“If there is a quality to Aguayo’s paintings that is both intriguing and unsettling, it can be attributed to the individual elements of his basic visual lexicon, which are so autonomous as to take on quasi-anthropomorphic qualities... Unmoored from both noncompositional logic and pure spontaneous gesture, these forms hover, uneasily, in that ambiguous zone between chance and intention.”
- Jackie Kadrnak in ArtForum
NICK AGUAYO
The Blue Window, 2025
Acrylic and marble dust on canvas
86 x 80 inches
BRIAN ALFRED
“Brian Alfred’s paintings are seemingly serene explorations of a pictorial tradition of flatness (in the portrayal of landscape and city life from the street)—a tradition that extends back to Ukiyo-e prints and the resulting Japonisme movement in nineteenth-century France, and forward through such contemporary iterations as the paintings of Allan D’Arcangelo and Alex Katz.”
- Stephen Westfall in “Uncanny Absences”
BRIAN ALFRED
The Sailors, 2025
Acrylic on canvas
60 x 50 inches
KEVIN APPEL
“Appel’s paintings have pivoted from intricate, densely patterned surfaces toward an airier treatment of color and line. Although he maintains his interest in the grid as a basis for organization, the paintings have become more open... The varied registers of the paintings oscillate between motion and stillness, and their visual play compels viewers to engage in a conversation about temporality and change.”
- Bridget R. Cooks in “Kevin Appel: Once Opened”
KEVIN APPEL
Untitled (4 Bands Midnight), 2025
Pigment dispersion and acrylic on linen over panel
77 x 66 inches
KEVIN APPEL
Untitled (5 Bands Mineral Wash), 2025
Pigment dispersion and acrylic on linen over panel
77 x 66 inches
SUZANNE CAPORAEL
“Suzanne Caporael is a consummate colorist... Her paintings navigate an in-between space, gesturing toward disembodied realms of mathematical or logical thinking— ’proofs’—while compelling the viewer’s sensual engagement with her materials. In person, her works exert a remarkable presence, similar to a stage actor’s charisma. Yet the dramas her works enact—foldings, crossings, vibrations, levitations, all of these spatial operations played out within the confines of the canvas’s two dimensions—are far from momentary.”
“It takes two to tango, and the same could be said of Lisa Corinne Davis’s paintings... Allow me to challenge your understanding of art for a moment to underscore the reality that Davis should not merely be reduced to solely an abstract painter, for her paintings are more so a formal interplay between abstraction and figuration, often with a blurring of boundaries as to where one ends and one begins.”
- Liam Otero in Whitehot Magazine
LISA CORINNE DAVIS
Conditional Track, 2026
Oil on canvas
48 1/4 x 36 inches
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
TOMORY DODGE
Dirtbag Summer, 2024
Oil on canvas
60 x 48 inches
TOMORY DODGE
Morning Glory, 2025
Oil on canvas
60 x 48 inches
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.”
“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
KAREL FUNK
Untitled #117, 2025
Acrylic on panel
20 x 25 1/2 inches
RICO GATSON
“There is a palpable centrifugal force in Rico Gatson’s work. These colorful, hard-edge compositions of stripes, circular forms, triangles, and other geometric shapes generate a pulsating energy generally emanating from the center. They are painted with acrylic on hollow-core wood doors, suggestive of portals to some other spatial and spiritual realm... These compositions appear more static and emblematic, in the manner of a flag or a political banner.
-
David Ebony in The Brooklyn Rail
RICO GATSON
Untitled (Four Elements), 2026
Acrylic paint and glitter on wood
36 x 48 inches
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
Life is Fear, Nothing Else, 2026
60 x 48 x 8 1/4 inches
JACOB HASHIMOTO
Acrylic, paper, bamboo, wood, and Dacron
WARREN ISENSEE
“Within the broader scope of contemporary abstraction, Isensee’s work finds a compelling middle ground. It neither falls back into the self-referential purity of formalism nor fully adopts the expressive excess often linked with gestural abstraction. Instead, the paintings introduce a model of abstraction that is both systematic and sensory, analytical and embodied. They invite viewers to engage not only with what they see but also with how seeing itself is structured— through repetition, expectation, and subtle disruption.”
- Riad Miah in Whitehot Magazine
WARREN ISENSEE
New Normal, 2025 Oil on canvas
45 x 60 inches
RAFFI KALENDERIAN
“Raffi Kalenderian preserves memory through expanded portraiture. People are rendered not just as subjects, but as emotional landscapes. His figures lounge, stare, drift. They’re friends, fellow painters, or regulars in the same orbit, depicted with affection but not sentimentality. What emerges is less about likeness and more about the narrative of one instant in time—the ambient mood of a moment, distilled.”
- Annie Armstrong in “The Jungle Gym”
Chelito Reading, 2022-2023
36 x 48 inches
RAFFI KALENDERIAN
Oil, ink, and colored pencil on linen
MARKUS LINNENBRINK
“Linnenbrink has carved a space of welcome sanctuary created by stripes of brilliant color... The eye darts about, taking in the unexpected combinations of color, which somehow coalesce into a musical whole. The uncanny feeling that the sonorous qualities of the stripes can be heard, or else perhaps tasted and smelled, is forceful. To merge is to unite, and Linnenbrink’s colors seem to know this even of their own volition.”
– Jessica Holmes in MONA Portsmouth
49 1/2 x 72 x 10 inches
MARKUS LINNENBRINK LULLABYOFTHEABYSS, 2026
Epoxy resin and pigments on wood
MARKUS LINNENBRINK VISIONANDTELEVISION, 2026
Epoxy resin and pigments on wood
48 x 48 inches
HEATHER GWEN MARTIN
“For more than a decade, L.A.-based artist Heather Gwen Martin has been creating paintings that walk a tightrope between spontaneity and self-consciousness, improvisation and deliberation, dissolution and structure... While they may resemble everything from naturally occurring patterns to certain biological shapes, Martin’s forms, as demarcated by her muscular use of line (the paintings are done freehand with no taping), consistently achieve final resolution in freeflowing arrangements that are further set off by her brilliant color choreography and dramatic shifts of scale.”
- Christian Viveros-Fauné in USF
HEATHER GWEN MARTIN
Infinite Four, 2026
Oil and acrylic on linen
17 x 20 inches
October Simulation, 2026
17 x 20 inches
HEATHER GWEN MARTIN
Oil and acrylic on linen
HEATHER GWEN MARTIN
Slow Curve, 2026
Oil on linen
67 x 56 inches
MICHAEL REAFSNYDER
“The canvases of California-based painter Michael Reafsnyder pulsate with energy. Layers of abstract marks bear the traces of their making as paint is directly applied from the tube, weaving together to create dense, intricate topographies. It’s not always easy to enter the work: one must follow multiple strands of color before a narrative opens up and the viewer is absorbed by the sensual space Reafsnyder offers.”
- Alexandra Alexa in Artsy
MICHAEL REAFSNYDER
Fill Station, 2025
Acrylic on linen
46 x 40 inches
DANIEL RICH
“Clear, bright, and crisp, Daniel Rich’s recent paintings might also be viewed as eerie and unstable. They point in many directions, alluding to a complicated array of predecessors and contemporaries, from Mondrian to Thomas Demand to Diana Cooper, as well as to architectural, political, social, technological, and material matters.”
- Barbara A. MacAdam in The Brooklyn Rail
DANIEL RICH
Books #2, 2025
Acrylic on dibond
30 x 26 1/4 inches
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.”
