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Est. 1902

Leah Ollman

Christina Forrer

Christina Forrer’s weavings are as engrossing on the level of the individual stitch and strand as they are jolting pictorially and thematically. Idiosyncrasies of the hand ally with order imposed by t…

Jeni Spota C.

The texture of Jeni Spota C.’s paintings verges on outrageous. Impasto barely begins to describe the gooey slabs and thick crusts, the insistent materiality. For all of their surface intensity, howeve…

Joel Otterson

If the impulse driving Joel Otterson’s work could be reduced to an aphorism on a stitched sampler—a form that, in fact, inspires him—it might read: “Domestic does not necessarily mean…

Alison Rossiter

Mostly from 2014 or ’15, Alison Rossiter’s 50-plus works at Yossi Milo pay homage to the rich idiosyncrasies of photographic papers across history, and restore a sanctity to the photograph as object.&nbsp…

Ben Jackel

Physical might converges with formal presence and technical prowess in Jackel’s elegant, richly complicated work.

Lucia Koch

Brazilian artist Lucia Koch's first solo appearance in the U.S. was coyly titled "(a small show with a lot of space in it)."

Joyce Campbell

Photography’s dual functions—to re-present what the eye sees and also to suggest what it cannot—merge in Joyce Campbell’s quietly forceful recent work. Born in New Zealand and based in Auckland and…

Zarina Hashmi

Zarina Hashmi's first retrospective was as revelatory as it was stir­ring, a thoroughly compelling introduction to nearly five decades of visual poetry. Born in Aligarh, India, in 1937, Zarina, who…

Alison Saar

Alison Saar has recently added cast and blown glass to her already broad repertory of historically charged, richly tactile materials-coal, tar, wood, rope, antlers, ceiling tin, old tools.

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