News / Events

Luis Camnitzer qouted by Michael Agresta in the Texas Observer.

Polly Apfelbaum's The Potential of Women reviewed by Margaret Carrigan in Observer.

Lorraine O'Grady included in the exhibition titled Unmoored Geographies: Works from the Permanent Collection At the Ulrich Museum of Art Wichita, KS. 
 

Coco Fusco dicusses art and politics in the Gainesville Sun.

Luis Camnitzer and Lorraine O'Grady included in I am you, you are too, curated by Vincenzo de Bellis, Adrienne Edwards, and Pavel Pyś, at the Walker Art Center, Minneapolis, MN.

Melvin Edwards and Lorraine O’Grady discussed by Pernilla Holmes in Frieze Magazine.

Regina Silveira's work discused in Artishock.

Alexander Gray Associates presents Polly Apfelbaum: The Potential of Women, the artist’s first exhibition at the Gallery. The exhibition features all new work, including gouache drawings, hand-woven rugs, and wall-mounted ceramics.

Hassan Sharif discussed in Magpie.

Regina Silveira and Valeska Soares included in Past/Future/Present: Contemporary Brazilian Art from the Museum of Modern Art, São Paulo at The Phoenix Art Museum, AZ.

Harmony Hammond's Kong, 1981, included in Monumental at Everson Museum, Syracuse, NY.

Hugh Steers' Bath Curtain, 1992, discussed by Muri Assunção in Vice. 

Melvin Edwards' Pyramid Up and Down, 1969/2017 included in An Incomplete History of Protest: Selections from the Whitney's Collection, 1940 – 2017 at the Whitney Museum of American Art, New York. 

Melvin Edwards' work included in the exhibition 202/20 discussed ​by John Ortved in Vogue.

Joan Semmel reviewed by Elizabeth Michelman in Delicious Line.

Polly Apfelbaum's work discussed by Christine Smallwood in New York Times Style Magazine.

Lorraine O'Grady received the 2017 Wellesley Alumnae Achievement Award.

Polly Apfelbaum’s Townsville (2000) included in Austin Collects Contemporary: Selections from the Blanton’s Recent Gift from The Contemporary curated by Beverly Adams, Carter Foster, and Veronica Roberts, at The Blanton Museum of Art, the University of Texas at Austin, TX.

Polly Apfelbaum presents a site-specific installation for the 26th edition of L’Art Dans Les Chapelles, at Chapelle Saint-Jean in Le Sourn, France.

Regina Silveira included in the exhibition Radical Women: Latin American Art, 1960–1985 curated by Cecilia Fajardo‐Hill and Andrea Giunta, at the Hammer Museum, Los Angeles, CA.

Polly Apfelbaum's solo exhibition Summer of Love: Prints by Polly Apfelbaum at Locks Gallery, Philadelphia.

Luis Camnitzer's Find an unnamed object and suggest a proper name for it., 2011, from the series "The Assignment Books" series, included in the exhibition Transhumance, curated by Sébastien Faucon and Marianne Lanavère at Centre National des Arts Plastiques, Paris.

Luis Camnitzer’s Art History Lesson (2000), on view in the exhibition Hard to Picture: A Tribute to Ad Reinhardt at Mudam Luxembourg.

Betty Parsons' 1979 profile by Grace Lichtenstein, republished in ARTnews with an introduction by Alex Greenberger.

Luis Camnitzer included in the exhibition HOME—So Different, So Appealing (part of the Getty Initiative “Pacific Standard Time: LA/LA”) at the Los Angeles County Museum of Art, CA.

Harmony Hammond included in the exhibition Painting on the Edge: A Historical Survey at Stephen Friedman Gallery, London.

Regina Silveira included in the exhibition Consciência Cibernética [?] at Itaú Cultural, São Paulo, Brazil.

Coco Fusco in conversation with Carlos A. Aguilera for Hypermedia Magazine.

Polly Apfelbaum included in the exhibition Tie Up, Draw Down curated by Natalie Campbell and Carissa Carman at the Center for Craft, Creativity and Design (CCCD), Asheville, NC.

Lorraine O'Grady's Cutting Out The New York Times, 1977/2017, included in The Times at Flag Art Foundation, New York.

Luis Camnitzer's video, Tablero, discussed in Artishock.

Betty Parsons: Invisible Presence at Alexander Gray Associates, discussed by Casey Lesser in Artsy.

Hyperallergic's Jason Andrew details Jack Tworkov's influence on Robert Rauschenberg in "The Untold Story of Rauschenberg’s Earliest Champion."

Siah Armajani's Irene Hixon Whitney Bridge, 1988, located in Minneapolis, MN, discussed by Jenna Ross in Star Tribune.

Regina Silveira included in Modos de ver Brasil, works from the permanent collection, at Itaú Cultural, São Paulo, Brazil.

Betty Parsons: Invisible Presence at Alexander Gray Associates discussed by James Panero in The New Criterion.

Betty Parsons: Invisible Presence at Alexander Gray Associates discussed by Sarah Cascone in Artnet News.

Betty Parsons: Invisible Presence at Alexander Gray Associates discussed in ARTnews.

Luis Camnitzer included in the exhibition Vacío Perfecto curated by Eduardo García at Museo de Arte Contemporáneo de Castilla y León (MUSAC), Spain.

Siah Armajani's Elements Number 30, 1990, on view at the Museum of Modern Art, New York, discussed by Liz Hirsch in ARTnews.

Hassan Sharif's work in the Venice Biennale 2017 discussed by David D'Arcy in The National.

Hassan Sharif's installation on view at the 57th Venice Biennale, Viva Arte Viva, discussed by Adrian Searle in The Guardian.

Melvin Edwards' 1970 barbed wire installation Corner for Ana included in Space Force Construction curated by Matthew Witkovsky and Katerina Chuchalina, organized with the Art Institute of Chicago, for the launch of V-A-C’s new Venetian headquarters.

Regina Silveira's Touch, 2016, included in the exhibition Planet 9 at Kunsthalle Darmstat, Germany.

Hassan Sharif's work in But We Cannot See Them: Tracing a UAE Community, 1988 – 2008, on view at the NYU Abu Dhabi Art Gallery, discussed by Bansie Vasvani for Hyperallergic.

Joan Semmel included in the exhibition Hope and Hazard: A Comedy of Eros curated by Eric Fischl, at Hall Art Foundation, Reading, VT.

Hassan Sharif's work at Frieze New York discussed by Martha Schwendener in The New York Times.

Lorraine O'Grady's series Miscegenated Family Album, 1980/1994, discussed by Vinson Cunningham in The New Yorker.

Coco Fusco included in the exhibition Florida Prize in Contemporary Art curated by Hansen Mulford at the Orlando Museum of Art.

Melvin Edwards' exhibition Melvin Edwards: In Oklahoma at Alexander Gray Associates, discussed by Evan Moffitt in Frieze Magazine.

Jack Tworkov profiled by Carter Ratcliff in Art and Antiques Magazine.

Melvin Edwards in The New York Times by Jason Farago.

Siah Armajani's Sound Towers, 1972, included in the exhibition A Matter of Conscience, curated by Mia Lopez at DePaul University Art Museum, Chicago, IL.