Thank you to everyone who came out to experience #FeverDream — this is what it’s all about. Sharing, connecting, and growing together. We’re so proud of our incredible artists, curators, galleries, partners, and every voice that was seen and heard. We’ll continue to champion bold work and extend support through this platform and beyond. Stay tuned—so much more to come. ✨

Will Maxen (b. 1993) is a painter whose work reimagines personal and historical imagery into fictional, often abstracted scenes that blur the line between landscape and interior space. Through layered compositions, Maxen explores memory, intimacy, and the shifting nature of place—both literal and metaphorical. Their practice reflects on emotional environments through varying levels of legibility and narrative. Recent solo exhibitions include Watch as We Float at Fridman Gallery (2025) and And The Land Stands Still at High Line Nine (2024). Maxen has also shown in Reimagining Kinship at Welancora Gallery and A Treatise on Color: Vols. I–IV at Fridman Gallery. They hold a B.A. from Central Connecticut State University and an M.F.A. from UC Davis, and were recently featured in Observer’s coverage of Miami Art Week. Images in order: “Couch”, 2024, Oil, acrylic and inkjet transfer on canvas 55 x 60 in. Installation view: “Fever Dream”, Studio Underground, NYC, 2025 “Untitled (Memorial Day)”, 2024, 24 x 30 in, oil on canvas Installation View: “Pictures Are Stories”, a two person exhibition with Jack Tozzi, Marrow Gallery, San Francisco, 2024 Installation view: Solo Exhibition “And The Land Stands Still”, UTA Artist Space, NYC, LA. Detail view: “Their Memory Makes Return Possible 1”, 2024, Oil, acrylic, gesso, house paint and inkjet transfer on canvas, 55 x 43 ¾ in. Installation view: Felix Art Fair, presented with Residency Art Gallery, LA, 2024 “Untitled (Fourth of July), Oil in canvas, 67 x 102 in, 2024

Tim Kent (b. 1975, Vancouver, Canada) is a painter known for his psychologically charged spaces that blend architectural references with elements of abstraction. Drawing from Greek sculpture, Baroque interiors, Rococo sensibility, and Brutalist architecture, Kent employs gestural brushstrokes and perspectival techniques to create dynamic, layered compositions. Using archival photographs, architectural rendering software, and generative AI, he constructs models of the spaces he paints. A first-generation American of Turkish and English descent, Kent explores themes of history, memory, and power structures in his work. Trained in perspective painting at West Dean College, University of Sussex, he began his career rendering historical homes in England, which inspired his interest in architecture’s narrative potential. Kent has exhibited widely in the U.S. and abroad, with solo shows at JD Malta Gallery (London), Pilevneli Gallery (Istanbul), Hollis Taggart Galleries (New York), and Patrick Mikhail Gallery (Montreal). His work has been featured in New Surrealism: The Uncanny in Contemporary Painting, ArtReview, The Brooklyn Rail, Hyperallergic, and Architectural Digest. His pieces are included in collections such as the Museum of Contemporary Art (Beijing), 21C Museum (Louisville), and the Rockwell Museum (Corning, NY). Kent lives and works in Brooklyn. Images in order: “Folly!”, 2025 Oil on canvas 55 x 55 in. Angle view of “Folly!”, 2025 Oil on canvas 55 x 55 in. Detail view: “Folly!”, 2025 Oil on canvas 55 x 55 in. Installation view: “Fever Dream”, Studio Underground, NYC, 2025 “Who’s the fairest..?”, 2025 Oil on canvas, 26 x 21 in. Angle view: “Who’s the fairest..?”, 2025 Oil on canvas, 26 x 21 in. Detail view: “Who’s the fairest..?”, 2025 Oil on canvas, 26 x 21 in. “The Reproductive Gaze”, Oil on linen, 47 7/8 x 45 7/8 in, 2024 Installation view: Solo Exhibition, “Histories in Flux”, JD Malat Gallery, London, 2024 Installation view: Solo exhibition “VAGARIES OF PRECISION”, Patrick Mikhail, Montreal, 2021 Installation view: Tim Kent: “Edges Off a Model”, Hollis Taggart, NYC, 2025

Ry David Bradley (b. 1979, Australia) is a contemporary artist whose work explores the evolving relationship between digital technology and painting. He holds an MFA from the Victorian College of the Arts, University of Melbourne. Bradley’s innovative process combines digital imagery with traditional techniques. Using superfine transparent mesh stretched over hand-painted frames, his works blend elements of technology and nature. Embedded USB drives containing high-definition images of the artworks further challenge the boundaries between physical and digital media, questioning the longevity of material versus virtual forms. Recent solo exhibitions include Bots at Carl Kostyal Gallery, KIAF Seoul (2022), Life Drawing at Allouche Benias Gallery, Athens (2022), and Once Twice at The Hole, New York (2021). His work is held in the permanent collection of the National Gallery of Victoria, Australia, and in significant private collections across Europe and the United States, including the Aldala Collection. Bradley lives and works in London.  Images in order: “AAA 15”, 2015, Spray paint and dye transfer on synthetic suede 74 x 44 in. Opening reception view: “Fever Dream”, Studio Underground, NYC, 2025

“AAA 21”, 2015, Spray paint and dye transfer on synthetic suede 74 x 44 in. Installation view: “Fever Dream”, Studio Underground, NYC, 2025 Installation view: “Room with a view”, Solo Exhibition, The Hole, NYC, 2017 Installation view: “Stockholm Syndrome”, Hospitalet, Stockholm, 2021, Oli Epp and Ry David Bradly’s duo show presented with Carl Kostyal.  Installation view: “NOVACENE: PORTRAITS OF A MACHINE”, The Hole, NYC, 2022 Installation view: “2025 BC”, Carl Kostyal, London, 2025 Installation view: “LIFE DRAWING”, Allouche Benias Gallery, Athens, 2022 “Maximia Melus”, Acrylic tapestry, 63 x 55 inches, 2022

Rosalie G. L. Smith (b. 1993) is an interdisciplinary artist whose work spans sculpture, installation, and writing, exploring themes of domestic life, memory, and matrilineal inheritance. Her practice is rooted in materiality and narrative, often constructing layered environments that reflect the emotional and physical interiority of home and body. Smith holds a B.A. from Smith College and is currently pursuing her M.F.A. and Advanced Curatorial Certificate at CUNY Hunter College. She recently studied in Klasse Pernice at the Universität der Künste Berlin. Recent exhibitions include Study of Wind on Grass (2022) and Where I Go (2020) in New Orleans, as well as Assembly (2024, NADA), The World Pulse Beats Beyond My Door(2024), and Playground and Dreams (2023). A former member of The Front collective, she is currently part of the White Columns Artist Registry. Images in order: “Elevated Dish Rack II”, 2025, Drink caddy, paper holder, walker handle, shelving stakes, batteries, mac charger, hook, blinds draw, suitcase wheel, can tab, phone mount, caster, artificial bird of paradise and eucalyptus, plugs, cable, ram’s horn.
16 x 30 in. Detail view: “Elevated Dish Rack II”, featured in “Fever Dream” at Studio Underground, NYC , 2025 Installation view: “Fever Dream” at Studio Underground, NYC, 2025 “RS.18 Self-Automated Communication Extruder”, 2025, Lamp, toilet paper holder, mannequin arm, keyboard, thistles, fake grass, lightbulbs, plaster, glove, flock, aluminum paint, watch, key chains, found hooks, coil, 24 × 18 × 72 in  Detail view: “RS.18 Self-Automated Communication Extruder”, 2025 “Beachside Sunset Privacy Screen”, 2025, Yoga mat, clothing rack, cowboy boot (once owned by Ricky Lee Jones), pipe, buzz ball, false nail, chargers, Purple Heart plant, driftwood, shells, artificial eucalyptus, palm, and rose leaves, shower curtain rings, ribbon, matches, wax, plaster, acrylic paint. “Marriage Bed (working title)”, 2025, found materials “Monument to the Union of Animalia and their victorious resistance to the Kingdom of Man,” 2024, Plaster, hardware, toy animals, mixed media. Scale image by @billie_clarken

Petra Cortright (b. 1986, Santa Barbara, CA) is a Los Angeles–based artist and leading voice in the Post-Internet movement. She first gained attention in the 2000s through experimental YouTube videos and digital self-portraits. Her practice blends found imagery, digital brushwork, and consumer software to create layered compositions—printed on aluminum, canvas, or paper—that blur the line between screen and painting. Her work has been shown at institutions like the Hammer Museum, Whitechapel Gallery, and Walker Art Center, and is held in the collections of MoMA, LACMA, PAMM, and Moderna Museet. Recent exhibitions include ULTRAMARINE UNDERWORLD HEARTBROKEN HARDCORE at Société (Berlin), sapphire cinnamon viper fairy at Palm Springs Art Museum, and a 2024 CHANEL Culture Fund commission in London. She holds a BFA from Parsons. Images in order: “Athos adress Internet communication_bank foreclosures banjo-kazooie stratagy”, 2024 Digital painting on anodized aluminum, 48h x 38.50w x 1d in  Installation view: “Fever Dream”, Studio Underground, NYC, 2025 “uuencode va lotto wastewater uk”, Archival pigment print on matte paper, 20 x 15 in,  2020 “FROG DFROG FORG”, Archival pigment print on matte paper, 20 x 15 in, 2020 Installation view: “wet sunlight Paradis “pomme de terre” 3D’ for @chanelofficial , London, 2024 Still from “wet sunlight Paradis “pomme de terre” 3D”, 2024, part of window display at Chanel Store, London, 2024 Installation view: “fresh floral ice milk soft blue bruise”⁠, Duarte Sequeira, Seoul, 2025⁠ @duartesequeiragallery Installation view: Group presentation, Frieze NYC, 2025, SOCIÉTÉ  Installation view: Petra Cortright: “borderline aurora borealis”, Team Gallery, New York, 2020. Courtesy Team Gallery  Portrait credit to Stefan Simchowitz announcing her curatorial spotlight for Untitled Art Fairs, Miami 2025

Monsieur Zohore (b. 1993, Potomac, MD) is an Ivorian-American artist whose multidisciplinary practice spans performance, painting, video, installation, and sculpture. His work explores the intersections of domestic labor, queerness, and cultural identity, often blending humor with pathos to examine the personification of objects and the commodification of people. Zohore holds an MFA from the Maryland Institute College of Art (2020) and a BFA from The Cooper Union (2015), and currently serves as Assistant Professor of Painting and Printmaking at Virginia Commonwealth University. Recent solo exhibitions include Get Well Soon at Magenta Plains (New York, 2024), Tutto at Amanita (Florence, 2023), and MZ.25 (My Condolences) at M+B (Los Angeles, 2023). His work has been featured in major group shows at the Baltimore Museum of Art, SculptureCenter, Pace Gallery, The Kreeger Museum, Galerie Mitterrand, and KOW Berlin, among others. Images in order: Opening reception view: “Fever Dream”, Studio Underground, NYC, 2025 “Who’s Anatomy”, 1945-2024 Mixed media on canvas, 24 x 24 in. Installation view: “Fever Dream”, Studio Underground, NYC, 2025 Installation view: “I’LL REMEMBER APRIL” Group Exhibition, KOW, 2025, Berlin Germany Installation view: “Hedge” – Halsey Mckay Gallery,\ David Kennedy Cutler & Monsieur Zohore, 2023, East Hampton “Puppy Love (Jackson)”, 1952-2023, Mixed media on canvas, 19 x 22 inches “Tutto”, Solo presentation, Amanita, Florence, Italy, 2023 “Charmed Snakes (Serpentines Charmés), 1907-2021, Bleach, Fabric Dye, Ink Jet, Paper towel on canvas, 72 x 72 inches. Installation view: “Tu Rêves (You’re Dreaming)”, Jack Barrett Gallery, NY, 2021 Tag Noah Huber Installation view: “Get Well Soon,” Magenta Plains, New York, NY, 2024

Milly Skellington (b. 1993, Los Angeles) studied at Goldsmiths College in London and Otis College of Art and Design in Los Angeles. Their work has been shown at El Clasificado Space (Los Angeles), New Space Lewisham (London), and Cody Wycoff Space (Brooklyn, NY), with recent exhibitions at Hyacinth Gallery, Europa (Lower East Side), and New Uncanny Gallery (Harlem). Skellington’s practice blends printing technology with painterly gestures, using custom-built machines to replicate hand-rendered marks. Their work explores themes of authorship, media manipulation, and cultural paranoia, combining inkjet-printed images with hand-painted details to distort familiar narratives. Inspired by Hollywood’s influence and modern media culture, Skellington’s work questions artistic control and innovation, reinterpreting collective memory through layered and unpredictable compositions. Upcoming exhibition at Europa Gallery! Images in order: “How Soon is Now”, Oil on panel, 48 x 38 in. 2020. “Fever Dream” Studio Underground, 2025 Detail view: “How Soon is Now” Installation view: “A Brief Encounter (is the most beautiful that exists)”, Oil and mixed media on vinyl, 189.8 x 144 in, 2023. Site Specific overpainting. Detail view: “A Brief Encounter (is the most beautiful that exists)” Installation view: “Broad Picnic”, Group Exhibition, Europa NYC, 2024 Exhibited work: “If You Ride Like Lightening, You Crash Like Thunder.” Oil on canvas, 78 x 72 inches , Europa NYC, 2024 Installation view: “An Alternate Ending to A Tale of Two Cities”, Hyacinth Gallery, NY, 2024 artwork: “International Gothic”, oil and transfer on canvas, 2024 “Space Jammers of New the Millennium”, mixed media on vinyl , 2025, at Fluxus Lahksa in Singapore. Group Photo: Exhibiting artist Ji Zou and Milly Sklellington at the Kasmin x Artistic Noise auction. Milly had an artwork available. Harlem-based nonprofit Artistic Noise (@artistic_noise ) with a pop-up exhibition at the gallery and an afterparty at The Manner (@themanner ) with our exclusive media partner Cultured (@cultured_mag )

FEVER DREAM On view through May 24, 2025 @_studiounderground_ x @pulseprojects x @metmuseum FEVER DREAM explores contemporary unease through mystical symbolism, outsider art, and surrealism. Presented by Studio Underground with PULSE Projects and The Metropolitan Museum of Art, it bridges independent curators and major institutions. @ananas____ananas ‘1 Apple’ Motorized stainless steel vessels representing the 25 gallons of water it takes to produce a single apple 🍏 🍎

Matthew Tully Dugan (b. 1986) is a New York-based multidisciplinary artist exploring themes of celebrity, psychology, and media’s emotional divide. His work, spanning painting, sculpture, and installation, blends popular and subcultural imagery to examine contemporary conditions and their psychological impact. Dugan has exhibited with NYC’s One Trick Pony at Felix Art Fair and held a solo exhibition at 56 Henry in New York. His practice reflects on society’s evolving relationship with media, identity, and obsession. Images in order: “Allegory of Night”, Oil on linen panel, 75 x 100 inches, 2025 Installation view: “Allegory of Night”, Oil on linen panel, 75 x 100 inches, 2025 Scale View: “Allegory of Night”, 2025, NYC, Studio Underground Installation view: “The Hunter”, Solo Exhibition, Will Shott, NY, NY, 2023. “Allegory of Grief”, Oil on linen panel, 9 x 12 inches, 2024-25, at Felix Art Fair with One Trick Pony Gallery. Installation view: “A Particular Kind of Heaven”, July 21–September 1, 2024, Thomaston, ME, KARMA KARMA Installation View: “In The Beginning”, One Trick Pony Installation view: “The Hunter”, Solo Exhibition, Will Shott, NY, NY, 2023 Installation view: “Inferno”, Lomex Gallery, NY, NY  “Dead”,  Oil on canvas in artist’s frame, 17 x 20 inches, 2023 Portrait by Galen Bullivant

Marek Wolfryd (b. 1989, Mexico City) is a multidisciplinary artist whose work explores the intersections of art, economics, and culture through sculpture, installation, video, and performance. Drawing from micro-histories and global narratives, his practice critically examines systems of mass production, consumerism, authorship, and the distribution of art. Using diverse mediums such as readymades, process art, and performance, Wolfryd dissects cultural movements and their aesthetic narratives, often challenging the structures that shape cultural value and visibility. His work has been exhibited internationally at venues including Aparador LA, Chalton Gallery (London), and Aoyama Meguro (Tokyo). Recent highlights include a solo exhibition at Swivel Gallery in New York (2024), and a standout presentation with General Expenses at Zona Maco 2025 in Mexico City. Wolfryd holds a BA from ENPEG “La Esmeralda” and has studied at SOMA, grounding his practice in long-term research that navigates complexities both within and beyond Western cultural influence. Images in order: “Reflection Of A Setting Star On The Surface Of A River”, 2023
Stainless Steel, 27.5 H x 27.5 W x 4 D in. Installation view: “Fever Dream”, At Studio Underground, NYC 2025 Opening reception view: “Fever Dream”, Studio Underground, 2025 Installation view: “Koons Blue Balls”, 2024 Blown glass sphere, polyurethane foam, screws, epoxy, and resin 25.5 x 51 x 25.5 cm (10 x 20 x 10 in), “El Jardin Secreto”, Studio Underground, 2025, DIEGO VILLASEÑOR’s private garden, Mexico City. Installation view: “El águila y el dragón”, General Expenses, Mexico City, 2022 Installation view: “The Great Logic of Contents that Bind the World into Existence or “Season’s Greetings!”, 2024, Swivel Gallery, NYC. “Bandera”, 2024, Oil on canvas, 22 x 29.5 inches, presented at Studio Underground NYC, Curated by Eduardo Medrano of John Doe Gallery and Chris Scott, 2024-2025 Performance view of “Occidenterie”, 2025. General Expenses, Mexico City

Magdalena Petroni (b. 1987, Buenos Aires) is a multidisciplinary artist whose practice spans installation, painting, and sculpture. Drawing on references from techno culture, tuning, horror, and science fiction, her work explores the collision between high culture and the anarchic aftermath of human excess. She assembles dissimilar objects into frantic, layered compositions that investigate alienation, alterity, and the extrasensory—challenging binaries such as mind/body, human/non-human, and culture/nature. Her work engages with the shifting dynamics of social, technological, and sexual life under late capitalism, reflecting a fascination with the monstrous present and object-oriented ontology. Petroni holds a degree in Visual Arts from the National University of Art (UNA), and has participated in the Artists Program at the Torcuato Di Tella University (2020) and SOMA (2021). She co-founded the critical collective La Sin Futuro (2012–2015) and currently runs La Verdi, a residency and studio space in Buenos Aires. Her recent solo exhibition "Trauma Core" was held at General Expenses, Mexico City in 2024. She has exhibited widely across Latin America and internationally. She is currently “in practice” program at the Sculpture Center this month til June in NYC. Made possible by the Elaine Graham Weitzen Commissioning Fund for Emerging Artists. Thank you @Generalexpenses ! Images in order: “Ivanka”, 2024, Car lamp, tennis balls, automotive paint, vinyl, polyurethane foam, monster cans and photography, 23 5/8 x 16 x 9 7/8 in Opening reception view: “Fever Dream”, Studio Underground, NYC, 2025 Installation view: “Fever Dream”, Studio Underground, NYC, 2025 Installation view: “Material Station Vol. 2”,General Expenses, Guadalajara, Mexico, (collaboration with Sólida Gallery, Oaxaca), 2022 Installation view: “TE EXTRAÑO TE EXTRAÑO”, TOMAS REDRADO ART, Buenos Aires, 2025 Installation view of “TraumaCore”, 2024. General Expenses, Mexico City