P·P·O·W

“Flu Game” by @geraldlovell is currently on view in the group exhibition “Pilot Light,” curated by the artist, at #PPOW. Lovell’s paintings are an act of biography. Combining flat and impressionistic painting with thick daubs of impasto, Lovell creates monumental, loving scenes often lost to the abyss of memory. While imbuing his subjects with social agency and self-determinative power, he also reveals individualistic details that lay their essential humanity bare. “Pilot Light” is on view through June 6 at 390 Broadway, 2nd floor. 📷: #GeraldLovell, “Flu Game,” 2026, oil on panel, 60 x 48 ins.

#DavidWojnarowicz’s “Rimbaud in New York” series is featured in @museoreinasofia ’s ongoing installation “Collection. Contemporary Art: 1975 – Present.” The exhibition tells the history of art in the last fifty years through the Museo Reina Sofía’s collection. In this presentation, historical temporality is not viewed as uniform or linear, but rather as a series of complex processes, often presaged or disjointed in time. Wojnarowicz’s “Rimbaud” portfolio is highlighted in the section of the installation titled “Port Activities: Cruising and Aesthetic Revolt,” which includes works exploring the alternative geographies that marginalized communities created within postindustrial cities.  Visit Museo Reina Sofía’s ongoing collection presentation in Madrid, Spain. 📷: Installation view. Photo by Roberto Ruiz

@clementinekeithroach ’s work is currently featured in “Secret Skins,” a group exhibition at @rodolphejanssen . “Secret Skins” brings together a generation of artists who explore a non-spectacular intimacy: the private body, the fragile or self-assured nude, always held in tension between desire, narrative, vulnerability, and introspection.  Moving away from academic or overtly sexualized conventions, the artists present fragmented, vulnerable figures that invite a deeper psychological reading. The exhibition is on view through July 4 at Rodolphe Janssen, Brussels, Belgium. 📷: #ClementineKeithRoach, “Guardian of Nothing,” 2025

Opening this Saturday, May 16, @hilaryharkness ’s work will be featured in @SFMOMA ’s “Matisse’s Femme au chapeau: A Modern Scandal.” The exhibition’s title comes from a portrait of Matisse’s wife and muse, Amélie — considered scandalous by early twentieth-century art critics for its bold colors and loose brushwork that broke from painting tradition. One of the painting’s former owners, Gertrude Stein, is depicted in works by #HilaryHarkness, which reference Stein and Alice B. Toklas’s legendary relationship to comment on contemporary issues of sex and class. The abundant stories woven together in this intergenerational presentation offer a rich narrative, and even a touch of time travel, to both long-time admirers of the painting as well as those encountering it for the first time.  “Matisse’s Femme au chapeau: A Modern Scandal” will be on view at SFMOMA, San Francisco, CA, May 16 - September 13, 2026. 📷: Hilary Harkness, “Woman with the Hat,” 2011, oil on paper mounted on panel, 8 1/2 x 7 ins.

Opening tomorrow, May 14, don’t miss new work by @b.hortensia.mi.kafchin in “House of Nisaba: New Stories of Painting,” a group exhibition at @modernamuseet , Stockholm, Sweden. Curated by @hendrik_folkerts , the exhibition signals a return to figurative painting in contemporary art through the lens of allegory. The artists included in “House of Nisaba” render new pictorial languages that draw as much from art history, mythology, and literature, as from fashion, cinema, news media, science fiction, astrology, and digital platforms like Instagram and TikTok. Rather than offering stable narratives, these paintings propose worlds shaped by discontinuity, ambiguity, and multiplicity. “House of Nisaba” will be on view May 14 – August 30 at Moderna Museet. 📷: #HortensiaMiKafchin, “Fixing the Economy,” 2026

“Maravilla’s practice feels especially timely within today’s increasingly polarized climate of surveillance and violence,” writes @elisartgal in her @observer review of the 61st @labiennale di Venezia. Identifying artists whose works in La Biennale attempt to heal “the fracture between land, body, and history,” Carollo writes, “Another example is Guadalupe Maravilla’s ‘Disease Throwers’: made from handmade and found materials collected while retracing his migration route through Central America, these hybrid sculptural shrines function simultaneously as healing instruments and ceremonial objects. Accompanied by suspended hammocks inscribed with comforting songs, the works are activated through the artist’s ongoing sound-healing rituals for refugee and cancer communities, transforming the installation into a space of collective care and restoration.” Click the link in our bio to read the full article, and don’t miss Maravilla’s works in #LaBiennale di Venezia, on view through November 22. 📷: Installation view by Marco Zorzanello

Join us this Friday, May 15, 6-8pm, for extended hours of our ongoing exhibitions, “Pilot Light” and “Martin Wong: Popeye.” Curated by @geraldlovell , “Pilot Light” spans painting, sculpture, and multi-media installation through new and recent works by @breandy , @cvsreceipt , #GeraldLovell, @devinnmorris , @nickolapottinger , @talwst , and @taytheism .  Co-curated by Mark Dean Johnson and Anneliis Beadnell, “Popeye” presents a selection of works created over three decades of Wong’s career, highlighting an under explored throughline in the artist’s output that is equally indebted to lowbrow comix as it is to the highbrow associations of Asian and European art histories. 📷1: #NickolaPottinger, “Aunty and grandad,” 2025, paper pulp, pigments, tape, gold leaf, fabric, 22 x 17 x 16 ins. 2: Martin Wong, “Oy! (Veh),” 1991, acrylic on plywood, 96 1/4 x 96 3/4 ins.

In her @observer review of “The Women Question 1550-2025“ curated by @alisongingeras at @msnwarszawa , Sarah Moroz highlights the work of #BettyTompkins.  “Her ‘Women Words (Artemisia Gentileschi #2),’ a 2024 acrylic on digital print on canvas made specifically for the show, remixes ‘Jael and Sisera’ (1620) by Artemisia Gentileschi. Tompkins’ version is partially overwritten—quite literally—with vituperative phrases in pink lettering.” Of Tompkins’ work and the exhibition at large, Moroz concludes, “‘The Woman Question’ is an exercise in dismantling that hierarchy of power, taking a prismatic and expansive view via its intersection of geographies, identities and timelines. If only such an exercise could ripple beyond museum walls.” Click the link in our bio to read the full article. 📷: Betty Tompkins, “Women Words Painting (Artemisia Gentileschi #2),” 2024, acrylic on digital print on canvas, 47 x 77 ins.

Currently on view in South Korea, works by #MartinWong and #DavidWojnarowicz are featured in the group exhibition “Spectrosynthesis Seoul” at @artsonje_center . The exhibition offers a multilayered perspective on LGBTQ+ artists who have led avant-garde practices across temporal, spatial, and institutional boundaries. It examines the currents of contemporary queer art while tracing the topography of queer art in Korea—particularly in Seoul—as it has formed amid the country’s significant political, social, and technological transformations, and the tensions within them. “Spectrosynthesis Seoul” is on view through June 28 at Art Sonje Center, Seoul, Korea.  📷: Installation view by Seowon Nam. Courtesy of Art Sonje Center.

In his overview of the 61st @labiennale di Venezia for @artnews , @maxduron highlights the work of @guadalupe__maravilla .  “In these moments of survival, it’s important to look at artists whose work teaches us resilience and who made work at the margins because it was life-sustaining,” writes Durón. “Guadalupe Maravilla collects the material trace of migration, adding found objects that retrace his own childhood migration to the U.S. from El Salvador, and assembles them into his ‘Disease Thrower’ sculptures, which he describes as ‘both shrines and healing instruments.’” Click the link in our bio to read the full article, and don’t miss works by #GuadalupeMaravilla at La Biennale di Venezia, on view through November 22, 2026. 📷: Guadalupe Maravilla, “ICE Age Disease Thrower #4,” 2025, steel gong, cotton, glue mixture, plastic, and objects collected from a ritual of retracing the artist’s original migration route, 100 x 80 x 60 ins.

“Wong absorbed culture with an egalitarian attitude in which conventionally perceived ‘high’ and ‘low’ culture is put on equal footing,” writes @artstigator in his review of the ongoing exhibition “Martin Wong: Popeye” for @whitehotmagazine .  Continuing, “Because of his prodigious and perpetually active imagination, even a single body of work like the ‘Popeye’ series is chock full of medley cultural references, the sorts of things one would never expect to coexist in the same sentence: Renaissance portraiture (possibly à la Arcimboldo), tattoo designs, comic book illustrations, cartoons, Tibetan ‘Citipati,’ Op Art, and scores of other overt and covert cultural references.” Click the link in our bio to read the full article, and don’t miss “#MartinWong : Popeye” on view through May 30 at 392 Broadway. 📷: Installation view of “Martin Wong: Popeye”

We are pleased to announce that @guadalupe__maravilla is included in the 61st International Art Exhibition of @labiennale  di Venezia by Koyo Kouoh.  The exhibition, “In Minor Keys,” stands as a collective score composed together with artists who have built universes of imagination. Artists who work at the boundaries of form, and whose practices can be thought of as intricate melodies to be heard both collectively and on their own terms. These are artists whose practices seamlessly bleed into society. Of the artist’s presentation at La Biennale di Venezia, Alex Klein, Head Curator and Director of Curatorial Affairs at @contemporaryatx , writes, “In the current political climate, there is a heightened tension within Maravilla’s work between the metaphorical disease of xenophobia and the real physical toll it takes on the living. In the face of polarising state violence, Maravilla attunes us to our bodies and to each other, offering his sonic balm as a vehicle for introspection and collectivity.” “In Minor Keys” will be on view May 9 - November 22, 2026 at the Giardini, the Arsenale, and various venues in Venice. 📷: Installation view of “In Minor Keys”