Featured Exhibitions

2024 Featured Exhibitions will be announced next January

Evocation In Light: Philip Vaughan
Presented by bG Gallery
Booth 1303
English artist Philip Vaughan first became interested in neon and light art while at Chelsea Art School in London, during a course on the theory of light and color. He was intrigued when he learned that paint mixes differently than light does, as well as by the idea of using light as a medium itself to make art. Combining this with his love of sculpture and installation, he began experimenting with all three.

While at Chelsea art school, he created a piece where three incandescent light sources spun and projected colored light on the walls, mixing the light’s colors as they spun and combined. Later he read a book by Cornwall Klein, who was experimenting with light projection and synesthesia.

Around this time, Vaughan attended a lecture given by Buckminster Fuller and shortly after that started to experiment with geodesic structures himself. He made a group of models of them and eventually started to incorporate linear lights. This work culminated in a sculpture for the Hayward Gallery on London’s Southbank, the Neon Tower whose neon lights would dim and change according to the speed and direction of the wind, reflecting its environment. After building the sculpture for the Hayward Gallery Neon Tower, he also built an 80-foot diameter hemispherical inflatable dome theater with projected light shows for entrepreneur and filmmaker John Bloomfield.

Since moving to the United States, he worked for a while at Walt Disney Imagineering where he continued to learn about lighting, theatrics, computer controls and construction. Vaughan has continued to create art and experiment with neon, sculpture, and architecture as art and technology alike evolve. He continues to plan and build public sculptures, using light and other media.
Donde Voy: Jin Hyu Lee
Presented by J & J Art, Inc.
Booth 401
The artist is focused on how to express the objects that he sees, interpreted with different perspectives, by trying to recreate the meaning of the things scattered around him. Jin Hyu Lee enjoys experimenting, using different methods, such as splitting the space in canvas, attempting to escape from the ordinary views, searching for new dimensions of objects around him.

His works are blended sentiment derived from the mixture of conventional painting and digitized culture that has become the fact of life, with historical and ethnic traces. He finds a new way of painting, which is based on the classical way of thought.
Launch Intention: Griffin Loop
Presented by Fabrik Projects
Show Entrance
Griffin Loop is a sculpture artist who creates large scale installations that have been commissioned and collected in both private and public settings across the United States. Griffin uses his platform as an artist to engage communities and youth.

“Launch Intention” is based around the symbol of a paper airplane and is used to support individuals and groups in the act of setting intention, sharing with the greater collective and launching into action. The artist has installed and programmed large scale “paper” airplanes in communities and schools across the United States.

A paper airplane represents youthful innocence and fun. It is one of the first things we create as children and launch into the world. The launch intention project based around this childhood symbol takes us back to that carefree imagination and freedom. It stands for tapping into the intuitive self and truth we all have. Embracing the dreams and path we are ultimately supposed to take. A platform to solidify these dreams and share with each other and the world. A symbol for optimism and hope. Self. Community. Support. Vulnerability and accountability. Launch Intention is a reminder for all to free yourself. Set intention and launch into action and the world.
Searching In No Man’s Land: Julio Vaquero
Presented by Pigment Gallery
Booth 1021
Julio Vaquero (Barcelona 1958) has developed his work as a painter around the world of culture, knowledge and his confrontation with the experience of time.

His large-format paintings and installations have been shown in different exhibitions on realism, such as “Realism in Catalonia”, Barcelona 2000; “Mimesis et inventio”, Panorama Museum, Bad Frankenhausen, Germany 2002; “Visions of Reality”, Caja Canarias Foundation, Tenerife Spain 2014.

Also in 2014, Vaquero presented his work “The End of Appearances” at the “Centre d’Art Santa Mónica” in Barcelona, a large installation created with solidified paint that confronted the experience of contemplating the past and the horror of time.

His latest personal exhibitions at the Marlborough Gallery in Barcelona and Madrid have shown his drawings on tracing paper in large format, where Vaquero works with materials created by himself, looking back at the history of painting “Stolen Museum” Barcelona 2018 and on the ambiguity of the realistic representation “Memories of the Physical World”; Madrid 2020.

On this occasion, Vaquero presents his latest gouaches in small format on the ambiguity of the idea of identity, creating digitally manipulated faces whose changing and brittle material quality seems to evoke the feeling of fragility of our existence.
Raintype: Lorenzo Marini
Presented by Bruce Lurie Gallery
Booth 1013/1112
This immersive installation, by Lorenzo Marini, is inspired by a rainy day. Only here the drops of rain never fall, but remain suspended in a linguistic universe waiting to be discovered. Letters only become such when joined with other letters and take the form of the word. They acquire meaning in their linear composition. In this work of art, the letters never touch land, but remain in the world of ideas, of the possible, of the potential. They are in no hurry to touch the ground, they are in no hurry to become a word, a sentence, a discourse. They love the freedom of space and the suspension of time. They aspire to become fragments of eternity.
Wings Of Grace: Wonsook Kim
Presented by Gallery Elim
Booth 402
Wonsook is both a painter of magical, vivid landscapes, and a storyteller of the universality of human hardships. Her flowing images refuse to yield to eye-catching trends and instead engage her viewers through heartfelt stories.

Her quality lies in her strong personal style that carries both the pureness of a child’s touch and the expert craftsmanship of an experienced artist and colorist. Wonsook’s work instructs us to appreciate the joys of life and to persist in the face of difficulties.

Drawing from experiences as a Korean immigrant and embracing an introspective attitude, Wonsook has created a visual diary of her life that many people, regardless of their identities, can not only be immersed in but also relate to.

Awarded for the 50th anniversary of the United Nations, her work was made into stamps and contributed to the transformation of the University of Illinois into Kim Won-sook University. Her work is Magical Realism. Through her work, she represents Korean sensibility and presents us with an artistic fantasy that we must not lose.

W.T.C: Concrete Abstract I Shai Kremer
Presented by Art Bond
Booth 399
For younger Americans born after the attacks, 9/11 is not a memory lived, but history learned. Twenty years later, we remember those who were killed, as we honor the service and sacrifice of the brave first responders who ran toward danger to save others. By showing this body of work, we want to encourage reflection and help ensure that a new generation learns how, together, we met unimaginable tragedy and unfathomable loss with hope, resilience, and unity.

An evocation of site, a remembrance of tragedy, a progression towards healing – Shai Kremer’s Concrete Abstract series at once aims for individual and universal response to the destruction and rebuilding of the World Trade Towers following September 11th, 2001. Kremer describes his Concrete Abstract series as a means to “pay homage to America, to New York, to their trauma and their recovery.” The artist evokes the renovations and rebuilding of a once devastated sight as representative of a fresh start and ongoing therapeutic process for New York City.

Like his past series, Kremer maintains “a post-traumatic gaze to the cityscape of Manhattan – and by extrapolation, to the sociological landscape of America.”
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Installation: Personal Artifacts I Alexandra Dillon
Presented by bG Gallery
Booth 1216
In this project, artist Alexandra Dillon explores character, personality and emotion by painting imagined portraits on used tools and other implements – recycled from swap meets and flea markets.

Tools such as axes and cleavers, hint at hidden and repressed feelings of rage and revenge, while her tiny lock and key sculptures offer hope that each of us can find the solution to our personal struggles.

Her old master style faces on coal shovels, cleverly employ the ruffled base as an Elizabethan collar, and circular saw blades carry similar faces of strong women – badass babes whose time has come.

Her installation piece “Mood Swings” is a kinetic sculpture on two large shovels that are balanced on a mount that allows the viewer to manually move them revealing a face that changes from a smile to a frown as it swings on its axis.

Nature of Providence I Séverin Guelpa
Curated by Laura Ayala; Marisa Caichiolo
Presented by Building Bridges Art Exchange
Booth 1300
Building Bridges Art Exhcnage’s Artist in Residence Program provides artists’ with a unique challenge by offering them the opportunity to create, in record time, a site specific body of work which requires a full time commitment. The program is an invitation for experimentation and research, which is carried out with curatorial accompaniment that supports the artist’s concepts, and provides different ways of exploring their own work.

For this year’s residency, artist Séverin Guelpa worked in a wide range of mediums: installations, objects, sounds, and photography, while exploring ideas of documentation, gathering, and analyzing life in the desert, an area he has worked in since 2014. This exhibition is the result of the artist’s exploration during the residency period, and deals with an unnamed phantom, a specter that haunts or perhaps shines a ghostly light onto the inner soul behind “the desert”. This mirage confuses and fascinates him; but despite this, he decides to explore the physical and emotional territory. Throughout the residency, Guelpa plunged into the wild, untamed landscape of the desert, the boulders, the iconic Joshua trees, and the vast terrain opening onto the Milky Way above. As a conceptual artist, Guelpa focused on a survey of the territory, its geography, and the underlying tensions and fragility of living systems in the desert.

The high desert has long been a refuge for intrepid creative characters and stories. It’s a place that attracts dreamers, undeterred by the inhospitable environment. Séverin Guelpa’s artistic proposal gives us the opportunity to access multiple layers of interpretation but, above all, to see the effects on people who decide to experience the desert’s apparent emptiness. With this exhibition, Guelpa connects the undeniable and surreal vistas of freestanding home structures with the relationship between the land, nature’s resources, and private property. He gives new meaning to the debris that has been cleansed by the desert, and brings new possibilities of composition that explores the forces of balance in chaos.

Shining Light in the Darkness
Aging Out: A Community Project I J.P. Gonçalves
Presented by Connect Contemporary
Booth 408
Aging Out seeks to visually capture the reality of a social injustice that, too often, lies hidden in the shadows. Viewers are invited to consider seven portraits — each portraying someone who, upon turning eighteen years old, has either “aged out” of foster care or would be “aging out” if a family had not gotten involved.

Each portrait is made of 3,000 squares. Each square is uniquely placed and angled either towards or away from the light source. The image created is only made of reflected light or shadows cast. In total, the 21,000 squares represent the amount of youth who age out of the American foster care system each year. Every eighteen seconds, the central light source is extinguished, revealing the face of a youth who’s endured a journey in this system, along with a poignant statistic illuminated by a smaller light. This cyclical lighting and extinguishing temporally represents the dreaded moment where, upon turning eighteen years old, our nation’s most vulnerable young adults are abandoned by the state and rendered subject to the mercy of the unjust societal forces that create these sobering statistics.

J.P. Gonçalves’ distinct technique uses shadow and light to expose the image, the message, and ultimately, a social inequity that deserves a well-defined place in the minds of compassionate and justice-oriented people with a heart for leveling the playing field so that all young people, regardless of their origins, have a fair chance at creating a meaningful life for themselves.

Born in 1979 in Rio de Janeiro, multimedia artist J.P. Gonçalves moved to the United States at the dawn of the new millennium. He attended school for architecture at Universidade Santa Úrsula in Brazil and later took courses in Industrial Design at the Art Institute of Fort Lauderdale.
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Memory of a Space
An Immersive Experience
Photography I Jessie Chaney
Exhibition Design I Chris Davies
Presented by Fabrik Projects
Booth 1025/1124
Jessie Chaney’s ongoing series Memory of a Space brings into focus numerous forlorn and overlooked sites the artist has encountered in her travels. These abandoned spaces are remnants of progress and change, empty buildings which provide evidence of previous inhabitants. Whether changes of fortune or the construction of new nearby highway leaves such places cut off and ultimately deserted, they still hold many telltale pointers to the lives and loves that once filled them.

Chaney finds beauty within the ruins and detritus that society leaves behind. Rather than mourn what has been lost, she celebrates the little details that provide glimpses into the past. This immersive installation both houses and echoes her artworks. Glimpses of other artworks appear as one navigates the space, and scrims provide veiled views though grimy windows, like those the artist encounters when peering into long-overlooked rooms. While Chaney’s photographs are essentially devoid of people, they still evoke an aura of humanity. The images tell stories through what has been left behind, fallen into ruin and often subsequently unofficially re-adorned with contemporary imagery. If her imagery conveys an air of nostalgia, it is not intended to be facile. Memory of a Space draws attention to the rapid changes in modern life, while celebrating small mementos of civilization.

Chaney began this body of work in earnest before the term ‘COVID-19’ was coined. Since then, as the global pandemic has continued, the series has assumed an additional gravitas, not influenced by prevailing political views or conspiracy theories. Focusing on the impact of societal change, Chaney’s abandoned spaces now might be seen as possible safe havens for the future.

Conceptual Traditions
Presented by Jane Kahan Gallery
Booth 398
Jane Kahan Gallery is pleased to present Conceptual Traditions, featuring a selection of artworks from its collection of 20th century art by Pablo Picasso, Marc Chagall, and Alexander Calder.

This exhibition brings together five works that highlight the collaborative process of creating art in specialized mediums such as tapestry, printmaking, and ceramic.

Known for creating powerful images inspired by the beauty of the natural world, these artists often shared their artistic drives with artisan workshops that guided their visions to realize large-scale concepts.

With methods and materials sourced directly from the earth, the featured works give viewers a chance to observe stylistic similarities and technical skill across mediums.

Flying in Spatial Atmosphere I Carlo Maria Mariani
Presented by Pan American Art Projects
Booth 404
There is a strange lucidity to Carlo Maria Mariani’s paintings, a beauty and radiance of surface and figure that seems more than the sum of their art historical parts.

Mariani is a surrealist: his art is a kind of argument. All of his pictures involve a manipulation of symbols of ideality, presented with sensuous perfection, which gives them an ideality beyond reproach – in a sense beyond interpretation. Mariani‘s painting is thus a celebration of the ideal in art – the seemingly perfect – wherever it occurs. He isolates instances in which it appears.” This is the excerpt from Donald Kuspit in the 1990 Biennale di Venezia catalog about the artist.

The present painting Flying in Spatial Atmosphere, 1989 is an autobiographical leap into space based on Yves Klein’s Leap into the Void (1960), and thus rendered in Klein’s famous blue.

Where the Streets Have No Name
Presented by Arushi Arts
Arushi Arts presents ‘Where the Streets Have No Name,’ a collection of works by emerging pop street artists from different parts of the world.

The collection showcases artwork by Riya Chandiramani, an Indian Artist from Hong Kong; a grid of small metal street signs by Los Angeles artist, Sellout; a Ceramic Skateboard Sculpture by Miami sculptor Jenna Helfman; work by British pop artist Marty Thorton; contemporary street artist, Roger James, from Los Angeles; and emerging British artist George Weait. Through generations, artists have been inspired by their milieu and these artworks illustrate a dialogue between the artists and their respective environments.

Juxtaposed against intricate South East Asian artwork, the artworks are displayed next to each other to give the viewer a sense of the unique nature of techniques used while sharing the notion of ‘their streets’ as the crux.