Contents for November 24th, 2025
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1. Martha Wilson, Steven Watson, FF Alumns, now online at https://artifacts.movie/martha-wilson/
2. Javier Téllez, FF Alumn, awarded 2025 Pérez Prize
3. Martha Wilson, FF Alumn, at MoMA PS1, Long Island City, NY, Dec. 4
4. Peter Cramer & Jack Waters, FF Alumns, at Church of St. Mary the Virgin, Manhattan, Dec. 5, and more
5. Ron Athey, Michel Auder, Judith Bernstein, Elly Clarke, EYIBRA, Amelia Jones, Suzanne Lacy, Barbara T. Smith, FF Alumns, at The Box, Los Angeles, CA, thru Jan. 17, 2026
6. Alice Wu, FF Alumn, at Kala Art Institute, Berkeley, CA, thru Feb. 11, 2026
7. Shayna Dunkelman, FF Alumn, at Ki Smith Gallery, Manhattan, Dec. 11
8. Pat Oleszko, FF Alumn, at SculptureCenter, Long Island City, NY, opening Jan. 29, 2026
9. Linda Carmella Sibio & Nicolás Dumit Estevez Raful Espejo Ovalles Morel, FF Alumns, now online at InteriorBeautySalon.com
10. Todd Ayoung, Alicia Grullón, Guerilla Girls, Jerry Kearns, Nima Nikaklagh, Dread Scott, Greg Sholette & Olga Kopenkina, FF Alumns, now online at Hyperallergic.com
11. Lygia Clark, David Hammons, Elizabeth Murray, FF Alumns, now online at NYTimes.com
12. Coco Fusco, Joan Jonas, Martha Rosler, FF Alumns, now online at Ocula.com
13. Jody Oberfelder, FF Alumn, awarded Best Dance Film, 2025 Queens World Film Fest
14. Stephanie Brody-Lederman, FF Alumn, at Women’s Art Center of the Hamptons, Bridgehampton, NY, thru Jan. 11, 2026
15. Arlene Rush, Susan Schwalb, FF Alumns, at West Chelsea Art Building, Manhattan, Nov. 25
16. Glen Belverio, Dara Birnbaum, Coco Fusco, Joan Jonas, FF Alumns, now online at Hyperallergic.com
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1. Martha Wilson, Steven Watson, FF Alumns, now online at https://artifacts.movie/martha-wilson/
We are live! Please visit these links to Steven Watson / Artifacts’ half-hour, in-depth video interview with Martha Wilson, Founding Director Emerita of Franklin Furnace.
Website link: https://artifacts.movie/martha-wilson/
YouTube link: https://www.youtube.com/watch?v=uPFWEe6sW
Thanks!
Will
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2. Javier Téllez, FF Alumn, awarded 2025 Pérez Prize
Please visit this link:
https://www.artforum.com/news/perez-art-museum-miami-awards-javier-tellez-perez-prize-1234738187
Thank you.
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3. Martha Wilson, FF Alumn, at MoMA PS1, Long Island City, NY, Dec. 4
We warmly invite you to an upcoming event co-organized by ACC and Cai Foundation, Archival Thinking: Artist Archive Symposium, on December 4, 2025, at MoMA PS1 in NYC.
We are thrilled to present this exciting event to the public on the 30th anniversary year of Cai Guo-Qiang’s first ACC grant that took him from Tokyo to New York for a pivotal residency at the P.S.1 Studio Program, which became his first studio in the U.S. The move marked the beginning of his life and practice on the global stage—setting into motion a dialogue between art and archival practice that continues to this day.
This full-day forum, held from 9:30AM-4:30PM, will bring together distinguished speakers from the fields of art, archives, and the humanities to explore the contemporary significance and potential of artist archives; it will be followed by a reception from 4:30PM-6:00PM. The program aims to encourage early-career artists, students, archivists, and cultural workers to explore the possibilities of archiving from the start—viewing archives as an integral part of creation rather than an afterthought limited to documentation.
Archival Thinking: Artist Archive Symposium
On December 4, 2025, Archival Thinking: Artist Archive Symposium will be held at MoMA PS1 in New York. Jointly organized by the Asian Cultural Council (ACC) and the Cai Foundation, with the support from the Rattray Kimura Foundation, the symposium will be curated and moderated by Paul Holdengräber. The event will take the form of a full-day forum bringing together distinguished speakers from the fields of art, archives, and the humanities to explore the contemporary significance and potential of artist archives.
Ross Benjamin (translator of The Diaries of Franz Kafka), Mel Yimeng Chu (archives manager of Cai Guo-Qiang Archive), Lisa Darms (former Executive Director of Hauser & Wirth Institute), Samantha Rose Hill (scholar of Hannah Arendt), Jennifer Wen Ma (interdisciplinary visual artist), Glenn Phillips (Chief Curator, Getty Research Institute), Rani Singh (Director, Harry Smith Archives), David Walker (Archivist, the Easton Foundation) and Martha Wilson (Founder, Franklin Furnace Archive) will take part in keynote talks and roundtable discussions. Speakers will address questions on how archives shape art history and contemporary art practice, the symbiotic relationship between art and archives, and how archives might evolve from static repositories of preservation into a generative system in an era increasingly defined by the technological mediation of memory itself. Through these discussions, the ability of archives to not only record the past, but reveal unformed thoughts, emotions, and potential for creative process will unveil itself. Further encouraging artists to integrate the process of archiving as part of the art-making process rather than an afterthought limited to documentation purposes.
The seed for this symposium was planted thirty years ago when Cai Guo-Qiang, as a recipient of the Asian Cultural Council Fellowship, moved from Tokyo to New York for a pivotal residency at the P.S.1 Studio Program, which became his first studio in the United States. The move marked the beginning of his life and practice on the global stage—setting into motion a dialogue between art and archival practice that continues to this day. Building on that history, Archival Thinking transforms the archive itself into a new narrative center—one that fosters interdisciplinary dialogue and intergenerational collaboration. It invites artists, archivists, and curious learners alike to collectively redefine how knowledge is preserved, reimagined, and shared.
The symposium seeks to open the door for a new generation to discover the power, purpose, promise, and pleasure of archival practice. It reminds us that an archive is not merely a vessel of memory, but also a tool for action—a method through which each of us can help redefine the future of art.
This event is free but reservations are required. www.asianculturalcouncil.org
Don’t miss out on this unique opportunity to delve into the world of artist archives!
We hope to see you there!
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4. Peter Cramer & Jack Waters, FF Alumns, at Church of St. Mary the Virgin, Manhattan, Dec. 5, and more
Peter Cramer & Jack Waters create for Offerings performance series
December 5 , 2025 Friday at 7pm.
Church of St Mary the Virgin
145 West 46th Street New York, NY 10036
By Donation. https://www.offering-space.com/about
Peter Cramer & Jack Waters at
Poetry Projects 52nd Annual
New Years Day Marathon
January 1, 2026. Thursday 1pm – 12am
St. Mark’s Church in the Bowery
131 East 10th St.
By Donation. https://www.poetryproject.org/
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5. Ron Athey, Michel Auder, Judith Bernstein, Elly Clarke, EYIBRA, Amelia Jones, Suzanne Lacy, Barbara T. Smith, FF Alumns, at The Box, Los Angeles, CA, thru Jan. 17, 2026
The Box 805 Traction Avenue Los Angeles, CA 90013 +1.213.625.1747 info@theboxla.com
FOR IMMEDIATE RELEASE
PHALLUS :: FASCINUM :: FASCISM
NOVEMBER 15, 2025 – JANUARY 17, 2026.
WEDNESDAY – SATURDAY, 11-6 PM.
OPENING RECEPTION SATURDAY, NOVEMBER 15, 5-8 PM.
This is a show about inclusion as practice and process. Please invite whom you’d like.
To begin, please allow me some foreplay with wordplay; The Greek root φαλλός (phallos) is likely related to the Proto-Indo-European root bhel-, meaning “to blow up” or “swell,” which connects it to concepts of inflation or enlargement. This same root appears in other words related to swelling or fullness, such as balloon, bellows, or belly.
A fascinum was an ancient Roman style of an amulet of a phallus, designed to draw away the evil eye from the user towards the amulet (because it was an object of desire). The English word “fascinate” ultimately derives
from Latin fascinum and the related verb fascinare, “to use the power of the fascinus”, that is, “to practice magic” and hence “to enchant, bewitch, or bind together”. In ancient Rome, the fasces were a ceremonial symbol of authority carried before magistrates. They consisted of birch or elm rods bound together with a leather strap, often with an axe head protruding from the bundle. The fasces represented the magistrate’s power to punish (the rods for beating) and execute (the axe for beheading). Benito Mussolini adopted this terminology when he founded the “Fasci di Combattimento” (Combat Squads) in 1919. The name deliberately evoked both the ancient Roman symbol of state power and the more recent tradition of Italian political organizing.
Now, I would like to draw your attention—at length—to the history of Ancient Roman militarism and fucking, or the suppression of non-procreative sex, if you please: The endless demands of Roman militarism created an inexorable pressure for population growth that fundamentally transformed sexual culture and law. What began as pragmatic concerns about maintaining adequate military recruitment gradually evolved into a comprehensive system of legal and social controls that systematically suppressed non-procreative sexual behaviors. This transformation reached its culmination not with the end of paganism, but with Christianity’s adoption and intensification of these existing regulatory frameworks.
Before the ancient Romans, with the ancient Greeks and Egyptians, sexuality was notably pragmatic. In ancient Egypt homosexual relationships appeared in art and literature without moral condemnation, marriage was often informal, divorce was relatively easy for both sexes, and celibacy held no particular virtue—even priests typically married and had families. Greek attitudes toward homosexuality are well documented, celibacy and contemplative life often being elevated, with contraception and abortion discussed openly by medical writers. Homosexual relations between soldiers were even understood as beneficial to the intensity of their fighting.
The earliest manifestations of state intervention in sexual behavior emerged from Rome’s military expansion across Italy. The Twelve Tables, codified around 450 BCE, established the legal framework of paternal authority (patria potestas) that gave fathers absolute control over their wife’s reproductive choices, their children’s marriages and even their reproductive choices. This wasn’t merely about family structure—it was about ensuring that each household contributed adequately to Rome’s military needs through the production of future soldiers.
As Rome’s territorial ambitions expanded, so did the censorial powers that monitored citizen behavior. The censors, initially concerned with property assessments for military service, gradually extended their oversight to include sexual conduct that might affect population growth. Social pressure against permanent bachelorhood among the patrician class intensified precisely during periods of military expansion, when the state most desperately needed the sons of prominent families to serve as officers and provide military leadership. Rome was mobilizing a staggering 10-15% of its entire adult male citizen population simultaneously (with 30-40% of the entire population being slaves, that were also recycled into their military). The Punic Wars and subsequent Mediterranean conquests created unprecedented demands for manpower, coinciding with the first systematic legal attacks on non-procreative sexuality. The Lex Scantinia, likely enacted during this period of military crisis, criminalized certain homosexual acts, particularly those involving freeborn Roman men as passive partners. The law’s timing was no coincidence—Rome was simultaneously fighting Hannibal and expanding eastward, requiring every citizen male to fulfill his reproductive and military obligations.
Growing taboos against practices like fellatio and cunnilingus were similarly justified as “foreign” and unmanly behaviors that weakened Roman military character. The crisis of the late Republic, marked by civil wars and recruitment difficulties, intensified state intervention in sexual behavior. The Lex Iulia de Adulteriis Coercendis, building on earlier precedents and finalized under Augustus in 18 BCE, criminalized adultery not primarily for moral reasons, but to ensure legitimate heirs who could provide military service. The law’s provisions carefully protected the patrilineal transmission of military obligations from father to son. Increased prosecution of sexual behavior deemed to undermine traditional family structures accompanied Rome’s desperate attempts to maintain military recruitment. Social campaigns against Greek sexual practices, particularly symposium culture and pederasty, were explicitly connected to Roman military superiority over their allegedly effeminate Greek subjects. The message was clear: sexual discipline was military discipline, and military discipline was the foundation of Roman power. Augustus’s reign marked the systematic codification of militaristic sexual regulation. The Lex Iulia de Maritandis Ordinibus of 18 BCE mandated marriage for men aged 25-60 and women aged 20-50, with explicit exemptions only for those serving the state in ways that precluded family life. The Lex Papia Poppaea of 9 CE penalized celibacy and childlessness through inheritance restrictions, creating economic incentives for reproduction that directly served military recruitment needs. The legal privileges granted to parents (ius trium liberorum) provided those with three or more children with significant legal advantages, including exemptions from certain civic duties and enhanced inheritance rights. These privileges were explicitly calculated to encourage the production of future soldiers. Restrictions on marriage between social classes served to maintain distinct citizen bloodlines suitable for military service, while increased regulation of prostitution channeled sexual activity toward procreative marriage rather than sterile commercial encounters.
The early Imperial period saw the expansion of stuprum laws targeting non-marital sex among citizens, creating qcomprehensive legal frameworks that made non-procreative sexual activity increasingly criminal. The senatus consultum against castration under Domitian around 83 CE explicitly protected male reproductive capacity, recognizing that voluntary sterility represented a direct threat to military recruitment. Legal restrictions on divorce were made more stringent under various emperors, ensuring that marriages, once contracted, would continue to produce children for military service. The military crises of the third century intensified sexual regulation as the empire struggled to maintain adequate forces against barbarian invasions and internal rebellions. The Lex Cornelia de Sicariis was expanded to include severe penalties for castration, treating voluntary sterilization as a form of treason against the state’s military needs. Legal campaigns against mystery religions that practiced celibacy reflected imperial recognition that religious enthusiasm could undermine demographic objectives. The cultural apparatus supporting these legal frameworks became equally comprehensive. Literary campaigns by authors like Juvenal and Martial satirized sterile relationships and non-procreative sexuality, while philosophical schools promoted marriage and childbearing as fundamental civic duties. Mystery religions emphasizing fertility, such as those devoted to Cybele and Mithras, gained state support precisely because they reinforced demographic objectives. Public festivals celebrating fertility and procreation, architectural programs emphasizing family and childbearing, and educational reforms emphasizing masculine virtue tied to reproductive The Box 805 Traction Avenue Los Angeles, CA 90013 +1.213.625.1747 info@theboxla.com success all served to normalize and institutionalize the connection between sexual behavior and military obligation. The legalization of Christianity under Constantine in 313 CE and its subsequent establishment as the state religion represented not a break from these regulatory traditions, but their crystallization and intensification under new ideological justifications. Early Christian leaders, far from rejecting the Roman system of sexual regulation, embraced and expanded it while providing new theological rationales for existing practices. The Christian synthesis represented the ultimate triumph of Roman demographic anxieties over sexual freedom. By transforming military necessity into divine commandment, Christian sexual ethics preserved and expanded the regulatory apparatus that Roman militarism had created, ensuring its survival well beyond the collapse of Roman military power itself. The theological justification of procreative obligation proved more durable than the military justification from which it had originally emerged, creating patterns of sexual regulation that would define Western civilization for more than a millennium.
Finally, to be enjoyed with your bedside smoke (and a faggot meant a bundle of sticks or tobacco leaves, to be
burnt)—the word proletariate came from the ancient Roman census, which categorized the class of people that
had no other assets but the ability to procreate.
R.Z.S.
The Box 805 Traction Avenue Los Angeles, CA 90013 +1.213.625.1747 info@theboxla.com
ARTISTS, CURATORS, AND ARTIST-CURATORS
Saliko Adams
Rosanna Albertini
Alberto Albertini
Max Almy
Devin Andersen
Carmen Argote
Ron Athey
Michel Auder
Jose Barajas
Susan Barbour
Chip Barrett
Math Bass
Creighton Baxter
Robert Beck
Autumn Beck
Gretchen Bender
Lynda Benglis
Elizabeth Berdann
Natalie Bergman
Judith Bernstein
Anna Betbeze
Julien Bismuth
Lauren Bon
Jorin Bossen
Kevin Bouton-Scott
Alexandra Branger
B. A. Briggs
John Brooks
Michael C~ McMillen
Paul Cadmus
Connor Camburn
Steve Campos
Rick Castro
Aline Cautis
Sarah Charlesworth
Eli Chartkoff
Alex Chaves
Edgar Isaac Chavez
Elly Clarke
Earthen Clay
Sarah Conaway
Fiona Connor
Erin Cosgrove
Eileen Cowin
Randy Da Crow
Development Daddy
Lena Daly
Brian Dario
Nemuel DePaula
Paul Donald
Kira Doutt
Hedi El Kholti
Experimento 23
EYIBRA
Tatiana Echeverri Fernandez
Robert Fontenot
Linda Franke
Genevieve Gaignard
Michelle Garduño
Piero Golia
Samantha Greenfeld
M. A. Guevara
Carlos Alberto Guizar
Simon Haas
Chanel Von Habsburg-Lothringen
Trulee Hall
Derrick Harlan
Karl Holmqvist
Julia Holter
Elliott Hundley
Zhu Jia B side
Amelia Jones
John Joyce
Emma Kearney
Mike Kelley
Jahan Khajavi
R.B. Kitaj
Nicholette Kominos
Loren Kramer
Bruce LaBruce
Drake LaBry
Suzanne Lacy
Peter Lasell
Nilay Lawson
Leigh Ledare
Pony Lee
Ryan Linkof
Karen Lofgren
Ben Lord
Dennis Lyall
Tala Madani
Moeko Maeda
Alec Malin
Josh Mannis
Michael Marlowe
Kristan Marvell
Max Maslansky
Mara McCarthy
Jacobine van der Meer
Nathaniel Mellors
Jason Michael
Vijar Mohinda
Andra Nadirshah
Raul de Nieves
Fredrik Nilsen
Erkka Nissinen
Louise O’Donnell
Javier Ocampo
Maximus Oppenheimer
Rubén Ortiz-Torres
Erika Ostrander
Andrea Pallaoro
Jacky Perez
Glenn Phillips
Elyse Poppers
Ruben Preciado
Ana Prvacki
Pete Puskas
George Quaintance
Michael Rabbitt
Kyle Rand
Bill Rangel
Jacquie Ray
Erica Redling
Benjamin Reiss
Devin Reynolds
Levon Riggins
Pietro Rigolo
Jolie Rittenberry-Kraemer
Michael Roberts
Amanda Ross-Ho
Sterling Ruby
Lucas Samaras
Luis Alonso Sanchez
Alex Andrew Sanchez
Matt Savitsky
Melanie Schiff
Beatrice Schleyer
Michael Schmidt
Mira Schnedler
Jeanne Silverthorne
Party Slab
Zak Smith
Ian Smith
Barbara T. Smith
Mark So
Corazon del Sol
Omar Maurilio Solorio
Laura Soto
Michael St John
Brennan Stalford
Cole Sternberg
Alex Stevens
LeRoy Stevens
Devin Troy Strother
Mitchell Syrop
Sarah Szczesny
Christian Tedeschi
Adam Thompson
Molly Tierney
Sean Townley
Ian Trout
Oscar Tuazon
Sara VanDerBeek
Johannes VanDerBeek
Samuel Vazquez
Mark Verabioff
Da Ron Vinson
Banks Violette
Celeste Voce
Tashi Wada
Scott Cameron Weaver
Eric Wesley
Lisa Williamson
Andrew Wingler
Anna Wittenberg
Gosia Wojas
Dorian Wood
Bobbi Woods
THE WRINKLE ROOM
Jacob Jiayi Zhang
Jia Zhu
Robert Zin Stark
John Zinonos
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6. Alice Wu, FF Alumn, at Kala Art Institute, Berkeley, CA, thru Feb. 11, 2026
Works on Paper!
Line Shape Color Shape Line at Kala
alice wu
I’m having a show of my ongoing series of acrylic gouache paintings. This is the first time I’ve been invited to exhibit these! The opening is this Saturday, November 22, 12-4pm at Kala Art Institute. I look forward to seeing you.
Line Shape Color Shape Line highlights the interdisciplinary and playful nature of Alice’s practice with a presentation of compact gouache paintings alongside textile-based sculptures created over the past five years. The selected works reflect Alice’s process-driven and meticulous yet intuitive and exploratory artmaking approach. The geometric, pattern-like paintings, all on uniformly-sized kraft paper, demonstrate Alice’s linework and dramatic chromatic vocabulary. She composes vibrating color relationships that pulsate with energy. Certain motifs such as a particular kind of zigzag, a loop, a curl, a wave, reappear throughout multiple paintings, and then again in sculptural form, each occurrence opening up the possibility of new readings. The sculptures, alternately free-standing and wall-hung, are made with reclaimed upholstery textiles. As with Alice’s paintings, the sculptures initiate their form from simple drawings. The sculptures are stitched and stuffed, then painted to highlight texture and shape. The results invite touch. Alice constructs a visual language to design new and liberating self-mythologies.
Line Shape Color Shape Line at Kala Art Institute
On View November 22, 2025 – February 11, 2026
Opening Reception with “Bookness” and Fall of Freedom activities on
Saturday, November 22, 12-4 pm
Kala Gallery, 2990 San Pablo Ave., Berkeley, CA 94702
Gallery Hours: Tue-Fri, 12-5 pm, Sat 12-4 pm
Purchase Inquiries: Sonya Castillo, Kala Art Sales & Collections Manager sonya@kala.org (510) 841-7000
What is Fall of Freedom?
“Fall of Freedom is an urgent call to the arts community to unite in defiance of authoritarian forces sweeping the nation. Our Democracy is under attack. Threats to free expression are rising. Dissent is being criminalized. Institutions and media have been recast as mouthpieces of propaganda.
This fall, we are activating a nationwide wave of creative resistance. Beginning November 21–22, 2025, galleries, museums, libraries, comedy clubs, theaters, and concert halls across the country will host exhibitions, performances, and public events that channel the urgency of this moment. Fall of Freedom is an open invitation to artists, creators, and communities to take part—and to celebrate the experiences, cultures, and identities that shape the fabric of our nation.
Art matters. Artists are a threat to American fascism.”
At Kala Art Institute, on Saturday, November 22, 12-4pm, visitors can participate in a hands-on screen printing event in Kala’s community classroom, as part of this nationwide wave of creative resistance. Participants can screen print an image of artist Mary V. Marsh’s artwork with the quote: “Read the message, hold the knowledge, create the story, send the message on—long may we wave.” Prints can be taken home by attendees.
For more please visit this link:
https://www.kala.org/exhibition/alice-wu-line-shape-color-shape-line/#
Thanks!
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7. Shayna Dunkelman, FF Alumn, at Ki Smith Gallery, Manhattan, Dec. 11
Please visit this link:
https://www.kismithgallery.com/event-details/nomon-at-ki-smith-gallery
Thank you.
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8. Pat Oleszko, FF Alumn, at SculptureCenter, Long Island City, NY, opening Jan. 29, 2026
Pat Oleszko:
Fool Disclosure
On View Jan 29–Apr 27, 2026
SculptureCenter
Opening Reception
Thu, Jan 29, 2026, 6–8pm
SculptureCenter presents the first solo exhibition in a New York City institution in over 35 years of Pat Oleszko. Rooted in humor, sharp social commentary, and defiance of all forms of authority, Oleszko’s practice has often taken the form of sculptures which lend themselves to raucous performances that use linguistic wit to address various concerns, including accessible housing, women’s issues, and world politics. As her work developed from the 1970s on, Oleszko devised two strategies: using her body, which led to costumes, and using air, which produced large inflatable works. In both cases, her art “walked out the door,” in her words, and she began “using all the world as a stooge.” For performances and events, Oleszko continues to create a universe of characters, demonstrating a lifelong commitment to worldbuilding and to “wearing her work,” from dressing up as different characters for a waitressing job in her early days in New York to presenting at the Winter Olympics and appearing in movies, festivals, and theaters worldwide.
Spanning both floors of SculptureCenter, this survey exhibition is constructed around Oleszko’s singular inflatables, which first appeared in the 1980s, and brings together dozens of these airy, monumental works for the first time. From Yupasaurus (1980), a dinosaur that satirizes developers aggressively buying up land in New York, to Quit Draggin’ (2012), a towering dragon that bemoans a slow response to the climate crisis, they offer a rare glimpse into this vital aspect of her work. The exhibition also includes other key works from her decades-long career, such as costumes, sculptural chapeaux, films, performance documentation, and archival material from the 1970s to the present.
The presentation will be accompanied by the artist’s first institutional publication, which expands on the performance histories around her sculptures with newly commissioned essays by Columbia University professor and art historian Julia Bryan-Wilson; New York-based cultural worker, writer, and researcher Marie Catalano; Budapest-based curator, writer, and artist Gyula Muskovics; and American chef, food writer—and close friend of Oleszko—Ruth Reichl, along with a biographical timeline by the artist in her own idiosyncratic language. The publication will be designed by Tiffany Malakooti.
Pat Oleszko: Fool Disclosure is curated by Sohrab Mohebbi, Director, and Jovanna Venegas, Curator, with Sharon Liu, Asymmetry Curatorial Fellow. Research assistance by Ray Camp, 2025 Summer Curatorial Fellow.
Pat Oleszko (b. 1947, Detroit) received a BFA from University of Michigan, Ann Arbor. Since the early 1970s, she has staged projects and performances at institutions such as Museum of Modern Art, New York (1976, 1977); The Kitchen, New York (1979, 1992, 1993); Whitney Museum of American Art, New York (1980, 1988); Performance Space 122 (now Performance Space New York), New York (1985, 1987, 2000); Museum of Contemporary Craft (now Museum of Art and Design), New York (1971–90); P.S. 1, New York (1978); Lincoln Center, New York (1990); Institute of Contemporary Art, Boston (1989, 2015); Civitella Ranieri, Umbertide, Italy (2019); Neuberger Museum, Purchase, New York (1993, 2019); Rauschenberg Foundation, Captiva, Florida (2016); National Museum of Women in the Arts, Washington D.C. (1991); and King Tut’s Wah Wah Hut, New York; among others. She was the recipient of the Rome Prize in 1998, and the Guggenheim Fellowship in 1990. Oleszko lives and works in New York City.
Read more about the exhibition on our website here:
https://www.sculpture-center.org/exhibitions/14655/pat-oleszko-fool-disclosure
Thank you.
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9. Linda Carmella Sibio & Nicolás Dumit Estevez Raful Espejo Ovalles Morel, FF Alumns, now online at InteriorBeautySalon.com
The Interior Beauty Salon publishes a new piece:
A Pilgrimage to Linda Carmella Sibio / A Travelogue to the California High Desert
Linda Carmella Sibio & Nicolás Dumit Estevez Raful Espejo Ovalles Morel
https://www.interiorbeautysalon.com/a-pilgrimage-to-linda-sibio
Thank you.
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10. Todd Ayoung, Alicia Grullón, Guerilla Girls, Jerry Kearns, Nima Nikaklagh, Dread Scott, Greg Sholette & Olga Kopenkina, FF Alumns, now online at Hyperallergic.com
Please visit this link:
Thank you.
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11. Lygia Clark, David Hammons, Elizabeth Murray, FF Alumns, now online at NYTimes.com
Please visit this link:
Thank you.
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12. Coco Fusco, Joan Jonas, Martha Rosler, FF Alumns, now online at Ocula.com
Please visit this link:
https://ocula.com/magazine/art-news/chicago-saic-video-data-bank-staff-layoffs
Thank you.
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13. Jody Oberfelder, FF Alumn, awarded Best Dance Film, 2025 Queens World Film Fest
I haven’t held a trophy in my hands since I used to win swimming competitions. And art is different from just being the fastest. So proud this film, which won Best Dance Film in the @queensworldfilmfest. Thank you to all collaborative elements and people involved in this film!
#sitespecificdance #dance #jodyoberfelderprojects #performance #screendance #dance
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14. Stephanie Brody-Lederman, FF Alumn, at Women’s Art Center of the Hamptons, Bridgehampton, NY, thru Jan. 11, 2026
Something Red
@ WACH, thursday-sunday 12-5
2418 Montauk Highway, Bridgehampton, NY
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15. Arlene Rush, Susan Schwalb, FF Alumns, at West Chelsea Art Building, Manhattan, Nov. 25
West Chelsea artists Arlene Rush, Eve Aschheim and Susan Schwalb at West Chelsea Art Building, 526 W. 26 St. NYC 1001, Lobby/Room 302, Nov 25, 11-5 pm
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16. Glen Belverio, Dara Birnbaum, Coco Fusco, Joan Jonas, FF Alumns, now online at Hyperallergic.com
Please visit this link:
https://hyperallergic.com/1057696/school-of-the-art-institute-of-chicago-lays-off-20-workers
Thank you.
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Goings On for Artists is compiled weekly by Rohan Subramaniam, Archive Intern, 2024/2025
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