Untitled Art, Houston, September 19 - 21, 2025

For Untitled Art Houston’s inaugural fair, Michael Kohn Gallery is delighted to propose a curated exhibition of new work by Lita Albuquerque, Nir Hod, and Gonzalo Lebrija. The presentation examines the materiality of contemporary Light and Space works as seen through Albuquerque’s iconic Auric Field series, Hod’s tactile reflective canvases, and Lebrija’s elegant geometric abstractions. 

Inspired by nature and Earth’s place in the grander universe, Lita Albuquerque’s body of work interweaves photography, film, performance, painting, and sculpture into a vibrant synthesis of personal and cosmic mythologies. In this presentation, Albuquerque revisits her distinguishable Auric Field series– golden orbs set against a minimal aura of rich ultramarine. “I started using blue as a way of uniting earth and sky,” says Albuquerque. The work’s luminescence is generated from the sunken relief of the sphere that takes center and presents as a source of energy. Nir Hod’s artistic practice draws upon personal memory and traumatic historical events to elicit subtle tensions between the viewer’s expectations and the material reality of the canvas. In his series, The Life We Left Behind, Hod presents a masterful play between the profoundly illusionistic depth of the chromed, mirror-like surface and the physical substance of the painting, evidenced by the thick impastoed brushstrokes. The effect has an extraordinary impact precisely because of the two competing, yet completely compatible, major shifts in painterly perspective. Gonzalo Lebrija’s almost humorous nihilism explores the passage and futility of life and often focuses on the vertiginous possibilities of frozen moments. His Veladuras (Veils) paintings depict triangular overlays of thinly applied oil paint, becoming darker and more complex as each layer interacts with the other. Lebrija’s complex compositions, based upon the folds of a paper airplane, allude to the lightness, ingenuity and ephemerality of this invention. By extension, the viewer can sense an existential philosophy in Lebrija’s subtle and immensely beautiful abstract paintings.

The Armory Show, September 5 - 7, 2025

Michael Kohn Gallery is excited to share a curated presentation of UK-based painters William Brickel and Shiwen Wang. This showcase of work presents a fluent meditation of human intervention in nature, as seen through Brickel’s human figures painted within industrial landscapes; and explorations of life and its transience as experienced through Wang’s richly painted abstractions of the natural world.  

William Brickel’s multi-figured compositions carry an emotional intensity that unfolds on the canvas through anatomically exaggerated, larger-than-life limbs. The subjects, generated from personal experience and memories from the English countryside, roam in environments that pose questions surrounding identity and its relation to people and the individual self. Similarly concerned with humanity’s place in natural life, Shiwen Wang’s intuitive earth-toned and aquatic palettes appropriate ecological symbols, such as fish, decaying leaves, and fossils to visualize the compression of time and organic cycles of decay and rebirth.

Uniting the two practices is a common thread of cryptic connotations; while Brickel captures intimate interactions between anonymous figures, Wang’s subjects evaporate into states of becoming. The artists, both at emerging stages in their careers, demonstrate an exceptional command of their respective figural and abstract painting practices. Together, Brickel and Wang produce a visually enchanting realm within the greater context of The Armory Show and their contemporaries.

Independent, May 8 - 11, 2025

Evoking Artemisia Gentileschi by way of David Cronenberg, Queens-based artist Alicia Adamerovich’s (b.1989) paintings, drawings, and sculptural practice invite her audience to visualize their own psychological state. The landscapes – seemingly barren with their darkened color palette and organic surfaces of pumice, gels, wax, and sand  – come gracefully alive with radiant orbs and spiraling, structured appendages. These strange biomorphic forms are anthropomorphic and seductive in nature with soft curvatures alternately drawn from the realms of the arboreal, anatomical, and fantastical. As they slouch roughly across their staged compositions, they invoke a sense of familiarity amidst the discomfort of human emotion and contemporary political and cultural narratives surrounding the climate, human rights, consumerism, and journalistic integrity. In this new body of work, ranging from graphite and pastel works on paper to painting and sculpture, Adamerovich continues her investigations of truth, absurdity, and objective reality through enigmatic and intriguing forms. As Adamerovich states: “I don’t wish for my frames to be vessels for the work, but instead to be extensions of the line… making connections with both the viewer’s body and mind. Immersing oneself is bringing the experience closer to my own experience of creation.”

Alicia Adamerovich was born in Latrobe, PA and is currently based in Queens, NY. She received her Bachelor’s of Design from Pennsylvania State University in 2013. Adamerovich has been a recipient of several residencies including the Hayama Artist Residency, Hayama, Japan; Del Vaz Projects Residency, Los Angeles, CA; Moly Sabata Artist Residency, Albert Gleizes Foundation, Sablons, FR; and Palazzo Monti Residency, Brescia, IT. Recent exhibitions include Rude Awakening, Timothy Taylor, New York, NY (2024); This is the time of the hour, Kohn Gallery, Los Angeles, CA (2023); Ultra-gentle manipulation of delicate structures, Projet Pangée, Montréal, QC (2022); Second Nature, Del Vaz Projects, Los Angeles, CA (2021); and A Bat out of Hell, Sans Titre (2016), Paris, FR. Her work can be found in the permanent collections of the Institute of Contemporary Art, Miami, FL; He Art Museum, Guangdong, China; X Museum, Beijing; and the Green Family Art Foundation, Dallas.

Art Basel Miami Beach, December 3 - 7, 2025

Michael Kohn Gallery is pleased to announce a cross-generational presentation illustrating the gallery’s forty-year dedication to West Coast artists and art history. Navigating through various stylistic periods, this showcase spotlights rare and iconic work from the Beat Generation, Minimalist, and Light and Space movements and epilogues with a look towards the gallery’s prospective curatorial vision. 

The presentation begins with an installation representing the historical legacies of West Coast artists, Bruce Conner(1933-2008) and Wallace Berman (1926-1976): an assemblage of objects via Conner’s playful SWEET 16 CANDY BARRS, 2/13/1963, and Berman’s visually rhythmic assemblage of found media –a 56-part negative Verifax collage. The gallery will celebrate Wallace Berman’s 100th birthday with a centennial exhibition that opens in February 2026. The debut of this seminal work imparts the perspectives of two contemporaries responding to the chaos of post-World War II America.

Embodying the spirit of counterculture, the late Joe Goode (1933-2025) began his career in Los Angeles in the 1960s. Known for his depictions of everyday phenomena, most notably in his Cloud and Milk Bottle series, the presentation spotlights the conceptual 1978 painting, Drag Strip (Black Series) from his Black Painting series. The painting is sourced directly from the Estate’s archives and a signifier of the Light and Space movement. At the heart of the presentation pulses Lita Albuquerque’s newest Auric Field, which features a recessed golden disk embraced by a dense sea of ultramarine. Punctuating the historical narrative of the booth is California artist Martha Alf (1930-2019). In Black and Yellow, 1975, Alf ingeniously anthropomorphizes a toilet paper roll into a psychological study of human emotion and Minimalist form. Alf’s Cylinder paintings were included in the Whitney Biennial 1975: Contemporary American Art. Additional artists in the presentation include, Pictures Generation’s Mark Innerst, a rare painting by postwar minimalism pioneer, John McLaughlin (1898-1976), and a significantly important and intricately stunning work by Colombian artist María Berrío, El Cielo Tiene Jardines, 2013.

The booth concludes with a look at the gallery’s current roster with work by New York-based artists, Nir Hod, Alicia Adamerovich, and Heidi Hahn. In his notable 100 Years is Not Enough series, Hod captures the iridescent reflection of various bodies of water through his mirror-like, chromed canvases that are overlaid with impressionistic depictions of flora. Adamerovich’s painting, A repetitive noise, 2025, approaches materiality via a constructed pointillistic surface that generates the illusion of light appearing from dark spiraling forms and overlayed orbs. Meanwhile, Hahn’s large-scale work, NOT YOUR WOMAN #10, composes the human form through exaggerated limbs, expansive color fields, and gestural layers. Together, Hod, Adamerovich, and Hahn command painterly technique to propel contemporary conversations surrounding materiality forward. 

In the spirit of the Michael Kohn Gallery’s 40th Anniversary, this year’s presentation at Art Basel Miami Beach bridges a focused survey of esteemed artists spanning half a century with contemporary peers and art history.