January 14, 2020
For American-Iranian painter Ali Banisadr, creating art is beyond a pure hobby or a choice, it’s a necessity. Growing up amidst the Iranian Revolution and the Iran-Iraq war during a time of upheaval, art became not only a coping mechanism, but a way to understand the world around him and organise his thoughts. “At a young age, the only way I could process that chaos was in a visual manner,” Banisadr says. “That same habit continued throughout my life. There are so many abstract thoughts that for me, can only be expressed visually.”
“Works from the Collection of John Ashbery,” at Kasmin Gallery (through December 22): John Ashbery, who died last September, will be remembered by history as a leading poet of the New York School, but his first aspiration was to be a painter.
December 16, 2019
Looking at the paintings of Walton Ford in a book, you might mistake them for the watercolors of a nineteenth-century naturalist: they are annotated in longhand script, and yellowed at the edges as if stained by time and voyage. Something’s always outrageously off, though: the gorilla is holding a human skull; a couple of parrots are mating on the shaft of an elephant’s penis. In his early riffs on Audubon prints, Ford painted birds mid-slaughter: his American Flamingo (1992) flails head over heels after being shot with a rifle, and an eagle with its foot in a trap billows smoke from its beak (Audubon, in search of a painless method of execution, tried unsuccessfully to asphyxiate an eagle with sulfurous gas).
December 17, 2019
“Lines Thicken: Stuart Davis in Black and White,” at the Kasmin gallery (through Dec. 21), shares an open secret of the irrepressible American modernist: drawing powers his paintings, even at their most colorful. These sixteen robust designs on paper, canvas, or board—in ink, gouache, or casein—amount to paintings in skeleton, displaying jazzy, indestructible linear networks, either edge to edge or afloat in pictorial space. The abstracted subjects include street and harbor scenes, still-lifes, and a study for the artist’s tour de force, the 1932 mural “Men Without Women,” in the men’s room of Radio City Music Hall. There’s chroma enough in the pictures’ white negative spaces. They sizzle. The excellence of the show’s selection makes this a brisk primer on the Parisian-informed genius of post-Cubist, proto-Pop form, who died in 1964, at the age of eighty-one. Davis took drawn line not for a walk, in the stated manner of Paul Klee, but for canters and gallops, with any willing viewer delightedly astride. —Peter Schjeldahl
December 5, 2018
Over the past 25 years, success in the gallery sector has become synonymous with growth of all kinds. Yet even as gallerists try to wrestle an ever-expanding list of business variables into equilibrium, many of their individual options still ultimately depend on perhaps the most basic scale question of all: How much physical space do they have?
December 4, 2018
Imagine the horror. Some Art Basel Miami Beach visitors find the David Hockney or Roy Lichtenstein of their dreams and then realize they don’t have the right sofa or table to hang it over — or just the right home accessory to accent that room. Luckily, Design Miami, like the art fair, runs through Sunday, and it’s right across the street from the convention center.
November 15, 2018
The poet and critic John Ashbery described his friend, the painter Fairfield Porter, in a 1983 Newsweek review, as “one of those innovators whose originality can come perilously close to seeming old-fashioned.” It’s an apt gloss for Porter’s 1952 portrait “John Ashbery (Argyle Socks),” as well as for most of the two dozen other demure treasures making up “Works From the Collection of John Ashbery” at Kasmin.
November 12, 2018
Amid west Chelsea’s eclectic cacophony of low-slung converted blue chip galleries and glitzy condo developments, Paul Kasmin’s new Manhattan flagship gallery manages to hold court—quietly. With its imposing, angled facade that feels like a modern interpretation on a traditional proscenium, the gallery draws visitors in to its spacious interior while maintaining a certain imposing, compressive monumentality not often seen—or possible in—storefront galleries.
November 8, 2018
Next door, studioMDA has created a purpose-built gallery for Paul Kasmin that acts as a ‘kunsthalle’ for displaying and viewing art. the main exhibition area, designed for the display of large-scale artworks, is a column-free, 3,000-square-foot space with 22-foot-high walls and a polished concrete floor. the ceiling in this main space is a pattern of 28 trapezoidal board-formed concrete coffers, each of which houses a large skylight that provides diffused natural daylight. the new gallery also houses private viewing rooms and offices.
November 9, 2018
It was also Kasmin’s first time at Art021. The New York gallery sold Mark Ryden’s cheeky painting Salvator Mundi (2018), a play on the Leonardo da Vinci painting that sold for $450 million at Christie’s a year ago, but with a fluffy dog holding the gazing ball instead of Jesus Christ. Kasmin had a bit of fun with the presentation, as two security guards stood by the painting protecting the canvas as if it were truly the Leonardo and not a cute puppy-fied homage.
November 9, 2018
Meanwhile, in the main section of the fair, dealer Paul Kasmin was among the first-time exhibitors, with a booth that proved wildly popular. The gallery riffed on Christie’s viral marketing campaign for Leonardo da Vinci‘s Salvator Mundi last fall, with a playful blue Mark Ryden portrait—sphere in hand and all—flanked by security guards in dark suits, at the front of the booth.
November 3, 2018
Blue jeans, jazz, 1930s America; sailors and signage in New York’s Times Square, the stench of fish rolling off the river, and the plaintive sound of a trumpet snaking through the air. Stuart Davis, of course, was at the center of it all.
November 3, 2018
Ashbery, the poet who died last year, had a vast collection of New York School art, now on display at the Kasmin Gallery, just a few blocks up from the Whitney’s blockbuster Warhol exhibit.
October 25, 2018
Also in Chelsea earlier this month, a show of new paintings by Walton Ford inaugurated Paul Kasmin’s new gallery, a ground-up construction by Markus Dochantschi of Studio MDA. The new 10,000-square-foot gallery, with a concrete ceiling that recalls the Brutalist designs of what is now the Met Breuer, is part of a mini-archipelago of four Kasmin exhibition spaces along one block of West 27th Street near 10th Avenue. The new No. 509 is less than 10 feet from The High Line, which curves along the gallery’s new 5,000-square-foot rooftop sculpture garden and attracts more than 6 million people annually — far more than many museums.
October 25, 2018
The art dealer Paul Kasmin now runs five separate spaces in a one-block range, including a new rooftop sculpture park, on which a jaunty trio of Joel Shapiro’s bronzes can be seen from the High Line until the night before Christmas Eve. At the moment, however, the mini-empire’s smallest show is the one not to miss.
October 19, 2018
Blurring the lines further was Paul Kasmin, who placed one of Walton Ford’s spectacular fauna studies (here, a panther) above Claude Lalanne’s Crocodile Bench, drawing the kind of opulent parallel to a collector’s home that most booths fail to achieve (or more specifically, rarely attempt to).
October 24, 2018
The American artist is well known for his large-scale watercolours of birds and beasts. His current exhibition at Kasmin Gallery, New York, reimagines the life and times of the Barbary lion, which became extinct in the wild during the 20th century.
October 17, 2018
Paul Kasmin, who represents Tina Barney and Robert Motherwell, is opening his fourth NYC gallery this fall, along the High Line. The megadealer learned the trade from dad John, who ran a seminal 1960s London gallery with clients including the Rolling Stones.
October 17, 2018
While the lion rarely gets its share these days, the noble beast is in sharp focus in Barbary, an exhibition of five large-scale watercolors by Walton Ford, which is inaugurating Paul Kasmin’s new Chelsea gallery at 509 West 27th Street, adjacent to the High Line.
The fruit of more than 18 years of research, the suite of paintings celebrates the Barbary lion—the beast of the Roman amphitheater, the great mammal painted by Delacroix, and the one that proudly roars for MGM’s film studios—which one might say had been loved to death with the last of the Atlas Mountain denizens perishing in the wild in the early 20th century.
October 17, 2018
The shows herald a new era of curatorial ambition for the gallery. Along with shows larger in scope and an ambitious rooftop program, the gallery is also making a number of additional changes. Firstly, a welcome redesign of the logo and website. Secondly, Kasmin has decided to extend the length of his exhibitions from the usual six weeks to three months. (An unparalleled museum-quality exhibition on the relationship between Brancusi and Duchamp, for example, runs from September through December at the 515 West 27th Street space.)
October 15, 2018
In the late 1960s, during the Cultural Revolution in China, a friend showed Liu Dan a selection of Western photography from the pages of a confiscated book and, mesmerized, he scrupulously copied the reproductions of Renaissance-era drawings. He had not yet received any formal training. Over 50 years later, Liu Dan is known internationally for his fastidiously rendered monochrome ink paintings, some of which draw upon compositional elements of the European masters whilst engaging a traditional Chinese form.
October 11, 2018
Inhabiting a time and place rich in artistic crosscurrents and cross-pollination, Lee Krasner apparently always sought a unique vision, but one distilled from the radical advances in abstraction of her avant-garde peers and predecessors. Since picking up representation of the Springs artist’s estate from the Robert Miller Gallery, which ended its four-decade run with a show of her work, the Kasmin Gallery in Chelsea has continued the tradition of presenting Krasner’s works in a revelatory and scholarly way.
October 11, 2018
Kasmin's new gallery on 27th street was so new that the air smelled of fresh paint—though that could be due to the recently installed works for a new show by Walton Ford. "I finished that one there just yesterday!" the artist tells AD, pointing to his watercolor of a lion perched in a valley. Ford's new body of work will inaugurate the new gallery, which marks Kasmin's fourth location in West Chelsea. The new space, designed by Markus Dochantschi of studioMDA, is Kasmin's most ambitious project to date, both in terms of programming and scale. With a rooftop sculpture garden—the first of its kind in New York, and possibly, anywhere—that allows for new programming, ample daylight and greater curatorial ambitions, the space helps to welcome in a new era for the gallery.
October 11, 2018
Standing just outside the shadows of Zaha Hadid’s futuristic condo building, 520 West 28th Street, and the High Line is the latest addition to New York’s Chelsea district – a newly built fourth gallery space for the art dealer Paul Kasmin. Designed by Markus Dochantschi of studioMDA, a longtime collaborator of Kasmin’s, the new gallery features a column-free exhibition space punctuated by 28 skylights. It’s topped by a rooftop sculpture garden armed with a rotating exhibition programme that is also visible to the High Line’s six million visitors around the year.
October 10, 2018
Back in May 6sqft reported on plans for the 15 new gallery spaces in the works next to the Zaha Hadid-designed condo at 520 West 28th Street along the High Line, with the Paul Kasmin Gallery to anchor the project, which will expand into a 5,000-square-foot space with a sculpture garden designed by Future Green on its roof. With the official opening of the new building and inaugural exhibitions of works by Walton Ford and Joel Shapiro come new photos of the gallery and of the sculpture garden being installed.
October 10, 2018
At his Long Island studio, the pioneering American sculptor reveals that balance, movement and a healthy dose of self-doubt are the ideal recipe for his uniquely expressive works, three of which inaugurate a new rooftop sculpture garden at Kasmin Gallery in the heart of Manhattan.
October 9, 2018
Kasmin Gallery inaugurates its new flagship Chelsea gallery with a new body of paintings by Walton Ford. The series of large-scale watercolors is the result of more than 18 years of research by the artist into the Barbary lion, a longtime source of cultural fascination. The Barbary lion was painted by Delacroix and was also the type featured for Hollywood studio MGM’s famous signature roaring introduction to its films. (The gallery also opens its new outdoor sculpture garden, viewable from the High Line, with three large-scale works by Joel Shapiro.)
October 3, 2018
Eight gouache studies from 1940 for a proposed mural mark the second exhibition of Lee Krasner’s work at Paul Kasmin since it began representing the Pollock-Krasner Foundation’s estate in 2016. There is no record for which space Krasner intended these works, but the evidence suggests Krasner had a specific location in mind given the two rectangular gaps—openings to accommodate window or door frames—that appear in the same positions along the bottom edge of each study. Krasner had taken over a WPA mural project begun by de Kooning in 1937.
October 9, 2018
"The more preparation I take the better it goes. When I was a student at Rhode Island School of design, I spent my senior year in Rome. My whole life changed over there. I saw frescoes like Giotto’s cycle at St Francis cathedral. The frescoes of tell his life in a comic strip form. They’re big life size figures. I thought I’d never seen anything so beautiful. Fresco is one of those unforgiving mediums where they needed to do very careful drawings first and transfer the drawings to the plaster while it is still wet. There’s very little room for error."
October 2, 2018
Apart from resting peacefully near each other in Green River Cemetery in Springs, what do the painters Stuart Davis and Lee Krasner have in common? Judging by their best-known works—his geometric, hers gestural—not much. Yet there was a time when they were both aiming toward similar artistic goals. Their point of confluence was during the Great Depression of the 1930s, when they were employed by the WPA Federal Art Project and designed murals for WNYC, New York’s municipal radio station, and other public buildings. Both were then strong adherents of Cubism, Davis having absorbed it first-hand in Paris and Krasner having come to it as transplanted to New York by her teacher, Hans Hofmann. But while Davis stuck with it, adapting it to his own, singularly American, point of view, Krasner veered off in a more subjective direction, becoming one of the foremost abstract expressionist painters of her generation.
October 3, 2018
It would be difficult to come up with a more challenging duo than this one. The exhibition is packed with sculptures, photographs, objects, films, little magazines—nothing is lacking—but we could just stop where it starts: with those two gorgeous faces of Brancusi and Duchamp by Man Ray, from 1920 and 1934, preceded by a sweater-clad Brancusi rarely seen. Here we are given the proper spin to this remarkable dialogue.
October 1, 2018
In May, Paul Kasmin Gallery of New York announced that it would begin representing the estate of Stuart Davis worldwide. This month, some 25 large-scale black and white works by the artist go on view at the gallery's Chelsea space. "Lines Thicken: Stuart Davis in Black & White," which opens on September 13, marks the first collaboration between the international dealer and Davis' estate, which is run by his only child, Earl Davis.
October 1, 2018
Navarro’s light works were highly visible throughout the fair: Kasmin (the artist’s New York gallery) presented his word-repeating, concrete poetry piece Back to Square One (2017) on the outer wall of its booth, and Metal Electric Chair (2017), a riff of Gerrit Rietveld’s celebrated Red Blue Chair, and his series of neon and mirrored water towers, This Land Is Your Land (2014), were on view in the fair’s In Situ section for public sculptures, located both inside and outside of the exhibition hall.
October 1, 2018
At Paul Kasmin’s booth, just in front of the entrance, a Robert Indiana “LOVE” sculpture sold the first day for an undisclosed price, followed by Walton Ford’s watercolor, gouache, and ink on paper The Invalid - Cheyne Walk 1869 (2017); an untitled 2018 gesso, kaolin, and ink on board by Elliott Puckette for an asking price of $65,000; and Naama Tsabar’s playful, pluckable Work On Felt (Variation 17) Burgundy (2017), with its piano string attached to a wine-colored split panel of felt, for an asking price of $18,000.
September 28, 2018
At Chelsea dealer Paul Kasmin’s stand, David Wiseman’s stellar design is juxtaposed with blue-chip paintings and sculpture by Robert Indiana, Morris Lewis, and Stuart Davis. Wiseman, whom Peter Marino enlisted to create site-specific installations for his Dior boutiques from Shanghai to New York, stands his ground against the big-name company.
September 26, 2018
For Kasmin’s fourth show space in the neighborhood, Markus Dochantschi, founder of studioMDA and former architect at ZHA, envisioned a column-free, 3,000-square-foot gallery with a boxy, angled exterior featuring white concrete and a subtle wood texture. Inside, large-scale sculptures can fit smoothly in between the 22-foot-high walls and below a coffered ceiling with 28 individual skylights that diffuse natural light into the space below. This super-waffle grid also creates a pattern for the building’s rooftop sculpture garden, with a landscape designed by Future Green Studio. Visible from the High Line, it has an undulating form that allows plants to be set deep within the soil.
September 7, 2018
A unique and extraordinary friendship comes under the spotlight at New York’s Kasmin Gallery in New York on Thursday September 20. Brancusi & Duchamp: The Art of Dialogue will feature more than 80 sculptures, drawings and photographs created in parallel by the pair, whose relationship began in the 1910s and spanned five decades. It is the first show of its kind by any American museum or gallery.
September 5, 2018
New York’s Kasmin gallery has brought on Tianyue Jiang as its new director. Jiang, who will start at the gallery this month, comes to Kasmin following a four-year stint at Christie’s, where she served as vice president and specialist in the auction house’s Asian 20th-century and contemporary art department. At Kasmin, she will be charged with strategic development for the gallery in Asia.
September 7, 2018
Likewise, Paul Kasmin Gallery will open a fourth location in Chelsea on 10 October at 509 West 27th Street. It is a stone’s throw from another Kasmin space on 515 West 27th Street. The building, which was gutted and redesigned by the New York-based architecture firm StudioMDA, will feature a 5,000 sq. ft rooftop sculpture garden visible from the High Line park as well as ample natural light inside thanks to 28 skylights.
The expansion “allowed us to envision what we wanted in a purpose-built space rather than a renovated or rebuilt unit—we have great spaces but this is the next level”, says Nick Olney, the director of the gallery. He adds that, over the years, "the northern side of Chelsea—particularly 27th Street—has become more and more the centre of Chelsea”.
September 6, 2018
Kasmin Gallery is developing an almost full-fledged campus in the neighborhood, opening a fourth space on West 27th Street later this fall. The column-free space designed by Markus Dochantschi of StudioMDA will boast a rooftop sculpture garden. It will launch with three large-scale sculptures by Joel Shapiro, which will be visible to the millions of visitors walking the adjacent High Line.
“Chelsea is still going to be the deepest concentration of major galleries in the world, even if a number of galleries were to move out,” gallery director Nick Olney tells artnet News. Proximity to the new Shed arts center in Hudson Yards, due to open next year, will likely only intensify the crowds, he notes.
September 10, 2018
“Lee Krasner: Mural Studies” at Kasmin Gallery. In 1940, Lee Krasner made her first abstract works. On view at Kasmin Gallery are rarely seen gouache-on-paper paintings from that same year, created as studies for a mural commissioned by the Works Progress Administration, which provided work for artists during the Great Depression. Originally assigned to Willem de Kooning, who was kicked off the project for not being a US citizen, the mural was ultimately never completed.
June 7, 2018
New York’s Kasmin gallery, the newly adopted name of the Paul Kasmin Gallery, revealed today that it will open a fourth space in the city’s Chelsea neighborhood. Located at 509 West 27th Street, the new gallery will open on October 11 with an exhibition of new work by Walton Ford and a presentation of three sculptures by Joel Shapiro.
June 27, 2018
Early Monday afternoon after the opening weekend of “Seed,” a group art show she curated at the Paul Kasmin Gallery in New York, Yvonne Force was meeting one of the artists — Ebony G. Patterson — in person for the first time. “That’s what this show has done — it got me out of my comfort zone, and also turned me on to so many new artists that I hadn’t had the opportunity to work with or even knew about,” says Force, co-founder of Art Production Fund and Culture Corps.
May 25, 2018
Rarely a week goes by these days when a high-profile dealer does not announce the representation of the estate of a major artist. The latest entry in the category is Chelsea’s Paul Kasmin Gallery, who is now working with the estate of the great American modernist Stuart Davis, which is handled by his son, Earl Davis.
May 31, 2018
These days it is not unusual for a New York gallery to have two spaces and even three. Less typical are moments when their exhibitions complement one another, as do the current solo shows at the Paul Kasmin Gallery. On view in the gallery’s three spaces — clustered conveniently around the intersection of 10th Avenue and West 27th Street — they form a valuable commentary on three artists’ career arcs and the bandwidths of their visions.
April 20, 2018
When the exclusive, all-male Century club in midtown Manhattan finally buckled under pressure to let in women members in the late 1980s, the painter Jane Freilicher, then in her 60s, heard she was on a preliminary long list of possible candidates. But Freilicher, who passed away at 90 in 2014, balked at the honor. “She said, ‘Why would I go there?’ ” her daughter Elizabeth Hazan remembers. When newspapers eventually published the names of the Century’s first female inductees—including Jackie Onassis and Toni Morrison—Freilicher kept the clipping in her studio, but expressed only the slightest bemused regret: “Well, I wouldn’t have gone, but maybe if I’d known . . .”
August 7, 2018
Paul Kasmin Gallery presents a group exhibition “Almost Solid Light: New Work from Mexico,” on view through August 17, 2018.
The exhibition presents a collection of artworks by various contemporary Mexican artists, celebrating the long history of cultural cross-pollination between neighboring nations. “The exhibition brings together artists practicing in diverse media who are living and working in Mexico and further afield; several of whom have never before exhibited in the USA.
May 24, 2018
Stuart Davis, a leading American modernist who died in 1964, is best known for his boldly colorful paintings. They reduced consumer products and billboards into hard-edge shapes and dynamic rhythms inspired by street life and jazz. But his art theories were rooted in drawing, not color, according to Earl Davis, the artist’s only child, who oversees his father’s estate.
April 18, 2018
When I arrive at the Dumbo, Brooklyn building where the artist Elliott Puckette keeps a studio, it’s as if I’ve traveled back in time — to, say, 1989, when Puckette first rented the Pearl Street space and the building was still a working paper factory. Warped wooden floorboards creak under my feet, and exposed pipes and electrical wiring line the unfinished hallway. It smells of paint and turpentine. The contrast to the sleek, granite-floored lobby is striking. “They’re renovating the building in the most absurd way, floor-by-floor,” she explains good-naturedly. “Eventually I’m getting kicked out.”
March 8, 2018
Exhibition: “ROBERT POLIDORI”
When: March 8–April 14, 2018
Where: Paul Kasmin Gallery, 297 10th Avenue, New York, NY
June 4, 2018
“Jane Freilicher: ’50s New York” at Paul Kasmin Gallery. Paul Kasmin has taken on the estate of Jane Freilicher (1924–2014), presenting an exhibition of still lifes and portraits paintings in New York in the 1950s, as well cityscapes painted of the view from the window of the Lower Manhattan art studios where she worked during that period. In contrast to the prevailing American schools of Abstract Expressionism, Minimalism, and Pop, Freilicher painted representational scenes of domestic life and urban scenes.
July 4, 2018
In this group show curated by Yvonne Force, 29 artists—one for each year it takes for Saturn to orbit the Earth—present work exploring sexuality and fertility, mysticism and nature, and the divine power of art. A thread of wit runs through the show, which takes the expression “oh my goddess” as a starting point to reflect on the many modern and traditional people, objects, and ideas that are deified.
March 13, 2018
Sean Kelly is not alone: Other galleries are employing similar strategies, devoting more resources to the digital realm and recruiting experts in the field. Paul Kasmin Gallery recently hired Molly Taylor as its new marketing and events director. Before she started in November of last year, the gallery didn’t even own a clicker to track foot traffic, let alone the resources to monitor web analytics.
August 10, 2018
One of the coolest shows in town relays the creative ferment of fifteen contemporary Mexican artists, most of them sculptors. Their predominant style might be termed neo-Arte Povera: lowly materials—wood, rocks, cement, Ping-Pong balls—employed to whisperingly poetic, modestly sized, and extraordinarily refined effect. Claudia Peña Salinas inserts slender metal frames into notched river stones. Mario Navarro (who organized the exhibition) situates a seatless wooden chair around a column. Pablo Dávila’s array of short brass tubes on a wall feels like an urgent, if encoded, message. Jose Dávila sets boulders on plastic sacks whose corners are raised, suggesting splashes. The sense of shared principles informing these highly individual talents is exciting, and the show’s elegant quietude will slow you down. It feels breathable.—Peter Schjeldahl
June 1, 2018
Lyrical interiors and cityscapes, painted in the nineteen-fifties by this beloved New York artist, who died at the age of ninety in 2014, are a balm for the eyes. “Early New York Evening,” made in 1954, frames a vista of reddish-brown apartment buildings between a vase of irises in the foreground and four distant smokestacks in a violet sky. In an interior painted the same year, the threshold between a living room and a bedroom becomes an adventure of yellow highlights and lavender shadows. The show’s graceful mood is so seductive that you might overlook how daringly improvisational a painter Freilicher really was.
September 13, 2018
“My goal is to free sculpture from the constraints of composition and to criticize the utopian principle of an ideal order,” says Bernar Venet, 77, whose Indeterminate Lines, Arcs, Angles, Diagonals and Straight Lines sculptures fashioned from manipulated raw metal beams and based on concepts of order, disorder, instability and uncertainty have changed the face of art.
October 24, 2018
The art dealer Paul Kasmin now runs five separate spaces in a one-block range, including a new rooftop sculpture park, on which a jaunty trio of Joel Shapiro’s bronzes can be seen from the High Line until the night before Christmas Eve.
August 30, 2018
42. “Lines Thicken: Stuart Davis in Black and White” at Paul Kasmin
Stuart Davis did more than just colorful abstract paintings: Catch a group of his rarely seen black-and-white works at Paul Kasmin, which now exclusively represents the artist’s estate. These stripped down works, devoid of his signature vibrant hues, rely instead on mere line and form to create a successful composition.
293 Tenth Avenue; September 13–December 22, 2018, opening reception 6 p.m.–8 p.m.