Helm Contemporary

Thank you to all who joined us this weekend for The Inheritance: From Ancient India to Minimalism. Friday’s opening and Saturday’s conversation with Devi Vallabhaneni, Anya Arora, and Kerry Cooper traced the lineage of this work — material, system, and visual order. The artist is present through May 20th. Gallery Hours: Wednesday– Friday, 11am – 6pm Saturday, 11am – 5pm | Or by appointment

ON VIEW NOW: The Inheritance: From Ancient India to Minimalism Devi Vallabhaneni’s Luminescence radiates a stillness that is anything but static. Handmade French paillettes and Japanese glass — each element placed by hand, catching and releasing light as you move through the room. Luminescence, 2026 Handmade French paillettes and Japanese glass 25 × 25 × 3 inches

OPENING TODAY — Devi Vallabhaneni, The Inheritance: From Ancient India to Minimalism. The work traces relationships between material, system, and visual order — drawing a lineage from ancient Indian principles to postwar Minimalism. Hand-formed glass and paper paillettes of Norman origin, each singular in its making, arranged in algorithmic sequence and resolved through intuitive, hand-executed form. May 8 · 6–8 pm · Helm Contemporary, 132 Bowery Continuum, 2026 16 x 13.25 x 2.25 inches

For Kathleen Kucka, burning is a form of choreography — marks made with fire that organize the experience of the work, moving the eye like a dancer through space. “Burning for me is an act of memory-making. Burning is a pathway to something psychological, personal, and universal: destruction and rebirth.” Kucka holds a BFA from Cooper Union and an MFA from Hunter College. Her work is in the collections of the Norton Museum of Art, the Weatherspoon Art Museum, the Birmingham Museum of Art, and Borusan Contemporary, Istanbul. Her work has been written about in The New York Times, The Washington Post, Art News, Two Coats of Paint, Gay City News, and Time Out, among other publications. Residencies include the Bemis Foundation in Omaha, Nebraska, and the Vermont Studio Center. In 2016 Kucka’s work was included in the published book, New York Studio Conversations: Seventeen Women Talk about Art, by Stephanie Buhmann. Seeds to the Soil Take, 2026 Burns and Flashe on Canvas 32h x 28w in Her work is currently on view at Helm Contemporary, closed this week for installation and reopening Friday, May 8th.

OPENING FRIDAY, MAY 8th Devi VallabhanenI, The Inheritance: From Ancient India to Minimalism at Helm Contemporary “My compositions begin with a set of constants and variables to calculate visual equations. The patterns that emerge from these algorithms are the basis for abstractions — their lineage dating back to the Shilpa Shastra, an ancient Indian text considered the Science of Art.” Opening Reception | Friday, May 8th · 6–8PM 132 Bowery, 3rd FL · New York

Full Transparency, Christian Haub’s exhibition at Helm Contemporary, closes this week. Haub’s cast acrylic constructions occupy the space between painting and light — surfaces simultaneously material and luminous, contingent on the conditions of the room. The artist will be present this evening for a walkthrough of the exhibition, beginning at 6:30 PM. All are welcome. 📍132 Bowery, 3rd Floor NY NY 10013

Last week to see Full Transparency — Christian Haub at @helmcontemporary . Three rectilinear reliefs, individual yet neighboring — grids transmitting light, their shadows falling just short of touching. Shifting daylight animates each relief — color transmitted, lines luminous, shadow and light in continuous, quiet exchange. — Join us Thursday as the artist walks through the exhibition. Gallery Hours 11am -6pm | Walkthrough 6:30-7pm Left to right: Float for David Kurtz, Float for Don Petrine, Float for Paul Curtin, 2026. Cast acrylic sheet, 24 x 24 x 4.25 in Photo: @vera_miljkovic 📍 Helm Contemporary | 132 Bowery | 3rd Fl | NY NY

FULL TRANSPARENCY Christian Haub at Helm Contemporary closing May 02 Please note that the gallery will be closed this afternoon from 2–5 PM. Regular gallery hours will resume at Helm Contemporary next week: Tuesday – Friday: 11 AM – 6 PM Saturday: 11 AM – 5 PM We look forward to welcoming you back next week Photos @vera_miljkovic

Save the Date: Opening Reception May 08th at Helm Contemporary, NYC. Devi Vallabhaneni presents an exhibition tracing relationships between material, system, and visual order — from ancient Indian principles to postwar Minimalism. The works are conceived as systems: rectilinear forms and a restrained palette establish the field, while patterns of handmade French paillettes and Japanese glass beads originate in algorithmic sequences — translated into hand-executed form through a bas relief embroidery technique of her own invention. Repetition generates both stability and subtle variation within a rigorous visual structure. Rooted in the logic of the Shilpa Shastra and the lineages of her materials, her practice extends conversations familiar in Agnes Martin and Donald Judd — through the precision and tactility of embroidery. Her training spans fashion, textiles, and haute couture embroidery at Harper College, Central Saint Martins (London), and the Chicago Weaving School. She holds an MBA from Harvard Business School and was awarded 1st Place in the 2016 Hand & Lock Embroidery Prize in London. Her work has been exhibited internationally at galleries and institutions in New York, Paris, and Chicago.

Float for Matthew Barry, 2015 Christian Haub | FULL TRANSPARENCY Warm, radiant, alive with rhythm. Haub honors a friend and fellow Princeton alumnus whose life was devoted to beauty — in landscape, in nature, in the way a garden holds light at the end of the day. Matthew Barry practiced for over thirty years as a landscape architect in Greenwich, Connecticut — working without rules and without preconceptions, devoted to balance, rhythm and scale. He traveled the world in pursuit of great architecture and great gardens, from Greece to the American northeast, leaving beauty behind wherever he went. FULL TRANSPARENCY on view through May 02nd Image of Matthew Barry courtesy of @greenwichfreepress FULL TRANSPARENCY on view through May 02

Float for Marianne Faithfull, 2026 Christian Haub | FULL TRANSPARENCY Electric, defiant, impossible to ignore. Haub captures the singer, the survivor, the songwriter on her own terms. She was discovered at seventeen — golden, luminous, the world at her feet. What followed was a life lived entirely without apology. She fought through addiction, homelessness and decades of headlines that reduced her to someone else’s story, always fighting to be seen as an artist. The sacrifice of her youth was a trade she made for a voice that carried the weight of a whole generation’s broken dreams. Marianne Faithfull (1946–2025) — photos courtesy of @nationalportraitgallery @bailey_studio Install image: @vera_miljkovic

Float for Camille Claudel, 2015 Christian Haub | FULL TRANSPARENCY Claudel came to Rodin’s studio at nineteen — his student, his collaborator, his equal, though the world would never quite say so. At the 1893 Salon, she presented La Valse — two figures spinning in close embrace, so alive that the authorities banned it from public display, calling it a “violent sense of reality.” A sculpture of two people in love, deemed too much. Twenty years later she was committed to an asylum, where she spent the last thirty years of her life. She never sculpted again. She worked in bronze. Haub answers her in light. The largest Float in the show, vibrant and hovering, weightless where her world was heavy. He gives her the space, the scale, the color that the world denied her. She is impossible to look away from. Camille Claudel (1864–1943) — Sculptor, Paris Photo 1 & 2 @vera_miljkovic Photo 3 @museerodinparis