THE ARMORY SHOW

From the romantic entanglements of Tina Girouard’s beaded and sequins A La Douce (1995) and Karyn Lyons’s mischievous pool scene in the Imposter(2024), to Kryzstof Strzelecki’s erotic ceramics and Joshua Petker’s tightly cropped paintings courting mystique and ambiguity, the curated selection combines a profound ambience of idyllic reflection and seductive thrill.

Sarah Lee’s haunting landscapes reflect a shared sense of human vulnerability, solitude and retreat. Caleb Hahne Quintana’s approach elevates the mundane to the monumental through his light filled paintings responding to place and memory. Jenny Morgan’s diaphanous paintings echo this intimacy, her subjects ebbing in and out of focus forging a psychological connection with the viewer.

Jamie Muñoz’ patchwork of imagery connects a visual language that draws from popular culture and labor history, while Greg Ito’s syncopated compositions embrace the sleekness of storybooks and computer graphics, both evoke Pop art’s incorporation of industrial and advertorial strategies to convey narrative and critiques of contemporary culture.

Janet Werner’s recent works examine ideas of being divided, dualities of human nature, and inner multiplicity. Sarah Ann Weber’s overgrown landscapes, verdant and putrefied, propose that the emotional and invisible worlds within us are as complex and ripe for exploration as the one beyond our bodies.