ABMB 2025 Publication

5 - 7 DECEMBER 2025

MIAMI BEACH CONVENTION CENTER

BOOTH #B6

5 - 7 DECEMBER 2025

MIAMI BEACH CONVENTION CENTER

TOMORY DODGE

INKA ESSENHIGH

BEVERLY FISHMAN

PIA FRIES

KAREL FUNK

JACOB HASHIMOTO

FIONA RAE

JAMES SIENA

PATRICK WILSON

TOMORY DODGE

“A wonderful tension between the flatness of the painting’s surface plane and a spatial ambiguity becomes sophisticated, poetic and humorous all at once. These works are drunk on their own beguiling complexity and generously share with us their intoxicating delight.”

- Gary Brewer in Whitehot Magazine

INKA ESSENHIGH

“Inka Essenhigh believes painting is a private matter... [she] spends her studio days drinking coffee and passionately working and reworking her fantastical nature-inspired canvases until her paintings resonate with her intuition. She doesn’t let just about anybody see her work—until it’s finished, that is—and her only visitor is often her husband the painter Steve Mumford, delivering lunch or yet another cup of coffee. Such intimacy is essential; Essenhigh’s ethereal and fantastical landscapes are painted entirely from her imagination, without preparatory drawings or sketches, and Essenhigh must steer clear of outside influence. But when her works are completed, they are luminous.”

- Katie White in Artnet News

BEVERLY FISHMAN

“Beverly Fishman has been thinking about the cure for what ails us for the last 40 years. Her candy-colored constructions exist somewhere between painting, sculpture and bad trip: uppers and downers pulsating in happy, fluorescent hues—a medicine cabinet stocked with remedies for being human... continuing her series of faceted, urethane-shellacked wood forms that protrude from the wall, are a workaround to figuration—about the body but never depicting it, geometric abstraction as a feint to talk about contemporary culture, and what we ingest to cope with it.”

-

Max Lakin in The New York Times

BEVERLY FISHMAN

Equilibrium (P.B.10), 2025

45 x 41 5/8 inches

114.3 x 105.7 cm

BEVERLY FISHMAN

Polypharmacy: Awareness, Protection, Relief, Serenity, Confdence, Calm, Choice, 2025

Urethane paint on wood

72 x 130 inches

182.9 x 330.2 cm

PIA FRIES

“Collaging painting with itself, making use of printing processes, Fries elicits hybrid images whose illusionist passages take up the actual application of paint in stark relief. Here the art of painting is at once identical to and distanced from itself. In the broken temporality of these images, the explosive moment of painterly intervention remains frozen as the stasis of the photographic reproduction.”

– Hans Rudolf Reust in Artforum

, 2025

Oil and silkscreen on wood

66 7/8 x 86 5/8 inches

170 x 220 cm

66 7/8 x 86 5/8 inches

170 x 220 cm

KAREL FUNK

“Sometimes the quiet summer season gives us jolting gifts. That’s Karel Funk. The painter drains the gas out of Ingresstyle neurotic realism, reprograms it, puts it back in, and gives us visual ghosts. We marvel at these epically bland portraits: They’re so perfect that they’re almost dead.”

- Jerry Saltz in New York Magazine

JACOB HASHIMOTO

“Lightness, immateriality, suspension, a dialectic between reality and artifice, luminosity and transparency: These are all characteristic elements of Hashimoto’s work, seen here in the accumulation of delicate structures, in the multiplication of nearly immaterial grids. Hashimoto’s work is a sort of evocative Minimalism, in the sense that he modulates artificial landscapes that appear to reproduce themselves by themselves, designating horizons of a future that is already present.”

- Francesca Pola in Artforum

72 x 60 x 8 1/4 inches

182.9 x 152.4 x 21 cm

The Promise of Other Inventions (that worked better), 2025

Acrylic, paper, bamboo, wood, and Dacron

72 x 60 x 8 1/4 inches

182.9 x 152.4 cm

FIONA RAE

“At play in the fields of abstraction, British artist Fiona Rae forces us to consider what indeed is abstraction. Could it be a part removed from a whole, or a piece used to construct a form? Can it stand alone? While this might appear to be a simple and overused trope today, it remains a provocative one, sitting at the core of anything we call art, and Rae’s works are truly art about art.”

-

Barbara A. MacAdam in The Brooklyn Rail

For there is nothing either good or bad, but thinking makes it so, 2025

Oil and acrylic on linen

60 x 50 inches

152.4 x 127 cm

60 x 50 inches

Your shadow at evening rising to meet you, 2025 Oil and acrylic on linen

60 x 50 inches

152.4 x 127 cm

Drawing (for there is nothing either good or bad, but thinking makes it so), 2025

Gouache and watercolor on paper

11 7/8 x 9 7/8 inches

30.2 x 25.1 cm

Drawing (some lovely glorious nothing I did see), 2025

Gouache and watercolor on paper

11 7/8 x 9 7/8 inches

30.2 x 25.1 cm

Drawing (your shadow at evening rising to meet you), 2024

Gouache and watercolor on paper

11 7/8 x 9 7/8 inches

30.2 x 25.1 cm

JAMES SIENA

“Executing premeditated compositional directives freehand and using the slick combination of sign painter’s enamel on aluminum, Siena creates jiving geometric patterns whose careful craftsmanship marks them with durational depth and attractive immediacy. While the underlying structures of his compositions afford them a measured integrity, the unruliness of the lines’ behavior makes them come alive.”

- Annie Ochmanek in Artforum

29 Combs, 2007

Enamel on aluminum

19 1/4 x 15 1/8 inches

48.9 x 38.4 cm

Two Scrambled Combs, 2008

Enamel on aluminum

19 1/4 x 15 1/8 inches

48.9 x 38.4 cm

19 1/4 x 15 1/8 inches

48.9 x 38.4 cm

(Anti-Drain), 2012 - 2013

19 1/4 x 15 1/8 inches

48.9 x 38.4 cm

Down Devil Variation (Yellow), 2014 - 2015

19 1/4 x 15 1/8 inches

48.9 x 38.4 cm

30 1/4 x 39 3/4 inches

76.8 x 101 cm

PATRICK WILSON

“If you stop trying to make sense of Wilson’s paintings logically—and let them do their thing—the confusion you initially experience gives way to insights that just might be mind- blowing... Wilson invites us to treat our own experiences in the same way he treats the colors and shapes in his paintings—to understand them differently by paying attention to nuance and letting them change.”

- David Pagel in Los Angeles Times

Published on the occasion of the exhibition

Booth #B6

5 - 7 December 2025

Miami Beach Convention Center Miami, FL

Miles McEnery Gallery

511 West 22nd Street New York, NY 10011

515 West 22nd Street New York, NY 10011

525 West 22nd Street New York, NY 10011

520 West 21st Street New York, NY 10011

tel +1 212 445 0051 www.milesmcenery.com

Publication © 2025 Miles McEnery Gallery All rights reserved

Catalogue layout by Minu Chng, New York, NY

Photography by Dan Bradica, New York, NY Christopher Burke Studio, New York, NY

Cover: For there is nothing either good or bad, but thinking makes it so (detail), 2025