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“In terms of concealment, I was curious about how we would read these figures under such terms. When we are not privy to their thoughts and actions. I thought it would be exciting to open up the potential to multiple readings and ultimately have no finite answer. Admittedly, from a painterly perspective, it also allowed more room for exploration in material and visual manipulation. It was exciting to consider the figures’ subjectivity under different terms.” When Timothy Lai said this in Juxtapoz in 2024, I couldn’t help but think of this line when looking at his newest body of work, Still. Yet. Still., opening at Jack Barrett this week. In the context of the quote above, Lai was working with curtains, whether as concealing…

Monya Rowe Gallery is pleased to announce a solo exhibition of new paintings by Larissa Bates titled Outside/Inside. Bates’ paintings envision imagined interiors and landscapes stemming from her own childhood and the lives of extended family members. The exhibition explores how our homes and cultures shape us as well as how spaces are created to reflect who we are, or how we want to be perceived.

François Ghebaly is proud to present Animal Triste, Cindy Ji Hye Kim’s third exhibition at the gallery. In the centuries before the widespread adoption of the Gregorian calendar, agrarian societies in Western Europe represented time as infused with the cycles of nature. Not unlike the modern Farmer’s Almanac or other global calendars based on solar and lunar movements, medieval farming calendars correlated times of the year with the sequence of labors necessary to raise and maintain crops and livestock. The calendars also served an invaluable psychosocial function, offering instruction for the timing of courtship, child-rearing, and other practices, and, in effect, creating a steadfast tie between the social order and the natural world.