokes the myth of masculine invulnerability, an enduring idea that boys and men ought to remain untouched by pain or emotion. It suggests a protected state of mythic immortality, like a saint, martyr, or a dream figure. Taken together the paintings in the exhibition form a portrait of a boy suspended in interior searching, caught someplace between the light of innocence and the shadow of transformation.

 

Manos De Piedra

A body made of stone
Cracked by natures wrath
Man has his options
A fork in the path 

Soul of two birds
Salt of two seas
Blades of cut grass
A boy that don’t bleed

You asked me how I got there
But you created the ache
What good is your heart
If it does not break

– Caleb Hahne Quintana

Caleb Hahne Quintana (b. 1993, Denver, CO; lives and works in Maspeth, NY) received a BFA in Fine Arts from Rocky Mountain College of Art and Design. Recent solo exhibitions include AURORA, Anat Ebgi, Los Angeles, CA; The Earth, It Held Me, 1969 Gallery, New York, NY and The Path From Sea to Sky, The Cabin, Los Angeles, CA. Hahne Quintana’s work has been featured in group exhibitions at museums and galleries internationally, including Sean Kelly Gallery, Los Angeles, CA; M+M Gallery, Hong Kong, China; Norton Museum of Art, West Palm Beach, FL; Alexander Berggruen, New York, NY; Denver Art Museum, Denver, CO; Institute of Contemporary Art Miami, Miami, FL; Kunstraum Potsdam, Germany; Lyles & King, New York, NY;  OMR Gallery, Mexico City, Mexico; The Palazzo Reale, Milan and The FLAG Art Foundation, New York, NY. Hahne Quintana’s works are in the permanent collections of the High Museum of Art, Atlanta, GA; X Museum, Beijing; Denver Art Museum, Denver, CO; and the Institute of Contemporary Art Miami, FL. Hahne Quintana is represented by Anat Ebgi, Los Angeles / New York.

Anat Ebgi is pleased to announce Spolia, an exhibition of new ceramics and paintings by Olive Diamond. This is Diamond’s first solo exhibition in New York and second with the gallery. On view at 372 Broadway in Tribeca from June 27 through August 8, with an opening reception on Friday, June 27 from 6-8pm.

In architecture and art history, ‘spolia’ refers to the reuse of building or decorative elements from older structures in new constructions. For Diamond, the term suggests a conceptual and formal layering of memory, history, and ruin. Her paintings and ceramics draw from folklore, family history and classical painting, reassembling these references into scenes that teeter between personal and theatrical. The works conjure a world on the edge of disappearance, where past forms and figures inhabit a time-warped spectacle.

Diamond’s palette is earthbound: crimson, rust, smoky gray, mineral blue, turquoise. Mixing her own glazes, the works retain an aura of mystery, born through the unfolding process of discovery and reaction. Both glaze and paint are applied atmospherically. Tonally warm and shadowy the compositions balance order and intuition. Drips, bubbles, and pools serve as technical flourishes and metaphoric textures to explore decay, chaos, and unpredictability. Although abstract, the scenes include elements that suggest architectural structures such as columns, arches, corridors, and thresholds. Visual references recall Pompeii frescoes, Byzantine mosaics, and Romantic painting of the 18th and 19th centuries, placing the viewer in textural-grounds that evoke ruins, dreamscapes, and the residue of myth.

Diamond populates these settings with figures engaged in various actions—musicians playing instruments, children constructing towers, or couples dancing close. Recurring motifs such as curtains, arches, and centralized framing recall the proscenium stage. Chandeliers, theatrical gestures, and symbolic props reinforce themes of spectacle and artifice. The scenes in Spolia are dense and enigmatic, yet carry a sense of vitality. Rather than mourning what once was, Diamond’s immersive environments enact a psychedelic reconstruction of memory and social ritual. These constructed spaces perform a sensual disorientation where storytelling becomes a form of preservation among ruins and echoes.

Olive Diamond (b. 1998, Los Angeles, CA) graduated from Rhode Island School of Design in 2021 with a BFA in Painting and Ceramics. Diamond was awarded the 2021 Florence Leif Award and the 2020 Anderson Ranch Fellowship. Her work has been exhibited at the Fall River Museum of Contemporary Art, Fall River, MA; Anat Ebgi, Los Angeles / New York; DC Moore Gallery, New York, NY; ATLA, Los Angeles, CA; Loyal Gallery, Stockholm, Sweden; Japanese American Cultural Community Centre, Los Angeles, CA; Sow & Tailor, Los Angeles, CA; Unit London, London, United Kingdom; South Willard Gallery, Los Angeles, CA; and 1969 Gallery, New York, NY. Diamond lives and works in Los Angeles, CA.

Anat Ebgi is pleased to announce Under the Rose, an exhibition by Marisa Adesman. This is Adesman’s first solo exhibition in New York and second with the gallery. On view at 372 Broadway in Tribeca from June 27 through August 8, with an opening reception on Friday, June 27 from 6-8pm.

The seven paintings that comprise Under the Rose are an exquisite performance of dramatic tension: stillness under pressure, the moment before escape, the suspenseful beat before a trick is resolved. Adesman’s paintings represent the culmination of over two years’ worth of work. Narratively rich and formally detailed, the exhibition demands in-person viewing. Smooth and luminous, built through hundreds of layers of glazing, Adesman achieves a glass-like surface that recalls Dutch still life painting rendered with a contemporary slickness. Her obsessive technique captures hyperreal droplets of blood, stained glass, delicate petals, ripe fruit, and soft flesh with meticulous focus.

Adesman’s work draws on the tradition of Vanitas, though the logic is theatrical rather than moral. Inspired by painters such as Raphaelle Peale and informed by surrealism and ancient Greek mythology, these paintings present predicaments, tricks, and visual spells. Where there is emotional logic, Adesman manipulates expectations; where there is implicit violence, she tempers the scene with elegance. Narrative is complicated by contradiction. 

The exhibition’s title, Under the Rose, derives from the Latin phrase sub rosa, an ancient symbol of secrecy. In Roman banquets, a rose would be suspended above gatherings to signal confidentiality, a tradition later echoed in Renaissance parlors and domestic interiors. Across these paintings, Adesman transforms domestic spaces—historically associated with passivity, beauty, or feminine restraint—into a stage for private disobedience, erotic tension, and emotional precision. The rose, long a symbol of love, purity, suffering, and resistance, becomes a cipher for everything that transpires behind closed doors. These paintings are both witness and participant in a theater of secrecy, where rituals unfold unseen and beauty masks transformation.

Several works explore chaotic scenes of psychosexual fantasy and mythopoetic enchantment. Predicament Escape (2024) depicts a vase of flowers, limp, submerged, and inverted on a table top. The trapped flowers are cinched and bound by a rusted chain, dramatizing the risk of escape. Teasing release, Adesman leaves the keys in view. The composition is a spectacle of immobilization, something precious frozen in its own beauty and erotic containment. June Drop (2024) pictures two women, a glass figure cradling the head of a flesh figure balancing the surrounding chaos and subjugation with an act of healing or absolution. Adesman’s alchemic transfigurations of flesh to glass or solid to liquid situate the reality within a visionary world.

Shadows and silhouettes form a continuous motif in Adesman’s works. Mischievous agents of uncertainty, they mark unseen forces, introduce narrative action, and provide as much meaning as solid forms. A shrouded bouquet in The Turn (2025) appears to have been cut by a knife, drops of blood stain the satin cloth. This scrim forms the edge of exposure – a barrier evoking memory, traces rather than pure spectacle. We cannot be sure why things are happening, as only the partially veiled aftermath is visible. Are these acts of ritual and ceremony, or torture and mayhem? Do these figures, flowers, and fruits have their own agency, or are they subject to larger constructed natural forces? Adesman presses on the edges of fantasy, rather than escaping into it. 

Mystery and calm punctuate moments of intensity. In Tug of War (2025), Adesman reimagines the reclining nude; however, draped in heavy red fabric, the only direct form appears as a gloved hand resting on the hips. Adesman notes that such depictions of domestic life were “historically dismissed as decorative or passive,” in her reimaginings, they “serve as a stage where intimacy, power, resistance, or whatever else we are thirsty for, can play out.” From the chinoiserie to the stained glass, the decorative surfaces of the room serve as stages for these dramas and contradictions.

Elsewhere, too, the body is displaced, obscured, or vanishing. The largest canvas in the exhibition, Deadheading (2025), depicts a figure seated in midair, frozen in her transformation between flesh and molten transparency. Hidden in a doorway, disembodied hands pull a lever made of vines. Gears slip into motion. Petals drift, scissors cut, and shadows fall, everything mechanistically to plan. Adesman presents care and violence not as opposites, but as mutually entangled forces.

The exhibition unfolds like a magic trick: the pledge, the turn, and finally, the prestige. What is visible can’t be trusted. A table of preparatory drawings on translucent paper accompanies the paintings. Offering a glimpse behind the curtain of process, Adesman invites viewers to witness the illusion being constructed, even as the final result remains opaque. Glass, fabric, metal, water—her rendered materials behave less like props and more like agents, enacting states of containment and dissolution. Considered as actors, these inanimate objects flicker between feeling and function, seduction and threat, wound and surface, illusion and evidence. Adesman’s work dwells in this tension, animating a world that is both precise and destabilizing: where beauty is unstable, evidence is misdirection, and the familiar remains just out of reach.

Marisa Adesman (b. 1991, Roslyn, NY) received her MFA from the Rhode Island School of Design, Providence, RI and her BFA from Washington University, St. Louis, MO. In 2023, the KMAC Contemporary Art Museum, Louisville, KY debuted her first museum exhibition. Adesman has exhibited widely, including at the Contemporary Art Museum (CAM), St. Louis, MO; Black Mountain College Museum, Asheville, NC; Mead Art Museum, Amherst College; Amherst, MA; and Anat Ebgi, Los Angeles / New York. Her work is in public collections including Museum of Contemporary Art San Diego, San Diego, CA; and Museo d’Arte Moderna di Bologna (MAMbo), Bologna, Italy. Adesman lives and works in Chicago, IL.

Anat Ebgi is delighted to announce Love in a Mist, an exhibition by Los Angeles artist Samantha Thomas. This is Thomas’s first solo presentation in New York in over a decade and features new abstract paintings. On view at 372 Broadway in Tribeca from April 18 through June 14. An opening reception will take place on Friday, April 18 from 6-8 pm.

Samantha Thomas begins with the primary building blocks of painting: color, shape, texture, line, space, and light. Love in a Mist explores the potential of abstraction to uncover meaning and emotion suspended in color and form—be it joy, sadness, love, affection, excitement, surprise, boredom, shock, confusion, or the hidden layers of one’s own history.

Using common studio materials Thomas is ever-exploratory in her applications. She weaves, unravels, coats, folds, stretches her materials to their limits. For the woven works Thomas combines techniques of destruction and repair. Cutting away portions of stretched canvas and reweaving new threads back through; the result is sensuous and textured fiber-abstractions. For Index of Reflection, the largest painting in the exhibition, Thomas has tilted the pictorial square on its point, forming a diamond, extending the horizontal direction and potential of her threads. The work nods to modernism of Mondrian, while developing a language of color, movement, and emotional expression entirely her own.

Thomas’s prismatic woven works find their form line by line; vibrant bands of color draw the eye across the canvases, building up accretions like geological sediments suggestive of time’s passage. Primarily eschewing blacks and whites in favor of pure color Thomas makes dynamic shifts—both harmonious and unexpected. This part of the process is improvisational, guided by her sensitivity to the relationship between neighboring colors. 

Accenting the exhibition are Thomas’s monochromatic tondos from her ironically named ‘fleurs’ series. These pieces are formed by gathering the canvas into a circle of undulating folds. They appear supple, delicate, and blossom-like, yet the curving forms are solid and imposing. Ultimately minimal and precise, these are experiments in the potential of color; ruched reflections on the subtleties of shifting light and shadow; and defiantly contest the inherent flatness and regularity of canvas from which they are constructed. Spinning like celestial bodies in orbit, they allude to light sources cascading luminescence on the woven sedimentary topographies in the exhibition. 

Samantha Thomas (b. 1980, McAllen, Texas) received her BFA from the Art Center College of Design, Pasadena, CA. Her work has been exhibited in solo and group exhibitions at Anat Ebgi, Los Angeles / New York; LAXART, Los Angeles, CA; Maccarone Gallery, Los Angeles, CA; Peter Blake Gallery, Laguna, CA; and Mike Weiss Gallery, New York, NY. Thomas lives and works in Los Angeles, CA.

Anat Ebgi is delighted to announce Rendezvous, an exhibition by Polish artist Krzysztof Strzelecki. This is the artist’s second solo exhibition with the gallery and debuts a major installation of ceramic sinks, fountains, and urinals. On view at 372 Broadway in Tribeca from April 18 through June 14. An opening reception will take place on Friday, April 18 from 6-8 pm.

In his new exhibition Rendezvous, Krzysztof Strzelecki’s etched ceramics continue his cruising fantasies, shifting the settings from gardens, forests, and beaches, to spaces of urban life such as bars, parks, bathrooms, and apartment blocks. This move from more secluded landscape scenes to the public and semi-public realm opens conversations in Strzelecki’s work about anonymity, exhibitionism, codes, and euphemistic language used (historically and in present day) to hide-in-plain sight. These works explore clandestine thrills and survival tactics at the intersection of fetish and BDSM practices within urban architecture—focusing on the urinal as a vessel and site of desire.

Upon entering the gallery, visitors encounter a gleaming wall of white square tiles found in many public places from subway stations to public restrooms. Carving into these porcelain-coated tiles, Strzelecki sets the stage for the exhibition with depictions of fleeting moments. You step into a public restroom, sensing something illicit, catching a glimpse of flesh before looking away. A figure turns back to the urinal and a stall door closes, everything appears as it should be—yet lingering tensions are palpable. Rendezvous plays with ideas about the observer and the participant, unpacking queer desire through an array of public expressions.

Central to the exhibition is the motif of public restrooms, with an installation of fountain-like sinks evoking ritual cleansing, and reinterpreting biblical themes through the lens of sexuality and taboo. Water, often associated with purification, becomes both literal and symbolic. The utilitarian purpose and white-tiled design of public restrooms contrast with the layers of secrecy and erotic situations exposed by Strzelecki. His sinks and urinals (some functioning as fountains) transform the mundane and orderly into transgressive sites of convenience. The act of urination, historically associated with humiliation and fetishism, is reimagined as both a private indulgence and communal gesture, echoing the relationship between shame and liberation that defines many queer spaces.

Strzelecki, who lives in London, also drew inspiration from Victorian and Edwardian-era urinals, integrating their decorative floral patterns into these new works. Ornamental motifs—once symbols of refinement and civility—become unexpected canvases for contemporary queer narratives and recontextualize historical aesthetics. The floral elements recall an era when queerness was encoded in subtle gestures and symbols, much like the masked dynamics of cruising itself. Covert meaning and euphemism are also explored in Strzelecki’s titles and forms. Water sports, WS, or golden showers emphasize the coded ways in which particular fetishes manifest. 

Engaging with ideas about voyeurism, several works in the exhibition take the form of historic New York buildings; we glimpse scenes of private life through open windows. These works reflect on ways in which cruising has moved from public spaces into private interiors, a shift accelerated by the rise of digital cruising via the internet and so-called hook-up apps. These technological changes reshaped queer encounters, trading the risk and spontaneity of physical cruising yet, the desire for tension, secrecy, and transgression remains even in these private settings.

Strzelecki’s research for the exhibition extends into New York’s nightlife and queer coded spaces, particularly gay clubs like The Eagle, where a chain-link fence divides the urinals. The fence serves as a barrier and an invitation; bold deviants relieving themselves can lock eyes and admire each other, but the metal openings prevent direct touch. The installed works in Rendezvous mirrors this division of space, underscoring the push and pull between concealment and exposure, distance and intimacy. He invokes ‘glory holes’ as carved apertures, openings for viewers to peer into without knowing who or what scenes unfold just out of view.

Krzysztof Strzelecki (b. 1993, Świdnica, Poland) earned his BFA in photography from the University of the Arts London (UAL), Camberwell. Recent solo exhibitions include Forbidden Fruit, Anat Ebgi, Los Angeles, CA and Summer Scenes, Taymour Grahne Projects, London, UK. He has exhibited in group exhibitions including the British Ceramics Biennial, Stoke on Trent, UK; Anat Ebgi, Los Angeles / New York; Kasmin, New York, NY; Gaa Gallery, Provincetown, MA; BEERS, London, UK; JPS Gallery, Tokyo, Japan; and Taymour Grahne Projects, London, UK. His sculpture Olympia (2020), was recently acquired by the Dallas Museum of Art (DMA) permanent collection. Strzelecki lives and works between Poland and London, UK.

To be overwhelmed again and again by the duality of life. To find pain bandaging my flesh and no comfort. To realize that the only action possible is to “keep the divine vision in time of trouble.” To find a way to teach this to my body. To be neither cynical, resigned, falsely optimistic, nor lethargic. To find the well-springs of ecstasy to carry me through. To be bound faithfully to my passion and to preserve this passion and carry it every day. Not to give in and not to give up. To resist without becoming bitter. To keep leaning into the keen wind. To discard husk after husk till nothing remains but the monumental core, white as bone. To continue stretching the spirit outward from the core of the body. To gather the mantle of flesh around me, to gird my loins and stand undefeated. 

– Faith Wilding, 1977

Anat Ebgi is pleased to announce Inside, outside, alive in the shell, a solo exhibition surveying over five decades of the career of pioneering ecofeminist artist Faith Wilding. On view at 372 Broadway from January 17 through April 5, an opening reception will take place on Friday, January 17 from 5-7 pm.

This is Wilding’s third solo exhibition with the gallery and first career-spanning presentation in New York. Tracing key developments in her prolific output including historic and recent works, the exhibition illuminates throughlines in Wilding’s rich visual vocabulary that explore philosophical themes of lifecycles, openings, rebirth, emergence, growth, transformation, possibility. 

Addressing the deterioration of the natural world in her lifetime, plant life and agriculture play an important role in Wilding’s expressions of interconnectedness. Her iconography comprises shells, eggs, the cocoon or chrysalis, mermaids, “dress,” particularly armor, blood, winged insects, as well as seeds, flowers, buds, stems, branches, and leaves. 

The exhibition includes painting, drawing, watercolor, collage, papier-mâché sculptures, papyrus scrolls, alongside ephemera: notes, sketches, performance documentation, and photographs. Key bodies of work included are: Battle Dresses, works from her Scriptorium and Hildegard series, Rorschach Watercolors, papyri sculptures, alongside early and new (2024) works that combine script and image. Together the works present a fuller picture of Wilding’s continued engagement with biopolitics, spiritual exuberance, and the strength of bare emotion.

Avowed eco-feminist, Wilding emerged at the forefront of Feminist Art in Los Angeles during the late 1960s and 1970s where she gained recognition through her oft-cited contributions to Womanhouse (1972): both the performance Waiting, a 15-minute scripted monologue condensing a woman’s entire life into a monotonous, repetitive cycle of waiting for life to begin while she is serving and maintaining the lives of others, and the installation Crocheted Environment, referred to popularly as “Womb Room,” a web-like fiber installation that now resides at the Institute for Contemporary Art / Boston, brought into the collection in 1995 by then Chief Curator, Helen Molesworth and was recently installed at Haus der Kunst, Munich for the exhibition Inside Other Spaces. Environments by Women Artists 1956-1976.

Prior to her time studying at CalArts, where she was the graduate teaching assistant for the Feminist Art Program, Wilding was a student and activist in Fresno organizing consciousness raising groups with fellow student Suzanne Lacy. Over 50 years has passed since Wilding’s early years in California, this exhibition presents a fresh view of her expansive practice, interrogating societal narratives, challenging the status quo in art-making, life, and politics.

Faith Wilding (b. 1943, Paraguay) has nurtured an art and activist practice to address the deterioration of the natural world, spiritual exuberance, and biopolitics. Her experience of growing up in a pacifist commune in Paraguay (as part of the Bruderhof Anabaptists) with little contact with the outside world had a tremendous impact on her. Ecstatic childhood experiences of wild nature, studying the South American jungle forests and waterways planted early seeds that would inform her work upon arriving in the U.S. at age 18. She quickly combined these experiences with her research into connections between women and nature, examining the ecological, in-spirited philosophies of ecofeminism to bring old truths back into new vision.

Wilding has exhibited extensively since the late 1960s including museums such as The Whitney Museum of American Art, the Hammer Museum, The Drawing Center, Documenta X, Kassel, the Institute of Contemporary Art/Boston, the Singapore Art Museum, the Reina Sofia Museum, and the Centre for Contemporary Arts, Glasgow. 

A retrospective, Fearful Symmetries, traveled to five venues across the United States. Her work was also included in the seminal survey WACK! Art and the Feminist Revolution, organized by Cornelia Butler, which traveled from the Museum of Contemporary Art (Los Angeles) to the National Museum of Women (Washington DC), PS1 Contemporary Art Center (Long Island), and the Vancouver Art Gallery.

Her work is in the collections of the Hammer Museum, The Art Institute of Chicago, Institute of Contemporary Art / Boston, Minneapolis Institute of Art, RISD Museum, University Club of Chicago, Institute of Contemporary Art Miami, Los Angeles County Museum of Art and her papers were acquired by the Getty Research Institute Library.

Wilding is Professor Emerita of Performance Art at the School of the Art Institute of Chicago and taught at Cooper Union, New York University, the Woman’s Building in Los Angeles, the San Francisco Art Institute, and Carnegie Mellon University where she was a co-founder of the cyberfeminist collective, subRosa. 

Wilding’s book By Our Own Hands, catalogs this important era of experimentation and collaboration that defined west coast Feminist art during the early 1970s. Wilding was awarded a Guggenheim Fellowship in 2009 and has been the recipient of numerous grants for the past five decades. In 2014, she was awarded the prestigious Women’s Caucus for Art Lifetime Achievement Award. Wilding lives and works in Massachusetts.

Anat Ebgi is pleased to announce Phantom Light, a solo exhibition by British born, New Zealand based artist Angela Lane on view at 372 Broadway from November 1 through December 21, 2024. This is Lane’s first solo exhibition in New York City and is a continuation of her landscape paintings depicting celestial and atmospheric phenomena. An opening reception will take place on Friday, November 1 from 6-8 pm.

I want these occurrences to be mostly believable, but I don’t let science or truth get in the way. I enjoy how the process of painting takes me on a journey and that these real and unreal phenomena have the freedom to be something else that can’t quite be pinned down. — Angela Lane

Angela Lane is a representational painter of diminutively scaled, robust landscapes, interpreted during moments of miraculous cosmic and celestial events. Drawing from historical accounts, folkloric tales, descriptions of apocalyptic imagery, as well as her own life and imagination, Lane’s landscapes are rooted in humanity’s innate fascination with the heavens. Her work finds a fruitful dialogue with art historical traditions that extend back centuries, from the allegorical landscapes of German Romanticism to Enlightenment era paintings and etchings that recorded astronomical discoveries within emergent fields of natural science. Void of reference to human impact, nary the remnants of a people left behind, Lane concentrates the focus on our own perceptions and interpretations of these luminescent mysteries; as viewers we are not represented in these scenes because we are witnesses to them, these visions, our own. 

Lane’s hypnotic subjects vary between the real, the imagined, and the unexplainable. While some titles such as Diamond Dust or Autoluminescence name specific phenomena, acting as a sort of index of these rare mirages, others such as Transmission or Time Lapse function descriptively, evoking poetic impressions and essences. The specific choice of material and scale is as equally considered as the ephemerality of her delicate pictures: oil applied to birch plywood panels, floated in dark walnut artist frames at the scale of a postcard, asserting the primacy of their objecthood.

Looming vaporous rings, gleaming spectral halos, and bending arcs of light capture the drama and spectacular mystery of nature. Lane grounds the works with a compact potency, the solidness of earth, the anchoring weight of gravity—snow capped mountains, fecund marshes, and expansive verdant hills. One might feel the measured passage of time in the vast and open quiet pictured here. Observing a glint of moonlight on the pond or a gust of wind rustling the leaves assures you are awake. Then something happens, something that can’t exist, something requires you to suspend your understanding of order in the universe, to question that it could exist, to permit yourself this openness is electric. 

Angela Lane (b. 1974, United Kingdom) made her American debut in 2022 with a solo exhibition Beside the Sun at Anat Ebgi, Los Angeles, CA. Phosphene, her first solo exhibition in a public institution took place in 2023 at City Gallery Wellington in the capital of Aotearoa New Zealand. Her work has been included in group exhibitions since then at Nicodim Gallery, Los Angeles, CA; Meyer Riegger, Berlin, Germany; and Cob Gallery, London, UK. Lane lives and works in Raumati, New Zealand.

Anat Ebgi is pleased to announce No Endings for the Wild, a solo exhibition by American artist Jenny Morgan on view at 372 Broadway from November 1 through December 21, 2024. This is Morgan’s first solo exhibition with the gallery and presents new oil paintings made during the last year. An opening reception will take place on Friday, November 1 from 6-8 pm.

Morgan’s idiosyncratic paintings embrace varying tropes of portraiture from the classical reclining female nude, to more conceptual approaches such as those explored in The Shadow’s Exquisite Game and The Descending. Each depicts a shadowy figure on a staircase—part impression, part silhouette. The pair were painted in discrete sections working from the bottom of the canvas up to the top, segmenting the painting step upon step, until the picture emerged wholly as a visual and metaphorical depiction of ascendance. 

The eye, a carefully rendered and recurring motif in the exhibition, alludes to the idea of the witness, careful observers, and the self—the “window to the soul” or inner worlds. Chalky blue, the portrait of a woman in Visitor is surveilled by a mysterious planchette, a shard of all-seeing glass cutting through her solitude and singularity. Statuesque, draped in gauzy green, The Patron locks eyes with the viewer, her expression stern, she stands almost accusatory. Morgan breaks apart the reality of her solidness with the left hand which seems to be melting or melding into her sheer dress. Ominous or omniscient, Watcher disrupts the realism of “portraiture” to a pair of eyes—one hovering above the other. These oculi ebb in and out of the painting’s ground, which Morgan has built up into a foamy viridian haze; in this and many other works Morgan adds and removes pigments which seep through to the fore, playing with each painting’s depth of field, evoking impermanence.

There is a razor’s edge quality to the calm precision of Morgan’s deliberate brush stroke, which can be quick and expressive as well as invisible and exact. She introduces texture and rhythm with some subjects rendered solid inhabiting real space, while others rise in and out of focus, occasionally merging with their surroundings—whether wood grain, draped fabrics, or fine-haired furs. Subtle interruptions in continuity occur in works such as Sleep Study, which is bisected by the seam of two canvases sutured together. Or a spiral stitched into the canvas of The Shadow’s Exquisite Game as a weird magical symbol, an opening, a moving through something. 

No Endings for the Wild is a personal idiom, coined by the artist, which puts a positive play on the expression “no rest for the wicked.” The phrase relates to the dualities of wild, animal, and embodied experience of being alive in relation to the spiritual, ephemeral aspects of our nature. Hypnotic and euphoric, Morgan’s paintings oscillate between the personal, the iconographic, and the epic; situated in a lineage of historical portraiture, she captures the ritualistic moment, the root connection between artist and muse.

Jenny Morgan (b. 1982 Salt Lake City, UT) holds a BA from the Rocky Mountain College of Art and Design, Denver, CO and an MFA from the School of Visual Arts, New York, NY. Her first solo museum exhibition Skin Deep with the Museum of Contemporary Art Denver took place in 2017. Morgan has had solo exhibitions in New York, London, Colorado, Utah, and New Mexico. Her work has been included in numerous group exhibitions including Summer Lovin’ at Stems Gallery, Paris, France; Corpo e Mente at LVH Art, Venice, Italy; If you forget my name, you will go astray at Anat Ebgi, Los Angeles, CA; and Women of Now at the Green Family Art Foundation, Dallas, TX. Her work is in the permanent collections of several public museums including Denver Art Museum, Denver, CO; Institute of Contemporary Art Miami, Miami, FL; Purdue University Art Gallery, West Lafayette, IN; Museum of Contemporary Art Jacksonville, Jacksonville, FL; Muskegon Museum of Art, Muskegon, MI; UNiversity of Maryland’s Stamp Student Union Art Collection, College Park, MD; New Mexico State University, Las Cruces, NM; and Flint Institute of Arts, Flint, MI. Morgan lives and works in Brooklyn, NY.

Anat Ebgi is pleased to announce Tina Girouard: I Want You to Have a Good Time on view at 372 Broadway from September 6 through October 19. This is Girouard’s second solo exhibition with the gallery and features re-staging of a historic performance Sound Loop (1970), video documentation, and artworks created during the same period. An opening reception will take place on Friday, September 6 from 6-8 pm. 

 SOUND LOOP  PERFORMANCE SCHEDULE 

Tyler Coburn: Saturday, September 14, 5pm
Erin Leland: Saturday, October 5, 2pm
BDGTA (Ken Castaneda): Saturday, October 12, 11am

Centered around the re-performance of Girouard’s Sound Loop from her Time and Distance series (1970), the exhibition brings together early works by the artist to examine her use of layering, seriality, language, and performance as an approach to world building. Sound Loop features a single performer speaking into a microphone to record sequences of numbers, words, and phrases on a tape loop. The recording process continues as the multiple re-recordings progressively layer on top of each other until they are rendered an undistinguishable density of aural space.

Two drawings both made in 1974, Live Body Beat and Sound Loop, show the ‘score’ for these earlier performances. Each offers a history as well as a set of instructions which, in Girouard’s words, “enable others to repeat the performance.” Her approach to performance frequently left certain choices of interpretation or engagement up to others. Throughout her life she worked in-collaboration, relying on feedback, participation, and cooperation. Girouard seeds our fantasies and visions, creating conditions for art-encounters.

Playful and spirited, I Want You to Have a Good Time highlights the ways in which Girouard’s practice is counterpoint to the dry and self-serious conceptualism and experimental forms of the 1970s. The exhibition includes rarely exhibited video and photographic documentation of Girouard’s performances from this period. Game-like, Girouard’s practice establishes a framework for discovery. Her open structures allow and even encourage performers and collaborators to take the wheel, to bring in their own experiences and ideas, to add-on and build a world of exploration together. 

Moving between genres and geographies, Tina Girouard (1946 – 2020) invested objecthood with meaning through ritual, performance, role-playing, and community participation. From the 1970s until her death, she played a galvanizing role in the founding and development of a range of alternative art organizations, including the Anarchitecture Group, the interdisciplinary cohort of 112 Greene Street, FOOD restaurant, The Kitchen, P.S. 1, the Festival International de la Louisiane, and as a collaborator in artist communities in Louisiana, New York, and Haiti.

Girouard’s first comprehensive retrospective SIGN-IN is currently on view at the Center for Art, Research, and Alliances (CARA) in New York, from September 21, 2024 – January 12, 2025 after debuting at the Ogden Museum of Southern Art, New Orleans. SIGN-IN was researched and organized by Rivers Institute for Contemporary Art & Thought, curated by Rivers Founding Director and Chief Curator, Dr. Andrea Andersson, and Rivers Curator, Dr. Jordan Amirkhani.

Girouard’s extensive exhibition history includes a 1983 mid-career retrospective mounted at the Rufino Tamayo Museum in Mexico City, and international events such as the 1980 Venice Biennale, the 1977 Paris Biennale, 1977 Documenta VI and 1972 Documenta V, Kassel. Her work was exhibited widely at galleries and museums including: Leo Castelli Gallery, The Kitchen, Walker Art Center, New Orleans Museum of Art, Museum of Contemporary Art Chicago, Palais des Beaux-Arts Brussels, Holly Solomon Gallery, David Zwirner, the Museum of Contemporary Art Los Angeles, and the New Museum.

In 2019, Anat Ebgi presented the historic restaging of her most important performances Pinwheel (1977) in curatorial partnership with Lumi Tan and The Kitchen, NYC for the inaugural Meridians sector at Art Basel Miami Beach. The following year (February 2020), A Place That Has No Name: Early Works, the first solo exhibition of her work in Los Angeles took place at Anat Ebgi, the last presentation of Girouard’s work prior to her passing.

Girouard was featured in the exhibition With Pleasure: Pattern and Decoration in American Art 1972 – 1985 curated by Anna Katz, originating at MOCA Los Angeles, which traveled to the Hessel Museum of Art, Bard College, NY. Girouard’s work is in the permanent collections of the Hessel Museum of Art, Center for Curatorial Studies, Bard College, Annandale-on-Hudson, NY; Institute of Contemporary Art Miami, Miami, FL; Institute of Contemporary Art, University of Pennsylvania, Philadelphia, PA; Ludwig Forum fur International Kunst Aachen, DE; Rufino Tamayo Museum, Mexico City, Mexico; and Stedelijk Museum Actuele Kunst, Gent, Belgium.

Anat Ebgi is pleased to announce Amie Dicke OPEN ARMS on view at 372 Broadway from September 6 through October 19. This is Dicke’s fourth solo exhibition with the gallery and debuts works from her sandpaper abrasions and cosmetics series made during the last year along with a new installation of her ‘sugar books.’ An opening reception will take place on Friday, September 6 from 6-8 pm. 

An artist talk with Barry Schwabsky will be held at the gallery Saturday, September 7th at 5 pm.

Amie Dicke is an image defacer. Her interventions dissolve, blot, and distort the appearance and surface of her source material. Her intuitive and judicious destruction directs our focus to specific off-beat details, such as a gap between the legs, or a lumpy bedspread. An acute observer, she hunts, seeking a surprising, around-the-back approach. Relying on guts and intuition, she detects some underlying possibility in an image that she can alter, erase, subdue or enhance resulting in a new picture, with new stability achieved through the conflict and balance of slippery forces.

Whether caked with lipstick or liquid foundation, or brutally buffed away with sandpaper, Dicke’s process is located in responding to something emotional and raw she finds in her imagery sourced across different genres, from fashion magazines to Bauhaus catalogues to art historical painting. Muse and victim, Manet’s Olympia acts as the substrate for Dicke’s Nude (2024). The icons are inflicted with traces of Dicke’s bodily action, her sandpaper abrasions scar the surface-image—removing the famous reclining nude and servant figures. A chorus of rubbed marks echo the animated flicker of Jasper John’s cross-hatching or the sense of violation evoked by Lucio Fontana’s slashed monochromes. 

The installation of ‘sugar books’ strips the objects of their legibility, covering each in sugar granules to conceal their contents. Now blank, blanketed, the pages are nullified spreads: glistening, immaculate, white, tactile, functionless. Dicke has explored sugar as a material throughout her career, beginning with How sweet is the space between my legs? (2000), where she cast the negative space between her legs in marzipan and sugar. Drawn to its transitory qualities, that it can dissolve, melt, or harden, it is also consumable and digestible. Once ingested, sugar assimilates itself into the body, entering the bloodstream; eat too much of it and you will bear the consequences. In the gallery, the splayed pages appear raw, almost excavated, elemental, reduced to an essential nature; they await transformation.

Dicke’s work is characterized by a desire to crystalize an intimacy through close looking, to break free of preconceptions. Through small repeated gestures of deconstruction, she believes something emerges, sometimes softer, sometimes sharper. Her deletions create space and distance, to observe with newfound physicality and presence. 

Amie Dicke (b. 1978, Rotterdam, Netherlands) rose to prominence in the early 2000s after a period of living and working in New York City, where she literally defaced the advertising imagery of Madison Avenue, obscuring the features of famous models and driving nails through glossy publications. Some of these publications subsequently commissioned Dicke to contribute to their pages including Vogue, Numero, V Magazine, and Visionaire.

Since then, Dicke has exhibited her work internationally in venues such as Schirn Kunsthalle, Frankfurt, Germany; Tate Modern and Project Space 176 in London; FLAG Art Foundation, New York; Art Centre Silkeborg Bad in Denmark; and Anat Ebgi, Los Angeles, CA. Recent solo exhibition history includes: Centraal Museum at Landhuis Oud Amelisweerd, Utrecht, Netherlands; EENWERK, Amsterdam, Netherlands; ONE-LINER, Anat Ebgi, Los Angeles, CA; GEM Museum of Contemporary Art, The Hague, Netherlands; and Hiromi Yoshii Gallery, Tokyo, Japan. Her work is included in several major collections including Gemeentemuseum The Hague, Collection Rob Defares, Direct Art Collection, the Zabludowicz Collection, Collection Rik Reinking, Takashi Murakami and the City Collection of Rotterdam through the Museum Boijmans van Beuningen. Dicke lives and works in Amsterdam, Netherlands.

Anat Ebgi is pleased to announce Mama’s in the Kitchen, on view at 372 Broadway, New York City from June 28 through August 16. An opening reception will take place on Friday June 28 from 6-8pm.

The exhibition features works by a multi-generational and international group of artists including: Jay Lynn Gomez, Caleb Hahne Quintana, Stephanie Temma Hier, Ryan Johnson, Alison Knowles, Tidawhitney Lek, Jaime Muñoz, Alvin Ong, Kate Pincus-Whitney, Rirkrit Tiravanija, Kemar Keanu Wynter, and FOOD: Tina Girouard, Carole Goodden, and Gordon Matta-Clark.

Mama’s in the Kitchen focuses on the ways in which domestic labor and care can be radical acts in our hyper-capitalist modern culture, which typically undermines the significant role of the rituals of the home. The artists and works included seek to understand how the domestic environment and the care performed within, are shared between cultural identity, generational tectonics, and the gesture of community building. Complex notions of home and its psychic space as sites of protection and trauma complicate the singular definition of domesticity and the politics of care.

Anat Ebgi is pleased to announce Tammi Campbell: As Long As It Lasts on view at 372 Broadway from May 3 through June 21. This is Campbell’s second solo exhibition with the gallery and presents new paintings and sculptures. An opening reception will take place on Friday, May 3 from 5 – 8 pm. Curator and writer, Linda Norden will join the artist for a walk-through of the exhibition at 5pm.

Pushing her practice of replication, wrapping, desire, and deception, Campbell again dons the art historical canon as armature and challenge for As Long As It Lasts. For the first time she presents a diminutive and suggestively re-scaled Lawrence Weiner, the “unmade” date paintings of On Kawara, and a fallen column of stacked Empire Bricks by Carl Andre. Taking from her decentered feminist lens perspective, Campbell’s work notes how totemic male artists dominate institutional, collection, and market narratives despite decades of powerful waves of decolonization and feminist critique.

Starting with an extensive research period bordering on forensic, she dives deeply into the materials and processes of the artist she decides to appropriate. Her ‘recreations’ of Kawara’s Today series anticipate the city where he was originally traveling based on available data in catalogues and archives. Then making her best guess, Campbell fills in only the unaccounted for dates when Kawara did not complete a painting. Her paintings are, of course, paintings. The newspapers lining the boxes are also entirely constructed of paint, and the boxes, though made from a white matboard substrate, have been painted to recreate the look and texture of book board that Kawara used to contain his date paintings.

Campbell’s expression rests between several moving points. The gesture of selection, our recognition of these works and their original contexts; the viewer’s suspended state of anticipation waiting for the work to be unmasked; and the caveat that the entire work is a trompe l’oeil illusion. She withholds and repackages the readymade of Modernism itself. 

Her technical ability to simulate packing materials, including bubble wrap, tape, and cardboard, and now for the first time sheets of foam, through ingenious combinations of acrylic paints and mediums is alchemical. Each element is obsessively considered. Campbell will go as far as mimicking processes of time, foxing, and sun fading before she proceeds to the final step: the wrapping. Baldessari’s Pure Beauty, Warhol’s Double Elvis, and Ruscha’s text drawings are now held in plastic and swaddled in foam sarcophaguses. Transformation too, is continuously in play. She reverses course with Twombly’s oil and white wax crayon “chalkboard” painting, rendering her replication in actual chalk on blackboard.

Campbell’s appropriative practice comes out of a lineage of artists, such as Sturtevant, Sherri Levine, and Louise Lawler, who have employed appropriation to compelling ends. There is a nod to institutional critique in the desire to literally “package up” and put away these works into storage to make room for women or lesser recognized artists, while simultaneously unable to escape the visibility of the canon. Cheekily, Campbell’s works raises questions about institutional structures, the canon, and systems of invisible labor used to validate those histories.

Tammi Campbell (b. 1974, Calgary, Alberta) received her BFA from the University of Saskatchewan, Saskatoon. Recent solo exhibitions include Exactly Wrong, MAKI Gallery, Tokyo; Boring Art, Anat Ebgi, Los Angeles, CA; and On View, Blouin Division, Montréal, QC. Campbell has also exhibited her work across Canada and the U.S. including Arsenal, New York, NY; Gavlak, Los Angeles, CA; Remai Modern, Saskatoon, SK; Vancouver Art Gallery, Vancouver, B.C.; and the Galerie de l’UQAM, Montréal, QC. She participated in the Canadian Biennale 2014 at the National Gallery of Canada, Ottawa, ON, as well as the 30th International Symposium of Contemporary Art of Baie-St-Paul. Campbell’s work is in public collections including the National Gallery of Canada, Ottowa, ON; Musée des beaux-arts de Montréal, Montréal, QC; MacKenzie Art Gallery, Regina, SK; Remai Modern, Saskatchewan, QC; The Aïshti Foundation, Jal El Dib, Lebanon; Royal Bank of Canada Financial Group, Toronto, ON; Toronto-Dominion Bank Group, Toronto, ON; and National Gallery of Canada/Musée des beaux-arts du Canada, Ottawa, ON; among others. Campbell lives and works in Montréal, Quebec.

Anat Ebgi is pleased to announce Greg Ito: Sink or Swim on view at 372 Broadway from March 20 through April 25. This is Ito’s first solo exhibition in New York and presents an installation of paintings and a large sculpture. An opening reception will take place on Wednesday, March 20 from 6 – 8pm.

Up to their necks in water, visitors wade into an immersive panorama of unfolding disaster. Extending the drama of Ito’s pictures into space, a golden shark has made its home in the flood waters. Submerging the gallery in rising tides—of fear, precarity, and hardships—he sets the stage of a chaotic, but ultimately dreamy catastrophe. In a final gesture of hope for rescue, a doomed someone tosses out a message in a bottle.

Precision and a steady hand guide Ito’s painting process. His simple iconography is intricately rendered by hand in carefully applied layers of off-the-shelf house paints. The resulting paintings are simultaneously complex, flowing with color, syncopated rhythm, structure, and intensity. Absent brushstrokes, he embraces the flatness and sleekness of storybooks and computer graphics in a tradition hearking back to Pop art’s incorporation of industrial and advertorial strategies as critiques of consumer culture and the capitalist doom cycle. Lurking below the surface, a sculpture of a shark emerges from the gallery floor. Greatly feared, the creature must continuously swim to pump oxygen into its gills or it will die; Ito’s shark seems required to feed on gold coins.

The domestic scenes of Ito’s paintings are dense with rich imagery: objects left behind in the dash to higher ground, personal effects that nod to Ito’s heritage such as kokeshi dolls and his family crest, to starfish creeping up the wallpaper, oblivious to the disaster which brought them to their new home. Chrysalises, figurines of deer, a choo choo train, juxtaposed by floating pill bottles and liquor bottles are suggestive of innocence and its loss. Folding the autobiographical into the universal, Ito’s recurring motifs speak to his experiences as a new father—watching his young daughter grow up, pondering uncertainty about the world she will inherit, and how to persist through life’s many challenges in the face of crippling doubt.

Central throughout Ito’s work is the dual nature of life: ups and downs, rebirth amidst destruction, order and disorder. Equally nightmarish and dreamy, in an arched painting, Ito has placed a miniature landscape, composed like a still life of mushrooms, poppies, and mounds of earth, the ecosystem in miniature rests atop the bureau. Nature’s unstoppable forces encroach, against all obstacles the will to thrive persists. The gallery, the paintings on the wall, and the visitors to the exhibition are tossed into the melodrama of Ito’s shark infested waters. The provocation is uncomplicated but profound, engulfed by water, will we sink or swim through the inexorable tide of existence?

Greg Ito (b. 1987, Los Angeles, CA) earned his BFA from San Francisco Art Institute. His work has been exhibited widely in solo and group exhibitions including at Institute of Contemporary Art, San Diego, CA; Long Beach Museum of Art, Long Beach, CA; Maki Gallery, Tokyo, Japan; Anat Ebgi, Los Angeles, CA; SPURS Gallery, Beijing, China; Lyles and King, New York, NY; Jeffrey Deitch, New York; NY and Yerba Buena Center for the Arts (YBCA), San Francisco, CA. Ito’s work is included in the permanent collections of public institutions including the Hammer Museum, Los Angeles, CA; Crocker Art Museum, Sacramento, CA; Institute of Contemporary Art Miami (ICA Miami); K11 Art Foundation, Hong Kong; and the Los Angeles County Museum of Art (LACMA). Ito lives and works in Los Angeles, CA.

Opening Friday, January 19, 6-8pm Anat Ebgi is pleased to present The First Taste, the inaugural exhibition at 372 Broadway, New York, NY, our new gallery in Tribeca. With works from 34 artists in a wide range of media, the exhibition highlights the breadth and scope of artistic practices represented in the gallery’s roster.

Featuring works by: Marisa Adesman, Martin Basher, Jessica Taylor Bellamy, Tammi Campbell, Amie Dicke, Alec Egan, Alannah Farrell, Tina Girouard, Caleb Hahne Quintana, Elias Hansen, Jibade-Khalil Huffman, Greg Ito, Gloria Klein, Angela Lane, Tidawhitney Lek, An Te Liu, Jason Bailer Losh, Jane Margarette, Jenny Morgan, Jordan Nassar, Soumya Netrabile, Joshua Petker, Kate Pincus-Whitney, Neil Raitt, Robert Russell, Sigrid Sandström, Krzysztof Strzelecki, Jay Stuckey, Samantha Thomas, Fabian Treiber, Sarah Ann Weber, Janet Werner, Cosmo Whyte, and Faith Wilding

For Krzysztof Strzelecki’s gymnasium series, the ceramics take the form of boxing gloves, free weights, and kettlebells. Instead of numbers, the weights bear words such as the bodily (Cum and Jizz); roles and types (Daddy’s Boy, Twink, Slut); and commands (Fuck Me, Eat It). The artist says that in the gym “straight men, who would never consider themselves as part of queer identity, become assimilated into gay men’s imagination. Here, macho men are watching their reflections in the mirror, checking every part of their posture and development, while simultaneously inviting other gym members to admire their body.” Here the cruising fantasy of the gym comes to life, in particular on the kettlebells, where Strzelecki has realized scenes of men wrestling, embracing, fucking, and working on their physique.

Krzysztof Strzelecki (b. 1993, Świdnica, Poland) earned his BFA in photography from the University of the Arts London (UAL), Camberwell. Recent solo exhibitions include Forbidden Fruit, Anat Ebgi, Los Angeles, CA and Summer Scenes, Taymour Grahne Projects, London, UK. He has exhibited in group exhibitions at Anat Ebgi, Los Angeles, CA; Gaa Gallery, Provincetown, MA; BEERS, London, UK; JPS Gallery, Tokyo, Japan; and Taymour Grahne Projects, London, UK. Strzelecki will present sculptures in forthcoming group presentations later this fall at Kasmin, New York, NY and at the British Ceramics Biennial, Stoke on Trent, UK. His sculpture Olympia (2020), was recently acquired by the Dallas Museum of Art (DMA) permanent collection. Strzelecki lives and works between Poland and London, UK.