From the Collection: First Year Curatorial Practice 2024

Misrach at its 540 West 25th Street gallery in New York. On view from January 17 to March 1, 2025, this will be the first presentation devoted to CARGO, a body of work that Misrach began in 2021 during the COVID-19 pandemic.</p><p>During the last week of the show, advance copies of CARGO (Aperture, May 2025) will be available to view at the gallery. Pace will also host a talk between the artist and Sarah Meister, Executive Director of Aperture.</p><p>Misrach is known for his poignant, large-scale color images that lean into social, political, and environmental issues while also engaging with the history of photography. In his radiant, contemplative works, Misrach—who is based in California—often examines the destructive impact of human interaction with the natural world. His works have examined man-made fires and floods, nuclear test sites, and animal burial pits in the American West; the petrochemical corridor in Louisiana; the landscape of the US-Mexico border; as well as more lyrical subjects like San Francisco’s iconic Golden Gate Bridge and his recent hydrofoil surfer series in Hawaii.</p><p><br></p>" />

Felix Gonzalez-Torres</a>’s “Untitled” (Loverboy) (1989) at Dia Beacon marks the artist’s first acquisition and exhibition at Dia. Consisting of sheer light-blue curtains installed in the linear expanse of the east gallery, which is lined by Robert Irwin–designed windows featuring shifting glazes, “Untitled” (Loverboy) emphasizes the existing architectural tension between transparency and opacity. In the spirit of Postminimalism, the medium is responsive to its immediate environment as it takes on a corporeality and relationality in concert with shifting atmospheric conditions. “Untitled” (Loverboy) introduces a queer politics and sensibility to the space, unfolding at the intersection of private and public, interior and exterior, and domestic and institutional.</p><p>From 1988 to 1989, at Dia’s SoHo spaces, Gonzalez-Torres participated in artist collective Group Material’s open-forum exhibition Democracy—then composed of Doug Ashford, Julie Ault, and Gonzalez-Torres—surrounding four critical concerns of U.S. democracy: education, electoral politics, cultural participation, and the HIV/AIDS epidemic.</p><p>Felix Gonzalez-Torres is organized by Jordan Carter, curator and co–department head, and Humberto Moro, deputy director of program, with Liv Cuniberti, curatorial assistant.</p><p><br></p>" />

exhibition of Nevelson</a>’s late works, curated by gallery founder Arne Glimcher, at its 540 West 25th Street location in New York.</p><p>On view from January 17 to March 1, 2025, this show will place Nevelson’s iconic monochromatic sculptures in black and white in dialogue with her collages—including several rarely seen and never previously exhibited masterworks—made in the 1970s and 1980s.</p><p>Like Mondrian’s, Nevelson’s compositions are based on a strict adherence to vertical and horizontal regularity. During the 1970s and 1980s, there was a significant development: Nevelson incorporated the diagonal into her vocabulary. A new, angular energy surfaced in many of the works she produced during this period, breaking the rules by which she traditionally composed her work.</p><p>These late works shed new light on her evolving aesthetic, bringing into focus a series of remarkably productive years of her practice in which she experimented with a new vocabulary of robust, muscular, and often minimal forms while staying true to her lifelong investigations of materiality, shape, and shadow.</p><p>Rooted in the legacies of Cubism and Constructivism, Nevelson’s artworks were widely celebrated during her lifetime for incorporating unexpected combinations of materials and forms. As part of her distinctive approach to abstraction, the artist often explored the myriad possibilities of collage—a technique she transposed into sculpture by means of compartmentalized elements and forms liberated from everyday meaning. Nevelson’s use of the collage aesthetic was formalist. Her art of scavenging and her affinity for the materiality of wood are linked to her personal life and her remarkable story.</p><p><br></p>" />