N. Dash, Mitchell Kehe, Lotus Kang, Grant Mooney, Iris Touliatou, Minh Lan Tran

anonymous is pleased to present Trace, a group exhibition bringing together artists whose practices explore and record the passage of time. Across painting, sculpture, installation, and living systems, the exhibition considers trace, residue, and accumulation as both material conditions and the frameworks through which contemporary life is registered.

At a moment increasingly shaped by digital mediation, algorithmic systems, ecological instability, and accelerated circulation, Trace asks what persists? What accumulates beneath visibility? How are memory, labor, emotion, embedded within the surfaces and structures that surround us? Rather than presenting time as narrative, the artists in this exhibition approach it as sedimentation. Deposited, absorbed, dispersed, and transformed.

Throughout the exhibition, materials function less as passive substances than as active recording devices. Dust, light, pigment, organic matter, photographic emulsion, industrial remnants, and atmospheric conditions become carriers of lived and systemic histories. The works do not simply represent experience; they absorb it. Surfaces become repositories of pressure and duration. Objects bear evidence of circulation. Images emerge through processes of exposure, erosion, repetition, and delay.

N. Dash's materially grounded works transform everyday substances into records of contact and lived duration. Grant Mooney's sculptures investigate how materials behave in relation to one another, foregrounding the subtle effects of proximity, tension, and time. Minh Lan Tran's paintings hold multiple temporalities in suspension, where gesture accumulates into dense and shifting surfaces. Mitchell Kehe's work navigates unstable relationships, allowing meaning to emerge through processes of concealment and reconfiguration. Lotus Kang's installations treat object as a living material subject to exposure, deterioration, and environmental influence. Iris Touliatou attends to the often overlooked residues of systems and infrastructures, revealing how use, circulation, and maintenance leave their mark on objects and spaces.

The exhibition traces a continuum between the intimate and the systemic, examining how invisible forces become materialized and how environments, objects, and bodies participate in the ongoing production of memory, time and experience.

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ABOUT THE ARTISTS

N. Dash (b. 1980) lives and works with her partner, K.S., in New York and New Mexico. The artist has presented solo exhibitions at institutions including SITE Santa Fe, New Mexico (2023–24); the Stedelijk Museum voor Actuele Kunst (SMAK), Ghent (2022); the Museum of Contemporary Art Santa Barbara, California (2019–20); the Aldrich Contemporary Art Museum, Ridgefield, Connecticut (2019); Fondazione Giuliani, Rome (2017); the Hammer Museum, Los Angeles (2014); and White Flag Projects, St. Louis (2013). N. Dash’s work has also been included in group exhibitions at the San Francisco Museum of Modern Art (2021, 2018, 2013); the Dallas Museum of Art (2018); the Jewish Museum, New York (2015); Centre for Contemporary Culture Strozzina, Palazzo Strozzi, Florence (2015); and the Berkeley Art Museum and Pacific Film Archive (2016, 2014), among others. The artist’s work is in the collections of the Solomon R. Guggenheim Museum, New York; the Museum of Modern Art, New York; the Whitney Museum of American Art, New York; Sammlung Goetz, Munich; Stedelijk Museum voor Actuele Kunst (SMAK), Ghent; Albright-Knox Art Gallery, Buffalo, New York; the Nelson-Atkins Museum, Kansas City; the ICA Miami; the Rose Art Museum, Brandeis University, Waltham, Massachusetts; the San Francisco Museum of Modern Art; the Dallas Museum of Art; and the Hammer Museum, Los Angeles, among others worldwide.

N. Dash’s practice is grounded in and distinguished by bringing together organic substances, manufactured readymade objects, and images resulting from embodied processes. The tactile surfaces of these restrained, luminous works emphasize haptic experience, drawing attention to the subtle yet seismic effects of touch.

Mitchell Kehe (b. 1984) lives and works between New York and Berlin. He received his BFA from the Maine College of Art, Portland, in 2014 and his MFA from the Piet Zwart Institute, Rotterdam, in 2016. Kehe’s work has been featured in numerous exhibitions in the US and abroad. Recent solo-exhibitions include: “Bonded by the Spirit of Doubt” 15 Orient (New York), “From Pop Songs to Pig Breeding”, 2025, at Ginny on Frederick (London), “Sourdough”, 2024, at Khoshbakht (Cologne), “The Wheel Turns”, 2023, at Edouard Montassut (Paris) and “The Difference Between Building and Growth”, 2023, 15 Orient at Weiss Falk (Basel). Recent group exhibitions include: Champ Lacombe, Biarritz (2025); April in Paris, Aerdenhout (2023); Hollybush Gardens, London (2023); The Wig, Berlin (2022).

Mitchell Kehe’s practice is guided by an intuitive search for form, working with found objects, personal experience, and responsive material processes. He works with a mix of traditional and unconventional materials— shaped panels, synthetic fabrics, metallic enamel, acrylic, oil paint, flocking and collage. These elements come together in highly personal and enigmatic compositions where materials appear to build, echo, and dissolve into active uncertainty.

Lotus Kang (b. 1985) lives and works in Brooklyn. She received an MFA from the Milton Avery School of the Arts, Annandale-on-Hudson (2015) and a BFA from Concordia University, Montreal (2008). Selected solo exhibitions have been held at Frye Art Museum, Seattle (forthcoming); Esther Schipper, Berlin (2025); 52 Walker, New York (2025); Museum of Contemporary Art Chicago (2023); Contemporary Art Gallery, Vancouver (2023); Chisenhale Gallery, London (2023). Selected group exhibitions have been held at the 61st Venice Biennale (2026); 13th Shanghai Biennale (2025); Museum of Modern Art, New York (2025); Julia Stoschek Foundation, Berlin (2024); Kunstverein Munich (2024); Museum of Contemporary Art Toronto (2024); Whitney Museum of American Art, New York (2024); Hessel Museum of Art, Annandale on Hudson (2023); Art Gallery of Ontario, Toronto (2023); New Museum, New York (2021); and SculptureCenter, Queens (2020). Kang is a recipient of a John Simon Guggenheim Memorial Foundation Fellowship (2024). Kang has participated in residencies at Rivers Institute for Contemporary Art and Thought, New Orleans (2023),Triangle Arts Association, New York (2022); Horizon Art Foundation, Los Angeles, (2022); Banff Centre for Arts and Creativity, Alberta (2020); and Rupert Residency, Vilnius (2018).

Lotus L. Kang's practice unfolds across sculpture, photography and site-responsive installation. Using an acute sensitivity towards process and space, her work reflects on impermanence, inheritance, memory, and time. Taking up questions of "becoming" on expansive terms, she often uses unstable and unfixed materials in a visual language that melds structural, organic and entropic forms to explore self and environment as contingent, continuous and inseparable.

Grant Mooney (b. 1990) lives and works in New York. He studied art at Central Saint Martins, London and California College of the Arts, San Francisco. Recent institutional solo exhibitions of his work have been held at Museum Abteiberg, Mönchengladbach (2026) and Chisenhale Gallery, London (2025). Mooney’s work was included in Whitney Biennial 2024: Even Better Than the Real Thing, organized by Chrissie Iles and Meg Onli, at the Whitney Museum of American Art, New York, and has been featured in solo exhibitions at Wesleyan University, Middletown, CT (2024), Midway Contemporary, Minneapolis (2024), Progetto, Lecce, Italy (2023), Miguel Abreu Gallery (2022/2023) Altman Siegel Gallery, San Francisco (2023 & 2019), Konrad Fischer Galerie, Berlin (2021), Kunstverein Braunschweig (2017), as part of the SECA Art Awards at the San Francisco Museum of Modern Art (2017), and the Wattis Institute for Contemporary Art, San Francisco (2015). His work has been included in group exhibitions at the Hessel Museum of Art, Bard College, Annandale- on-Hudson, NY (2022), the ICA, Los Angeles (2021), Yale Union, Portland (2020), Stadtgalerie Bern (2020), SculptureCenter, New York (2020), Fondation D’entreprise Ricard, Paris (2017), Kunst-Werke Berlin (2017), White Flag Project Library, St. Louis (2016), and Futura Centre for Contemporary Art, Prague (2016), among others.

Grant Mooney is a subtle materialist. Like a chemist of sorts, his work focuses on the way materials and forms interact and impact one another. Grounded in a deep knowledge of materials and processes, his practice occupies an intermediary position between abstract, autonomous, and site-specific sculpture, a type of sculpture in which an acute concern for tactility, connectivity, and space constitutes a centrifugal force. Mooney’s objects distill the observable and imperceptible properties of organic and industrial materials, investigating structural capacities and potentials as well as the effects of time, temperature, and adjacency.

Iris Touliatou (b.1981) lives and works in Athens, Greece. Recent solo exhibitions include the National Hellenic Research Foundation (2024); Peer, London; fluent, Santander; and Kunsthalle Basel (all 2023), as well as at Grazer Kunstverein (2022). Her work has been included in the group exhibitions Key Operators, Kunstverein München, Munich (2024) ; Phenomenon 5, Anafi (2024) ; Intimate confession is a project, Blaffer Art Museum, University of Houston, Houston (2023); forms of the surrounding futures, Göteborg International Biennial for Contemporary Art, Göteborg (2023); Siren (some poetics), Amant, NYC (2022); When I state I am an anarchist, PLATO, Ostrava (2022); the New Museum Triennial, Soft Water Hard Stone, NYC (2021); the 7th Athens Biennial, Eclipse (2021); Anti Structure, DESTE Foundation (2021); The Same River Twice, Benaki Museum, Athens (2019); among others.

Iris Touliatou works across various disciplines which are necessary for each intervention. Examining infrastructures and function, attachment and desires, the public and private, Touliatou explores the relationships between social structures and people’s practices and raises questions on the conditions of artistic production and the institutional frames within which it exists. She lives and works in Athens, Greece.

Minh Lan Tran (b. 1997) lives and works in Paris, France. She studied Art History at the Ecole du Louvre, Paris and the University of Oxford. She holds an MA in Byzantine studies and visual theology from the Courtauld Institute of Art, London (2020) and an MA in Painting from The Royal College of Art, London (2023). Her work has been exhibited in solo and group presentations at the Fondazione Giuliani, Rome; the Museum of Modern Art, Warsaw; Balice Hertling, Paris; Hannah Hoffman, Los Angeles; Gallery Common, Tokyo; the Stiftung St. Matthäus, Berlin; Château Lacoste, Aix-en-Provence; High Art, Seoul; François Ghebaly, Los Angeles; Jan Kaps, Cologne; the Museum of the Home, London; and House, Berlin. In 2026, she was nominated for the Prix Reiffers Art Initiatives and included in Trafiquer l'inconnu at the Reiffers Art Center, Paris, curated by Bernard Blistène, honorary director of the Centre Pompidou.

Minh Lan Tran’s practice encompasses painting, writing, and performance, exploring the interplay and resistance between language, movement, and matter. Beginning with calligraphy, writing forms an important foundation of her artistic process. Embracing the principles of choreography, Tran carefully distributes different intensities, resulting in compositions that embody the fluidity of physicality. Rooted in diverse traditions and histories, her art addresses themes of social unrest and channels spiritual-political expressions of protest, including self-immolations. Through the convergence of these elements, the artist prioritizes embodiment over representation.

PARTICIPATING ARTISTS:  

N.Dash , Grant Mooney , Iris Touliatou , Minh Lan Tran , Mitchell Kehe , Lotus Laurie Kang .