September 4–7, 2025
Javits Center, New York
Galleries Section: Booth 121

Nicholas Galanin
Alex Katz
Erik Lindman
Luisa Rabbia
Su-Mei Tse
Martha Tuttle
Robert Zandvliet
John Zurier

Examining the complexities of contemporary Indigenous identity, culture, and representation, Nicholas Galanin works from his experience as a Lingít and Unangax̂ artist. Embedding incisive reflection into often provocative work, he addresses misappropriation of Indigenous visual culture, colonial impact, and collective amnesia. Galanin reclaims narrative and creative agency; his evolving practice affirms Indigenous art as a living continuum. Speaking through visual, sonic, and tactile languages, his concepts determine his processes; media include sculpture, installation, photography, video, performance, and textile. His work contributes urgent criticality and vision; each piece resonates across cultures and histories.

Alex Katz is an American painter known for bold colors, flat forms, and minimal detail. Emerging in the 1950s, his work stood apart from Abstract Expressionism through its focus on figuration. Katz paints portraits of family, friends, and muses—especially his wife Ada—with smooth surfaces and simplified features that emphasize presence. His landscapes and cityscapes capture fleeting light with cool elegance. Influenced by film, advertising, and modern life, Katz blurs the line between realism and abstraction; his iconic images feel both timeless and contemporary. Katz's work has been shown in over 250 solo exhibitions and is held in 100 public collections worldwide.

Erik Lindman's artistic practice is defined by his innovative use of found materials such as shards of steel or canvas webbing as central elements in his paintings, allowing the built-up surface to direct the development of the work. The central forms—often avian or humanoid in appearance—emerge from monochromatic fields, creating a dynamic interplay between figure and ground. Never simply placed onto the canvas, these forms are synergistically integrated into the composition, with each shape and contour carefully considered while the thick layers of paint, bodied with shredded rubber and ground glass, add texture and depth to the painting’s topographical surface.

Luisa Rabbia blends distinctions between the human and the natural, creating bodily, organic landscapes that express cosmic solidarity. Her large-scale paintings depict abstracted figures that overlap, join, and dissolve, suggesting transformation beyond the physical. Referencing natural processes that link micro and macro worlds, Rabbia’s expressive forms evoke spiritual transitions in a constantly shifting, primordial space. On closer view, her intuitive process is revealed through scraped paint, layered pencil marks, and fingertip imprints—marking both personal traces and universal connection.

Su-Mei Tse is a visual artist whose multidisciplinary work contemplates existence, notions of time, and rhythm. She expresses life questions by capturing fleeting moments of memories and feelings through various media including photography, sculpture, film, and installation. Impressions in everyday existence, whether they be a passing thought, transitory state, or a visual or auditory experience, are lyrically translated in her work. Tse was initially trained as a classical cellist before completing visual arts studies. This leads her to reflect on the nature of music and self, while the perception of visual and auditory elements remain central to her work. Similarly responding to her background of Chinese and British descent, Tse offers contemplations of cultural variance stemming from her own relationship between East and West.

Martha Tuttle’s practice embeds natural elements in the forms of her paintings. The compositions emphasize materiality, employing physical processes such as dyeing, weaving, and sewing that permeate each of the works that are colored with naturally derived substances. Passages of translucent stretched silk are dyed with plant matter and iron while others are painted with stone pigments, creating pools of subtle elemental colors. Visually, the marks on the silk begin to suggest the cracking of a geological topography. Appearing to emerge and recede behind these sections, visible stretchers create compositional balance rather than solely serving as support. Together with the found minerals, the compositions resonate with the larger geological questionings concerning how relationships can be established with the geologic.

Robert Zandvliet is a leading Dutch painter whose work has explored the space between abstraction and representation since the early 1990s. He examines the tension between self-reflective artistic practice and the representational function of painting. Often using landscape as a conceptual reference, his gestural lines, colors, and surfaces replace recognizable imagery, fusing depth and flatness, abstraction and figuration into dynamic compositions.

John Zurier’s paintings of atmospheric color fields examine qualities of evanescent light as well as solid radiance. Offering nuanced examples of the medium’s possibilities, Zurier pares down painting to the essentials with a sensory and allusive richness embedded in their asperity. The structural vocabularies and limited palette emphasize the beauty inherent in nature without reference to landscape. This subtle beauty is apparent in the subdued visual incidents of delicate inconsistencies in the executions of lines, marks, hues, and margins while demonstrating a deliberate emphasis on the wholeness of chromatic surface.