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

September 22–December 12, 2020 Online
Nadia Ayari, Fold 7, 2018. Oil on linen, 60 x 60 in. Courtesy of the artist and Taymour Grahne Projects. (Painting of four blue leaves folding over wooden bars.)

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

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.)

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

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.)

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

Adam Linn, Red Carpet Ready (An Entrance), 2018. Colored pencil, china marker and acrylic on mylar, 36 x 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.)

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

August Krogan-Roley, Ates, 2016. Carpet collage on vinyl, 46.5 x 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'.)

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

Shinichi Imanaka, Ring and Tiger, 2018. Oil and acrylic on canvas, 64 x 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.)

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

Annette Hur, Lure, 2019. Oil on canvas, 60 x 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.)

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

Xinyi Hu, Memories Are The Only Things That Help Me Make Meaning Of Anything, 2016. Ink on Paper, 22 x 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.)

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.

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

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

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

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

Kyvèli Zoi, Don't Think Twice, Roll the Dice, 2019. Oil on Canvas, 29 x 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.)

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

Amy Vensel, Waal, 2019. Acrylic on canvas, 15.75 x 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.)

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

Anibal Vallejo,Untitled, 2018. Hand embroidery and acrylic on canvas, 60 x 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.)

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

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

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

Carlos Rosales-Silva, Fuente Del Jardin, 2018. Acrylic paint and pumice medium on panel, 50 x 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.)

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

Dana Lan Robinson, Jesse Jackson at Age 40, 2018. Acrylic on wooden panel, 16 x 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.)

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

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

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

Mario Moore, A Student's Dream, 2017. Oil on canvas, 80 x 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.)

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

Morgan MandalayForgive Us Our Trespasses, 2019. Oil paint on canvas, 72 x 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.)

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

India Nielsen, Revenge, Revenge, 2018. Oil on canvas with module, 210 x 150 cm (82.7 x 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.)

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

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.)

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

Alexandre Camarao, Failure - Success (After Ben Duvall), 2018. Wool, 122 x 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.)

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

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.)

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

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

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

Maria Britton, Hold Held, 2018. Acrylic, bed sheets, thread, and wood, 60 x 57 x 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.)

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

Yin Ming Wong, The rally of care and neglect, 2020. Gouache, watercolor, color pencil, 8 x 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.)

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

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.)

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

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

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

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.)

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

Aileen Bassis, Do You Need/ Do You Want, 2019. Hand Sewn Risograph prints, 26.5 x 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")

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

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

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

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.)

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

Victoria Elizabeth Crayhon, Untitled Auburn NY, 2010. Archival Pigment Print, 36 x 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”.)

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

Sally Gil, Two Stellar Women, 2015-2017. Collage and paint on canvas, 58 x 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.)

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

Frank Gavere, Meccano, 2014. Carbon acrylic, on paper, 30 x 22 in. Courtesy of the artist. (Superimpositions of sprayed outlines of various mechanical tools.)Frank Gavere, Meccano, 2014. Carbon acrylic, on paper, 30 x 22 in. Courtesy of the artist. (Superimpositions of sprayed outlines of various mechanical tools.)
Frank Gavere
Meccano, 2014
Carbon acrylic, on paper.
30 × 22 in.
Courtesy of the artist.
Jonathan Ehrenberg, Ersatz 1, 2016. Dye sublimation print and clay sculptural frame, 19 x 27 in. Courtesy of the artist. (Photograph of a still-life composed of light, neutral toned clay objects in a neutral gray background.)

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

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

Anthea Behm, Rage for Order, 2016. Black and white silver gelatin photogram, 46 x 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.)

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

Becca Albee, AIDS: the women, IR + PR + GR, 2017. Archival pigment print, artist's frame from prismataria, installation view in magenta light, 12 x 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.)

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.

Luis Romero, I Want To Be Your Holy Man / Ghost Painting, 2016. Acrylic on paper and canvas, 23 x 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.)

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

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

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

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

Victor Dildy
Untitled, 2016
Courtesy of the artist.

Emily J. Kiacz,Specter, 2019. Acrylic on shaped wooden panel, 24 x 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.)

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

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

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

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.)

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

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

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

Charles Yuen, Cloud Sitting, 2018. Oil on canvas, 48 x 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.) 

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

Frank Zadlo, Cash Only, 2018. Laundry bag aged in a window for 15 years, 36 x 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.)

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

Jiawei Zhao, What is a Chinatown, 2018. Inkjet print on self-adhesive fabric paper, 42 x 56 in. Courtesy of the artist. (Photograph of a facade of a building on pasted on a a long, scroll-like paper with Chinese characters underneath the border.)

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

Virginia Inés Vergara,Repesa III, 2019. Archival Pigment Print, 10 x 14 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.

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

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

Katayoun Vaziri, Sunday Drawings #55, 2019. Gouache, 6 x 8 in. Courtesy of the artist. (Three figures on a blank white background, 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

Nadia Ayari, Fold 7, 2018. Oil on linen, 60 x 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 x 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 x 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 x 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 x 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 x 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 x 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 x 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 x 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 x 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 x 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 x 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 x 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 x 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 x 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 x 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 x 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 x 150 cm (82.7 x 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 x 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 x 4 ft.Courtesy of the artist. (A sculpture that resembles the Statue of Liberty lays face down with steel components from disassembled hand trucks placed balanced on top of it.)
Maria Britton, Hold Held, 2018. Acrylic, bed sheets, thread, and wood, 60 x 57 x 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 x 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 x 48 x 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 x 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 x 36 in.Courtesy of the artist. (Abstract painting of a diagonal lavender square surrounded by three thin yellow lines and a think black line on top of a white checkered pattern with a red line on the right side. 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 x 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 x 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 x 22 in. Courtesy of the artist. (Superimpositions of sprayed outlines of various mechanical tools.)Frank Gavere, Meccano, 2014. Carbon acrylic, on paper, 30 x 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 x 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 x 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 x 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 x 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 x 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 x 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 x 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 x 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 x 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 x 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 x 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 x 56 in. Courtesy of the artist. (Photograph of a facade of a building on pasted on a a long, scroll-like paper with Chinese characters underneath the border.)
Virginia Inés Vergara,Repesa III, 2019. Archival Pigment Print, 10 x 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 x 8 in. Courtesy of the artist. (Three figures on a blank white background, 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.)