THANK YOU @sephsees and @hyperallergic for including Margaret Curtis’s exhibition in your April round up! Such a thoughtful reflection on the show. And so many great shows on this list, be sure to click the link to read about them all!
/15-shows-to-see-in-new-york-city-this-april/
@post__times at @independent_hq Art Fair 2026✨
Broc Blegen, Director of @post__times , shares Booth 505 — a solo presentation of Frank Gaard @f.gaard . One of Minnesota’s most important artists, Gaard brings his New York solo debut to Independent, showing the vibrant, satirical works he’s known for — drawn from art history, politics, pop culture, and personal obsession. From 1974 to 1994 he published the underground art magazine Artpolice, founded as a protest to the cultural repression of the Nixon era, mixing political commentary, absurdism, and Dadaist humor.
See it at Independent through May 17 at Pier 36, 299 South Street, New York.
#art #artfair #independentartfair #posttimes #frankgaard
OPENING TODAY - Post Times is stoked to be presenting Frank Gaard at Independent, Booth 505, Open Friday - Sunday at Pier 36
Frank Gaard (b. 1944, Chicago) is one of the most important artists in Minnesota, having presented survey exhibitions at the Walker Art Center and Minneapolis Institute of Arts, yet his solo presentation at Independent will be his first in New York. Gaard is known for his brash personality and idiosyncratic art practice, using a vibrant, sometimes acrid palette, offering up satire through imagery derived from art history, his intellectual and political obsessions, bipolar disorder, and relationships, skewering pop culture excesses as well as academic and art world elitism. “Monet had his water lilies, and I have my panties,” he jokes.
From 1974 to 1994, Gaard published and distributed the incendiary underground art magazine, Artpolice, which was founded by a collective of artists as a response to the Nixon presidency and was a protest to the cultural repression of the time, featuring a mix of political commentary, absurdism, humor, Dadaist attitudes. In addition to their regular publishing, they mounted a few exhibitions, including their 1985 exhibition at L.A.C.E in Los Angeles, on the invitation of artist Mike Kelley, who was a contributor. Esteemed curator Walter Hopps also nominated them for the 1985 Paris Biennial.
Frank Gaard was born in Chicago in 1944, in a working class household with an alcoholic father and a schizophrenic mother. A talented artist from a young age, most of his pals in high school called him Pablo or Picasso, even in signing the yearbook. He received a B.F.A. in 1967 from the Art Institute of Chicago. In 1968 he earned an M.F.A. from the California College of Arts and Crafts, where he studied under Peter Saul. In 1969, he moved to Minneapolis for a teaching gig at the Minneapolis College of Art and Design, which he continued for almost two decades, becoming an elemental part of the Twin Cities art scene.
Most of these works were presented in Frank Gaard: Poison & Candy at the Walker Art Center, January 26-May 6, 2012.
OPENING TODAY - Post Times is presenting Anthony Discenza at NADA in the TD Curated Spotlight, curated by Anthony Elms, Artistic Director at the Mattress Factory in Pittsburgh. Booth C5. Open Wednesday - Sunday, 601 West 26th Street.
Post Times is presenting a solo booth featuring works by Anthony Discenza (American, b. 1967), an interdisciplinary artist whose practice investigates the tensions between textual and visual systems of representation, focusing particularly on how the metanarratives embedded in technologic and representational systems shape experience in contemporary culture. He is currently based in Massachusetts, where he also operates lower_cavity, an artist residency and project space.
Recent solo exhibitions include Folklore, Leroy’s, Los Angeles, CA; Dæmonomania, Hampshire College Art Gallery, Amherst, MA; Dæmonomania, Et al., San Francisco, CA. Discenza’s work has been exhibited at SFMOMA, the de Young Museum, the V-A-C Foundation, OCAT Shanghai, MOCA Cleveland, the Contemporary Jewish Museum, Objectif Exhibitions, the Wattis Institute for the Contemporary Arts, and the Whitney Museum of American Art, among others.
“Artists are always the best advocates for other artists. They work across mediums and generations, building space for one another and advocating for their relevance and import. Many artists do not shy away from going to ridiculous and seemingly senseless lengths to support one another—artists will always help carry heavy loads when times get tough for other artists. For this edition of Curated Spotlight, I wanted to highlight spaces and people who share this ethos and do this work. It’s a way of appreciating artists’ advocacy for one another until wider circles take notice.” - Anthony Elms
THANK YOU @sloth_division@yourethinkingofabrickwall@lower_cavity
Post Times is stoked to present Anthony Discenza at NADA in the TD Curated Spotlight, curated by Anthony Elms, Artistic Director at the Mattress Factory in Pittsburgh. Open to the public Wednesday - Sunday. Email [email protected] for Preview.
“Artists are always the best advocates for other artists. They work across mediums and generations, building space for one another and advocating for their relevance and import. Many artists do not shy away from going to ridiculous and seemingly senseless lengths to support one another—artists will always help carry heavy loads when times get tough for other artists. For this edition of Curated Spotlight, I wanted to highlight spaces and people who share this ethos and do this work. It’s a way of appreciating artists’ advocacy for one another until wider circles take notice.” - Anthony Elms
Post Times is presenting a solo booth featuring works by Anthony Discenza (American, b. 1967), an interdisciplinary artist whose practice investigates the tensions between textual and visual systems of representation, focusing particularly on how the metanarratives embedded in technologic and representational systems shape experience in contemporary culture. He is currently based in Massachusetts, where he also operates @lower_cavity , an artist residency and project space.
Recent solo exhibitions include Folklore, Leroy’s, Los Angeles, CA; Dæmonomania, Hampshire College Art Gallery, Amherst, MA; Dæmonomania, Et al., San Francisco, CA. Discenza’s work has been exhibited at SFMOMA, the de Young Museum, the V-A-C Foundation, OCAT Shanghai, MOCA Cleveland, the Contemporary Jewish Museum, Objectif Exhibitions, the Wattis Institute for the Contemporary Arts, and the Whitney Museum of American Art, among others.
THANK YOU @sloth_division@yourethinkingofabrickwall@lower_cavity
Love you Mom! ♥️
Elberto “SLUTO” Muller
Mom, 2024
Tile, grout on FOAMULAR NGX board
12 x 6 x 4 inches
30.5 x 15.2 x 10.2 cm
Elberto “SLUTO” Muller (born) has presented the solo exhibition Vacant Hand at Entrance, New York, and has been included in recent group exhibitions Carnival (Curated by Joe Coleman) at Jeffrey Deitch, New York, and Love Poems (Curated by Chris Martin) at Anton Kern, New York, among others. As a writer, he has published numerous zines and books, including Graffiti on Low or No Dollars: An Alternative Guide to Aesthetics and Grifting Throughout the United States and Canada. His graffiti and mosaic wall reliefs are currently on view at numerous sites in New York and across the United States.
@vibedoubt
CLOSING SOON - only two more weeks to see Moonshiner Dataminer by Margaret Curtis, don’t miss it!
Margaret Curtis
Moonshiner Dataminer, 2026
Oil and ash on Dibond panel
60 x 48 inches
152.4 x 121.9 cm
Curtis’s paintings depict sprawling landscapes populated by larger-than-life figures assembled from scraps of neon signs and plywood billboards. Familiar American tropes—a sheriff star, cowboy hats and boots, guns, the striped legs of Uncle Sam, oil pipes—appear as towering constructions dominating the landscape, pieced together and held aloft by rickety wood scaffolding. The images operate as facades, both literally and figuratively, revealing the fragile architecture upon which ideas of gender politics and national identity are constructed.
Margaret Curtis (b. 1965, Hamilton, Bermuda) received her BA from Duke University and her BFA from the Atlanta College of Art. She also attended the Yale Norfolk Summer School of Art. Solo exhibitions include P·P·O·W, New York (1996, 1999, 2003), the Utah Museum of Contemporary Art, and Tracey Morgan Gallery. Group exhibitions include the New Museum, the Brooklyn Museum of Art, the Drawing Center, and the Andy Warhol Museum. Her work has been reviewed in Artforum, The New York Times, Harper’s, Art in America, and Modern Painters. She is a recipient of the Joan Mitchell Foundation Fellowship. Curtis lives and works in Tryon, North Carolina, and Las Vegas, New Mexico.
@margarcur
@artforum says you MUST SEE Margaret Curtis: ‘S, the gallery is open Thursday - Sunday, 12-6pm, at 29 Henry Street. Thank you @artforum !
Curtis’s paintings depict sprawling landscapes populated by larger-than-life figures assembled from scraps of neon signs and plywood billboards. Familiar American tropes—a sheriff star, cowboy hats and boots, guns, the striped legs of Uncle Sam, oil pipes—appear as towering constructions dominating the landscape, pieced together and held aloft by rickety wood scaffolding. The images operate as facades, both literally and figuratively, revealing the fragile architecture upon which ideas of gender politics and national identity are constructed.
Margaret Curtis (b. 1965, Hamilton, Bermuda) received her BA from Duke University and her BFA from the Atlanta College of Art. She also attended the Yale Norfolk Summer School of Art. Solo exhibitions include P·P·O·W, New York (1996, 1999, 2003), the Utah Museum of Contemporary Art, and Tracey Morgan Gallery. Group exhibitions include the New Museum, the Brooklyn Museum of Art, the Drawing Center, and the Andy Warhol Museum. Her work has been reviewed in Artforum, The New York Times, Harper’s, Art in America, and Modern Painters. She is a recipient of the Joan Mitchell Foundation Fellowship. Curtis lives and works in Tryon, North Carolina, and Las Vegas, New Mexico.
@margarcur
Margaret Curtis at Post Times, New York
“’S”
March 19 – May 17, 2026
Photos: images copyright and courtesy of the artist and Post Times, New York
@post__times@margarcur
Margaret Curtis, Collapse, 2023, oil and ash on panel, 60 x 60 inches
This painting was also on display in her solo exhibition at the Utah Museum of Contemporary Art, Margaret Curtis: This, too., June 21 – November 9, 2024
@utahmoca
Margaret Curtis (b. 1965, Hamilton, Bermuda) received her BA from Duke University and her BFA from the Atlanta College of Art. She also attended the Yale Norfolk Summer School of Art. Solo exhibitions include P·P·O·W, New York (1996, 1999, 2003), the Utah Museum of Contemporary Art, and Tracey Morgan Gallery. Group exhibitions include the New Museum, the Brooklyn Museum of Art, the Drawing Center, and the Andy Warhol Museum. Her work has been reviewed in Artforum, The New York Times, Harper’s, Art in America, and Modern Painters. She is a recipient of the Joan Mitchell Foundation Fellowship. Curtis lives and works in Tryon, North Carolina, and Las Vegas, New Mexico.
@margarcur
