Almine Rech

Frieze New York is officially on! Visit us at our Booth D04 until Sunday, May 17, 2026. • The booth features works by James Turrell, Pablo Picasso, Jeff Koons, De Wain Valentine, Marie Laurencin, Larry Poons, Tom Wesselmann, Günther Förg, Karel Appel, Taryn Simon, Joe Andoe, Ha Chong-Hyun, Vaughn Spann, Keita Morimoto, Zio Ziegler, Dustin Yellin, and Alexandre Lenoir. • Booth photos by Dan Bradica ©️ 2026 The Estate of Tom Wesselmann / Artists Rights Society (ARS), New York ©️ 2026 Estate of Pablo Picasso / Artists Rights Society (ARS), New York ©️ Fondation Foujita – Artists Rights Society (ARS), New York – ADAGP, Paris 2026 ©️ The Estate of De Wain Valentine Courtesy of the Artists, Estates and Almine Rech • Frieze New York 2026 Booth D04 May 14 — 17, 2026 The Shed 545 West 30th Street New York, NY 10001 US • @friezenewyork #FriezeNewYork #FriezeArtFair #NewYork #AlmineRech

Almine Rech congratulates Joseph Kosuth (@josephkosuthstudio ), John Giorno (@giorno_poetry_systems ) and Richard Prince on their major projects during the 61st Venice Biennale running from Saturday 9 May to Sunday 22 November 2026 in Venice, Italy. More information on their exhibitions below! @labiennale • Joseph Kosuth’s solo exhibition ‘The-exchange-value-of-language-has-fallen-to-zero’, curated by Mario Codognato and Adriana Rispoli, is running through November 22, 2026 at Berggruen Institute Europe, Casa dei Tre Oci, featuring seminal works alongside a newly commissioned neon installation. A performance honoring John Giorno, presented in collaboration with Mousse Publishing, will headline a night of readings celebrating the launch of Dial-A-Poem Italy on Tuesday, May 5 at 9:30pm at Serra dei Giardini in Venice. Richard Prince’s duo exhibition ‘Helter Skelter’ with Arthur Jafa, curated by Nancy Spector, runs from 9 May to 23 November 2026 at Fondazione Prada, Ca’ Corner della Regina in Venice, exploring a previously unexamined creative dialogue between the two American artists. • #Venice #VeniceBiennale #GalleryArtists #AlmineRech

Watch a teaser of the Larry Poons’ (@larrypoons ) talk that was organized on the occasion of ‘Kentucky Cols.’, the artist’s third solo exhibition with the gallery, on view at Almine Rech Paris, Turenne, until May 21, 2026. The full version is now available on our Youtube channel! • ‘When it comes to making art, you need to be encouraged by something or you need to be censored by something — usually another person, another artist.’ — Larry Poons • Video by InstanT Productions All rights reserved ©️ Larry Poons - Courtesy of the Artist and Almine Rech « Kentucky Cols. » is organized in cooperation with Yares Art. • #LarryPoons #KentuckyCols #ArtistTalk #AlmineRechParis #AlmineRech

‘(All) Americans’, Vaughn Spann’s sixth solo exhibition with the gallery, is now on view at Almine Rech New York until June 13, 2026. @vaughspann • With this exhibition Spann implicitly poses the question what kind of home does the presence of the flag herald. And might the home’s character be altered with an alteration of its flag? Spann argues, “As a Black American the flag is always jarring because of those afforded agency and protection under it, and for us who are often persecuted by contrast ....” Well, we can certainly see the flag, but it is not necessarily for us a symbol of hope. […] — Seph Rodney, PhD, Freelance arts writer, editor, and curator • Photos by Dan Bradica ©️ Vaughn Spann - Courtesy of the Artist and Almine Rech • #VaughnSpann #AllAmericans #AlmineRechNewYork #NewYorkCity #AlmineRech

Discover ‘ARACHNE,’ Alejandro Cardenas’ seventh solo exhibition with the gallery , on view at Almine Rech New York until June 13, 2026. @a.cardenas • Staged within Cardenas’s expansive hand-drawn grid, filled with sketches from his preparatory notebooks and functioning as another kind of web that captures his works, the artist’s imaginative exhibition becomes an alluring gesamtkunstwerk, or a complete work of art, as all his shows have been since making painting his passion. His reimaginings of art, design, mythology, and fantasy are masterfully woven into a dreamlike vision of the future. — Paul Laster, writer, editor, and curator • Photos by Dan Bradica ©️ Alejandro Cardenas - Courtesy of the Artist and Almine Rech • #AlejandroCardenas #ARACHNE #AlmineRechNewYork #NewYorkCity #AlmineRech

Find us at Booth D04 in Frieze New York until Sunday, May 17, 2026. • The booth features works by James Turrell, Pablo Picasso, Jeff Koons, De Wain Valentine, Marie Laurencin, Larry Poons, Tom Wesselmann, Günther Förg, Karel Appel, Taryn Simon, Joe Andoe, Ha Chong-Hyun, Vaughn Spann, Keita Morimoto, Zio Ziegler, Dustin Yellin, and Alexandre Lenoir. • Booth photos by Dan Bradica ©️ 2026 The Estate of Tom Wesselmann / Artists Rights Society (ARS), New York ©️ 2026 Estate of Pablo Picasso / Artists Rights Society (ARS), New York ©️ Fondation Foujita – Artists Rights Society (ARS), New York – ADAGP, Paris 2026 ©️ The Estate of De Wain Valentine Courtesy of the Artists, Estates and Almine Rech • Frieze New York 2026 Booth D04 May 14 — 17, 2026 The Shed 545 West 30th Street New York, NY 10001 US • @friezenewyork #FriezeNewYork #FriezeArtFair #NewYork #AlmineRech

Almine Rech is pleased to announce that Karel Appel’s work ‘Beach Life’, from 1957, is now part of the collection of the The Metropolitan Museum of Art, New York, NY, US. #KarelAppel @metmuseum In the film fragment from 1990, Karel Appel speaks about the painting ‘Beach Life’ and how the “unfinished space” of New York influenced this work. • “On Long Island, a number of large canvases are created, inspired by the bright light and the sea. The bath of light that he undergoes there translates into ‘Beach Life’, whose material and color radiate lightness and light-footedness. Although still amply applied, the paint goes over the canvas like a whiff. Serpentines of wisps of color swirl in the center, surrounded by thinly applied surfaces in soft blue and ochre. At the lower right, a human figure, arms in diving position, breaks free from a thin red color. White is most dominant, which shines through everything – the white light that flows from the sea, that grips the atmosphere and illuminates colors and shapes from behind.” — Cathérine van Houts, in ‘Karel Appel: de Biografie’, Amsterdam/Antwerp 2000 • ‘Beach Life’, 1957 Oil on canvas 190 x 241 cm 74 13/16 x 94 7/8 in ©️ Karel Appel Foundation, c/o ARS, New York, 2026 - The Metropolitan Museum of Art, New York. Gift of the Karel Appel Estate, 2026 Video extract from an interview of the artist with Director of the Gemeentemuseum, Rudi Fuchs, during the exhibition ‘Karel Appel: Ik wou dat ik een vogel was’, at Gemeentemuseum Den Haag, The Hague (now Kunstmuseum Den Haag), 1990. • #TheMetropolitanMuseumofArt #NewYork #MuseumCollection #AlmineRech

De Wain Valentine is on view at our Booth D04 at Frieze New York until Sunday, May 17, 2026! • The Light and Space equivalent of a tondo, De Wain Valentine’s circular sculptures stand as remarkable examples of the artist’s singular vision. Though physically solid and substantial, works such as ‘Circle Smoke Gray’ appear almost weightless through the alchemy of Valentine’s technologically advanced process. Made from Valentine MasKast Resin, the sculpture absorbs and refracts light, inviting viewers to engage with it from multiple vantage points. In the catalogue for his 1970 exhibition at the Norton Simon Museum, which included several large-scale circular works, De Wain Valentine wrote: “I’m really interested in them much more as fields of transparency and as fields of transparent color than sculptural shapes.” In ‘Circle Smoke Gray’, the artist directly realizes this ambition. Semi-transparent, with swirling smoke-like forms seemingly suspended within the polyester resin, the work evokes Los Angeles’s infamous smog or the hazy skies of fire season. ‘Circle Smoke Gray’ becomes a distillation of the city itself—its beauty and its pollution—and an homage to California’s singular atmosphere. • Frieze New York 2026 Booth D04 May 14 — 17, 2026 The Shed 545 West 30th Street New York, NY 10001 US • ‘Circle Smoke Gray’, 1970 Cast polyester resin 88 x 88 x 6 cm 34 5/8 x 34 5/8 x 2 3/8 in Photo by Matthew Kroening ©️ Estate of De Wain Valentine Courtesy of the Estate of De Wain Valentine and Almine Rech • @friezeofficial #DeWainValentine #FriezeNewYork #NewYorkCity #AlmineRech

‘RICHARD PRINCE’ is currently on view at the ALBERTINA Museum in Vienna, Austria, until August 16, 2026. Focusing on photography, the artist’s central medium, the museum presents a major exhibition of Richard Prince’s work, spanning from the 1970s to the present. If you are currently in Venice, Italy, for the Biennale, be sure to visit ‘Helter Skelter: Arthur Jafa and Richard Prince’, on view through November 23, 2026. The exhibition reveals a previously unexamined creative dialogue between the two artists. • The exhibition at the ALBERTINA Museum showcases iconic series like Fashion, Gangs, and Cowboys, as well as rarely shown and hitherto unseen works—from his groundbreaking rephotography of advertising motifs and autobiography-based images from rural upstate New York to complex collages of found material. Prince has been working as an artist since the 1970s; a member of the influential Pictures Generation, he worked alongside other artists to expand the scope of conceptual photography through the use of appropriation and rephotography. Prince takes aim at the vulgar, revealing culture’s indiscretions—misogyny, consumerism, exhibitionism and idealized desire. However, as a critique it is ambiguous in that it is accompanied by an equal dose of sympathy and obsession. He is an avid collector and curator of Americana. • Installation views of Richard Prince’s solo exhibition, on view at Albertina Modern, Vienna, Austria, from April 17 to August 16, 2026. / ©️ eSel.at - Lorenz Seidler • @albertinamuseum #RichardPrince #TheAlbertinaMuseum #Vienna #Austria #AlmineRech

Günther Förg is currently presented at our Booth D04 at Frieze New York until Sunday, May 17, 2026! • Günther Förg’s Gitterbilder (“Grid Paintings”) series employs the motif of the grid, referencing modernist architecture—including the artist’s own photographic work on the subject—as well as urban planning, to arrive at a renewed vision of abstraction. As seen in ‘Untitle’d, these works are gesturally dense and masterfully executed, revealing a profound tonal and compositional complexity. The series is emblematic of Förg’s broader oeuvre, reflecting the artist’s lifelong search for a visual language—an alphabet of forms and motifs capable of generating infinite possibilities. As Max Wechsler observed, Förg made “decisions that would allow [him] to make art without having to invent a picture every day,” a process sustained through what he described as “an abstract vocabulary.” — Max Wechsler, “Reversing Orders: A Conversation,” in Günther Förg: Torso & Fragment: Sculpture, ed. Johannes Gachnang and Max Wechsler (Cologne: Verlag der Buchhandlung Walther König; Salvatore + Caroline Ala Publishers, 2000). • Frieze New York 2026 Booth D04 May 14 — 17, 2026 The Shed 545 West 30th Street New York, NY 10001 US • ‘Untitled’, 2002 Acrylic on canvas 160 x 140 cm 63 x 55 in Photo by Nicolas Brasseur ©️ 2026 Estate of Günther Förg, Switzerland / VG Bild-Kunst, Bonn Courtesy of the Estate of Günther Förg and Almine Rech • @friezeofficial #GüntherFörg #FriezeNewYork #NewYorkCity #AlmineRech

Hans Op de Beeck’s solo exhibition ‘Danse Macabre’ is currently on view through October 25, 2026 at the Tenuta Dello Scompiglio in Lucca, Italy. The exhibition unfolds through a site-specific installation and an animated film. The installation appears as a black-and-white evocation of a nocturnal park composed of bare trees and puddles, where the path leads us to a life-size, monochrome grey afterimage of a carousel. @hans_op_de_beeck • The conventional carousel, as we still know it today in many variations, is usually a baroque, brightly coloured, glittering kitsch object that nostalgically evokes times gone by, when it still faced little competition from the noisy, crowded contemporary attractions. In 1999, at the beginning of his career, Op de Beeck created the video work “Blender”, in which a pompous, colourful carousel slowly begins to rotate and then magically dissolves into an unreadable, cotton candy-like swirling motion, only to come to a stop again. Since then, the carousel has been a recurring theme in his work, as a metaphor for the human condition. The artist considers the merry-go-round a quintessentially human, somewhat tragicomic form of entertainment and also a rather absurd object because we pick up our children, place them on wooden horses, and then let them spin aimlessly in circles. Hans Op de Beeck is perhaps best known for his monumental, immersive, sensorial installations which are structured as enigmatic, fictional scenes frozen in time that visitors can walk through or sit within, evoking silent contemplation and moments of wonder. His distinctive body of work delves into the complex relationship between humans and the world around us, while also addressing universal questions about the invisible framework of being. • The exhibition is curated by Angel Moya Garcia. • Installation views Courtesy Associazione Culturale Dello Scompiglio Photos by Leonardo Morfini • @dello_scompiglio #HansOpdeBeeck #DanseMacabre #TenutaDelloScompiglio #Italy #AlmineRech

These are the last days to discover ‘Kentucky Cols.’, Larry Poons’ third solo exhibition with the gallery, on view at Almine Rech Paris, Turenne until May 21, 2026. This show, the artist’s first in Paris in nearly forty years! @larrypoons • Over fifty years later, the paintings shown here stem from a similar impulse, but are also clearly different: on a single, huge roll, wide as a field, Poons no longer throws color; he builds it with a brush, with free gestures, applying thick, energetic paint in an inexhaustible supply of color combinations. After studying the image, Poons crops the roll into independent paintings: these “moments” preserve the memory of the flow, while each still affirms its own intensity—that is why the painter has chosen them. This process—unrolling the canvas, covering it with acrylic paint, and then cutting it up—is not simply a technique, but a conception of painting reduced to its most direct essence. — Marjolaine Lévy, critic and art historian • Installation views Photos by Nicolas Brasseur ©️ Larry Poons - Courtesy of the Artist and Almine Rech • #LarryPoons #KentuckyCols #Paris #France #AlmineRech