With art including cast-gold pre-Hispanic sculptures, gilded church altarpieces and critically reflective work by contemporary artists, the show confirms the valuable scholarly work being done by small institutions outside the mainstream.

Enterprising Exhibition at Museum of Contemporary Art Santa Barbara Explores the Juncture of Cultures, Ecology, and Contemporary Art Practice

A new body of work by photographer Jesse Gouveia revisits childhood memories of fort-building while considering the poignant nature of time’s passage.

Arts Editor K.O. Nnamdie utilized the transformative quality of a white cube space—specifically Anonymous Gallery in New York—to celebrate photography and the spirit of the lower Manhattan art scene.

An emotional meditation on innocence and memory, Jesse Gouveia’s new photo show captures a series of childhood forts, painstakingly remade in adulthood

Circulación Espectral (Spectral Circulation) was a group show about money with works by well-known locals Paloma Contreras Lomas and Daniel Aguilar Ruvalcaba, along with a couple of foreigners, Ignacio Gatica from Chile and Adriana Martínez Barón from Colombia.

As every year, during art week, the capital attracts the best galleries on the planet and, with them, nuggets of artists who are just waiting to be revealed. To stock up on stimulating discoveries, head to the many fairs and exhibitions open all weekend throughout Paris. Beaux Arts shares its favorites with you.

The mysteries of finding ourselves in the trap doors of language. Artist, writer, and educator, Kameelah Janan Rasheed contemplates the textures and opacities of language as liberatory acts.

Kameelah Janan Rasheed’s exhibition titled “beneath this sentence is a hole* and your words are leaking. i place my mouth at the puncture site, waiting to be engorged by your lactating punctuation” transforms anonymous gallery into an immersive landscape where language seeps, spills, and saturates the senses.

Un sueño gris con voz de celuloide focuses on the shared research interests between artists Catalina Schliebener Muñoz and Wendy Cabrera Rubio, which includes Walt Disney’s involvement in The Good Neighbor Policy through the two Disney films Saludos Amigos (1942) and Los Tres Caballeros (1944).

At Anonymous Gallery in New York, Kameelah Janan Rasheed’s cryptographic works illustrate the complicated process of sense-making.

Allie Rowbottom interviews Cristine Brache about her new collection, “Goodnight Sweet Thing.”

Cristine Brache’s poetry collection Goodnight Sweet Thing delves into the secret lives of Playboy Playmates, possessed nuns, and Brache herself.

For his monthly column, Drew Zeiba traverses New York City in search of performances beyond the page

Two female wrestlers. One giant ring of Jell-O. One night only. Earlier this month, in celebration of Cristine Brache’s second book of poems, Goodnight Sweet Thing (anonymous Publishing, 2024), the artist took her pages to the stage with co-director Sigrid Lauren in an original theatrical adaptation at 4n studio in Chinatown. Starring Emily Allan, Betsey Brown, and Joshua Weidenmiller with a live score by Ryan Woodhall, the sold-out show carried themes pertinent to Brache’s series of work over the last few years, including America’s Sweetest Dream (NADA, 2023) and her short film titled Carmen (2023), all of which explores the complexity of power dynamics, mortality, and the female psyche.

A couple of weeks ago, artist Cristine Brache hosted a live performance of her piece Goodnight Sweet Thing (created with fellow artist Sigrid Lauren) in Chinatown at 42n Studios, and it was the talk of the town. It was technically a theatrical adaption of her recent book of poetry as interpreted by female wrestlers duking it out in a pit of Jell-O. For those of you who missed the performance, I asked the artist to chronicle the week surrounding the opening. Take it away, Cristine… —Annie Armstrong

After February’s high tide of international artists, gallerists and collectors trotting down to Mexico City for art week, spring exhibitions can often be uneventful, an endogamy of burned-out artists recovering from the demands of the prior months and group shows overpacked with participants in loose curatorial stances, while public and private institutions rearrange their collections to try to say something new, and at best, take the plunge to do solo exhibitions with so-called emerging young creators.

Goodnight Sweet Thing brings together a compelling second collection of poetry by artist and filmmaker Cristine Brache, published by anonymous Publishing. Pre-order here

The National Gallery of Canada (NGC) and the Sobey Art Foundation (SAF) today announced the 30 artists longlisted for the 2024 Sobey Art Award, Canada’s preeminent contemporary visuals arts award

The Studio Program exhibition, At Odds With, presents recent work by the 2023–24 Elaine G. Weitzen Studio Program Fellows

This month saw the occasion of Mexico City Art Week, which meant that early 2024 produced even more talk and affirmative culture reporting than usual about Mexico City as the celebrated art metropolis of the so-called Global South. In the forth iteration of “Texte zur City,” our columnist María Minera emphasizes that the local scene is not only bubbling but, above all, is a bubble itself, with little bearing on the lived realities in the rest of the country.

anonymous gallery opens a new space in Mexico City with an inaugural exhibition highlighting the works of three generations of Mexican artists.

anonymous gallery returns to CDMX ------------------------------------------------------- anonymous gallery is proud to announce that it is returning to Mexico City where it has opened a space in the neighborhood of San Miguel Chapultepec, while simultaneously dedicated to its programing in New York. anonymous operated in Mexico City between 2012-2018 and looks forward to re-engaging with a mission of international cooperation, collaboration and dialogue; hosting 4-5 exhibitions per year that sometimes coincide with residencies for artists and curators. The gallery’s new space at C. Gobernador Ignacio Esteva 44 will feature approximately 120 sq meters of primary exhibition space, while there is a patio intended for outdoor installation, and a project space, with offices. The project space will be helmed by Antonella Rava, the gallery’s Associate Director in Mexico City, and founder of Relaciones Publicas (RP), which has “functioned as a gallery, publisher, artistic organization, sect, support group, union, strip club; and as an overall tool to create resources that make artistic projects possible”. The collaboration will allow RP the space to continue its programming, while integrating with anonymous’s activities. RP @ anonymous will open its first exhibition with Luis Campos, during CDMX’s art week. anonymous gallery’s first exhibition: Equis, Y Griega, Zeta (mx), focuses on 3 generations of artists from Mexico: X, Y and Z. First organized in New York City, the exhibition returns home, reimagined, where it will inaugurate anonymous gallery's new space in Mexico City. Equis, I Griega, Zeta engages a select, yet significant generational group of artists living and working in Mexico City - who continue to impact the erudition of art not only in Mexico, but globally: Wendy Cabrera Rubio, Miguel Calderón, Tomás Díaz Cedeño, Samuel Guerrero, Adriana Lara, Berenice Olmedo, and José Luis Sánchez Rull. The exhibition equally acknowledges and extends gratitude to the supporting community of galleries who consigned works for the exhibitions: Thank you General Expenses, kurimanzutto, Lodos, and Peana. anonymous will host a public reception for both exhibitions on February 9th, 6-9 pm C. Gob. Ignacio Esteva 44, San Miguel Chapultepec, 11850 Ciudad de México, CDMX| Piso 3 | Buzz 2# ________________________________________________ Public event and opening: February 9, 2024 Location: C. Gobernador Ignacio Esteva 44, San Miguel Chapultepec, 11850 Ciudad de México, CDMX Piso 3 | Buzz 2# EXTENDED VERSION - written by Joseph Henrikson, founder of anonymous gallery The evening of June 19, 2010, the body of the writer Carlos Monsiváis arrived at El Museo de la Ciudad de México, in the center of Mexico City. Instead of what would have been the opening of an exhibition we organized, the museum became the memorial for one of Mexico’s most famous writers. For 3 inspiring days and debaucherous nights prior we had been led through the city by the artist Miguel Calderon and the U.S. writer Carlo McCormick. However, there we stood, a small band of misfits from New York City, sobered and charmed by the ovation and hordes that came to pay their respects to Monsiváis; accompanied by his relatives, cultural officials of the highest order, along with numerous personalities from the art and literary worlds of Mexico. This was my introduction to Mexico City. A place I would later call home and where I was able to collaborate, experiment with, and grow anonymous gallery. In the decade since, I have had the privilege of witnessing, and participating in the evolution of artistic culture in Mexico City. The exhibition Equis, I Griega, Zeta focuses on a small, but significant generational group of artists from that community - who continue to impact the erudition of art not only in Mexico, but globally. Artists such as Miguel Calderón, Adriana Lara and José Luis Sánchez Rull represent a generation of artists who have "matured" and grown further in influence. Miguel Calderon, regarded as a seminal figure in Mexico’s independent art scene, often combines a dark sense of humor that is reconfigured into multi-media works that explore deep social and personal territories. Jose Luis Sánchez Rull develops work that is a saturated web of highly informed perspectives on art, sex, drugs, music and death. His work as an artist and educator has directly informed legions of artists. Adriana Lara's international practice historically brings together separate artistic fields in order to continuously challenge the factors that shape contemporary art production. Meanwhile, a younger generation of artists began to push against what they saw as the new establishment. We now see their artworks, careers and/or organizations develop, fragment, and evolve. Diaz Cedeño delves into the interplay between the natural and the artificial - utilizing regionally found pigments, clay, and metal he incorporates performative rituals and interaction with technology. Olmedo scrutinizes the political dimensions of disability and illness, and the inadequacies of healthcare in relation to skin color, class or gender. Wendy Cabrera Rubio's research and production investigates the impact biotechnology, the extreme right, along with the traditions and aesthetics of didactic theater, through the use of textiles. She, like others of her generation, has been a founding member of several curatorial collectives. Now new opportunities are forming for an emerging generation of artists and spaces that continue to push the boundaries of art and culture in Mexico. Samuel Guerrero, approaches an assimilation of territory, its cultural and political implications; the deconstruction and reconstruction of the body, as well as the formation of new appearances through elements of social identity. The exhibition Equis, I Griega, Zeta focuses on 3 generations of artists from Mexico: X, Y and Z. Joseph Ian Henrikson

When Dior’s Maria Grazia Chiuri decided to pay tribute to Mexican culture, she turned to strong females who embody creativity in all its forms. Curious dichotomies abound in the work of artist Wendy Cabrera Rubio...

The cross-medium artist turns the body politic inside out in ‘Union,’ currently on view at Anonymous Gallery.

The tragedy of 1970s playmate Dorothy Stratten, the actress and Playboy bunny who was murdered by her husband at the young age of 20, takes up the whole of Chinatown-based Anonymous Gallery’s booth. Out of focus and blurry, the paintings hint at the illusion of glamor and constant excess that surrounded the Playboy brand.

For this issue of office, we asked Nnamdie to speak to a group of artists whose work they admire. “These are artists that I feel are rooted in longevity in their practice,” Nnamdie explained. ”That's always interested me, not only as a curator but with Restaurant Projects as well. Hospitality should be rooted with longevity. And these four artists are really hospitable with their practice and how they share it with us all.”

EVENT 1 readings @ Coney Island "Wavewall" (designed by Acconci Studio w/ James McConnell & Daniel Frankfurt) organized by David Lindsay, featuring: Drew Zebia sgp  Geoffrey Mak FUNTO Ty Little Dates: September 21, 2 pm Location and Directions:  West 8th Street - New York Aquarium station More information: http://new.mta.info/agency/arts-design/collection/wavewall EVENT 2 readings @ Storefront for Art and Architecture (designed by Vito Acconci & Steven Holl) organized by David Lindsay, featuring: Elliot Reed Kameelah Janan Rasheed Justin Beal Dates: September 26, 6 pm Location:  97 Kenmare St, New York, NY 10012 More information: http://storefrontnews.org/programming/event/

The exhibition will focus on Vito Acconci's innovative use of language, poetry, and artistic expression.

Whether you were fortunate enough to attend these events or not, we've compiled a collection of some of the hottest events from this week, showcasing the incredible moments that stood out to us. From the fashion-forward streets of Paris to New York Ciity and the luxurious beachside of East Hampton, there's something for everyone.

At Anonymous, K.O. Nnamdie brings their photo-maker’s eye and relational sensibility from Restaurant Projects—their peripatetic curatorial platform combining research, exhibition-making, and hospitality—into the Baxter Street space founded in 2008.

From a group show of funky ceramics at The Museum of Arts and Design, New York, to Richard Mosse at Altman Siegel and Minnesota Street Project Foundation, San Francisco.

‘The Re-Turn’, Chrysanne Stathacos’s first New York solo show in five years, is a fitting homecoming to an underrecognized former figure of the downtown scene.

Chrysanne Stathacos occupies the position of the Pythia (prophetess at Delphi) in an art world much in need of a connection to the Mysteries.

New York-based curator K.O. Nnamdie is interested in the state of United States culture as it stands today, pulling together a tight collection of images that could eventually be referenced as a snapshot of where we are — or, were, rather. Displayed at Anonymous Gallery in Manhattan, its title “Photography Then” looks backwards despite the exhibition being organized in present tense with recent work.

In an effort to encourage critical discourse around the re-emergence of these youth image aesthetics, curators K.O. Nnamdie and Tasneem Sarkez placed emerging artists—Chessa Subbiondo, Alyssa Kazew, Jesse Gouveia, and Thomas Polcaster—alongside established figures Buck Ellison and Jack Pierson.

A new photography show in New York featuring works by Buck Ellison, Jesse Gouveia, Jack Pierson and more explores pertinent questions of American-ness, masculinity, and race.

Stay up-to-date with our ongoing guide to the best New York art exhibitions 2023 for your diary

Ambera Wellman, Chelsea Culprit, and Junette Tang celebrating Hugo Montoya’s excellent new show at Anonymous Gallery at Westside Coffee Shop…

Through the use of meticulously scavenged materials, Montoya’s process is a structural metamorphosis that keeps with it each object’s shared histories, metaphysics, alternative lives, and emblems of social identity.

To mark its 20th year, the boundary-breaking New Art Dealers Alliance art fair takes on themes of family, heritage, and myth.

Gaby Collins-Fernández solo show presented by anonymous gallery

K.O. Nnamdie speaks to us about 'base note', his latest group show focused on sculpture, scent and showing art in the dark.

The New Art Dealers Alliance (NADA) will host its 20th anniversary edition this year, with 146 participating galleries and nonprofit art organizations.

K.O. Nnamdie is a curator, art advisor, and artist based in New York City. A Director of anonymous gallery, he founded Restaurant Projects for curatorial ventures in 2018. His work ethos is driven by hospitality and inclusivity, with exhibitions showing a signature conceptual approach. Nnamdie was included in the Observer's Arts Power 50 in 2021. anonymous gallery's show base note runs September 8 – October 29th, 2022.

Open call for collaborators interested in hosting events at the participating gardens. To propose workshops, artist talks, performances, readings, tastings, film screenings and more, please fill out the form below: Submissions will be reviewed by a committee that includes Joseph Ian Henrikson, Lola Kramer, and K.O. Nnamdie

There's a new public exhibition in a handful of East Village community gardens.

On the occasion of his show at Anonymous Gallery, the artist speaks to Jamila Prowse about using art to attend to personal and collective lossOn the occasion of his show at Anonymous Gallery, the artist speaks to Jamila Prowse about using art to attend to personal and collective loss

Abbas Zahedi’s art doesn’t just exist in space; it acts upon space, riffing on the inherent uncanniness of the empty gallery with interventions of sound, moving image, and performance.

Manning’s work contains a poetic intellect, achieved through gestural abstractions of androgynous figures using pure powdered pigments.

anonymous gallery delivers a museum-quality installation within the space of the fair in a presentation that is driven by communal engagement and audience interaction.

Among the most dynamic solo presentations at the fair, this dramatic booth shows an installation by the New York-based artist and dancer Elliot Reed comprising motorcycles, large speakers, theatre lights and a series of knives embedded in one wall, while a video work and photographs highlight the performative facet of his practice.

Alongside their offerings, NADA has brought on rising curator and gallerist Kendra Jayne Patrick to organize a small section that includes five solo presentations: Joeun Kim Aatchim at Harper’s, Teresa Baker at de boer, Elliot Reed at anonymous gallery, Elif Saydam at Franz Kaka, and Quay Quinn Wolf at Jack Barrett.

Wendy Cabrera Rubio The Body of the Conquistador Anonymous Gallery, New York April 6 – May 7, 2022

At the bottom of a long flight of stairs, a floor below Baxter Street on the edge of Manhattan’s Chinatown, Cristine Brache’s quietly elegiac presentation “Bermuda Triangle” bathed Anonymous Gallery’s space in an uncanny aquatic ambience.

Highlights to look out for in the Galleries sector include works by Elliot Reed with anonymous gallery

As its name suggests, the New Art Dealers Alliance has focused on supporting emerging galleries since its founding in 2002. Among the many exhibitors, be sure to see the solo presentations from Elliot Reed at anonymous gallery

With gestural brushstrokes that blur abstraction, figuration, and even gender, the New York-based artist creates paintings as delicate as they are impactful.

Currently, two New York galleries, Anonymous Gallery and Microscope, are showing how film and video work can have a dynamic, physical presence.

Things aren’t always what they seem. This notion leads Christine Brache’s practice and current exhibition, “Bermuda Triangle.”

The Toronto-based couple talks about communication, pet names and avoiding Seinfeld tropes.

anonymous — Cristine Brache, “Bermuda Triangle,” February 24 – April 2

Swimming pools conjure up all sorts of memories—romantic, nostalgic, and cinematic, or sometimes all of those sensations at once, as is the case with artist Cristine Brache’s exhibition “Bermuda Triangle” at Anonymous Gallery.

With language and laughter as his tools, the artist creates an idiosyncratic body of work

"THE ALL," the artist's new exhibition at Anonymous Gallery, includes Simonini's paintings and toenail clippings.

K.O. Nnamdie, the director of Tribeca’s Anonymous Gallery, and the owner of his own itinerant curatorial practice, Restaurant Projects, really seems to be everywhere...

Leading with a spirit of earnest hospitality, Nnamdie has made a splash in the New York art scene. By Helen Holmes

It’s the last week to trek over to Baxter Street’s inconspicuous anonymous gallery and catch Vegyn, the impeccable group show curated by K.O Nnamdie, featuring work by Darren Bader, Dan Colen, Rose Salane, Agathe Snow, and Andre Walker.

In “Vegyn,” curated by K.O. Nnamdie for Anonymous Gallery, works by Darren Bader, Dan Colen, Rose Salane, Agathe Snow and Andre Walker find common ground in assemblage.

…Dan Colen offered up a rare performance work that went down as part of a show at Anonymous Gallery in New York organized by K.O. Nnamdie, featuring a soundtrack by Colen and Gang Gang Dance’s Brian Degraw.

*** Dan Colen watching the performance he orchestrated at Anonymous Gallery with a sound installation by Gang Gang Dance’s Brian DeGraw ***

How are we meant to look at what we were never meant to see? This is the unavoidable question raised by “DARK ROOM,” a surprising show of seventeen proof prints made in preparation for Diane Arbus’s posthumous 1972 retrospective at New York’s Museum of Modern Art.

Again channeling Darwin, we can also examine the company these wee objects keep: each of the two “curiosity cabinets” in 100 Sculptures has three wide shelves offering an expanse of terrain within which to create environments and relationships between works.

Three-dimensional works created by hundreds of international artists. Anonymous Gallery recently launched the fifth and final edition of its “100 Sculptures” show.

Once you enter a space that houses the work of Texas artist David-Jeremiah, there is no opting out. His installations and performances often implicate their audience at the point of engagement.

Kylie Manning makes it easy to believe that she makes straightforward paintings. They present themselves like gestural scenes, are usually frontal, and depict groups of people set against or within a landscape.

Influenced by past work in commercial fishing, Manning’s understanding of the movement of water shines in her use of soft, aqueous brushstrokes that make her choice of oil paint appear as if it were a heavily pigmented watercolor.

A conversation with the Dallas-based artist after his first series of shows on the East Coast in the Spring of 2021. Words: Teri Henderson

A virtual cabinet of curiosities that exists as both a single digital work and a collection of individual pieces, The Terminal: Human Shaped Whole is a mise-en-abysme of digital art turned inside out.

You cannot get close to the work without becoming a part of it—or, shall we say, complicit in it. “G'ordiavonte Fold,” David-Jeremiah’s debut installation and exhibition at Anonymous Gallery

Artists: Frank Benson, Lutz Bacher, Frances Stark, Puppies Puppies (Jade Kuriki Olivo), Mary Manning Venue: Anonymous Gallery, New York Exhibition Title: The Ecology Of Visibility Date: February 2 – March 1, 2021 Curated By: K.O. Nnamdie

His tightly-constructed “Ecology of Visibility” unspools “the social prescriptions of the individual and their broader collective meaning” with the aid of artists like Lutz Bacher and Frank Benson.

The art world, driven by quarantine into "virtual rooms" and online auctions, is eager to be released. Forbes Life spoke with representatives of the art market about how they plan to go offline.

Founder and director of Anonymous, told Hyperallergic that most fairs favor presentations of fewer, gallery-represented artists, but Báez embraced his unconventional proposal.

Mexico City- and New York-based anonymous unveiled the 3rd edition of the exhibition 100 Sculptures during MECA and stood out with an inviting display of more than 100 objects presented in a charming retail-style fashion featuring festive red shelves and an awning in blue and white stripes.

“We’ve just been pushing for the betterment of the arts in Puerto Rico,” Báez said. “Bringing an international community of curators, artists, and dealers [to the island] is a way for us to say that, in the eye of the crisis, these people keep working and making the best of everything.”

On a sweltering afternoon in late June, gallerygoers, undeterred by the weather, were popping in and out of the art spaces that dot Manhattan’s Lower East Side. It would not have been an unusual sight—galleries tend to coordinate their openings—except for the silver-sheened sheets of paper the people carried. Those sheets were maps directing them to exhibitions imported from cities around the world—Hong Kong, London, Dubai, Tokyo, Chicago, Glasgow, and Auckland, New Zealand, among them.

100 esculturas es una red. Usando una cuadrícula de 10 x 10 como esquema más sencillo para una exposición sumamente poblada, la muestra tiene el objetivo de crear el sistema más dinámico y no jerárquico posible dentro de los límites de una galería”, anuncia la organización.

San Isidro’s Still attempts to link, through a particular setting, the sphere of art with the world of entheogens. San Isidro, in this way, refers to the common name given to hallucinogenic mushrooms in Mexico.

Condo, the enterprising gallery-share program, has revealed the list of participants for its first Mexico City edition, which opens on April 14 and runs through May 12. Organized by Ana Castella, director of the local gallery joségarcía, mx, the Mexico City version of Condo will feature 22 galleries in the Mexican capital hosting 49 of their peers from around the world.

Mexico City’s Zona Maco art fair and its satellite fairs wrapped up on Sunday. Here’s a look around various fairs, openings, and dinners that took over the Mexican capital for the past week.

The artistic practice of Brendan Lynch developed from a dialogue (possibly even conflict) between the aesthetics defined by Culture (with a capital C), and the aesthetics of a more widespread common culture.

El pasado 16 de noviembre se inauguró Different Dances, exposición de Brendan Lynch, en Anonymous Gallery.

Viewers entering Radamés “Juni” Figueroa’s exhibition “Sabroso Veneno” (Sweet Poison) might have wondered if they’d walked into a local cantina by mistake.

Una fiesta a media noche en #SabrosoVeneno de Radames Juni - musical de NAAFI - MEXICAN JIHAD FAUSTO BAHÍA, LAO, AIR MAX '97, MUÑEKA

“Sabroso veneno”, la nueva muestra del boricua Radamés ‘Juni’ Figueroa, es un homenaje al mundo de la salsa que requirió convertir Anonymous en un salón de baile exuberante.

Este artista puertorriqueño se ha caracterizado por implantar, en sus diferentes proyectos, ironía y humor para cuestionar los estereotipos caribeños y el impacto del capitalismo estadounidense en su país.

Sabroso Veneno de Radamés "Juni" Figueroa te transporta al espacio sensorial de una salsoteca de los años setenta. Colores brillantes, luces de neón, palmeras, pinturas y loros transforman la galería en un espacio tropicalizado de festividades.

Los visitantes estarán invitados a usar el espacio y participar en su entorno a través de performances, bailes, conciertos y pláticas, de tal manera que el espacio esté activado.

Anonymous Gallery (Lago Erne 254, Pensil) tendrá una transformación a través de la obra del artista puertorriqueño Radamés "Juni" Figueroa, quien realizará una residencia con instalaciones interactivas de sitio, denominadas Sabroso Veneno.

La artista multimedia Casey Jane Ellison visitó nuestro país, para inaugurar su nueva exposición Discovery en Anonymous Gallery y aprovechamos la oportunidad , para hacerle un par de preguntas.

In Discovery, her first solo exhibition, Casey Jane Ellison is both brand and politician, reality TV star and inspirational cultural icon.

Casey Jane Ellison is a comedian and video artist who is known for her dry, satirical humor and her pointed critiques of the art world.

Screening es una muestra de videos introspectivos creados por artistas visuales y colectivos cuya característica en común es el cuestionamiento de la identidad, pasando por diferentes momentos: la fortaleza, la vulnerabilidad, la sexualidad, la vanidad, la frivolidad, el activismo, la rabia y la subversión entre otras.

Bringing together the work of Peter Sutherland, Brendan Lynch, and FlucT, Anonymous Gallery explores the natural world and its commodification.

But the best is Mexico City based Anonymous Gallery whose show settles itself between art fair and installation with videos, custom printed wallpaper and a small sampling of canvases and framed pieces by Fluct, Brendan Lynch and Peter Sutherland.

Last Saturday, for Zona Maco, Mexico City’s premier contemporary art fair, artist Andrew Birk led a walk from the historical center of the city to Anonymous gallery’s booth, which presented a group show featuring FlucT, Peter Sutherland, and Brendan Lynch.

The gallery was also promoting one of artist Andrew Birk’s “expanded walks,” a long stroll across the city open to any participant willing to meet him along the way.

Mexico City’s Anonymous presents a booth emanating dreamy, ambient sounds and painted like the desert sunset, which brings together depictions of nature in various forms by two artists and a collective—Peter Sutherland, Brendan Lynch, and choreography and performance duo FlucT.

La cuarta edición del Gallery Weekend México presentará tres películas 'underground' del artista pop estadunidense filmadas en los sesenta.

Andy Warhol presente en el Gallery Weekend México.

Ya sea por la icónica imagen de Marilyn Monroe, los grabados de Coca-Cola y Campbells o su peluca grisácea, Andy Warhol es una de las figuras del mundo del arte más conocidas de la historia.

Platicamos con Joseph Ian Henrikson, el director de Anonymous Gallery, sobre Eat, Sleep and Kiss, una muestra integrada por películas del Museo de Andy Warhol, en Pittsburgh

¿La nueva generación de artistas actuales tiene el potencial de continuar esta tradición de diálogo intercultural?, ¿llegamos tarde a las innovaciones?, ¿sólo nos queda realizar adaptaciones y comentarios desde nuestra cultura? Es el camino y sus interrogantes de la plástica mexicana de hoy.

As a kid raised between the suburbs of Bayamón and the mountainous landscapes of Orocovis, Puerto Rico, Radamés “Juni” Figueroa played competitive basketball and learned to tend the cafetines owned by his grandparents.

Organised by Kayla Fanelli and Joseph Ian Henrikson, the show explores the formation and performance of identity, as well as “how self and language are defined within a contemporary condition steeped in virtual networked communities.”

The project presents a range of artists, some with practices that date back to the 1970s, others from a younger generation that have come to age as newer technologies developed, forever altering the way we look at images.

Antes de que nuestra inocencia fuera perdida, Eric Muñoz’s first solo exhibition with Anonymous Gallery, is an installation that addresses themes such as sex, decay, memory and loneliness.

Andrew Birk is a fan of Mexico City. He’s been obsessively recording images with his phone for years. The pictures from his Instagram account (@andrewbirk) offer particular views and fragments of the city which seek to emphasize solutions of contemporary art and stand out as a persistence of painting.

Andrew Birk is a gringo. I don’t mention this as an insult—I’m one too, after all—but to give some context to his work. The Portland, Oregon, native has lived in Mexico City since 2011 and has a clear affinity for the cacophony and vibrancy of this dense, sprawling metropolis.

Painting in its most classical form is Andrew Birk’s most direct and definitive reference in his recent, large-scale, fully immersive work at Anonymous Gallery in Mexico City.

Andrew Birk (Oregon, 1985), exhibe una ambientación urbana conformada por una decena de pinturas densamente empastadas y graffiteadas que tienen collages de propaganda laboral, lienzos adosados a un falso muro de piedra volcánica coronado con vidrios rotos rodeados por objetos urbanos.

Callejero is a large scale project that seeks, from a base of painting, to represent an image of the city consisting of different fragments, like those recorded in his photographs. However, Birk’s work transcends the simple domain of representation, the fragments amalgamated into a stage. While largely focused on research about this medium, Callejero goes beyond the two-dimensional and provides a wide sensory load.

Anonymous Gallery (of DF) had the most creative solution to an art fair booth floorspace shortage. Scattered around the lofts were planters made from sports balls, kitschy figurines, and small drawings. It was conceptualized as a tree house, and all the small works somehow referenced bananas.

Mexico City’s Anonymous Gallery had a bright yellow booth filled with banana-themed work by several artists. The centerpiece was a tiered wooden platform constructed by Puerto Rican artist Radames “Juni” Figueroa, which will serve as a stage for rock band Los Vigilantes on Friday.

’Everyone seems to love selfies right now, and mirrors are always neat and now the art world wants to be neat,’ says Laura Resendiz of Mexico City’s Anonymous Gallery, which had a playful multi-level DIY booth in the Humberto Moro-curated ’New Proposals’ section.

According to gallery founder and co-director Joseph Ian Henrikson, the installation, by Radames “Juni” Figueroa, was first developed as a tree house to be used amongst friends in Puerto Rico.

Mexico City is more up-and-coming than ever. With its restaurants, nightlife, and booming art scene, it’s no wonder that the New York Times singled it out as its number one pick for places to visit in 2016.

Andrew Birk’s Callejero at Anonymous Gallery opens February 6th. The installation works to fill every space of the gallery with street culture and texture ala DF streets.

Saturday night in the basement of the Miami Beach Edition hotel—that one place with the ice skating rink and the bowling alley inside of the club (I pathetically recognized it from my Instagram feed)—the artist Devin Troy Strother threw a party with his Mexico City gallery Anonymous.

The Negative Hand, examina a un grupo de artistas cuyo contexto y proceso creativo varían ampliamente y sin embargo están intrínsecamente unidos por la necesidad común de reflexionar sobre las huellas que dejamos. Artistas: Michael Berryhill, Andrew Birk, Jess Fuller, Ted Gahl, Sadie Laska, Jennie Jieun Lee, Sofia Leiby, Anthony Miller, Ken Okiishi, Josh Reames, Bill Saylor, Amy Sillman, Ross Simonini, Agathe Snow, Devin Troy Strother

There’s a telling line in the press release for The Negative Hand, a presentation of new works at Mexico City’s Anonymous Gallery, reflecting on the cave paintings as Lascaux: “by defining themselves, artists often define the systems around them as well, and inversely, by defining the systems around them, artist begin to define themselves.”

“The Negative Hand” is currently on view at Anonymous Gallery in Mexico City. The group exhibition features work from 15 artists and evaluates how individual gestures and marks connect to larger systems of communication and relate to space and time and is on view until August 29

Artists explore the modern meaning of mark-making in 'The Negative Hand' a new show at Mexico City's Anonymous Gallery.

Facing the entrance, an unmarked metal door, of Anonymous Gallery are two photographic prints by Todd Eberle, each big, brilliantly colored and symmetrical — somewhere between a Rorschach image and the view inside a kaleidoscope.

El fotógrafo Todd Eberle (Cleveland, Ohio, 1963) ha trabajado durante más de 30 años en proyectos editoriales y personales. Inició su carrera retratando a grupos como R.E.M. y en la revista Interview, en la época en la que Andy Warhol llevaba las riendas de la publicación.

El fotógrafo Todd Eberle traza partículas que brillan a través y a pesar del tiempo en su nueva instalación COSMOS.

Mexico’s almost 500-year-old capital will soon be the ‘it’ place to be in the art world when the highly anticipated art fair Zona Maco takes place in Mexico City, February 4 through 8.

La galería mexicana Anonymous eligió obra de tres de sus artistas y creó una instalación llamada Dirty Beach (playa sucia). El piso del pequeño ‘booth’ de la sección Nuevas Propuestas fue cubierto con arena sintética.

Some other practitioners from the up-in-smoke school ranged from Dan Colen’s hand-painted versions at Karma Gallery, New York, for $180,000 to cast cigs by Eric Muñoz at Anonymous Gallery, New York/Mexico City (at the Untitled fair) from only $350 to $1,500 and others. The market is deep and varied enough for a cigarette arbitrage play.

Como parte de Gallery Weekend, Anonymous Gallery presenta, por primera vez en México la exposición individual del artista Pryce Lee, Fish in a Barrel.

One of the coolest exhibitions that opened up during Armory Week was put on by Anonymous Gallery, who hosted a pop-up exhibition by the red hot Pryce Lee. Entitled Single Shot, this series of fifteen individually composed art pieces explores the instance where a life is changed by a single bullet.

By the time Shelter Serra hit New York City in 2009 (via U.C. Santa Cruz and Rhode Island School of Design) he was already unlike most any artist out there.

El artista plástico estadounidense, Kostas Seremetis, presenta su exposición Human Kind, con seis obras a gran escala, dos pinturas tamaño mural y un video introspectivo. Human Kind es un tratado acerca de la resistencia, la revolución y la inocencia de la condición humana.

*Exhibición Fortaleza de la Soledad de José Luis Sánchez Rull** Hasta septiembre 2012 Anonymous Gallery

José Luis Sánchez Rull (México, 1964) inaugura la exposición titulada La Fortaleza de la Soledad en una de las sedes de Anonymous Gallery —la otra se encuentra en la ciudad de Nueva York—, situada en la colonia Roma de la ciudad de México.

Ser parte de la memoria colectiva, producir registro histórico y cultural, ser presa de los medios masivos de comunicación, conocer e idear cómics, monstruos, personajes personales que se relacionen con experiencias y sensaciones presentes dentro de un contexto actual: de alguna forma todo eso engloba “La fortaleza de la soledad” (referencia a Superman intencional) una muestra curada por Daniel Guzmán (México, 1964)

Pocos meses después de exponer en la Casa del Lago grabados inspirados en los Proverbios del Infierno, de William Blake, José Luis Sánchez Rull presenta ahora una muestra de técnicas mixtas curada por Daniel Guzmán

Fresh Kills is a group exhibition of purple’s favourite contemporary artists such as AGATHE SNOW, BARRY MCGEE, DAVID ELLIS, GREG LAMARCHE, HANNA LIDEN, RICHARD PRINCE, SWOON, AARON YOUNG and TOM SACHS (in the new issue of Purple Fashion Magazine #17)

Usually it’s the established, powerhouse dealers that open multiple branches: Gagosian with its 11 galleries in 8 cities, Hauser & Wirth with its four in three. Recently, though, a few smaller players are beginning to follow suit. Cleopatra’s has spaces in Greenpoint and Berlin, for instance, and now the Lower East Side’s Anonymous gallery, started only in 2008, just opened a branch in Mexico City–the Distrito Federal.

More store front graffiti by the artist KENNY SCHARF on the Bowery. Following his stimulating Houston Street wall mural, Scharf’s cosmic creations appear on the roll down gates of several buildings throughout the Lower East Side, New York.

In his latest endeavor, maverick graffiti artist Kenny Scharf has launched a project entitled “The Gates Project” produced in part by Anonymous Gallery.

If you have heard of NYC’s Fashion Week, well this is NYC’s Art Week. This year, March 3-6 is the most intense and important week of the entire year for the art world.

Anonymous Gallery will present these painted gates as part of its ongoing public art program and create innovative opportunities for the public to view the artwork. Kenny Scharf was selected for his talent as a painter, his undeniable influence on downtown art and culture, and his general flare for

His paintings incorporate imagery from advertisements, cartoons and classic Americana into exuberant compositions with an underlying subversive edge.

October 15 saw Anonymous Gallery in New York City launch their Subculture Capital exhibition. The show, pictured here, featured world renowned artists such as: Ronnie Cutrone, Rammellzee, Kostas Seremetis, and Romon Kimin Yang aka Rostarr.

Among the art neighborhoods of Manhattan, the Lower East Side is by far the most picturesque. With its dusty synagogues, squeezed-together tenements, anarchist graffiti and shop signs in Yiddish, Spanish and Chinese, it’s a visual event whether you’re visiting galleries or not.