White Columns Online:
‘El que busca, encuentra…y sigue encontrando’
curated by Danny Baez

September 22–December 12, 2020 Online
Four teal leaves folded over a wooden lattice.

Nadia Ayari
Fold 7, 2018
Oil on linen
60 × 60 in.
Courtesy of the artist and Taymour Grahne Projects.

A room filled with seventeen life size cutout paintings of people wearing white sneakers. The cutouts are free standing and placed upside down.

Claudia Bitran
White Shoes, 2018
Acrylic and latex on MDF
Courtesy of the artist.

A black figure outlined in white with eyes all over its face and a beak-like mouth wears a bowler hat, a shirt and a tie. It radiates bright blue, red, yellow and orange colored outlines.

Noah Lyon
Inside The Rainbow, 2018
Oil pastel on canvas
Courtesy of the artist.

A highly stylized figure with magenta skin wearing red heels and a green dress steps out of a car and onto a red carpet.

Adam Linn
Red Carpet Ready (An Entrance), 2018
Colored pencil, china marker and acrylic on mylar
36 × 42 in.
Courtesy of the artist.

Patchwork style carpet forming a double pointed arrow shape. Patterns on the carpet are arranged to suggest multiple interior and exterior spaces.

August Krogan-Roley
Ates, 2016
carpet collage on vinyl
46.5 × 36.5 in.
Courtesy of the artist.

An arm with a cartoonishly large hand wearing a ring on its index finger reaches out from a bush and into a window, out of which a tiny tiger leans.

Shinichi Imanaka
Ring and Tiger, 2018
Oil and acrylic on canvas
64 × 52 in.Courtesy of the artist.

Several abstract organic shapes filled with bright shades of yellow, pink and blue are surrounded by dark lines and patches of negative space filled with teal.

Annette Hur
Lure, 2019
Oil on canvas
60 × 51 in.
Courtesy of the artist.

A line drawing of a child with a dot on their forehead wearing a tank top and a skirt and posing at the bottom of a staircase.

Xinyi Hu
Memories Are The Only Things That Help Me Make Meaning Of Anything, 2016
Ink on Paper
22 × 30 in.
Courtesy of the artist.

A cropped face above which a spike of wheat hangs. Behind it a line drawing of another face is visible.

Beatrice Lettice Boyle
In Goddess We Trust, 2018
Oil and pastel on heavy woven linen
12 × 10 in.
Courtesy of the artist.

A black canvas with two horizontal strips partially cut out and left to hang downwards at a 90 degree angle.

Laura Braciale Schneider
Double Take, 2013
Acrylic on cut canvas
20 × 16 in.
Courtesy of the artist.

Two figures gambling with dice against a background decorated with card suit symbols. The figure on the right smokes a cigarette. They wear colorful clothes with gold detailing.

Kyvèli Zoi
Don’t Think Twice, Roll the Dice, 2019
Oil on Canvas
29 × 32.6 in.
Courtesy of the artist.

Pink, purple and green horizontal lines on top of a green square with irregular organic edges, bisected by a vertical strip of black and white horizontal lines.

Amy Vensel
Waal, 2019
Acrylic on canvas
15.75 × 15.75 in.
Courtesy of the artist.

Embroidery in white thread of a man playing with a woman’s hair, superimposed over a blue painting of a woman alone on a couch and surrounded by plants.

Anibal Vallejo
Untitled, 2018
Hand embroidery and acrylic on canvas
60 × 80 cm.
Courtesy of the artist.

Three pieces of cardboard cut into irregular shapes and collaged. Two pieces are painted yellow.

Gillian L. Theobald
“6-2-2018”, 2018
Acrylic, Found pkging, Glue
6 ¾ × 4 ⅝ in.
Courtesy of the artist.

Abstract green shapes inside a rounded rectangle on a background of horizontal blue lines over wavy vertical pink and brown lines.

Carlos Rosales-Silva
Fuente Del Jardin, 2018
Acrylic paint and pumice medium on panel
50 × 60 in.
Courtesy of the artist.

An abstract portrait of Jesse Jackson in bright colors on a yellow background. Made by pressing paint between two surfaces and releasing it to create shapes.

Dana Lan Robinson
Jesse Jackson at Age 40, 2018
Acrylic on wooden panel
16 × 20 in.
Courtesy of the artist.

Abstract red and black masses surrounded by outstretched, grasping hands and bodies.

Frank Moore
No Angels, 2019
Oil on board
48 × 36 in.
Courtesy of the artist.

A black man lies on a wooden medical table underneath a spotlight, surrounded by three other men in coats and blazers, looking at the viewer. A skull sits on a stool in the foreground. A white dog sleeps underneath the table.

Mario Moore
A Student’s Dream, 2017
Oil on canvas
80 × 68 in.
Courtesy of the artist and Private Collection.

Lemon and pear trees on fire by a river at night. A ghostly hand in the lower right corner reaches for a branch.

Morgan Mandalay
Forgive Us Our Trespasses, 2019
Oil paint on canvas
72 × 48 in.
Courtesy of the artist.

HIM from the Powerpuff Girls’ disembodied head above a large cleaver and flames. A physical blackletter text module is placed on top of the top left corner of the canvas.

India Nielsen
Revenge, Revenge, 2018
Oil on canvas with module
210 × 150 cm (82.7 × 59.1 in)
Courtesy of the artist.

16mm film projection split into four quadrants. Each quadrant displays political propaganda superimposed over open water.

Orit Ben-Shitrit
Onomono, 2017
16mm film
Projection, variable dimensions
Courtesy of the artist.

Thick purple fabric surface with boxy stitched patterns. The word “FAILURE” stitched in a boxy font at the top and the word “SUCCESS” at the bottom.

Alexandre Camarao
Failure – Success (After Ben Duvall), 2018
Wool
122 × 75 cm
Courtesy of the artist.

Four black children of varying ages in a purple walled bedroom, seated or reclining on a bed, preoccupied with various media.

Destyn Michael Fuller-Hope
KIDS, 2019
Courtesy of the artist.

A sculpture resembling the Statue of Liberty lays face down on top of a block of coral, underneath vertically balanced disassembled hand truck components.

Onyedika Chuke
FMA: The Untitled/ May 30th_Liberty
Cast resin, steel and found coral
6 × 4 ft.
Courtesy of the artist.

A composition made from pieces of patterned fabric that have been cut and attached to one another to create bright, abstract, organic and flowing shapes.

Maria Britton
Hold Held, 2018
Acrylic, bed sheets, thread, and wood
60 × 57 × 7 in.
Courtesy of the artist.

Two nude figures squat on a hill. The face of the figure in the foreground is covered by their long black hair, and they look into what appears to be a handheld mirror.

Yin Ming Wong
The rally of care and neglect, 2020
Gouache, watercolor, color pencil
8 × 8 in.
Courtesy of the artist.

Draped fabric materials and ropes are arranged around an oval in a rectangular frame. A video plays inside the oval.

Suchitra S. Mattai
Mala, 2018
Fiber, video, frame
Dimensions variable
Courtesy of the artist.

Large ceramic mosaic-like fragments arranged to form a human figure with hands and exposed ribs, lying supine on a dusty pink background.

Robin Cameron
Faint Collapse (sunbathing in Turin), 2014
Ceramic
6 × 48 × 84 in.
Courtesy of the artist.

A miniature figurine placed on a pillow looks over an army of toy soldier figurines arranged in a grid pattern on a bedsheet.

Fadi al-Hamwi
Over My Bed, 2018
Photograph
Variable
Courtesy of the artist.

A 3 x 5 grid of paper, sewn in columns with printed images and text. Several prints feature photographs of children and the words “do you want” and “do you need” in large text.

Aileen Bassis
Do You Need/ Do You Want, 2019
Hand Sewn Risograph prints
26.5 × 33.5 in.
Courtesy of the artist.

A diagonally oriented lavender square with cropped corners on top of a white checkered pattern with red, yellow and navy blue linear elements.

Simone Meltesen
Lavender Square, 2019
Oil on linen
36 × 36 in.
Courtesy of the artist.

A sculpture in the shape of three small styrofoam take out containers stacked on top of one another. Grayish-olive in color.

Yoonmi Nam
Cairn II, 2018
Korean Celadon Glazed Porcelain
9 x5.5 x5.5 in.
Courtesy of the artist.

A photograph of a vintage drive-in movie theater marquee board at the side of a road that reads “Fingerlakes Drive-In: I Forgot 2 Breed.”

Victoria Elizabeth Crayhon
Untitled Auburn NY, 2010
Archival Pigment Print
36 × 24 in.
Courtesy of the artist.

Several collaged representational and abstract scenes in different colors, most prominently green, pink and blue.

Sally Gil
Two Stellar Women, 2015-2017
Collage and paint on canvas
58 × 60 in.
Courtesy of the artist. Photo: Orcutt/ Vanderputten.

A composition made from the spray-painted outlines of various hardware tools and machinery.
Frank Gavere
Meccano, 2014
Carbon acrylic, on paper.
30 × 22 in.
Courtesy of the artist.
A still life depicting light, neutral toned geometric clay objects; a pyramid, a hollow cylinder and a bottle, mounted in a frame made of similar materials.

Jonathan Ehrenberg
Ersatz 1, 2016
Dye sublimation print and clay sculptural frame
19 × 27 in.
Courtesy of the artist.

Two figures in black brassieres depicted from the torso up, standing close to one another with their faces whited out.

Judy Giera
Gemini/Femini, 2019
Acrylic Paint whose pigments are derived from make-up (liquid foundation, eyeshadow, and blush)
24 × 30 in.
Courtesy of the artist.

Line drawing of a plastic bag on a white background, superimposed on a hand drawn grid of mailing labels.

Anthea Behm
Rage for Order, 2016
Black and white silver gelatin photogram
46 × 42 in.
Courtesy the artist and 14a.

A photographic print with a strong red cast depicting two figures embracing. Three fabric swatches in shades of red cover their faces.

Becca Albee
AIDS: the women, IR + PR + GR, 2017
Archival pigment print, artist’s frame from prismataria, installation view in magenta light
12 × 16 in.
Courtesy of the artist.

A large cluster of small repeating ovals with black and white striped edges on a white background. Each oval contains an abstract ghostly figure against a pink backdrop.

Luis Romero
I Want To Be Your Holy Man / Ghost Painting, 2016
Acrylic on paper and canvas
23 × 16 in.
Courtesy of the artist.

Two antique Louis XV chairs placed near one another in front of a black backdrop.

Sheila Noorollah
The Beginners, 2012
Watercolor, Ink, and Coll
9 × 12 in.
Courtesy of the artist.

Black and white photograph depicting a young Black boy with a somber expression in front of a white wall.

Victor Dildy
Untitled, 2016
Courtesy of the artist.

Abstract, overlapping forms in shades of red, yellow, orange, pink and purple on a wood panel loosely resembling a four leaf clover.

Emily J. Kiacz
Specter, 2019
Acrylic on shaped wooden panel
24 × 24 in.
Courtesy of the artist.

Black markings, mostly curves and straight lines in various permutations, superimposed over a black and white architectural plan.

Rosaire Appel
Sounds / Plans, 2018
Ink and acrylic on found architectural plan
24 × 33 in.
Courtesy of the artist.

A pair of hands flipping through a book. The open pages contain a drawing of loosely rendered cloud-like figures holding long, lit candles.

Elizabeth Allen-Cannon
Native Tongues (detail image), 2015
Courtesy of the artist.

Two pairs of legs walking side by side, loosely rendered over a gestural background.

Eve Ackroyd
Unity, 2018
Oil on canvas
12 × 14 in.
Courtesy of the artist.

A many-armed figure sitting on a cloud reaches upwards against a backdrop of yellow with blue concentric lines.

Charles Yuen
Cloud Sitting, 2018
Oil on canvas
48 × 40 in.
Courtesy of the artist.

A laundry bag hung upside down on a wall. The fabric is faded due to exposure, but the bottom section retains its original orange color.

Frank Zadlo
Cash Only, 2018
Laundry bag aged in a window for 15 years
36 × 24 in.
Courtesy of the artist.

Framed black and white portraits and photographs of buildings on a wall covered in pages of the New York Times. There are also three red banners with Chinese characters in gold.

Jiawei Zhao
What is a Chinatown, 2018
Inkjet print on self-adhesive fabric paper
42 × 56 in.
Courtesy of the artist.

Collage of various black and white photographs of nature.

Virginia Inés Vergara
Repesa III, 2019
Archival Pigment Print
10 × 14 in.
Courtesy of the artist.

A transparent organic, vaguely humanoid orange shape with visible bones on a white table.

Jeanne Verdoux
La mere, 2018
Monoprint
Courtesy of the artist.

Three figures, two childlike, hugging on an easy chair, their faces hidden.

Katayoun Vaziri
Sunday Drawings #55, 2019
Gouache
6 × 8 in.
Courtesy of the artist.

Participating Artists

Eve Ackroyd
Fadi al-Hamwi
Becca Albee
Elizabeth Allen-Cannon
Rosaire Appel
Nadia Ayari
Aileen Bassis
Anthea Behm
Orit Ben-Shitrit
Claudia Bitran
Beatrice Lettice Boyle
Maria Britton
Alexandre Camarao
Robin Cameron
Onyedika Chuke
Victoria Elizabeth Crayhon
Victor Dildy
Jonathan Ehrenberg
Destyn Michael Fuller-Hope
Frank Gavere
Judy Giera
Sally Gil
Xinyi Hu
Annette Hur
Shinichi Imanaka
Emily J. Kiacz
August Krogan-Roley
Adam Linn
Noah Lyon
Morgan Mandalay
Suchitra S. Mattai
Simone Meltesen
Frank Moore
Mario Moore
Yoonmi Nam
India Nielsen
Sheila Noorollah
Dana Lan Robinson
Luis Romero
Carlos Rosales-Silva
Laura Braciale Schneider
Gillian L. Theobald
Anibal Vallejo
Katayoun Vaziri
Amy Vensel
Jeanne Verdoux
Virginia Inés Vergara
Yin Ming Wong
Charles Yuen
Frank Zadlo
Jiawei Zhao
Kyvèli Zoi

Video Works

Orit Ben-Shitrit
Onomono, 2017
16mm film
Projection, variable dimensions
Courtesy of the artist.

Destyn Michael Fuller-Hope
KIDS, 2019
Courtesy of the artist.

Exhibition Description

When I was approached by the good folks at White Columns about their interest in me “curating” their artists’ registry, my immediate reaction was to smile and I think today feels good!

What an immense privilege. For some years now, I’ve been witnessing a plethora of outstanding and not conventional art exhibitions at this historical and pioneering space. Therefore, it was a true honor to be asked to do this.

I fully immersed myself into the registry. The vast amount of names that exist inside this registry is something to admire. It felt like I was given the key to a treasure chest, filled with an array of precious artifacts.

Some of the artists’ statements moved me deeply and kept me thinking.

Here are the 52 artists that comprise this exhibition. Many of them working in different backgrounds, practices, and mediums. This exhibition is the fourteenth in a series of online exhibitions.

Thanks to the White Columns’ team: Matthew, Brittany, Erin, Anne.

“I encountered fear. That fear led to learning. Found challenges. When I wanted to execute things on my terms, challenges kept reappearing. In that same process, I found personal growth and the ability to recognize it, that’s the most amazing thing. In my toughest month, I found a piece of art that calmed me down. The subject in it went through my body. It gave me some kind of new hope. Some kind of peace. The reassurance I needed and the trust that the things that are meant for me, are for me, and I don’t need to force anything. Having everything around me stop, helped me recognize that.”

Thanks Ismael, Jorge, Rebecca, Sue.

Danny Baez is the co-founder and director of Mercado Caribeño (MECA), an international art fair in San Juan, Puerto Rico. And also a co-founder and board member of NYC collective ARTNOIR.

For more information visit www.mecaartfair.com

This exhibition is the fourteenth in a series of online exhibitions; this exhibition was curated from White Columns’ Artist Registry.

Participating Artists Include:

Eve Ackroyd
Fadi al-Hamwi
Becca Albee
Elizabeth Allen-Cannon
Rosaire Appel
Nadia Ayari
Aileen Bassis
Anthea Behm
Orit Ben-Shitrit
Claudia Bitran
Beatrice Lettice Boyle
Maria Britton
Alexandre Camarao
Robin Cameron
Onyedika Chuke
Victoria Elizabeth Crayhon
Victor Dildy
Jonathan Ehrenberg
Destyn Michael Fuller-Hope
Frank Gavere
Judy Giera
Sally Gil
Xinyi Hu
Annette Hur
Shinichi Imanaka
Emily J. Kiacz
August Krogan-Roley
Adam Linn
Noah Lyon
Morgan Mandalay
Suchitra S. Mattai
Simone Meltesen
Frank Moore
Mario Moore
Yoonmi Nam
India Nielsen
Sheila Noorollah
Dana Lan Robinson
Luis Romero
Carlos Rosales-Silva
Laura Braciale Schneider
Gillian L. Theobald
Anibal Vallejo
Katayoun Vaziri
Amy Vensel
Jeanne Verdoux
Virginia Inés Vergara
Yin Ming Wong
Charles Yuen
Frank Zadlo
Jiawei Zhao
Kyvèli Zoi

For more information: registry.whitecolumns.org

Four teal leaves folded over a wooden lattice.
A room filled with seventeen life size cutout paintings of people wearing white sneakers. The cutouts are free standing and placed upside down.
A black figure outlined in white with eyes all over its face and a beak-like mouth wears a bowler hat, a shirt and a tie. It radiates bright blue, red, yellow and orange colored outlines.
A highly stylized figure with magenta skin wearing red heels and a green dress steps out of a car and onto a red carpet.
Patchwork style carpet forming a double pointed arrow shape. Patterns on the carpet are arranged to suggest multiple interior and exterior spaces.
An arm with a cartoonishly large hand wearing a ring on its index finger reaches out from a bush and into a window, out of which a tiny tiger leans.
Several abstract organic shapes filled with bright shades of yellow, pink and blue are surrounded by dark lines and patches of negative space filled with teal.
A line drawing of a child with a dot on their forehead wearing a tank top and a skirt and posing at the bottom of a staircase.
A cropped face above which a spike of wheat hangs. Behind it a line drawing of another face is visible.
A black canvas with two horizontal strips partially cut out and left to hang downwards at a 90 degree angle.
Two figures gambling with dice against a background decorated with card suit symbols. The figure on the right smokes a cigarette. They wear colorful clothes with gold detailing.
Pink, purple and green horizontal lines on top of a green square with irregular organic edges, bisected by a vertical strip of black and white horizontal lines.
Embroidery in white thread of a man playing with a woman’s hair, superimposed over a blue painting of a woman alone on a couch and surrounded by plants.
Three pieces of cardboard cut into irregular shapes and collaged. Two pieces are painted yellow.
Abstract green shapes inside a rounded rectangle on a background of horizontal blue lines over wavy vertical pink and brown lines.
An abstract portrait of Jesse Jackson in bright colors on a yellow background. Made by pressing paint between two surfaces and releasing it to create shapes.
Abstract red and black masses surrounded by outstretched, grasping hands and bodies.
A black man lies on a wooden medical table underneath a spotlight, surrounded by three other men in coats and blazers, looking at the viewer. A skull sits on a stool in the foreground. A white dog sleeps underneath the table.
Lemon and pear trees on fire by a river at night. A ghostly hand in the lower right corner reaches for a branch.
HIM from the Powerpuff Girls’ disembodied head above a large cleaver and flames. A physical blackletter text module is placed on top of the top left corner of the canvas.
16mm film projection split into four quadrants. Each quadrant displays political propaganda superimposed over open water.
Thick purple fabric surface with boxy stitched patterns. The word “FAILURE” stitched in a boxy font at the top and the word “SUCCESS” at the bottom.
Four black children of varying ages in a purple walled bedroom, seated or reclining on a bed, preoccupied with various media.
A sculpture resembling the Statue of Liberty lays face down on top of a block of coral, underneath vertically balanced disassembled hand truck components.
A composition made from pieces of patterned fabric that have been cut and attached to one another to create bright, abstract, organic and flowing shapes.
Two nude figures squat on a hill. The face of the figure in the foreground is covered by their long black hair, and they look into what appears to be a handheld mirror.
Draped fabric materials and ropes are arranged around an oval in a rectangular frame. A video plays inside the oval.
Large ceramic mosaic-like fragments arranged to form a human figure with hands and exposed ribs, lying supine on a dusty pink background.
A miniature figurine placed on a pillow looks over an army of toy soldier figurines arranged in a grid pattern on a bedsheet.
A 3 x 5 grid of paper, sewn in columns with printed images and text. Several prints feature photographs of children and the words “do you want” and “do you need” in large text.
A diagonally oriented lavender square with cropped corners on top of a white checkered pattern with red, yellow and navy blue linear elements.
A sculpture in the shape of three small styrofoam take out containers stacked on top of one another. Grayish-olive in color.
A photograph of a vintage drive-in movie theater marquee board at the side of a road that reads “Fingerlakes Drive-In: I Forgot 2 Breed.”
Several collaged representational and abstract scenes in different colors, most prominently green, pink and blue.
A composition made from the spray-painted outlines of various hardware tools and machinery.
A still life depicting light, neutral toned geometric clay objects; a pyramid, a hollow cylinder and a bottle, mounted in a frame made of similar materials.
Two figures in black brassieres depicted from the torso up, standing close to one another with their faces whited out.
Line drawing of a plastic bag on a white background, superimposed on a hand drawn grid of mailing labels.
A photographic print with a strong red cast depicting two figures embracing. Three fabric swatches in shades of red cover their faces.
A large cluster of small repeating ovals with black and white striped edges on a white background. Each oval contains an abstract ghostly figure against a pink backdrop.
Two antique Louis XV chairs placed near one another in front of a black backdrop.
Black and white photograph depicting a young Black boy with a somber expression in front of a white wall.
Abstract, overlapping forms in shades of red, yellow, orange, pink and purple on a wood panel loosely resembling a four leaf clover.
Black markings, mostly curves and straight lines in various permutations, superimposed over a black and white architectural plan.
A pair of hands flipping through a book. The open pages contain a drawing of loosely rendered cloud-like figures holding long, lit candles.
Two pairs of legs walking side by side, loosely rendered over a gestural background.
A many-armed figure sitting on a cloud reaches upwards against a backdrop of yellow with blue concentric lines.
A laundry bag hung upside down on a wall. The fabric is faded due to exposure, but the bottom section retains its original orange color.
Framed black and white portraits and photographs of buildings on a wall covered in pages of the New York Times. There are also three red banners with Chinese characters in gold.
Collage of various black and white photographs of nature.
A transparent organic, vaguely humanoid orange shape with visible bones on a white table.
Three figures, two childlike, hugging on an easy chair, their faces hidden.

Nadia Ayari, Fold 7, 2018. Oil on linen, 60 × 60 in. Courtesy of the artist and Taymour Grahne Projects. (Painting of four blue leaves folding over wooden bars.)

Claudia Bitran, White Shoes, 2018. Acrylic and latex on MDF.Courtesy of the artist. (Multiple lifesize cutout paintings depicting people standing around casually wearing white sneakers. The cutouts are placed upside down free standing in the middle of a room.)

Noah Lyon, Inside The Rainbow, 2018. Oil pastel on canvas. Courtesy of the artist. (A black figure with eyes all over its head and a big mouth that is wearing a top hat and a tie on a collared shirt is outlined in white in the center. The figure is surrounded by outlines consisting of bright colors including red, yellow, blue, and purple.)

Adam Linn, Red Carpet Ready (An Entrance), 2018. Colored pencil, china marker and acrylic on mylar, 36 × 42 in. Courtesy of the artist. (A highly stylized cartoon figure with pink skin wearing red high heels is stepping out of a car onto a red carpet.)

August Krogan-Roley, Ates, 2016. Carpet collage on vinyl, 46.5 × 36.5 in. Courtesy of the artist. (Various patches of carpet forming a vertical, double pointed arrow. The patches of carpet are arranged to suggest an interior and exterior space on both the top and bottom ‘arrows’.)

Shinichi Imanaka, Ring and Tiger, 2018. Oil and acrylic on canvas, 64 × 52 in.Courtesy of the artist. (Painting of a large cartoon hand and forearm coming out of a bush reaching up towards a window with a tiny tiger leaning out.)

Annette Hur, Lure, 2019. Oil on canvas, 60 × 51 in. Courtesy of the artist. (An abstract painting consisting of different organic shapes filled with bright colors like yellow, pink, and blue, surrounded by dark, sharp lines patches of negative shapes filled with teal.)

Xinyi Hu, Memories Are The Only Things That Help Me Make Meaning Of Anything, 2016. Ink on Paper, 22 × 30 in. Courtesy of the artist. (Line drawing of a child wearing a skirt, posing at the bottom of a stairway with one of their hands behind their head.)

Beatrice Lettice Boyle, In Goddess We Trust, 2018. Oil and pastel on heavy woven linen, 12 × 10 in. Courtesy of the artist. (A painting of cropped face against a raw linen background.)

Laura Braciale Schneider, Double Take, 2013.
Acrylic on cut canvas, 20 × 16 in.
Courtesy of the artist. (A black painting with two strips cut out and left to hang.)

Kyvèli Zoi, Don’t Think Twice, Roll the Dice, 2019. Oil on Canvas, 29 × 32.6 in. Courtesy of the artist. (A painting of two figures rolling dice and gambling. The figure on the right is smoking a cigarette.)

Amy Vensel, Waal, 2019. Acrylic on canvas, 15.75 × 15.75 in. Courtesy of the artist. (An abstract painting of pink, purple and green lines on top of a green square with irregular, organic edges. The green square and the lines above are bisected by a vertical strip of black and white horizontal lines.)

Anibal Vallejo,Untitled, 2018. Hand embroidery and acrylic on canvas, 60 × 80 cm. Courtesy of the artist. (Embroidery of a male playing with a female’s hair superimposed on a blue, sketchy painting of a woman sitting alone on a couch.)

Gillian L. Theobald, “6-2-2018”, 2018. Acrylic, Found pkging, glue, 6 ¾ × 4 ⅝ in. Courtesy of the artist. (Collage of found packaging cardboard, some painted in orange and yellow.)

Carlos Rosales-Silva, Fuente Del Jardin, 2018. Acrylic paint and pumice medium on panel, 50 × 60 in. Courtesy of the artist. (Abstract painting depicting various green shapes in a rounded rectangle opaquely superimposed on a surface with horizontal blue lines on top of vertical pink and brown wavy lines.)

Dana Lan Robinson, Jesse Jackson at Age 40, 2018. Acrylic on wooden panel, 16 × 20 in. Courtesy of the artist. (Abstract portrait of Jesse Jackson made by pressing paint between two pieces of paper and releasing it to make shapes.)

Frank Moore, No Angels, 2019. Oil on board, 48 × 36 in. Courtesy of the artist. (Painting with red and black masses in the center, surrounded by scrawling hands and limbs.)

Mario Moore, A Student’s Dream, 2017. Oil on canvas, 80 × 68 in. Courtesy of the artist and Private Collection. (Painting of a Black man looking at the viewer covered by a white cloth from the chest down, lying on a wooden table surrounded by three men. There is a big round spotlight on a tripod in the right corner of the painting, a white, curled up, sleeping dog under the table, and a skull on a stool in the foreground of the painting.)

Morgan MandalayForgive Us Our Trespasses, 2019. Oil paint on canvas, 72 × 48 in.Courtesy of the artist. (Painting of a forest during the night time depicting fruit trees such as lemon and pear trees with branches on fire.)

India Nielsen, Revenge, Revenge, 2018. Oil on canvas with module, 210 × 150 cm (82.7 × 59.1 in).Courtesy of the artist. (Painting depicting HIM from the cartoon Powerpuff Girls above a large cleaver and fire. There is a physical module placed on the top left corner of the painting.)

Orit Ben-Shitrit,Onomono, 2017.
16mm film, Projection, variable dimensions
Courtesy of the artist. (16mm film projection of various archival images of landscapes and propaganda superimposed on top of one another.)

Alexandre Camarao,
Failure – Success (After Ben Duvall), 2018.
Wool,
122 × 75 cm.
Courtesy of the artist. (Purple wool surface with repetitive, boxy, stitch patterns with the word “success” stitched in a boxy font at the bottom.)

Destyn Michael Fuller-Hope,
KIDS, 2019.
Courtesy of the artist. (Video still of Black children of various ages in a purple bedroom looking at different devices such as TV and phones.)

Onyedika Chuke, FMA: The Untitled/ May 30th_Liberty. Cast resin, steel and found coral, 6 × 4 ft.Courtesy of the artist. (A sculpture that resembles the Statue of Liberty lays face down with steel components from disassembled hand trucks balanced on top of it.)

Maria Britton, Hold Held, 2018.
Acrylic, bed sheets, thread, and wood, 60 × 57 × 7 in.Courtesy of the artist. (Different pieces of bedsheets cut up and stitched together to form an organic, loose, flow-y assemblage of different patterns and colors.)

Yin Ming Wong, The rally of care and neglect, 2020. Gouache, watercolor, color pencil, 8 × 8 in.Courtesy of the artist. (Two nude figures sit hunched on a hill. The figure in the foreground’s face is covered by their hair and is looking at what looks like a hand-held mirror.)

Suchitra S. Mattai, Mala, 2018. Fiber, video, frame, Dimensions variable. Courtesy of the artist. (Different fabrics and clothing arranged around an oval in the top center of a rectangular frame. Inside the oval is a video.)

Robin Cameron, Faint Collapse (sunbathing in Turin), 2014. Ceramic, 6 × 48 × 84 in. Courtesy of the artist. (Shards of ceramic elements placed to resemble a figure with exposed ribs.)

Fadi al-Hamwi, Over My Bed, 2018.Photograph, Variable. Courtesy of the artist. (Toy soldier figurines lined up in a grid on a bedsheet and a small figurine the same size on top of pillow overlooking the soldiers.)

Aileen Bassis, Do You Need/ Do You Want, 2019. Hand Sewn Risograph prints, 26.5 × 33.5 in.Courtesy of the artist. ( A grid of 3 × 5 risograph prints hand sewn in columns. Several prints feature images of children and the words “Do you want”)

Simone Meltesen, Lavender Square, 2019. Oil on linen, 36 × 36 in.Courtesy of the artist. (Abstract painting of a diagonal lavender square with cropped corners on top of a white checkered pattern with a red line on the right side. The lavender square is surrounded on three sides by thin yellow lines, and on one side by a thick black line. Raw linen is exposed below the paint.)

Yoonmi Nam, Cairn II, 2018. Korean Celadon Glazed Porcelain, 9 x5.5 x5.5 in.Courtesy of the artist. (Three styrofoam take-out containers made of ceramics stacked on top of each other.)

Victoria Elizabeth Crayhon, Untitled Auburn NY, 2010. Archival Pigment Print, 36 × 24 in. Courtesy of the artist. (Photograph of a vintage drive-in movie theater sign on the side of a road. The sign reads “Fingerlakes Drive-In: I forgot 2 breed”.)

Sally Gil, Two Stellar Women, 2015-2017. Collage and paint on canvas, 58 × 60 in. Courtesy of the artist. Photo: Orcutt/ Vanderputten. (A collage of different representational and abstract scenes of different colors including greens, pinks, and blues.)

Frank Gavere, Meccano, 2014. Carbon acrylic, on paper, 30 × 22 in. Courtesy of the artist. (Superimpositions of sprayed outlines of various mechanical tools.)

Jonathan Ehrenberg, Ersatz 1, 2016. Dye sublimation print and clay sculptural frame, 19 × 27 in. Courtesy of the artist. (Photograph of a still-life composed of light, neutral toned clay objects in a neutral gray background.)

Judy Giera, Gemini/Femini, 2019. Acrylic Paint whose pigments are derived from make-up (liquid foundation, eyeshadow, and blush), 24 × 30 in. Courtesy of the artist. (Painting of two figures clad in brassieres from the torso up with their faces whited out.)

Anthea Behm, Rage for Order, 2016. Black and white silver gelatin photogram, 46 × 42 in. Courtesy the artist and 14a. (Image of a drawing of a plastic bag on white background superimposed on hand-drawn grids of from and to mailing labels.)

Becca Albee, AIDS: the women, IR + PR + GR, 2017. Archival pigment print, artist’s frame from prismataria, installation view in magenta light, 12 × 16 in. Courtesy of the artist. (A red photo in a red frame on a red wall of two figures hugging. Their faces are covered by 3 red fabric swatches.)

Luis Romero, I Want To Be Your Holy Man / Ghost Painting, 2016. Acrylic on paper and canvas, 23 × 16 in. Courtesy of the artist. (Repeated images of ghosts painted in ovals surrounded by tile patterns. The ovals create various round, organic edges on the piece.)

Sheila Noorollah, The Beginners, 2012. Watercolor, Ink, and Coll, 9 × 12 in. Courtesy of the artist. (Painting and collage of two antique, Louis XV chairs.)

Victor Dildy, Untitled, 2016. Courtesy of the artist. (Black and white photograph of a Black boy with a somber expression against a white wall.)

Emily J. Kiacz,Specter, 2019. Acrylic on shaped wooden panel, 24 × 24 in. Courtesy of the artist. (Abstract painting on a shaped panel that loosely resembles a four leaf clover with wide, loose brushstrokes in hues of purple, pink, orange, and red superimposed on each other.)

Rosaire Appel, Sounds / Plans, 2018. Ink and acrylic on found architectural plan, 24 × 33 in. Courtesy of the artist. (Black marks superimposed on architectural plan.)

Elizabeth Allen-Cannon, Native Tongues (detail image), 2015.Courtesy of the artist. (Image of a pair of hands flipping a book that includes a drawing of loosely rendered figures holding long candles.)

Eve Ackroyd, Unity, 2018. Oil on canvas, 12 × 14 in. Courtesy of the artist. (Painting of two pairs of loosely rendered legs on a gestural background.)

Charles Yuen, Cloud Sitting, 2018. Oil on canvas, 48 × 40 in. Courtesy of the artist. (Painting of a figure sitting on a cloud with multiple arms reaching up placed on a yellow background with blue concentric lines.)

Frank Zadlo, Cash Only, 2018. Laundry bag aged in a window for 15 years, 36 × 24 in. Courtesy of the artist. (Laundry bag hung like a painting on a wall. The fabric is partially faded orange to yellow from exposure.)

Jiawei Zhao, What is a Chinatown, 2018. Inkjet print on self-adhesive fabric paper, 42 × 56 in. Courtesy of the artist. (Photograph of a wall covered in pages of the New York Times and framed photos. The photos are portraits of people and views of the facades of traditional Chinese architecture or contemporary palaces. There are three red banners with Chinese characters in gold text.)

Virginia Inés Vergara,Repesa III, 2019. Archival Pigment Print, 10 × 14 in. Courtesy of the artist. (Collage of various black and white photographs of nature.)

Jeanne Verdoux, La mere, 2018. Monoprint. Courtesy of the artist. (Print of a transparent organic, orange shape superimposed on a table.)

Katayoun Vaziri, Sunday Drawings #55, 2019. Gouache, 6 × 8 in. Courtesy of the artist. (Three figures on a blank white background, two childlike, hugging on an easy chair, their faces hidden.)