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BARELY FAIR is pleased to present SPOTLIGHT 2023 program, an extension of our on-going mission to bring awareness to Artist Run Project Spaces, emerging galleries, and the artists they work with.


The SPOTLIGHT program highlights individual spaces and the artists they bring to BARELY FAIR. The program updates this page with new spaces and artists regularly between now and the fair's Vernissage on April 14th. Follow us on instagram to be notified of program updates.

BARELY FAIR is operated by Julius Caesar, an artist-run project space in Chicago. Established in 2008, the non-profit project space has an ever-evolving group of artists as co-directors. They are Josh Dihle, Tony Lewis, Roland Miller, and Kate Sierzputowski at present.

Founded in 2004 by John Corbett and Jim Dempsey, Corbett vs. Dempsey is an art gallery with an associated record label, book imprint, and historical archive, specializing in contemporary art, art in Chicago, and improvised and experimental music.

Jimmy Wright

Jimmy Wright

Corbett vs. Dempsey is pleased to present a selection of printworks and a bronze sculpture by Jimmy Wright.  Featuring a suite of tiny etchings, each one 2 x 2 1/2 inches, created in 1968, the exhibition hearkens to Wright's studies with innovative print instructor Vera Berdich at the School of the Art Institute of Chicago.  Each of the figurative images contains a little mystery – a disembodied hand with a fan, an armless torso, a face lurking behind a car door – all exquisitely executed at miniature scale.  On the booth's back wall, a slightly larger print from four years later depicts an empty hotel, suggesting these small stories might take place in its mise en scène.  And at center stage, also from 1972, sits a bronze figure of a woman's head in a single stiletto, the supple heel transformed into a subtle pair of buttocks.  Jimmy Wright is a New York-based artist who works primarily as a painter and in pastels. His show Down Home at Corbett vs. Dempsey hangs concurrently with this Barely Fair presentation.

Jimmy Wright (b. 1944, Kentucky) has lived and worked in New York since the early 1970s. After growing up in rural Kentucky, Wright moved to Chicago to study at the Art Institute of Chicago where he became close friends with members of The False Image group. In 1974, he moved to New York and began a rich body of work that documented the flourishing queer landscape of gay bathhouses and bars throughout Manhattan. By the early 1980s, Wright was painting images that confronted the complexities of his southern childhood. Then, following his partner’s HIV diagnosis in 1988, he began a series of poignantly monumental sunflower oil paintings and floral pastel drawings, that have earned him an international reputation. Recent solo exhibitions include Down Home at Corbett vs. Dempsey, Chicago, Flowers for Ken at Fierman, NY and LA 73 – NY 74 at M&B Gallery, Los Angeles. His work is in the collections of The Whitney Museum of American Art; The Metropolitan Museum of Art; The Art Institute of Chicago; The Hammer Museum, Los Angeles; the Speed Art Museum, KY; the Center for Book and Paper Arts, Columbia College, Chicago; The Springfield Art Museum, MO, among other institutions. In 2018 he was named Academician of the National Academy of Design.

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Jimmy Wright's Untitled ("Mo-"), 1973, etching, 6 1/4 x 8 in., image courtesy the artist and the gallery, 📷 Nathan Keay

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Portrait of Jimmy Wright, image courtesy the artist and gallery

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Jimmy Wright's High Heeled Lady, 1971, bronze, 3 3/4 x 1 x 2 in., image courtesy the artist and the gallery.

Titled after a Seinfeld episode where Jerry’s girlfriend attempts to open a pickle jar and fix a bike in the buff, it is with levity and sincerity that Good Naked’s programming hovers around the intimate and awkward. The focus is on work that engages tactility, humor, movement, and play. Curated by Jaqueline Cedar, Good Naked's exhibition program is responsive and generative, prioritizing space for new voices and dialogue amongst contemporary artists.

Flor Flores

Flor Flores


Hi, my name is Flor. I am a transdisciplinary artist & poet. My works are proposals for queer belongings & new modes of expressing & relating to one another. Some themes & subjects in my works are: Flowers as a stand-in for myself (Flor); Kiki, a queer monarch butterfly that loves the discotheque–Kiki is also a framework for collaborations, Kiki is also now an experimental publishing project; “X” an Epic poem about the letter X, as in Latinx & its other uses as a gesture of erasure, inclusion, voidance, & as a placeholder for a language that is yet to come.


Recent “Solo” exhibitions at Everybody Gallery, Chicago Artists Coalition, ADDS DONNA, BAR4000. Flores has been featured in reviews and publications such as Artmaze, Sixty Inches From Center, New American Paintings, Newcity Art, Chicago Artist Writers, and Monsters & Dust.

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Portrait of Flor Flores, image courtesy the artist and gallery, 📷 Ash Dye

Cody Tumblin

Cody Tumblin

Cody Tumblin lives and works in Chicago, IL where he received his BFA from the School of the Art Institute of Chicago in 2013. His work has been exhibited in the US and abroad, recent solo and two-person exhibitions include the WNDR Museum, Chicago Athletic Association, Hans Gallery, Devening Projects, Mild Climate, Skylab, Good Enough, and SPF 15. Tumblin is a 2020 Newcity Breakout Artist, Hopper Prize Finalist and his work has been published in Art Maze, Tatter Quarterly, Vast Magazine, and Hunted Projects.

Zebadiah Keneally

Zebadiah Keneally

Zebadiah Keneally (b.1984), also known as Hamburger Vampire, is an interdisciplinary artist based in New York City, his drawings offset by painting sculpture, video, performance and book projects. When asked to describe his work he says, “Lunch is very important.” His intricate vignettes use metaphor, humor, and symbolism to create compelling visual narratives. Zebadiah presented his first solo show in 2016 and has published his drawings with a long list of independent publishers. His work can also be found in the collections of the MoMA Library, the Thomas J. Watson Library at the Metropolitan Museum of Art and the New York Public Library Special Collections. Apartamento published his debut graphic novel, All the Things I Know, in 2022.


Zebadiah Keneally performing as the Hamburger Vampire, image courtesy the artist and the gallery.

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Portrait of Cody Tumblin, image courtsey the artist and gallery.


Image of Zebadiah Keneally's sculpture I Found Time, image courtesy the artist and the gallery.

Megan Greene

Megan Greene (b. 1976, Buffalo) makes drawings that are both precise and improvisational. She uses the language of landscape, horizon, landform, atmosphere, flora, etc., to allude to unseen spaces or conditions. Her drawings are intentionally incoherent as any form of true representation, detached from when and where, and all laws of nature. She earned a BFA from the University of Notre Dame and an MFA from Rutgers University. Her most recent solo exhibition was held at Regards in Chicago, where she lives and works.

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Megan Greene in her studio, image courtesy the artist and the gallery.

Megan Greene

here is a contemporary art gallery founded in August 2020 by Lexi Bishop. Following a roving curatorial program of pop-up exhibitions, Bishop opened the gallery’s first permanent space in late 2021 in the historic Mexican War Streets of Pittsburgh.

Matt Zorn

Matt Zorn


As an exploration of the natural and the otherworldly, my work seeks to define the relationships between disparate places— conscious and unconscious, delicious and grotesque, substance and shadow. Using the symbolic language of the monolith and the cosmic at an unimposing scale, the forms present themselves with cheeky unfamiliarity. The process of relentless glaze and surface application results in skewed and warped objects to serve as portals to eco-gothic landscapes of color and texture.


Matt Zorn (b. 1994, Pittsburgh, PA) completed his M.F.A. in ceramics at Louisiana State University in 2020. Working mostly with stoneware, Zorn embarks on an exploration of the natural and otherworldly, the delicious and grotesque. Through hand-building and relentless glaze applications, Zorn channels geological forms and textures to transport his viewer into new landscapes. Zorn’s small-scale sculptures are a new symbolic language that harness the vibrations of color and illusion of light. His recent exhibitions include Hot House, Bunker Projects, Pittsburgh, PA; Stalagmites and Bubblegum, Santangelo Gallery, Thomas, WV; The Boneyard, LSU Museum of Art, Baton Rouge, LA; Creepshow III, Clay Center of New Orleans, LA and Ritual, Intersect Arts Center, St. Louis, MO. The artist currently lives and works in Pittsburgh, PA.

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A look inside Matt Zorn's studio at a work in progress, image coutesy the artist and the gallery.

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Portrait of Matt Zorn, image courtesy the artist and gallery, 📷 Joseph Wyman

april april is a contemporary art gallery and poetry program run by Patrick Bova and Lucas Regazzi. It is currently situated in an apartment in Brooklyn, New York. Alongside each exhibition, the gallery commissions poems that in some vague way or not at all respond to the work on show. It's a project of opening up the language that conventionally gathers around art in an attempt to meet art's "essential obscurity" with the essential obscurity of poetry (Maria Fusco said). We believe this unlocks at its most ambitious: mutual revelations and new worlds of meaning.

Lai Yu Tong

Lai Yu Tong

Lai Yu Tong (b. 1996, Singapore) is a visual artist whose works span across image-making, painting, drawing and installation. He makes works about the things he sees, things he eats, things he buys, things he throws away, and other things; examining habits of consumption in the modern world. He has held solo exhibitions across Singapore at Temporary Units (2022); Substation Gallery (2021); Comma Space (2020); and DECK (2019). Group exhibitions include Singapore Art Museum (2023); Starch (2023); Art Agenda S.E.A. (2022); and Institute of Contemporary Art, Singapore (2019), among others. Barely Fair is the artist’s first presentation in the United States.

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Lai Yu Tong, Children's Chairs, 2022, Dimensions Variable, image courtesy the artist

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Lai Yu Tong in his home studio in Singapore, image courtesy the artist.

Recognized as one of the best curatorial projects in the region, BasketShop showcases a diverse group of international and local artists. Artists Kelly Kroener and Eli Walker founded BasketShop, a non-profit art space, in Cincinnati, Ohio, in 2017. Through this platform, they
bolster artists' careers while acting as a conduit for contemporary art in the Midwest. BasketShop produces art exhibits, hosts workshops and collects artist books from around the country. They document this work in order to maintain an active web presence to preserve the
artist's work far beyond the lifespan of the artists’ exhibition. BasketShops programs resources that are pivotal to the practices of creatives and audiences throughout the region by disseminating original content through various platforms and media. BasketShop is a vital source of support for artistic production throughout the Rust Belt region. Their curatorial work and yearly programming bolsters the regional creative community to a broader audience.

J Raybin & RD King

Jaime Raybin and R.D. King


A water truce is a mythical agreement amongst animals that no one will hunt at a water source. The pond is a place of safety...where the roles of predator and prey are suspended. The herd congregates near one area of the pond like they are having a meeting. The next time you see them, they’ve moved their gathering under the trees. They stare at you with big dark eyes, flicking flies with their tails. What everyone needs right now is to nourish themselves. You offer them handfuls of sweet feed, and they approach. Their moist mouths gently search across your palm. When the food is gone, they turn their backs to you, returning to their huddle. They ruminate in silence.


Jaime Raybin and R.D. King are collaborators from Nashville, TN. Their work is bright, playful, and subversive, using mediums that include installation and video. There is often an interactive or performative element in their projects. The duo previously exhibited at BasketShop Gallery in 2019. Their immersive installation, “VelocityTM” transformed the gallery into a perfume store catering to sentient monster trucks. Their film “Ms. Bigfoot: A Fanfiction” won Best in Fest at Coop Microcinema in Nashville in 2017. It has also been screened at the Institute for Contemporary Art in Boston, Ludlow House in NYC, Whitespace Gallery in Atlanta, and the Athens Institute for Contemporary Art in Athens, GA. They have released two books together through R.D. King’s artist book publishing company Extended Play.

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Installation shot of Jamie Raybin and R.D. King's exhibition Velocity at BasketShop, image courtesy BasketShop and the artists.

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Promo image for Jamie Raybin and R.D. King's installation at Barely Fair titled, Water Truce, image courtesy the artists and BasketShop.

Left Field is located in Los Osos, a small town on the central coast of California, which is halfway between Los Angeles and San Francisco just off highway 1. The gallery presents exhibitions with the primary goal of bringing to our region, contemporary art not otherwise seen here.

Allison Reimus


My studio practice reflects principles modeled to me as a person who came of age in the rust belt, where labor is synonymous with repetition. Through rhythm and routine, I collapse inward, where I find freedom to be boundless. In life, and in my work, I create parameters in order to thrive. As a mother to three young children, I've learned this approach has practical implications, too. I take great solace in how my dual roles as artist and mother are not contentious, but actually, symbiotic. To quote one of my favorite artists, Michelle Grabner, "Chaos is rigidly structured in this chapter."


In addition to traditional painting materials, I also utilize unconventional items informed by domesticity and care giving. Items such as dryer lint, woven hot pads, tablecloths, towels and bleach have all made appearances. Out of a heavy sense of responsibility and gratitude, there is urgency to honor the women from which I came, as the life of an artist-mother was not afforded to them. I often work with hand-me-down linens from family and friends and I frequent estate sales and thrift stores for materials. By honoring women's work of generations past, while also considering my own legacy, I feel present and alive.


Though not always noticeable at first glance, my work often contains text. Words and phrases act like sentences in my life's story. Letters are sewn and arranged in a manner that suits composition and scale, allowing the structure of the painting to do the talking. Simple shapes like circles, triangles and squares complicate themselves while remaining knowable. Decisions are made and revised, paint is applied on the front and back, moves are bold and timid, poetic and blunt, chaos ensues and resolves, all within the boundaries of the picture plane. I think about things like love, comedy, labor, vulnerability, humility, tenderness, feminism, touch, sexuality and domesticity as much as I do about shape, color and texture.

Allison Reimus


Allison Reimus (b. 1982, Saginaw, MI) explore her relationship with motherhood, patriarchy and domesticity through abstraction in mixed-media paintings. Her work has been featured in numerous exhibitions in the U.S. and abroad. Recent solo and two-person exhibitions include Jennifer Terzian Gallery (Litchfield, CT), Left Field Gallery (Los Osos, CA), Tiger Strikes Asteroid (Chicago, IL), Knox College (Galesburg, IL), and The Mission (Chicago, IL). Recent group exhibitions include Essex Flowers (NY, NY), Unit London, (London, UK), Grove Collective, (London, UK), Massey Klein (NY, NY), Kirk Hopper Fine Art (Dallas, TX), No Place Gallery (Columbus, OH) and Left Field (Los Osos, CA). Her work has been included in ArtMaze Magazine, Maake Magazine and New American Paintings (#88, #113, #125), where she was highlighted as both an "Editor's Selection" and a "Noteworthy Artist". Reviews include The Boston Globe, The Washington Post and NPR. Reimus lives with her husband and three kids in northern New Jersey by way of Brooklyn, Chicago, Washington, D.C., and Michigan. She earned her BFA from Michigan State University in 2005 and her MFA from American University in 2009.

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Allison Reimus in her studio, image courtesy the artist and Left Field.

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A peek inside Allison Reimus's studio, image courtesy the artist and Left Field.

Rivalry Projects is a commercial art gallery and arts production space, located in Buffalo, NY. Founded by artist and curator Ryan Arthurs in 2021, Rivalry exhibits emerging, mid-career, and underrepresented artists working in all media.

Nando Alvarez-Perez

Nando Alvarez-Perez


A friend told me once that Samuel R. Delany passed through Buffalo in the early ‘70s while writing his famously difficult Dhalgren, a sci-fi novel about the fictional midwestern city of Bellona where something—we never find out what—has happened. Bellona has become a city of illusions, of shifting ruins lit by an end times sun hanging red and massive in the sky.

Bellona. Buffalo.

Certainly there seems to be a resonance between the two. But no matter, really. Images always come between us and the world. A landscape of dollar stores, private health insurance, real estate speculation, exhausted infrastructure, and Reddit-driven runs on precious metals: the spectacles of financialization. The deindustrialized city is already post-apocalyptic, already an image of the end of a world.

The future is here, right now, lit by a dhalgren sun.


Nando Alvarez-Perez (b. 1988) investigates the individual's relationship to the vast territory of history. He received a BA in Film studies from CUNY Hunter in 2011 and a MFA from SFAI in 2014. Alvarez-Perez has exhibited at Lydian Stater Gallery, NY, NY, Buffalo Central Terminal, Buffalo, NY, Interface Gallery, Oakland, CA, Silver Eye Center for Photography, Pittsburgh, PA, Untitled Art Fair, San Francisco, CA, and Material Art Fair, CDMX, among many others. Alvarez-Perez was a resident of Lightwork, Syracuse, NY in 2022. His practice extends to his work as a founding director of The Buffalo Institute for Contemporary Art, an art and education non profit that models how culture can sustain communities through focused, practical engagements with contemporary art, and as editor-in-chief of Cornelia, a visual art review published three times a year for the Western New York and Southern Ontario region. He is a visiting professor at Alfred University, living and working in Buffalo, NY.

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Primary Document 08172022b, 2023, digital photograph, dimensions variable, courtesy of the artist and Rivalry Projects, Buffalo, NY

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Primary Document 12302018, 2023, digital photograph, dimensions variable, courtesy of the artist and Rivalry Projects, Buffalo, NY 

Lonesome Dove is the curatorial project of artist and writer Emily Janowick. Concretely, it exists as a small, low room under a stoop in Queens, New York. Abstractly, it exists as a place for experimentation, a new frontier. Both concretely and abstractly, it exists as a place to gather. Loneliness is over (if you want it.)

Patrick Mohundro

Patrick Mohundro


I make work that is pathetic—not in the common sense but in an archaic way: ‘affecting emotion.’ For Aristotle it was a rhetorical technique in opposition to logic and ethics. For me, it is a way to learn to feel again while engaging with otherwise highly abstract concerns (technology, capitalism, identity politics, etc).


I call this approach Pathetic Abstraction. It is my antidote to the cynicism. As a hopeless thinker, this way of working is an attempt to feel something in a world where we, collectively, are de-sensitized to how violence is re-presented on the media or how I, as a man, have been conditioned to resist emoting. It is the intersection of what is felt and what is thought. It is meant to promote that we still have authentic feelings in spite of infinite knowledge, branded content, and this obscurely constructed 21st reality.


Patrick Carlin Mohundro lives and works in New York. He is from Michigan’s Upper Peninsula and holds an MFA from Hunter College (2019). He is the recipient of NYFA and Foundation for Contemporary Arts Emergency grants and has received awards from Lower Manhattan Cultural Council’s Swing Space Residency (2011), the Salem Art Works’ Artist-in-Residence Fellowship (2012), St. Nicks Alliance’s Arts@Renaissance Studio Residency (2013), Incheon Art Platform’s 5th annual Artist-in-Residence (2014), the Founding Fellowship at Offshore Residency (2016), famous chimps’ artist-in-residence program (2019), Artist-in-Residence Program (AIR) at Carrizozo Arts (2021), and Andrea’s Zittel’s A-Z West Artist Residency (2021).

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Patrick Mohundro photographed with his work, image courtesy the artist.

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Not Much Δ, 2019, Acrylic on Delta Air Lines Blankets, Canister Vacuums, and Ballistics Gelatin with Cough Syrup, dimensions Vary, Hunter MFA Thesis Exhibition, image courtesy the artist

Patel Brown highlights alternative perspectives and encourages experimentation and innovation in both its programming and operations. Identifying gaps in representation and opportunities guided by collaboration and community; the gallery’s program will look to traditions in culture and identity, and how they are increasingly challenged by the globalized world. Patel Brown operates a 4000 sq ft location at 21 Wade Ave in the west end of Toronto, since May 2020. In September 2022, Patel Brown opened a 1200 sq ft location in The Belgo Building at 372 Sainte-Catherine St W. in the heart of downtown Montreal.

Winnie Truong

Winnie Truong explores the naturalness of female form, staging her pieces within the fantasy foliage and flora. Featured throughout are her self-named “wimmin creatures”; mythical hybrid forms described as part-plant, part-woman that merge with the plant-life itself.  Drawing parallels between anatomy, botany, grooming and landscaping, each piece depicts a narrative inspired from nature, personal history and the broader female experience.

Winnie Truong

Winnie Truong is a Toronto artist working with drawing and animation to explore ideas of identity, feminism, and fantasy and finding its connections and transgressions in the natural world. She has exhibited her work internationally and was a 2017 recipient of the Chalmers Arts Fellowship. Her work has been included on the CBC program The Exhibitionists, and in her recent survey exhibition at Saw Gallery in Ottawa (ON). She has been an artist in residence at the Brucebo Scholarship in Gotland (Sweden) and a past resident at Doris McCarthy Fool’s Paradise in Scarborough (Ontario). Truong received her BFA from OCADUniversity.

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Winnie Truong in process in her studio. Image courtsey the artist and Patel Brown, 📷  Brendan George Ko

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Winnie Truong in her studio. Image courtsey the artist and Patel Brown, 📷  Brendan George Ko

4th Ward Project Space is an artist-run exhibition space that honors the artistic direction of individual artists and seeks to cultivate an inclusive audience. 4WPS operates without regard to commercial interests.

Adrian Wong

Adrian Wong

Adrian Wong’s installations, videos, and sculptures draw from varied subjects and explore the intricacies of his relationship to his environment (experientially, historically, culturally, and through the filter of fantastical or fictionalized narratives). These organic and open-ended artifacts of his process often involve a collaborative engagement with subjects.

Adrian Wong was born in Chicago, Illinois in 1980. Originally trained in psychology (MA, Stanford 2003), he began making and exhibiting work in San Francisco while concurrently conducting research in developmental linguistics. He continued his post-graduate studies in sculpture (MFA, Yale 2005). Wong relocated his studio to Hong Kong in 2005, but recently returned to Chicago, where he is an Associate Professor at the School of the Art Institute of Chicago. His work has been exhibited at The Drawing Center (New York), Kuandu Museum (Taipei), Kunsthalle Wien, Kunstmuseum Bern, Kunstverein (Hamburg), Museum of Modern and Contemporary Art (Seoul), Palazzo Reale (Milan), Saatchi Gallery (London), and Witte de With Center for Contemporary Art (Rotterdam)—and can be found in public and private collections worldwide, including the 21c Collection (Chicago), DSL Foundation Collection (Paris), K11 Art Foundation (Shanghai), Kadist Foundation (San Francisco), M+ Museum (Hong Kong), Sifang Museum (Nanjing), and Uli Sigg Collection (Lucerne).

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READING ROOM (2020), performance installation at the Armory Show 2020.

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ROCK STACK II WITH CARROTS, CABBAGES, AND BANANAS, 2020, 45 x 36  x 67 inches, fiberglass, enamel, artificial fruits and veggies.

Blakey Bessire
Ryan Oskin

Project Art Distribution is an art exhibition space in historic SOHO (South of Houston) District in New York City. It reflects the bustling economy of artists making, selling and promoting their artworks on the street year-round, weather permitting. The aim of the space is to platform small and editioned works by artists that are interested in embracing new contexts for exhibiting.


P.A.D. is a project space that stages one-day pop-up exhibitions on the street in SoHo (New York) under the guise of a street vendor. The aim is for work to be sold and distributed, ideally for under $75, as a way to make contemporary art more accessible and its ownership more affordable. Press release and checklist conventions are upheld and the spontaneous, ephemeral nature of the project invites collaboration and outside curation. The time spent on the street, out in the open, with the public creates a sense of community between the participating artists and facilitates a unique dialogue with strangers.

Since the project began in 2017, there have been over 60 exhibitions. In 2021 P.A.D. turned a new corner. The project traveled internationally for the first time, as a participant in Various Others Munich sponsored by Galerie Christine Mayer; participated in NADA House and NADA x Foreland; and was made a NADA ‘Introductory Gallery Member’. 2021 also marked our first solo exhibitions, with projects by B. Wurtz and A. Pfeiffer McNay. Initially drawing from a local community of artists and friends for group exhibitions,P.A.D. has expanded its community, exhibiting noteworthy emerging and mid-career artists such as Ilana Harris-Babou, Paul Ramirez Jonas, and Alexandro Segade.

2021 culminated in the gallery’s own retrospective at Walter’s, the contemporary wing of the Walter Elwood Museum in Amsterdam, NY. The retrospective included over 400 works by over 200 artists from the first 5 years of exhibitions and was re-staged in 2022 at Purchase College (SUNY). The retrospective continues to travel, recently  staged at St. John's University this September in Queens, New York, celebrating nearly six years of exhibitions with a nod to Lucy Lippard. The exhibition includes the ‘pad column’ re-purposed from our NADA House exhibitions, includes a tribute to Barbara Ess organized


Artist, Rebecca Baldwin, performing and making dog tags as director, Patrick Mohundro, checks the price list at Our Mutt (SoHo, 2020) (Image courtesy of P.A.D.; Photograph by Adam Golfer)

by F Magazine, and ends with a selection of artist zines and books contributed by Wendy’s Subway, Primary Information, F Magazine, Not Nothing, Cassandra Press, and prompt:. In addition to the retrospective, P.A.D. continues its regular SoHO programming and has participated in the Printed Matter's New York Art Book Fair and East Village Zine Fair, NADA's art fairs in New York (2022) and Miami (2022), and NADA's first ever community event NADA Flea (2023). 

Blakey Bessire

Blakey Bessire lives and works in New York. They are a writer, birth worker, designer, and researcher. For Barely Fair, Janice’s Toy Dog (Brooklyn, 1928) is a rendering of a stuffed dog belonging to generations of women in the artist’s family, beginning in Brooklyn in 1928. The object is set in a landscape of machination and storage technology – a loving expression of memory through digital archiving and fossilization. A synthetic creature, the sculptural rendering is not a reproduction, but a preservation of memory. Centering a fear of loss, its taxonomic language places the work between an object of study and play. Janice’s Toy could be as much a digital facsimile as an archaeological discovery.

Blakey Bessire, Janice’s Toy Dog (Brooklyn, 1928), 2023, Inkjet print, 3 cm x 4 cm.

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Ryan Oskin


My practice has developed around New York City's constantly evolving residential and industrial sites. My documentation of work sites, barriers, building renderings, and advertising act as catalysts for new objects that compress photographic space into commercial materials. Through the process of flattening and expanding images, my work addresses objects and places found between public and private space in urban environments. In my body of work, Rendering Intent, I continue to explore the space between a building’s rendering and its realization in space. This project pairs images derived from plans and lifestyle signage used outside new developments to engage potential buyers with documentation of various work sites. I print directly onto sign materials to counter these advertisements and create new and unintended visual spaces. The range of materials from aluminum dibond, plexiglass, and coroplast allow these works to oscillate between the clean and sleek aesthetic of a condominium and the easily discarded political message. By eschewing different images, contexts, and materials, I want to dissect how these images of wealth are used to create disdain for new buildings that displace existing communities. As income disparities grow wider, I want to propose alternative ways of engaging and thinking about the visual signifiers that drive the gentrification of cities.

Ryan Oskin investigates the moments in between the formation and aging of architecture through photography, sculpture, and installation. His most recent project, Rendering Intent, utilizes idealized images derived from plans and lifestyle signage found outside new developments with custom cut plexiglass. He has had solo exhibitions at the Rubber Factory, Java Project, and most recently the NARS Foundation in New York City. In addition, his work has been shown throughout the United States at Aperture Foundation (NYC), LVL3 (CHI), Press Street (NOLA), Newspace Center for Photography (PDX), and underneath the 6th Street Bridge with Cudahy + BBQ.LA (LA). In 2016, he completed a year-long residency at ARTHA Project. He graduated from Pratt Institute with a BFA in Photography in 2012. He currently lives in Brooklyn, N.Y.


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Ryan Oskin, The Edge Family (front), 2023, UV curable ink on aluminum dibond, 4.5 in. x 1.5 in. x 1.5 in.

Hannah Schutzengel

Hannah Schutzengel makes mixed-media paintings from cast resin, textiles, paper, and other materials, examining ideas of attention and care: adding one stitch to another to make a cloth; freezing a fleeting, fluid action in resin. Schutzengel is interested in the inadvertent, incidental, indexical - for example: signs painted over on the subway columns; high water marks in the sand; the cascade of a Slinky down the stairs; 6 million years of water eroding the Grand Canyon; 6 months of leaking water eroding her apartment’s tub; a room becoming slightly smaller with each repainting; a painting becoming slightly bigger with each brushstroke. For Barely Fair, Schutzengel has made miniature hand-knit and woven paintings. At this scale, they’re hardly begun when it’s time to end—cast on, cast off. 

Hannah Schutzengel is an artist living and working in New York City. Schutzengel received her BA from Swarthmore College in 2011 and MFA in Painting from Hunter College in 2019. Schutzengel’s work has been shown at P.A.D., Rick Wester Fine Art, Pratt University, and Cluster Gallery, among others. She has participated in residencies at the Vermont Studio Center (Johnson, VT) and Azule (Hot Springs, NC) and was named one of Ortega y Gasset Projects’ “Artists to Watch” in 2021.

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Hannah Schutzengel, Cast Off [Image for Scale], 2023, Acrylic, thread, and Flashe, ½ in. x ½ in. 

Hannah Schutzengel
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