America of the 1960s and 1970s was a place of drastic political and social change. While the nation came to grips with the Vietnam War, the Watergate scandal, race riots and the Feminist movement, a parallel cultural revolution was brewing. Minimalismo, posminimalismo y conceptualismo / 60’ y 70’ traces the unprecedented advancements made by American artists during this tumultuous, fertile period. At a time when the art market was booming and postwar painters were kings, the avant-garde artists in this exhibition produced work that seemed more like everyday objects than ‘Art’: lightbulbs adhered to the wall, yarn hung from the ceiling, metal grids stretching across the floor. Collapsing the space between art and life, these contemporary renegades challenged our preconceptions about what art is, how its made and what it does. In so doing, they introduced a new mode of art-making, one that was more experimental, interactive and concept-driven than ever before.

This exhibition is devoted to the sculptures, videos and drawings of five major figures from this period—Sol LeWitt, Dan Flavin, Fred Sandback, Bruce Nauman and Dan Graham—who pioneered the Minimal, Postminimal and Conceptual Art movements. Though these artists often worked in different mediums, showed in different galleries and lived in different cities, their output demonstrates a shared intellectual ethos: a desire to engage the viewer, both physically and mentally, on a deeper, more profound level than had ever been possible through traditional mediums. Often using the most economical of visual and cognitive means, LeWitt, Flavin, Sandback, Graham and Nauman challenge our perceptions of space, time and even the fundamental nature of art as we know it. Their contributions to the canon of art history cannot be underestimated and their legacy continues to grow today, as contemporary artists around the world persist in the distillation of art to its most essential form.


Loisaida Cultural Center, New York, January 19 - February 27, 2018

An auction wall showcase of work by twenty-five local and international artists, designed to raise money for “El Semillero,” a vital, cutting edge media and technology lab in the historic Loisaida Cultural Center.


City University of New York, New York, September 2017

Cultural provocateur. Big idea pioneer. Voice of an era. Advertising legend.

George Lois earned these titles, and the numerous Hall of Fame accolades that go with them, over the course of a distinguished six decade career in advertising. The mastermind behind revered promotionals for MTV, Tommy Hilfiger, Stoffer’s and countless other companies, Lois is widely considered to be one of the foremost art directors in American history. Yet arguably his greatest contribution to communication design was not an ad campaign but a series of magazine covers. Between 1962 and 1972 Lois created ninety-two covers for Esquire that helped rebrand the magazine from a mens’ monthly to a sophisticated repository of “New Journalism” writing. Given complete creative autonomy by editor Harold Hayes, Lois devised covers that were not merely visual regurgitations of the magazine’s contents but revolutionary conceptual ideas all their own. Like a sharpener with a dull pencil, Lois’s incisive covers honed the magazine’s image while rewriting creative, political and social convention. Today, half a century later, Lois’s Esquire designs remain provocative, offering the viewer unique insight into our culture’s struggles with racism, sexism, power and violence, both past and present.

The enduring influence of Lois’s Esquire covers on the field of advertising art can not be underestimated, their value as an educational tool for young designers not overlooked. Born to Greek immigrant parents and raised in the Bronx just seven miles from this campus, Lois’s life and work mirror City College’s mission to defy convention, advocate for change and embrace diverse communities. With this in mind, last year Lois generously donated his archives to CCNY in the hopes of sharing his knowledge with future generations and helping students reach these lofty goals. Highlighting one part of this vast and valuable collection, this exhibition presents twenty-seven of Lois’s most iconic Esquire covers alongside their preparatory sketches for the first time ever. In so doing it gives us a glimpse into the genesis behind a great adman’s “big ideas.”


Great Hall Exhibition Series, The Institute of Fine Art, NYU, New York, March 30 - May 8, 2015

Co-Curated with Susanna V. Temkin

An installation of two artworks by Felix Gonzalez-Torres will be featured this spring as part of the Great Hall Exhibitions series at the Institute of Fine Arts, New York University. Organized by Katharine J. Wright and Susanna V. Temkin, this installation pairs two works encompassing different media and conceptual practices that speak to major themes in the artist’s oeuvre. The manifestable candy piece “Untitled (Placebo-Landscape-for Roni)”, 1993 and the static photographic work “Untitled” (Natural History), 1990 offer a point of access into overarching strategies that the artist employed throughout the course of his career.


80 Washington Square East Gallery, New York, February 10 - 14, 2015

Featuring work by Louis Kim and Peter Valenti

For the duration of this exhibition, artists Peter Valenti and Louis Kim are doning the personae of Steinhardt undergraduate art majors to engage the public through an exceedingly avant-garde series of performance pieces and sculptural interventions. Kim’s inventive MDF constructions—from awnings to handlebars—fill the gallery space at 80 Washington Square East and foil the liminalities between object and sculpture, personal and universal, performance and life. This installation will be activated by improvised performances and events by Valenti, in an attempt to question the voyeuristic and performative nature of quotidian city life.

EXPAND//FOLD//COLLAPSE//Sculptures by Marta Chilindron

Great Hall Exhibition Series, The Institute of Fine Art, NYU, New York, November 3 - December 5, 2014

Co-Curated with Susanna V. Temkin

Embracing the instability of perspective and form, New York artist Marta Chilindron (b. 1951, Buenos Aires) creates manipulable sculptures in transparent and colored acrylics. Adapted from such basic geometric shapes as spheres, cubes, and pyramids, her artworks conceal their identity as complex, kinetic constructions. Constructed from multiple panels connected by hinges, Chilindron’s sculptures are charged with transformative potential that, when activated by the viewer, cause the works to expand//fold//collapse.

Providing a dramatic contrast to the ornate interior of the Duke House, seven works by the artist will be on view in the lobby and vestibule of the Institute of Fine Arts for the Fall 2014 Great Hall Exhibition. Focusing on Chilindron’s engagement with idealized geometric forms, these works, executed between 2006 and 2014, will show the diversity of the artist’s practice, ranging from table-top objects such as the curvilinear Helix (2011) to her large-scale Cube 48 Orange (2014). This latter work represents Chilindron’s expansion into immersive sculptural environments, and is being shown in New York for the first time since its debut in the Encounters exhibition at Art Basel Hong Kong, held in spring 2014.