Robert Morris

Work from his oeuvre.

“Robert Morris (1931–2018) was one of the most influential figures in postwar American art. His extraordinarily versatile practice encompassed dance performance, minimalist sculpture, earthworks, drawing, painting, film, photography, collage, readymades and theoretical essays. Primarily based in New York City, the artist explored in his oeuvre the perception of objects, and how viewers renegotiate their sense of space when confronted by one of his works. Throughout his long career, he grappled with the conditions of artistic display and production and the dynamics of theoretical and social discourse.” – Sprüth Magers

Sean Scully

Work from Walls of Aran.

“Primarily known as an abstract painter, Scully is also an accomplished photographer whose images echo the strong geometric lines of his paintings. On the Aran Islands west of Ireland, he documented ancient stone walls rambling through the countryside. Monumental and enduring, the walls exude a serene sense of timelessness, merging so seamlessly into the landscape they seem naturally a part of it.” – Cleveland Museum of Art

Jumana Manna

Work from Break, Take, Erase, Tally.

“This ongoing series of ceramic sculptures explores a tension between preservation and ruination. Their forms draw from the khabya, a once common structure for grain storage in rural houses across the Levant. Built into homes, the khabya–which means “the thing that hides” in Arabic–would preserve the annual grain harvest for family and communal consumption. With the advent of refrigeration and state-centralized grain silos, the khabya became obsolete and now can occasionally be found in the remnants of abandoned village structures. While some works maintain a structural similarity to the historical khabya, others adapt the crumbling or fragmented form into new geometries and anthropomorphic, creature like vessels. The surfaces of the works have been coated with tadelakt, a lime-plaster technique unique to Morocco. Resuscitated in various states of fracture and mutation, these clay vessels are set against industrial steel grates such as those used in climate-controlled seed bank storage units, museum vaults, ethnographic institutions, and urban infrastructures. Manna fuses contrasting conceptions and architectures of archiving: from the seed, which stores genetic material for survival, to the khabya vessels, and finally to the safekeeping institution, highlighting a shift from preservation as sustenance to preservation as accumulation.”

Kara Güt and Clare Gatto

Work from Void 0 at SkyLab.

“Void 0 combines a love for clipping through stage geometry with an infinite bath. It is the culmination of work by two artists, Clare Gatto and Kara Gut, who use the machinations of a simulated world to create images of slippery definition. The show plays with various versions of input and output to reveal biology through synthetics and mythology through game design.” – Kara Güt and Clare Gatto

David Noel

Work from Tactical Aesthetic.

“Close Encounters with Tactical Aesthetic is a participatory installation that guides viewers through various tactical scenarios.” – David Noel

Rick Silva

Work from Dirt Nap.

“Dirt Nap is composed of one-minute excerpts from 46 naps Rick Silva took in nature across the western United States between September 2024 and January 2026, sequenced in the order they were recorded.” – Rick Silva

Rinko Kawauchi

Work from M/E.

“Some things can only be obtained through moving my body to face my photographic subject head-on.

I have found this an effective way to approach, however incrementally, the unanswerable question of why I find myself alive right here and right now.

After living this way for more than thirty years, I felt the desire to once more confirm the ground on which I stood.

Not in terms of regional or national bounds, but the fact that I was on a planet.
When I visited Iceland in the summer of 2019—I had been there only once before, some twenty years ago—that desire was fulfilled.

I saw geysers like the planet’s breath and glaciers far beyond any human time. And what I saw seemed to illuminate my own existence.

One experience inside a dormant volcano left a particularly strong impression.
When I looked up, I saw light spilling in through the crater above, and its shape was reminiscent of female genitalia. As I gazed at this sight, I had the sense of being a fetus enveloped by the earth, and I felt a connection to this planet I have never felt before.

My plans to visit Iceland again in winter to probe these connections more deeply were thwarted by COVID-19. Partly as a result of this, I visited Hokkaido many times in the winter of last year. There I saw things that could only be seen in the bitterest cold, and recalled how small and frail my own body truly was.
Take the initials of “Mother Earth,” and the result is “M/E.”

When I wrote out those two letters, I felt a connection between things so vast their full form cannot be surveyed with the naked eye and the individuals, and was reminded of that mysterious sensation I experienced beneath the volcanic crater, of inversion and unity between the planet and myself.” – Rinko Kawauchi

John-David Richardson and Emily Wiethorn.

Work from HERE YOU COME AGAIN.

“As individuals, each of us has experienced profoundly traumatic encounters with masculinity, violence, and misogyny. These experiences have left indelible marks, shaping who we are as artists and how we navigate the world. In our individual practices, we each grapple with these complex dynamics, unpacking the intersections of gender, power, and trauma. The exhibition Here You Come Again emerged from a shared desire to confront these overlapping narratives collectively. Through this collaborative practice, we reflect on how misogyny and violence have permeated our personal histories and familial lines, tracing their reverberations across generations.

The works presented in this exhibition span images, video, found objects, and vernacular photographs, creating a multifaceted narrative that invites both introspection and dialogue. This body of work seeks to balance vulnerability and strength, exposing the weight of harm while honoring moments of resilience. A deliberate tension is established between what is presented openly and what is safeguarded behind a frame. Imagery that evokes tension, violence, aggression, and fear is left unprotected and deliberately exposed to the viewer’s gaze. These works, raw and unshielded, reflect the fragility and neglect that violence imposes, suggesting that such moments do not warrant the same reverence or care.

In contrast, we have chosen to frame and protect images that symbolize care, comfort, and resilience—portraits and moments imbued with tenderness and personal significance. These protected works act as visual sanctuaries, embodying the safeguarding of memory and preserving what remains intact within ourselves, our mothers, and our shared histories. The juxtaposition between defense and exposure mirrors the emotional duality we experience in navigating these traumas: the instinct to shield what we hold dear while confronting what has harmed us.

Here You Come Again is both a refuge and a reckoning. It is a space to process the lingering impacts of violent men while simultaneously preserving the strength, love, and resilience that persist despite them.” – John-David Richardson

Lisa Barnard

Work from The Canary and the Hammer.

“Photographed across four years and four continents, The Canary and The Hammer details our reverence for gold and its role in humanity’s ruthless pursuit of progress. Through a mix of image, text and archival material, the third book by British artist Lisa Barnard provides a fascinating insight into the troubled history of gold and the complex ways it intersects with the global economy.

Gold is ubiquitous in modern life; the mineral is concealed at the heart of much of the technology we use and is, most fundamentally, a potent symbol of value, beauty, purity, greed and political power. The Canary and The Hammer strives to connect these disparate stories—from the mania of the gold rush and the brutal world of modern mining, to the sexual politics of the industry and gold’s often dark but indispensable role at the heart of high-tech industry.

Prompted by the financial crisis of 2008 and its stark reminder of the global west’s determination to accumulate wealth, Barnard sets out to question gold’s continued status as economic barometer amidst new intangible forms of technological high—finance. By addressing this through photography, Barnard in turn raises the question of how her chosen medium can respond to such abstract events and concepts. The result is an ambitious project, one sketching a personal journey in which she ultimately tackles the complexity of material representation in these fragmented and troubling times.” – MACK

Public Lands Institute

Work from their Archive.

“Public Lands Institute is an ongoing photographic index of public lands. This work is dedicated to the Public Domain under the Creative Commons CC0 (Public Domain Dedication) license.

The term “public domain” encompasses those materials that are not protected by intellectual property laws such as copyright, trademark, or patent laws. No individual owns these works; rather, they are owned by the public.” – Public Lands Institute