Uffner & Liu

Thank you to Tessa Solomon for featuring our booth at Independent art fair for ArtNews. Find us at Booth 515 at Independent (Pier 36), currently open through May 17. We are presenting a two artist booth: Bernadette Despujols and Sacha Ingber. See the full article at the link in our bio to continue reading. @independent_hq @bernadettedespujols @sachingber #bernadettedespujols #sachaingber #uffnerliu

Our presentation at Independent is currently on view at Booth 515. Working in earthy tones and with physical, tactile mark-making, Bernadette Despujols depicts friends, relatives, and members of the Venezuelan diaspora in scenes drawn from everyday life. Her figures are often situated in gardens and amongst plant life, a reference to tenets of ecofeminism that draw connections between the exploitation of the natural world and the oppression of women. In dialogue with Despujols’ oil paintings, Sacha Ingber’s sculptures introduce a materially rich and sculptural counterpoint. Drawing on the forms and textures of Brazilian modernist architecture and craft traditions, Ingber constructs hybrid objects that oscillate between furniture, architectural structures, and human figures. In her recent sculptures, produced following the birth of her son, the female body becomes increasingly morphed with the form of a house—its strength and protective quality echoed in swelling forms, biomorphic supports, and surfaces that seem both armored and tender. Independent May 14–17, 2026 Pier 36, 299 South Street, NY For more information or to continue reading, see the link in our bio. Image 1: Bernadette Despujols, “El final de los peces”, 2026, oil on linen, 36 x 24 in (91.4 x 61 cm) Image 2-4: Sacha Ingber, “27 years”, 2026, glazed stoneware, grout, wood, 14 x 17 1/2 x 6 in (35.6 x 44.5 x 15.2 cm) Image 5: Bernadette Despujols, “Perros en el jardín”, 2024, oil on linen, 30 x 24 in (76.2 x 61 cm) @independent_hq @bernadettedespujols @sachingber #bernadettedespujols #sachaingber #uffnerliu

OPENING TODAY | Nasir Young, “Nowhere/Everywhere”, May 15 – July 2, 2026. Please join us for the opening reception on Friday, May 15 from 6–8pm. At the center of “New Frontier For The Glory Days” is a portrait of one of Young's friends, mid-ride on a small dirt bike. Behind him, an interposed Marlboro advertisement drops into the scene like an overlaid image-cum-cinematic backdrop: wheat fields, open sky, the Marlboro cowboy. Young grew up on westerns, and sees Marlboro's branding as among the most potent in American commercial history – the cowboy image functioning as its own kind of mythology. The painting holds these two figures, his friend and the cowboy, in an easy, unforced juxtaposition – two versions of frontier. Taken together, the works in “Nowhere/Everywhere” make the case that the mundane is never merely background. Young treats the built world – its signage, its parking disputes, its all-night gas stations – as a portrait of collective life, one that rewards exactly the kind of sustained, unhurried attention he brings to it. The result is a body of work that feels as specific to Philadelphia as it is open to everywhere at once. Image 1: Nasir Young, “New Frontier For The Glory Days”, 2025, oil on panel, 18 x 18 in (45.7 x 45.7 cm) Image 2: Nasir Young, “Lawn Ornaments”, 2025, oil on panel, 8 x 8 in (20.3 x 20.3 cm) @nasiryoungart #nasiryoung #uffnerliu

OPENING TODAY | Arghavan Khosravi, “What Remains” May 15 – July 2, 2026. Please join us for the opening reception tonight, May 15 from 6–8pm. Khosravi's practice has long operated at the intersection of the personal and the political. Working across painting and sculpture, she constructs layered compositions that draw on Persian miniature painting and medieval European iconography to explore the pressures and contradictions that shape women's lives under systems of political, cultural, and religious control. Her work is ultimately a celebration of female power and agency – and an ongoing investigation of the structures (both historical and contemporary) that regulate the body and limit autonomy. To continue reading or for more information, please see the link in our bio. Images: “Bearing”, 2026, acrylic on canvas stretched over shaped wood panel, acrylic on wood panel, wood cutouts, plexi mirror, 88 x 26 1/2 x 7 3/4 in (223.5 x 67.3 x 19.7 cm) @arghavan_khosravi #arghavankhosravi #uffnerliu

NOW OPEN | Booth 515 at Independent Uffner & Liu returns to Independent art fair at Booth 515 with a two-person booth featuring new paintings by Bernadette Despujols and sculptures by Sacha Ingber. Both artists engage deeply with themes of home, family, migration, and womanhood, subjects shaped by their Latin American backgrounds and refracted through the lens of new motherhood. Independent May 14–17, 2026 Pier 36, 299 South Street, NY For more information or to continue reading, see the link in our bio. Images: Installation views, Bernadette Despujols & Sacha Ingber, Uffner & Liu, Booth 515, Independent, NY, May 14–17, 2026. Photography courtesy Gabriele Abbruzzese @independent_hq @bernadettedespujols @sachingber #bernadettedespujols #sachaingber #uffnerliu

In Memoriam: SEPTEMBER Gallery and Uffner & Liu honor the life and legacy of American painter and sculptor Reginald Madison, who passed away on May 12, 2026, at the age of 85. Born in 1941 in Chicago, Madison emerged within the vibrant cultural landscape of the Black Arts Movement (1965–1975). His story is one of self-determination and unwavering commitment to his practice. Entirely self-taught, he began painting after discovering a discarded box of paints as a teenager—an encounter that sparked a lifelong devotion to artmaking. Madison later worked at U.S. Steel South Works, taking on extra shifts to support his young family and to fund a formative year of travel in Europe, where he visited museums in Paris, Munich, and Madrid. In 1968, he had his first public presentation at Art & Soul in Chicago, where he was awarded third place in a competition juried by artist Richard Hunt and curator Jan van der Marck, founding director of the Museum of Contemporary Art Chicago. This early recognition affirmed his path and propelled him to continue his practice in New York City and Western Massachusetts, before ultimately settling in Hudson, where he lived and worked for the remainder of his life. Madison’s work and legacy will endure through his oeuvre and his contributions to the art historical canon. Uffner & Liu and SEPTEMBER Gallery are honored to present a solo booth of Reggie’s work at Independent 20th century this fall.  #ReginaldMadison #InMemoriam @reginald_madison_artist

UPCOMING EXHIBITION | Nasir Young, “Nowhere/Everywhere”, May 15 – July 2, 2026. Please join us for the opening reception on Friday, May 15 from 6–8pm. Uffner & Liu is pleased to present "Nowhere/Everywhere", Nasir Young’s first exhibition at the gallery. Young's investigation of the built urban environment – its gas stations, storefronts, corner stores, and parking lots – is a visual language that is at once hyperlocal to his upbringing in Philadelphia and universally legible across American suburbia. Young's paintings unfold through observation. A lifelong skateboarder, he experiences the city through shifting speeds and from unexpected angles – the kind of looking that reveals what may be missed while walking or driving. His sketchbook, almost always on his person, functions as both field journal and archive, accumulating images that may sit for months or years before becoming paintings. The works in “Nowhere/Everywhere” are primarily drawn from Philadelphia, with other cities woven through. Since receiving a 2024 Elizabeth Greenshields Foundation Grant, Young has traveled extensively – Concord, Nashville, Los Angeles, Fredrick – testing a central conviction: that the visual vocabulary of a corner store or a gas station translates across geography. To continue reading or for more information, please see the link in our bio. Image 1: Nasir Young, “Brick & Mortar”, 2026, oil on panel, 12 x 18 in (30.5 x 45.7 cm) Image 2: Portrait of Nasir Young in his studio. @nasiryoungart #nasiryoung #uffnerliu

This is the last week to see Sacha Ingber, “Two” is on view at Uffner & Liu through May 9, 2026. The conjoined ceramic sculptures, such as Two and Duas, draw from Pre-Columbian Peruvian ceremonial vessels of the 2nd–8th century, where two clay vessels are seamlessly connected, suggesting a shared interiority where liquid can travel between them in a symbiotic relationship. Ingber approaches glazing as a form of “dressing” the figures: surfaces are applied like tailored garments, referencing athletic wear that accentuates and frees the body. Skirt-like elements function as both awnings and clothing. Often across Ingber’s works, architecture intersects with figuration — bodies become vessels; vessels become homes. For more information or to continue reading see the link in our bio. Images 1–3: Sacha Ingber, “Duas”, 2025, glazed earthenware, grout, concrete, acrylic paint on linen, piping, epoxy clay, watercolor, 14 1/2 x 18 x 6 in (36.8 x 45.7 x 15.2 cm) @sachingber #SachaIngber #uffnerliu

Summer museum preview! Featuring our artists in upcoming solo and group museum exhibitions around the world. Sheree Hovsepian at the Museum of Modern Art, NY Sheree Hovsepian at Château La Coste, France Bianca Beck at Center for Contemporary Art Maine, Rockland, ME Arghavan Khosravi at the Aldrich Museum, Ridgefield, CT Reginald Madison at Hudson Hall, Hudson, NY Reginald Madison at Château La Coste, France Curtis Talwst Santiago in New York with Facade Foundation @shereehovsepian @novabeck @arghavan_khosravi @reginald_madison_artist @talwst

UPCOMING EXHIBITION | Arghavan Khosravi, “What Remains” May 15 – July 2, 2026. Please join us for the opening reception on Friday, May 15 from 6–8pm. Uffner & Liu is pleased to present "What Remains", Arghavan Khosravi’s third solo exhibition at the gallery. The exhibition brings together three large-scale wall works, one freestanding sculpture, and a suite of intimate, small-scale compositions from a new body of work inspired by altarpieces. As always in Khosravi’s dynamic practice, each work is constructed as a system – panels hinge, surfaces divide, and elements pass between compartments, collapsing distinctions between image and structure. To continue reading or for more information, please see the link in our bio. Image 1: Arghavan Khosravi, “Stillness”, 2026, acrylic on canvas mounted over wood panel, 15 x 13 x 4 in (38.1 x 33 x 10.2 cm) Image 2: Portrait of Arghavan Khosravi

Christian Franzen, “SHIFTY” is currently on view at Uffner & Liu March 12 – May 9, 2026. Franzen’s landscapes, alluring yet ambiguous, resist full immersion. Scratches and surface incisions act as interruptions, drawing attention to the canvas as object and to the distance between lived experience and its recollection. In relinquishing the photograph’s authority, SHIFTY embraces perception as mutable and subjective. Sunsets dissolve; reflections fracture; images double and slip. What remains is not a fixed record of place, but a shifting field of light and memory—an atmosphere in which truth is always provisional, and the horizon forever receding. For more information or to continue reading see the link in our bio. Image 1: Christian Franzen, “Losing In Your Hometown”, 2024, acrylic on linen, 50 x 40 x 1 1/2 in (127 x 101.6 x 3.8 cm) @fran_van #christianfranzen #uffnerliu

Sacha Ingber, “Two” is on view at Uffner & Liu March 12 – May 9, 2026. Domestic memory anchors the exhibition. “Marzita & Lucia” references the artist’s grandmother and great aunt, incorporating details from their garments, including a collar rendered in rattan cane-webbing. Across “Two”, Ingber unifies sculpture, furniture, garment, and architecture into singular forms. Fabric is painted, sewn, and tailored to fit specific works; plaster spines are cast from molds made by the artist; ceramic is shaped by hand. Duality here is structural — two sides of a book, two spines in a body, two players at a table — proposing relationality as something physical, architectural, and inseparable. For more information or to continue reading see the link in our bio. Images 1–2: Sacha Ingber, “Marzita & Lucia, 2026, urethane with pigments, epoxy clay, notebook paper, linen, oil paint, cane webbing, wood veneer, acrylic polymer with filler, bookbinding spiral, 22 1/2 x 37 1/2 x 4 1/2 in (57.1 x 95.3 x 11.4 cm) Images 3-7: Sacha Ingber, “Gambler’s Footstool, 2026, glazed stoneware, rattan, thread, cast urethane with pigments, 11 x 16 x 10 in (27.9 x 40.6 x 25.4 cm) @sachingber #sachingber #uffnerliu