Jeffrey Meris, installation view, 2021 (Three sculptures are installed on the floor: two sculptures on the left side of the room and one on the right. On the walls there are seven paintings: two paintings are installed on the left wall, three on the back, and two on the right.)
January 12–March 6, 2021

Jeffrey Meris
Still Standing
Gallery interior with a white column. Three wall-mounted mixed media collages and three clothed mannequins are visible.
March 23–May 15, 2021

Gerald Jackson
Katya Tepper, installation view, 2018 (A close-up view of Gaping Candle Tripod, focusing on a detail of one of the rib-like structures. There is a broken brick attached with yellow epoxy to a piece of plywood that is similarly shaped. The hole of the brick is filled with wax and a wick coming out the center it.)
September 27–December 15, 2018

Katya Tepper
Anne Minich, installation view, 2020. (A section of a room with five works installed- three on the right wall and two on the left wall. Many of the works break the conventional rectangular format and incorporate or are entirely made of altered found objects.) 
January 23–March 7, 2020

Anne Minich
Installation view: Maya Stovall LUX (A large room with three white columns in the center and two archways dividing up the back wall. Several illuminated neon signs with four numbers each are installed in rows along the walls: one on a wall behind the right archway, four on the wall with archways, and four on the wall to the right. All electrical wires are visible and there is a large electrical transformer resting on the floor in the middle of each wall. Postcards on stands are installed on the left side of the room.)
September 22–December 12, 2020

Maya Stovall

LUX
Michael H. Shamberg Install 7
April 24–June 2, 2018

Michael H. Shamberg / Archive
Beau Dick, installation view, 2019 (Installation view of Winalagalis (War Spirit) Puppet sitting on a white folding chair facing a TV monitor with static in the foreground. Right behind the TV the back of Beaver in a Hudson Bay Bag, is visible on top of a pedestal. Installed in the back wall are the masks titled Bookwus, Noohlmahl (Fool Dancer), and Rich Woman from left to right. In between Noohlmahl (Fool Dancer), and Rich Woman the piece Copper ingot and document is installed on a pedestal.) 
March 16–May 4, 2019

Beau Dick

Devoured by Consumerism
Ed Baynard, installation view, 2019 (View of one painting on a back wall and four paintings on the right wall. All paintings are Untitled. The painting in the back wall is a depiction of an orchid dynamically stretching. The flowers are all the way in the top right corner of the painting whereas the leaves and the pot are closer to the bottom right. The pot is placed on a black table. The four paintings on the right wall are all watercolor depictions natural scenes in the silhouette of vases. In the painting to the far right, there is a frog jumping placed outside the silhouette.)
June 27–September 7, 2019

Ed Baynard
Paul Bloodgood, installation view, 2018 (Eight works of varying sizes installed around the corner of two walls: three on the left wall and five on the right. With the exception of the text collage on the far right, all the works pictured consist of abstract paintings.)
June 29–September 15, 2018

Paul Bloodgood
Esteban Jefferson, installation view, 2019-2020 (Another installation view of the gallery with the faux marble floor. Three paintings are installed, Entrée on the left wall, Collections Permanentes on the right, and Gratuite on the furthest back wall. Gratuite depicts a closer view of the bust of the Black figure in a head wrap from Entrée placed on the visitors service desk of the Petit Palais museum. Behind the bust is a security officer at a computer. Raw, unpainted canvas boarders the image on the left, right and bottom edges, with graphite outlines implying columns and signage. Again the bust and the guard's face are meticulously rendered, while the rest of the space and objects in the painting are only implied by sketches and patches of soft pink, sienna, or dark umber.)
November 14, 2019–January 11, 2020

Esteban Jefferson

Petit Palais
HEALING ARTS!, installation view, 2019 (A view of a gallery with three white columns down the middle. Between the columns are two vitrines. In the background on the walls is a whimsical installation of various artists’ works on paper. The works on the walls are organized by artist, with each artist showing four or five works grouped together in a row and bordered with a brightly colored line, such as yellow, green, or pink. These groups are installed in a playful manner and are connected by lines of the same color. Many of the works are figurative in nature and utilize bright colors.)
September 24–November 2, 2019

HEALING ARTS!
Work from the archives of Healing Arts Initiative
Sam Gordon, installation view, 2015
June 11–July 25, 2015

White Room: ‘#FFFF (Five Fragments For Feature)’

An installation by Sam Gordon
Wilder Alison, installation view, 2019-2020 (View of a gallery with three white columns down the middle. On the walls in the background there are eight large rectangular, vivid paintings on wool: three paintings installed on the left wall and five on the right. In the foreground of the image in the left lower corner is a partial view of a long table on which similarly formatted and patterned but much smaller works on paper are laid out in groups. All the paintings are made of dyed substrates that have been cut and re-sewn resulting in seams dividing their landscape orientation surfaces into triangles and rhombuses. The sharp cut off of color at the seams are contrasted by the organic faded edges of the dyed colors.)
November 14, 2019–January 11, 2020

Wilder Alison

Slit Subjects