EXHIBITIONS ON VIEW

Virginia Jaramillo, Quantum Entanglement, 2019–2020 (Large Detail). Acrylic on canvas, 72 x 144 inches. Photo: JSP Art Photography. Courtesy the artist and Hales Gallery, London and New York ©2021 Virginia Jaramillo.

November 7, 2021—February 27, 2022

Virginia Jaramillo: The Harmony between Line and Space

A pioneering minimalist who has practiced for more than six decades, Jaramillo creates her work from sources that span histories and cultures.
John Torreano, Gases in Omega Swan, 2007 (large detail). Acrylic, wood balls, and gems on 6 plywood panels, 108 x 162 inches. Courtesy of the Artist

November 7, 2021—February 27, 2022

John Torreano: Painting Outer/Inner Space 1989 to Present

Experience Torreano’s works—inspired by the myriad images recorded by the Hubble Space Telescope—that contrast the physical with the illusory.
November 7, 2021—February 27, 2022

peter campus: when the hurly burly’s done

In a solitary pursuit during COVID-19, peter campus positioned his camera around Shinnecock Bay to create videographs that invite us to meditate on nature, while noting the gap between what we perceive and what the camera records.⁠
September 10—March 27, 2022

Joel Meyerowitz: AFTERMATH

IMAGES FROM 9/11

Depicting the tireless efforts of first responders from around the country while serving as an elegy to the thousands who lost their lives on 9/11, the exhibition shares images by Joel Meyerowitz, the sole photographer given unimpeded access to Ground Zero.
Martin Creed, Work No. 2210 EVERYTHING IS GOING TO BE ALRIGHT (2015). Multicoloured neon. 61 x 2127.5 cm / 24 x 837 5/8 inches. Installation view, Parrish Art Museum, Water Mill, NY. Courtesy of the artist and Hauser & Wirth. Photo: Thomas Barratt. © Martin Creed. All Rights Reserved, © 2021 Artists Rights Society (ARS), New York / DACS, London

May 28–November 30, 2021

Martin Creed: Work No. 2210: EVERYTHING IS GOING TO BE ALRIGHT

An expression of Creed’s desire to communicate, connect, and provoke, the brightly lit scuplture is visually spectacular in its neon audacity, yet it also encourages a more contemplative response. While the phrase is at first familiar and reassuring, it gently suggests that everything might not be alright, pointing to the heightened anxieties and inequities of this moment.
Simone Leigh (American, born 1968) Sentinel , 2019. Bronze and raffia. 95 ½ x 80 x 50 inches. Collection of Glenn and Amanda Fuhrman Courtesy of the FLAG Art Foundation, N.Y. Installation view: Material Witness, Parrish Art Museum, Water Mill, NY. Photo: Gary Mamay

October 15, 2020–April 24, 2022

Material Witness

Featuring large-scale sculptures and paintings in which the materials used by the artist are inextricably connected to the meaning of the work itself, the exhibition presents work by Simone Leigh, Ross Bleckner, Louise Nevelson, and Donald Sultan