Contents for February 23rd, 2026
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1. Nicolás Dumit Estévez Raful Espejo Ovalles Morel Atrib, FF Alumn, now online at The Interior Beauty Salon
2. Yoko Ono, John Cage, Simone Forti, Jackson Mac Low, La Monte Young, FF Alumns, at Noguchi Museum, Long Island City, Queens, thru Sept. 13
3. David Hammons, Liza Lou, FF Alumns, now online at NYTimes.com
4. Annie Lanzillotto, FF Alumn, at Casa Italiana, NYU, Manhattan, Mar. 4
5. Crystal Z. Campbell, FF Alumn, in Hand Papermaking, Winter 2025
6. Alison Knowles, FF Alumn, now online at Artforum.com
7. GH Hovagimyan, Adrianne Wortzel, Josh Harris, FF Alumns, at Elizabeth Harvey Foundation, Manhattan, and online, Feb. 27
8. Robin Tewes, FF Alumn, at PS122 Gallery, Manhattan, opening March 6
9. Kathy Brew, FF Alumn, at West Den Haag, Holland, thru Feb. 28 2027
10. Paul Zelevansky, FF Alumn, now online at https://vimeo.com/1165795279
11. Nadia Coen, FF Alumn, at Steinberg & C., Manhattan, opening Feb. 26, and more
12. Liz Magic Laser, Aliza Shvartz, FF Alumns, at 601Artspace, Manhattan, opening Mar. 7
13. Galinsky, FF Alumn, at Book Club Bar, Manhattan, Feb. 26, 8pm
14. Marilyn R. Rosenberg, FF Alumn, at Ohio State University, Columbus, March 4
15. Susan Newmark, FF Alumn, at Pen+Brush Gallery, Manhattan, opening Mar. 8
16. Debra Pearlman, FF Alumn, at Every Woman Biennial, Pen & Brush Gallery, Manhattan, opening Mar. 8
17. Ursula von Rydingsvard, FF Member, at Galerie LeLong, Manhattan, thru Mar. 28
18. Amelia Jones, Guerrilla Girls, Tehching Hsieh, John Malpede, Linda Montano, FF Alumns, at Getty Center, Los Angeles, CA, Apr. 3
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1. Nicolás Dumit Estévez Raful Espejo Ovalles Morel Atrib, FF Alumn, now online at The Interior Beauty Salon
The Interior Beauty Salon: Nicolás Dumit Estévez Raful Espejo Ovalles Morel Atrib in conversation with Samuel Uriel Vazquez Leal, Founding Director of Performance Art Museum (PAM)
To read the full interview, go to: https://www.interiorbeautysalon.com/samuel-vasquez
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2. Yoko Ono, John Cage, Simone Forti, Jackson Mac Low, La Monte Young, FF Alumns, at Noguchi Museum, Long Island City, Queens, thru Sept. 13
Happy birthday to Yoko Ono, who was born on February 18 in 1933!
Isamu Noguchi first met Ono in New York around 1959–60. Archival photographs reveal that Noguchi was present at Ono’s Chambers Street Loft Series (1960–61) and first solo concert at Carnegie Hall in 1961, where she hosted boundary-crossing performances by artists, musicians, and dancers. A photograph of Noguchi in Ono’s loft also shows him standing atop her iconic 1960 work ‘Painting to Be Stepped On.’
Early in their friendship, Ono gifted Noguchi a handmade book she wrote and illustrated about sensing invisible beauty. She also dedicated an unspecified text to Noguchi in her groundbreaking conceptual art book ‘Grapefruit,’ a collection of poetic prompts for experiencing the world anew.
View these archival materials and learn more about Noguchi and Ono’s relationship in the exhibition ‘Noguchi’s New York,’ now on view through September 13, 2026.
Images include Guests at Yoko Ono’s Chambers Street Loft Series, January 1961.
[1] Yoko Ono, Isamu Noguchi, and Toshiro Mayuzumi.
[2] Simone Forti, John Cage, Richard Maxfield, Yoko Ono, David Tudor, Kenji Kobayashi, La Monte Young, Jackson Mac Low, Toshi Ichiyanagai, and (standing on Ono’s ‘Painting to Be Stepped On’), Toshiro Mayazumi and Isamu Noguchi,Robert Dunn and other unidentified guests.
[3] Yoko Ono, ‘An Invisible Flower,’ 1952. Artist’s book for Isamu Noguchi, gifted c. 1960.
#Isamunoguchi #yokoono #noguchimuseum #イサムノグチ
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3. David Hammons, Liza Lou, FF Alumns, now online at NYTimes.com
Please visit this link:
Thank you.
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4. Annie Lanzillotto, FF Alumn, at Casa Italiana, NYU, Manhattan, Mar. 4
Reserve a seat now to come hear us…
celebrating the translation and publication in Italian
of Talking to the Girls: Intimate and Political Essays on the Triangle Factory Fire (New Village Press)
WEDNESDAY MARCH 4
6:30pm
CASA ITALIANA NYU
I’ll talk about my pilgrimage to Triangle Fire worker birthplaces in Sicily, Napoli, and Puglia.
Come. I miss you all. Spread the word
Here’s the Link to RSVP. Casa Italiana NYU needs to have a list of attendees….
https://www.casaitaliananyu.org/events/le-ragazze-della-triangle
Annie Lanzillotto
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5. Crystal Z. Campbell, FF Alumn, in Hand Papermaking, Winter 2025
Huge ty to Mina Takahashi, editor of Hand Papermaking, for including my essay and paper works in this issue. It’s an honor to be in a landmark issue devoted to Palestine on Paper, and I’m grateful I was able to slide in some words on the Philippines. These works were made while I was a workspace fellow at Dieu Donne with Tatiana Ginsberg, and credit for the lovely photos goes to Tejan Rahim.
Our Winter 2025 issue, honoring 40 year of Hand Papermaking magazine, is titled Palestine on Paper. Guest edited by art historian Nisa Ari, this issue explores the role and the presence of paper in Palestinian history, society, and culture. Ari asks us to consider such questions as “In what conditions—and for whom—is paper a place for safekeeping and a place of potential, of imagination outside the confines of reality?” and “Which parts of Palestine have been preserved on paper
and which parts have not?”
The issue also features Crystal Z Campbell, who combines handmade paper with manila envelopes, rope, and mixed materials to explore “assimilation, the colonial imprint, and the boundaries of what constitutes belonging—to a people, a place, or a nation.”
Articles:
Colors for the Diaspora by Zeina Azzam: 2025 Hand Papermaking
Broadside by Sanaz Hagani
Manila, After Manila by Crystal Z Campbell
Mariana Castillo Deball: Vùjá de—Paper Thresholds by Tamara Valdez
Emerging and Dissolving: A Conversation on Water, Paper, and Palestine
by Jumana Emil Abboud, Michelle Samour
The sky in Gaza fills with paper (and I throw up at the office) by
Alessandra Amin
Paper, Some String, and Love: Reflections on Flying Paper by Melissa
Bolivar, Nitin Sawhney
Illicit Paper and the Intifada Bayanat by Thayer Hastings
Tatreez Pattern Books & the Paper Lives of Palestinian Embroidery
Designs by Wafa Ghnaim
Paper: A Remnant of Truth, Presence, and Resistance by Rachel Winter,
Dor Guez Munayer
Papermaking as Protest by Clara Reynen
Paper Sample: The Identified Death Toll of Palestinians in Gaza, One
Year Later by Clara Reynen
Letter from the Guest Editor by Nisa Ari
Note from the Editor by Mina Takahashi
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6. Alison Knowles, FF Alumn, now online at Artforum.com
Please visit this link:
https://www.artforum.com/columns/alison-knowles-obituary-nicole-l-woods-1234742297
Thank you.
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7. GH Hovagimyan, Adrianne Wortzel, Josh Harris, FF Alumns, at Elizabeth Harvey Foundation, Manhattan, and online, Feb. 27
Art Dirt 2026 Featuring We Believe X
Friday, February 27, 6:30–8:00 PM EST
In its second floor loft at 537 Broadway—Fluxus founder George Maciunas’ last Fluxhouse Cooperative—the EHF hosts Art Dirt 2026, a live and livestreamed hybrid event featuring We Believe X—reviving Art Dirt’s pioneering role in digital culture for a new era of artificial intelligence and social media.
Originally launched in the 1990s as one of the first web-based programs focused on digital art, Art Dirt returns as a participatory video-performance and data-driven social interface. The event combines live audience interaction, real-time streaming, and collective inquiry into the evolving relationship between humans and AI.
During a live video conference, internet pioneer Josh Harris will survey and interview audience participants on their views of Humans vs. Artificial Intelligence. As each participant speaks, their video window will appear on a large-scale projection wall, becoming part of the live visual architecture of the event. Responses will be collected into a database for future analysis connected to Harris’s New Monolith project, including exploratory research into AI-based life insurance models and digital membership systems.
Artist and net.art pioneer G.H. Hovagimyan will serve as host and MC, simultaneously live-streaming the event on YouTube and Facebook.
Background
In 1994, Josh Harris launched the first audio and video webcasting network, inviting G.H. Hovagimyan to host an internet talk show focused on the emerging digital art scene—just steps from the Emily Harvey Foundation. Art Dirt 2026 revisits this moment of convergence, where experimental art, network culture, and technological ambition first collided—Fluxus meets Silicon Alley.
Format
Art Dirt 2026 is a hybrid live video performance, social media livestream, and audience data-gathering event.
Schedule
Doors open: 6:30 PM (audience participation sign-up)
Event begins: 7:00 PM EST
Art Dirt 2026 is not a panel, a performance, or a discussion—it is a live social experiment staged in George Maciunas’ last Fluxhouse Co-op. Featuring *We Believe X*, the event turns the audience into both subject and signal, asking a blunt question—*Humans vs. Artificial Intelligence*—and refusing the comfort of hypothetical answers. Under the direction of internet pioneer Josh Harris, participants are interviewed, projected, streamed, and archived in real time, their responses absorbed into a growing database tied to the speculative economies of AI belief, risk, and digital immortality. Hosted by G.H. Hovagimyan, Art Dirt reactivates its 1990s legacy as one of the first web-based digital art platforms, collapsing performance, surveillance, social media, and consent into a single live interface. This is Fluxus stripped of nostalgia and Silicon Alley without innocence: a public rehearsal for a future in which participation itself becomes infrastructure.
We Believe X — Cybernauts: Katy Kinsey, Trish Gianakis, Danielle M. Storbeck, Joshua Harris, David Colby, GH Hovagimyan, Carl Goodman
Art Dirt Co-Hosts — GH Hovagimyan and Adrianne Wortzel
Due to the age and character of the building, the space is not optimized for ADA accessibility. If you have questions about access, please contact us at ehf.newyork@gmail.com in advance of the event, and we will make every effort to accommodate you.
The Emily Harvey Foundation | 537 Broadway Floor 2 | New York, NY 10012 US
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8. Robin Tewes, FF Alumn, at PS122 Gallery, Manhattan, opening March 6
Group show curated by
Izzy Nova
FEATURING:
Robin Tewes, Sandra Cavanagh, Giustina Surbone, Jonathan Torres & Patrick Webb
PS122 GALLERY
150 1st Ave, New York, NY 10009
Opening Reception: March 6, 6-8PM
Exhibition date: March 6-29, 2026
Gallery Open Wednesday — Sunday, 1 — 6 pm
Born from a desire to reach beyond the visible world, Romanticism still reverberates through contemporary art. Held at PS122 Gallery, the exhibition Aromantic takes the exploration of deep emotions and the human experience held by the Romantic traditions as a starting point to address current societal issues and offer a more nuanced, unsentimental worldview.
It features work emphasizing personal and collective feeling, individualism and the sublime in a critique of the struggles and complexities of contemporary life. The selected artists depict narratives and themes drawn from the present, including queer identity, female might, diaspora, animosity, the grotesque and the persistent relevance of mythology and martyrology. Within its thematic critical strength, it formally maintains a focus on the elements of artistic beauty as sustained by the Romantic tradition, such as lush textures, dramatic contrast and evocative compositions.
Through this lens, Aromantic seeks to provide a holistic and authentic representation of life’s multifaceted nature.
P122 Gallery is a not-for-profit alternative exhibition space in the East Village, operating since 1979. The organization gave first exhibitions to artists such as Peter Halley, Keith Haring, and Amy Sillman, among many others; and exhibited hundreds more artists throughout the years like John Ahearn, Michael Ashkin, Lutz Bacher, Louise Bourgeois, Co-Lab, Petah Coyne, Karen Finley, Nan Goldin, Joanne Greenbaum, Arturo Herrera, Alfredo Jaar, Deborah Kass, Byron Kim, Larry Krone, Barbara Kruger, Glenn Ligon, Vik Muniz, Thomas Nozkowski, Mira Schor, Dread Scott, Arlene Shechet, Kiki Smith, Nancy Spero, Denyse Thomasos, and David Wojnarowicz; and writers and curators such as Allen Frame, Ellen Handy, Lucy Lippard, Saul Ostrow, Calvin Reid, and Raphael Rubinstein.
It is an ongoing program of Painting Space 122, the grassroots, artist-run cooperative that helped foster the vibrant cultural community at the City of New York-owned 122 Community Center (122CC). The Gallery’s programs are interdisciplinary and inclusive, highlighting artistic practices and practitioners regardless of age, race, gender, ability, geographic and ethnic origin.
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9. Kathy Brew, FF Alumn, at West Den Haag, Holland, thru Feb. 28 2027
Kathy Brew announces that one of her iconic photos of Kathy Acker will be featured in Blood, Guts and Anarchy: The Work of Kathy Acker, a year-long exhibition at West Den Haag, an art space in the former American Embassy in The Hague. The image is being printed as photo wallpaper and will cover one entire wall of the first room of the exhibition. It’s also being used for all promotional material, brochures, press, website, etc. https://www.westdenhaag.nl/exhibitions/26_02_Kathy_Acker
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10. Paul Zelevansky, FF Alumn, now online at https://vimeo.com/1165795279
TO THE GREAT BLANKNESS
MAILING LIST:
“My weariness amazes me,
I’m branded on my feet…
PZ, February, 18, 2026
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11. Nadia Coen, FF Alumn, at Steinberg & C., Manhattan, opening Feb. 26, and more
– Time & Materials: Group Exhibition at Bienvenu Steinberg & C. February 26 – March 28. 35 Walker Street, Tribeca, NYC 10013. Opening, Feb 26, 6-8PM
– Visual Art Fellow at the Edward Albee Foundation Residency, The Barn, March 2026
Thank you.
NADIA COËN
c o e n p r o j e k t s + t h e i n c l i n i n g e x p e r i m e n t
www.theincliningexperiment.com
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12. Liz Magic Laser, Aliza Shvartz, FF Alumns, at 601Artspace, Manhattan, opening Mar. 7
When Thoughts Are Free
Curated by Sara Reisman
March 7 – May 17, 2026
601Artspace, 88 Eldridge Street, NYC
Liz Magic Laser
Kameelah Janan Rasheed
Aliza Shvarts
Jaro Varga
Please join us for the opening reception on Saturday, March 7th, from 6-8pm.
601Artspace is delighted to present When Thoughts Are Free, an exhibition curated by Sara Reisman that questions the limits of free speech and freedom of thought in an era of increasing political, technological, and cultural pressures. The title is drawn from a 12th-century German song with a long history of use by political movements called Die Gedanken sind frei (“Thoughts are free”), and the exhibition features artworks by four interdisciplinary artists that explore the tension between thought, speech, and action.
When Thoughts Are Free features two participatory artworks by Jaro Varga that delve into the archival and literary aspects of institutional and collective knowledge, exploring how it is accumulated and accessed. “Library” (2017-ongoing), is an immersive installation that invites visitors to inscribe the titles of personally significant literary works onto blank book spines lining the gallery walls. This act of writing the names of books into the “Library” renders graffiti out of book titles in a symbolic challenge to authoritarian restrictions on access to knowledge. Varga’s second work in the exhibition, “Our Silence Will Not Protect Us” (2024-2026), was first performed in a former synagogue on the outskirts of Bratislava in 2024, and is re-created in the gallery through workshops at Parsons School of Design. Students have been invited to paint the titles of personally relevant books onto protest banners, creating a new set of tools for protest that links scholarly thought and literary language to forms of public activism.
Aliza Shvarts’s “Homage: Congratulations” (2017), consists of small RSVP cards that Shvarts has used to respectfully decline wedding invitations, citing the erasure and heteronormative strictures that the institution of marriage imposes on queer and non-binary individuals. Recently married, Shvarts’s shift in attitude toward the institution of marriage is articulated in her new work, “37 Illocutions (With this Ring)” (2026), which invites viewers to “try on” a set of 37 linguistic commitments by slipping various rings on their fingers, each ring engraved with an illocution, in other words, an act of speaking or writing that constitutes the intended action. The work frames the wedding vow as the ultimate performative speech act, in which the material deed is performed by the simple articulation of words. Within the current political landscape, the polarization of ideological positions has made the expression of nuanced opinions and the changing of one’s mind increasingly fraught. Together, this pair of works by Shvarts enacts an individual’s right to change one’s mind.
Also on view are two videos from Kameelah Janan Rasheed’s Bad Karaoke series, in which the artist works across translation, closed-captioning, and algorithmic text generators to explore the relationship between automated language, passive engagement, and pattern-seeking. Working with the aesthetics of the karaoke bar, these videos explore the linguistic phenomena of contrafactum (the purposeful substitution of new text over existing music), and mondegreen (the accidental mishearing of lyrics). In “Smooth Operetta” (2022/2026), Rasheed rewrites the lyrics to Sade’s 1984 record, “Smooth Operator,” using analog and digital algorithmic text-generators to produce altered closed-caption text. What is seen on the screen does not correspond with what is heard. A similar strategy drives “Never Too Must” (2026), in which she riffs on Luther Vandross’s 1981, “Never Too Much.” These works reflect Rasheed’s interest in how repetition naturalizes and encodes – how what we mishear, mispronounce, and misremember becomes encoded as factual, ubiquitous, and unquestioned. She is particularly attentive to the way in which subtle ruptures slow and reorganize perception, inviting us to re-hear, re-read, and re-see.
“Power Moves” (2026) is a new video by Liz Magic Laser made in collaboration with choreographer Cori Kresge, who guides viewers through codified oratorical gestures packaged as a somatic fitness regimen. Co-directed by artist/filmmaker Zoe Chait and filmed by Alexander Mejia, “Power Moves” aligns the subliminal body language of political power with aspirational fantasies of feminine self-care and empowerment. Laser’s new installation, “The Committee: Virtual Hearing Room Set” (2026), developed in collaboration with Nazareth Hassan, invites viewers to listen to Laser’s satirical radio play, “The Committee: Act 1 & 2” (2025), which imagines a congressional hearing investigating Laser’s Columbia University performance art class. In Act 1, Donald Trump and his resurrected counsel, Roy Cohn interrogate Laser, while Act 2 turns to the students’ testimonies. A survey polls gallery viewers about Laser’s culpability and appropriate punishment. The installation includes testimonies, evidence, and ephemera developed in collaboration with Giorgia Alliata di Montereale, Mason Harper, Yshao Lin, and Maya Love Shkolnik.
The artists featured in When Thoughts Are Free map a critical analysis of free speech and thought in relation to AI-generated groupthink and political polarization. Through movement, text, video, and participatory methods, these artists articulate the collective responsibility of protecting the fundamental freedoms to think, speak, and act independently in the face of rising global authoritarianism.
Image: Jaro Varga, “Our Silence Will Not Protect Us” (2024-2026), detail, photography by @_isonative
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13. Galinsky, FF Alumn, at Book Club Bar, Manhattan, Feb. 26, 8pm
Galinsky presents “POETRY IN NEW YORK” now in it’s fourth year at the acclaimed NYC venue BOOK CLUB BAR. This is NOT an open mic, all 10 artists are curated and booked ahead of time for 5 minutes each. 197 East 3rd Street by Avenue B in Alphabet City NYC. Reserve your seats here please:
https://bookclubbar.com/events/4173420260226
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14. Marilyn R. Rosenberg, FF Alumn, at Ohio State University, Columbus, March 4
Marilyn R. Rosenberg: The Contemporary Artist You Didn’t Know You Needed
Artist’s books by Marilyn R. Rosenberg
Date March 4, 2026 Time 2:00 p.m. to 4:00 p.m.
Location Thompson Library, 1858 Neil Avenue Mall, Room 150 A/B, Columbus , OH 43210-1286
Add to Calendar
Please join the Rare Books & Manuscripts Library (RBML) for a special pop-up exhibit featuring highlights from the Marilyn R. Rosenberg Collection. Rosenberg is a visual artist and poet who donated an extensive collection of her work to RBML in 2024.
This event is a celebration of this gift and will be the first opportunity to see the new material, which spans her more than 50-year career and includes artist’s books, drawings, visual poetry, collages, process materials and more.
Rosenberg’s work is alternately playful, serious, interactive, enigmatic, timely, timeless and always deeply interested in language and the written word.
Attendees will have an opportunity to explore collection materials and make and take an item based on Rosenberg’s work.
Event Organizer
Jolie Braun, Curator Modrn Lit & Manuscript
Email braun.338@osu.eduPhone 614-688-4980
Event Partner
Kate Jeffries, Special Collections Student Assistant
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15. Susan Newmark, FF Alumn, at Pen+Brush Gallery, Manhattan, opening Mar. 8
I am happy to share that my piece “Pompeii: Villa of the Mysteries” will be featured in the 2026 Every Woman Biennial at Pen+Brush Gallery!
Exhibition: March 8–April 11th, 2026
Opening: March 8, 12–6
29 East 28th Street, New York, NY
Susan Newmark
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16. Debra Pearlman, FF Alumn, at Every Woman Biennial, Pen & Brush Gallery, Manhattan, opening Mar. 8
I am pleased to be included again in this year’s Every Women Biennial, showing a large dye sublimation printed aluminum sculpture.
The Grand Opening is March 8th from 1-6 PM.
At The Pen and Brush Gallery 29 E. 22nd St.
It would be lovely to see you there!
Warm regards,
Debra
IG debra.pearlman
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17. Ursula von Rydingsvard, FF Member, at Galerie LeLong, Manhattan, thru Mar. 28
Ursula von Rydingsvard
February 19 – March 28, 2026
Galerie Lelong, New York, is pleased to announce a new solo exhibition by the esteemed sculptor Ursula von Rydingsvard, presenting recent works in the artist’s signature medium, cedar, alongside a selection of new drawings. Known for her monumental sculptures that are grand in scale but intimate in their details, von Rydinsgvard takes a highly intuitive, personal approach to her work, her dedication to the act of making paramount in her practice. Of her drive, the artist explains “[I make art] because I don’t want to be doing anything with my life—that the building of my art work feels like the most consequential thing I could be doing with my time.” Through her painstaking processes of cutting and assembling, standardized industrial wood beams are transformed, reinvigorated with organic, supple energy and emotional charge. This exhibition coincides with Ursula von Rydingsvard: states of becoming at the Bruce Museum in Greenwich, Connecticut, which surveys the past two decades of the artist’s creative output, featuring large-scale works in wood and charting the evolution of her practice in paper.
Central to the gallery exhibition is an arched sculpture standing nearly eleven feet tall; created in 2024-25, this is the most recent work on view and introduces a new image in her vocabulary. Here, von Rydingsvard’s marks in cedar take on a new configuration, demonstrating her ceaseless urge to evolve within her practice and extend the possibilities of her material. Instead of textured orifices, her repetitive cuts deepen to create finger-like forms that extend upwards from the surface of the sculpture. These spindles pulse with exuberance, invoking frenetic energy against the solidity of the arch structure. This new motif first emerged in an untitled wall-based work created in 2024, on which the artist traced the outline of her own hands—a figurative translation of the touch of the artist ever-present in her works, which are never fabricated by machine despite their monumental scale and traditionally industrial material.
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18. Amelia Jones, Guerrilla Girls, Tehching Hsieh, John Malpede, Linda Montano, FF Alumns, at Getty Center, Los Angeles, CA, Apr. 3
Friday, Apr 3, 2026
9:30am–8pm
Getty Center
Museum Lecture Hall
Free
Tickets are free, but required for event entrance. Your event ticket will also serve as your Center entrance reservation. Please note, there is a fee for parking.
About
Though widely acknowledged by artists and scholars, High Performance magazine remains underexamined in American art history. As one of very few international journals dedicated to performance art, it was a crucial platform for experimental practices, artist-authored documentation, and global visibility—especially for feminist, queer, Indigenous, and working-class artists. From the late 1970s to the 1990s, the magazine documented performances addressing gender violence, the AIDS crisis, immigration, and Indigenous sovereignty, while launching careers of artists like Suzanne Lacy, Guillermo Gómez-Peña, Coco Fusco, and James Luna.
This convening marks the first large-scale scholarly gathering focused on the magazine’s role in shaping the growth, documentation, and discourse on performance art from the second half of the 20th century. Consisting of panel discussions with artists, arts administrators, scholars and emerging professionals, as well as live performance events, this program examines performance as protest, magazine culture, and how to sustain radical performance practices. Archival footage from the GRI’s collections will be available for viewing throughout the day, featuring highlights from the High Performance magazine records.
Program outline:
Session I: Sustaining Radical Performance Practices
Moderated by Erica Wall with Robyn Farrell, Amelia Jones, and Rashida Bumbray
Session II: Magazine Culture in Los Angeles – From High Performance to Now
Moderated by Jenni Sorkin with Gwen L. Allen, Stacey Allan, and Hakim Bashara
Performance: Susan Silton, She Had a Laugh Like a Beefsteak
Session III: Performance as Protest
Moderated by Sarah Russin, with Kathe Kollwitz of the Guerrilla Girls, John Malpede, Patrisse Cullors, and Demian DinéYazhii
Performance: Linda Mary Montano with Tehching Hsieh
This convening is part of High Performance: A 2-Year Conference, a multi-institutional initiative dedicated to High Performance, featuring collaborations between the Getty Research Institute, 18th Street Arts Center, Los Angeles Contemporary Exhibitions (LACE), Highways Performance Space and Gallery, and the Performance Art Museum (PAM).
Support for this event provided by the Terra Foundation for American Art.
The recording will be available on the Getty Research Institute YouTube channel following the event.
Visit the Getty Research Institute’s Exhibitions and Events page for more free programs.
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For subscriptions, un-subscriptions, queries and comments, please email mail@franklinfurnace.org
Join Franklin Furnace today:
https://franklinfurnace.org/membership/
Goings On for Artists is compiled weekly by Rohan Subramaniam, Archive Intern
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