Liz Glynn’s Open House presents her 2017 concrete remakes of Louis XIV-style furnishings, set out to suggest a lavish Gilded Age ballroom. The installation nods to the former New York mansion of politician and financier William C. Whitney. Public Art Fund first sited the piece in 2017 at the south end of Central Park, only a few blocks from that house. At Storm King, Open House sits in the open landscape, reading as a ruin or an out-of-time architectural folly. Set into the grass, Glynn’s sculptures ask visitors to sit with the work and picture where this displaced furniture came from and what lives it once had.

Liz Glynn: Open House / Storm King Art Center, New Windsor, New York. September 16, 2026.

Five art collectives from Switzerland and France, selected from 36 international submissions, meet at FABRIKculture in Hégenheim (France), near Basel (Switzerland). The starting point of the exhibition is the thesis formulated in KUNSTFORUM International Vol. 285, “All together now! Art in the Collective” (2022): that collective authorship today is not the exception, but the basic form of contemporary practice. The exhibition at FABRIKculture is titled “Strictly Collective” and tests this shift in concrete collaboration: five signatures, one shared form. The participants are Ado+Comenius (Basel), Com&Com (Zurich / St. Gallen), GislerGähwiler (Lucerne), Ouest-Lumière (Paris), and Protoplast (Basel). The exhibition runs until November 1, 2026.

FABRIKculture is a laboratory space open to contemporary art exhibitions, cultural mediation, and artist residencies. The visual and plastic arts form the core of the whole program, with a focus on encouraging experimental work. FABRIKculture is a cultural institution with a cross-border and European remit.

Strictly Collective. Group Show at FABRIKculture. October 4, 2026.

Gaetano Pesce / Salon 94 New York

Salon 94 in New York presents A Chair Is A Nest, Is A Foot, Is A…, an exhibition of archival works by Italian artist and designer Gaetano Pesce (1939–2024), curated by Anthea Hamilton. Installed on the gallery’s first floor, it runs alongside Hamilton’s solo show Comfort Zones on the second floor and Gaetano Pesce Studio: Continued on the third.Hamilton first encountered Pesce’s work in 2009 through a monograph. The exhibition draws from his archive and includes familiar pieces such as UP7 (1969), Tramonto a New York (1980), and the Golgotha table (1972), together with drawings, material studies, and prototypes. It emphasizes both iconic objects and the images, models, and proposals through which they circulate, highlighting questions of scale, the body, and how well-known works change when encountered in person.

Salon 94: Gaetano Pesce: A Chair Is A Nest, Is A Foot, Is A…; Salon 94 Design: Gaetano Pesce Studio: Continued. September 16, New York.

Exhibition texts (excerpt):

Salon 94 presents A Chair Is A Nest, Is A Foot, Is A… in New York, an exhibition curated by London-based artist Anthea Hamilton, bringing together a selection of archival works by Italian artist and designer Gaetano Pesce (1939–2024). Occupying the gallery’s first floor, the exhibition runs in parallel with Comfort Zones, a solo presentation of Hamilton’s work on the second floor, and Gaetano Pesce Studio: Continued, an exhibition of newly fabricated works by the Gaetano Pesce Studio, on the third floor.

Anthea Hamilton first encountered Maestro Gaetano Pesce (1939–2024) in 2009, while studying at the Royal College of Art, London. Browsing the library, she pulled France Vanlaethem’s monograph on Pesce from the shelf after its spine caught her eye. On the cover was Vertical Loft (1982), which Hamilton initially read as an actual building rather than a model. The book began Hamilton’s sustained engagement with Pesce’s work that has continued for more than fifteen years. Hamilton has spent years returning to the same handful of photographs, treating them not as references to be exhausted but as images with the capacity to continually make themselves new.

That method of sustained looking, rather than survey or completism, defines A Chair Is A Nest, Is A Foot, Is A…, Hamilton’s curation of Pesce at Salon 94 in New York. Drawn largely from Pesce’s archive, the exhibition brings together works that have shaped Hamilton’s own thinking—including UP7 (1969), Tramonto a New York (1980), and the Golgotha table (1972)—alongside original drawings, material studies, prototypes, and proposals. Moving between some of Pesce’s most recognizable forms and the ideas and experiments that surrounded them, the exhibition asks what changes when objects Hamilton has known through images are finally present in the room.

Hamilton calls several of her selections “the pop stars of the practice.” Her interest is not in unearthing the obscure. “I’m not trying to uncover a hidden thing,” she says. “This isn’t a research project where the value lies in finding what no one has seen. There is always more space to expand into the familiar images.” At the same time, Hamilton is drawn to material studies and unrealized proposals, which she describes as “the purest state of an idea,” before material or structural compromise has occurred.

Hamilton’s reading of Pesce gives equal weight to the object and its representation—the staged photographs, publications, models, and theatrical presentations through which his ideas move into the world. For Hamilton, these are not simply documentation, but part of how the work is understood and remembered. Her own relationship with Pesce began largely through such images, and their translation into physical space brings questions of scale and the body to the foreground.

“Whenever you put a body—or an image of a body—into something, it sets the scale through which everything else is read,” Hamilton says. Throughout Pesce’s practice, the human body provides a measure against which furniture, objects, and architecture are understood, while shifts in scale continually unsettle those relationships. “What I love is constantly changing the scale. You reorder yourself as you move around.” Humor is part of that constant reordering: Pesce’s willingness to exaggerate, disrupt function, and move freely between the bodily and the architectural.

Hamilton’s engagement with Pesce eventually moved from images to the artist himself. Before realizing his Project for a Door model (1970s) at monumental scale for her 2015 exhibition Lichen! Libido! Chastity!, curated by Ruba Katrib at SculptureCenter, she wanted to meet him. “If I was going to carry this person’s work forward, I wanted to check him out,” she recalls. Pesce gave his permission, beginning a relationship Hamilton understood as one of trust. Curating his work after his death brings what she describes as “a sense of vertigo”: the studio, gallery, and estate can offer “a network of voices,” she says, “but it is not him.”

Salon 94 Design presents Gaetano Pesce Studio: Continued in New York, an exhibition celebrating the ongoing work of Gaetano Pesce (1939–2024), based in the artist’s original workshop in the Brooklyn Navy Yard.

Over a sixty-year career, the Italian artist, designer, and architect achieved what few in his industry ever do, creating iconic designs with both international production brands and his own studio practice. Pesce’s studio practice produced bodies of work with an ingenuity that could only come from his direct, hands-on knowledge; many works were never shared with a production facility or outside overseers, but were passed directly into the hands of his own studio.

Pesce famously welcomed anyone willing to learn this way, from trained artists to, in one case, a taxi driver who wandered in one day and stayed four valuable years. Until his death in 2024, Pesce arrived at his studio every day with a new drawing or a new idea, to initiate and guide its making in real time, working alongside his studio managers Alessandro Byther and Giulia Tosciri, who remain an integral part of the studio and Foundation today.

Few stayed as long, or worked as closely, the small team who spent collective decades at his side were specially trained to interpret a simple sketch or a conceptual idea by Pesce into a complex feat of engineering; pouring, folding, and moulding resin. He liked to say that no two works were ever identical; each piece was crafted to have its own unique personality, forming a singular bond with whoever encountered it.

Pesce’s one-of-a-kind intellect is what distinguishes the studio’s work from any conventional posthumous edition. Where many of his industrial collaborations were designed by him but manufactured by others, the works in Gaetano Pesce Studio: Continued are inseparable from his direct, physical involvement – it marks the next chapter of that practice: the same studio, the same hands, carrying his designs forward.

Gagosian presents I Am Plane Image, a survey of Brice Marden’s paintings at its West 21st Street gallery in New York, organized with the Estate of Brice Marden. It is the first such exhibition in the city in twenty years. Spanning six decades, the show includes loans from the Art Institute of Chicago, Whitney Museum of American Art, and other institutions, as well as works from the Estate and private collections, some rarely or never previously exhibited.

The exhibition traces Marden’s sustained inquiry into the painted plane and the material presence of his surfaces. It reflects his synthesis of art-historical sources with landscape and natural light, from early monochromes such as Nebraska (1966) and Summer Table (1972–73), which introduced his beeswax-and-oil technique, through calligraphic works of the 1980s and 1990s to late multipanel and large-scale paintings, including The Dance and Lingerie (both 2022–23).

Brice Marden: I Am Plane Image / Gagosian New York. September 15, 2026.

Exhibition text (excerpt):

Gagosian is pleased to announce I Am Plane Image, a comprehensive survey of paintings by Brice Marden at the West 21st Street gallery in New York. Presented in collaboration with the Estate of Brice Marden, this is the first such exhibition of the artist’s work in the city in twenty years. Spanning six decades, the presentation includes major institutional loans from the Art Institute of Chicago, Whitney Museum of American Art, and others, as well as significant works from the Estate and notable private collections. It offers a historic opportunity to view works that have rarely, if ever, been exhibited before. In tandem, Gagosian, again in collaboration with the Estate, will publish Brice Marden: Catalogue Raisonné of Paintings, 1961–2023, edited by scholar Tiffany Bell. Documenting nearly five hundred works, the book represents the most comprehensive study of his paintings to date.

The exhibition emphasizes Marden’s lifelong exploration of the plane and the material presence of his work. “For me,” he stated, “the history of modern art is tightening the relationship of the image to the plane. . . . The whole history of twentieth-century art seems to be where you work up to the ultimate plane image. You try to keep the plane and the image locked together.” Marden’s distinct contribution to painting lies in his synthesis of a broad range of art historical influences, which anchor paintings that address the natural world. He traveled extensively, living in multiple locations and working predominantly with natural light.

From the mid-1960s, Marden immersed himself in the cultural scene of New York, congregating at Max’s Kansas City with the era’s pioneering artists, writers, and musicians. Nebraska (1966)—the earliest painting in the exhibition—was inspired by the “surprising” landscape of the midwest United States after a cross-country road trip. Marden retained the painting and displayed it in his home throughout his life. From this time onward, while often spending time on the Greek island of Hydra, he began to employ the brighter palette seen in Summer Table (1972–73). He also introduced a technique that would become a trademark—heightening the effect of each tint, plane, and brushstroke by adding beeswax and turpentine to oil paint and applying it in multiple layers.

Calligraphy was often a focus of Marden’s practice; in the early 1980s, he realized it at scale in his first calligraphic paintings, which include Study for the Muses (Eagles Mere Version) (1991–94/1997–99). Conceived in his studio in Eagles Mere, Pennsylvania, which he characterized as his most “Zen-like” workspace, this painting’s color echoes the surrounding woodland. The six panels of The Propitious Garden of Plane Image, Second Version (2000–06) follow a chromatic progression that also meditates on landscape, here in the tradition of the Chinese garden.

The exhibition concludes with The Dance (2022–23) and Lingerie (2022–23), two large canvases that Marden produced in his studio in Tivoli, New York. Among the last works he completed, both were included in the artist’s final Gagosian exhibition in 2023. Throughout his career, Marden was continually working through a set of ideas about activating the surface of the painting. This was evident as early as his Yale MFA thesis, in which he stated: “I have had to concentrate on the rectangle problems. I have been obsessed with the idea and have become fanatical about it.” I Am Plane Image encapsulates this profound engagement with his concept of the plane.

I Am Plane Image coincides with Gagosian’s publication of Brice Marden: Catalogue Raisonné of Paintings, 1961–2023, edited by Tiffany Bell and distributed by Yale University Press. Bell commenced the project in 2019 with the full support of Marden and his studio, and continued it in collaboration with the Estate of Brice Marden. The book features an introduction by Larry Gagosian, an essay by Bell, and an illustrated chronology by Bell and Anna Gray, as well as two texts by the artist. It documents nearly five hundred paintings made between 1961 and 2023 including almost ninety previously unpublished works and more than seventy that have never been exhibited. The explanatory notes that accompany the artwork entries consist primarily of quotations from Marden himself.

The Hole presents Paris-based artist Pablo Tomek’s first solo exhibition in New York. The show features new paintings and sculptures, offering viewers an in-person encounter with work previously encountered mainly online. Tomek’s paintings result from repeated layers of addition and removal, using industrial sponges and high-pressure water. Sculptures that resemble unfinished sheetrock mudding also function as seating and underscore the ongoing, process-driven character of his practice.

Tomek was born in Paris in 1988 and began in graffiti, an influence still visible in his paintings. He has exhibited with Galerie Christophe Gaillard and Ruttkowski;68, as well as at Palais de Tokyo (2021) and other venues. His work appeared in Bold & Gritty at the Stedelijk Museum, Amsterdam, in 2025. It is held in public collections including MIMA in Brussels and the Gothenburg Museum of Art, and in private collections internationally. He lives and works in Paris.

Pablo Tomek: Medley / The Hole, New York. September 17, 2026.