Dan Schein @ JJ Murphy Gallery, NYC - "Dan Paintings" Exhibition

Dan Schein

Dan Paintings

JJ Murphy Gallery, New York

April 10 - May 10, 2025

JJ MURPHY GALLERY presents “Dan Paintings,” a solo exhibition of recent small-scale paintings by DAN SCHEIN.

Dan Schein’s early works were picaresque narratives. They portrayed the adventures of a hapless male character navigating life in the backwoods. His recent exhibition, “Middle Aged,” at Galleri Tom Christoffersen in Copenhagen, Denmark, involved a medieval theme and reflections on aging. The works in this show, his first solo exhibition in New York City since 2016, feature single or lonely characters, painted in his typical raw, expressive style, with thick impasto reminiscent of artists such as Chaïm Soutine, Frank Auerbach, and Leon Kossoff.

Dan Schein’s paintings draw upon several different genres: landscapes, portraits, and still lifes. Some are pastoral scenes. An idyllic one depicts a naked woman reclining on a riverbank while two white birds fly overhead. In “Hug a Tree” (2025), a lone woman in a long robe embraces a large tree overlooking water. What are we to make of her gesture? Whatever our interpretation, this scene reflects Schein’s subtle sense of humor in noting the eccentricities of human behavior. In “Tidal Wave” (2024), a painting that strongly recalls the work of Arthur Dove, Charles Burchfield, and Marsden Hartley, a female nude contemplates the sunrise over rough waves, including a gigantic one that threatens to cascade down and destroy the Edenic scene.

Dan Schein’s smaller works often deal with ordinary, mundane situations. In “Water Pressure” (2024), a person showers at night while incense burns nearby. Yet the real interest is less in the content than in the way Dan Schein paints it: the wavy white shower curtain, the halting flow of water from the showerhead, the subject's long wet hair, the tattoo on their shoulder, the way the gray smoke rises from the incense burner. There are just enough details to make the scene convincing, but Schein’s figuration always eschews realism in favor of a cartoonlike, painterly primitivism. His figures often merge with the background as if they are an embedded part of it.

There are several portraits. In one, a busty woman types at a desk in front of an old-fashioned computer screen. She positions her body toward us, as if posing for the viewer. We can’t help but notice her skinny white legs that seem disproportionate from the rest of her body. The black chair she sits in is so gigantic it appears to engulf her, while the canted window reinforces the sense that she’s captive within the office. In “Self-Actualization” (2022), a woman sits at a table in a restaurant, gesturing with her hands, as if she might be talking to herself. Her body language and haunted expression suggest a certain vulnerability, a characteristic that Schein's figures all seem to share.

Dan Schein has had multiple solo exhibitions at Galleri Tom Christoffersen, Copenhagen, Denmark, most recently in 2025; Marvin Gardens, Queens, NY; and Mike Weiss Gallery, NYC. Group shows include Gaa Gallery, NYC; Galerie Zink, Germany; and Feight + Volume, New York City. Schein received a BFA from SUNY at Purchase and an MFA from Tyler School of Art at Temple University in Philadelphia. The artist lives and works in Ridgewood, Queens.

JJ MURPHY GALLERY

53 Stanton Street, New York, NY 10002

www.jjmurphygallery.com

Monir Shahroudy Farmanfarmaian @ James Cohan Gallery, NYC - Mirror-works and Drawings (2004 - 2016)

Monir Shahroudy Farmanfarmaian

Mirror-works and Drawings (2004 - 2016)

James Cohan Gallery, New York

48 Walker Street, January 29 -  March 6, 2021

291 Grand Street, January 29 - February 27, 2021

MONIR SHAHROUDY FARMANFARMAIAN

Untitled Maze, 2015

Mirror and reverse glass painting on plaster and wood

53 1/8 x 53 1/8 in., 135 x 135 cm

Courtesy James Cohan Gallery

James Cohan presents an exhibition of work by Monir Shahroudy Farmanfarmaian, on view from January 29 through March 6 at 48 Walker Street and January 29 through February 27 at 291 Grand Street. The exhibition spans both of the gallery’s locations, with a presentation of two major sculptural series in Tribeca and a selection of the artist’s geometric drawings and Convertible sculptures in the Lower East Side. This is the late artist’s first exhibition with James Cohan.

Over six decades, MONIR SHAHROUDY FARMANFARMAIAN (1922 - 2019) investigated the intricate geometries of her Iranian heritage, reconfiguring traditional craft techniques to explore the philosophical, poetic, and perceptual possibilities of interlocking primary forms. In her work, rigorous structure and repetition are the foundations of invention and limitless variation. Spanning mirrored mosaics, sculptural assemblage, drawings, textiles and monotypes, Monir’s multidimensional practice centered on incorporating elements from her inherited past into her own designs—which blended a range of compositional influences, from classical Persian interior decoration to Western modernism. 

Monir is best known for her geometric mirror-works, in which cut polygonal fragments of reverse-painted, reflective glass are arranged into kaleidoscopic compositions grounded on principles of Islamic geometry. Tied to a mystical understanding of primary shapes as sacred and connected to a divine natural order, her unit-based compositions of luminous glass reveal uniformity, repetition, and precedent as the basis for endless recombination. This two-part exhibition brings together major mirror-mosaic works and related geometric drawings from the prolific period following Monir's return to Iran in 2004.

On view at the Tribeca gallery are five major Maze works: Triangle Maze, Square Maze, Pentagon Maze, Hexagon Maze (all 2014), and Untitled Maze (2015). In these sculptures, the traditional surface of the mirror-mosaic is dissected and reassembled into a maze form, opening up spatial arrangements drawn from architectural convention to new possible interpretations. For Monir, the luminous reverse-painted glass pathways in these wall-based sculptures invoke the mazes of Persian gardens as well as the extravagant hedge labyrinths of English and French estate gardens. Her Maze works incorporate sacred geometries to give meditative, physical expression to the Farsi adage Hameesheh yek raah hast—“there is always a way”—inviting the viewer to discover their way in and their way out of the path laid out by the artist.

Monir often grouped her work in series she called “families,” suggesting a familial and conceptual affinity of form, dimensionality, or structure between works in each group. Each family comprises eight sculptures, which begin with the fundamental form of the triangle and progress through the remaining seven regular polygons in Euclidean geometry. In the central gallery, three exemplary works from Monir’s Fourth Family (2013) are each anchored by central, multi-sided linear shapes whose features define an outward-spanning tessellation of form. Like the sequence of Maze works in the previous gallery, Fourth Family Pentagon, Fourth Family Hexagon, and Fourth Family Octagon unfold in a progression of geometric complexity, each subsequent form composed of more facets and more angles.

The Convertible sculptures on view in Tribeca marry Monir’s enduring interest in repetition and seriality with explorations into modularity and permutability. Each wall-based mirror work is composed of segments that can be assembled in myriad patterns, folded and unfolded according to diagrams drawn by the artist—some based on extant decorative patterns, and others of her own invention. In Monir’s own words, they enable her to “play with ideas of infinity.” Khordad - Convertible Series (2011) is named for the third month of the Persian solar calendar, a timekeeping system that begins each year on the vernal equinox. The work is composed of four individual forms that each suggest the sinuous trefoil arches of early Islamic architecture. Reflection Five (2010) is a wall-based sculpture that consists of one central rhombus and four identical square-shaped forms which, in the Islamic tradition, symbolize North, South, West, and East. By organizing the forms according to her own design, and invoking concepts central to Minimalism such as modularity, the shape’s axes are complicated, demonstrating the fluidity and generative potential of geometric structure.

With Installation of 9 elements (2004), on view at the Lower East Side gallery, Monir employs diagrammatic organization to establish a spatial order between dissimilar, mirrored forms. Layering contemporary ideas with an Islamic integration of mathematics, bodily presence, and spirituality, this immersive installation work reconnects 20th century abstraction with its theological roots to invite sublime perceptual experience grounded in the body of the viewer. Monir explained in a conversation with Hans Ulrich Obrist, “With the reflections, you’re also a part of the art piece. Your own appearance, your own face, your own clothing—if you move, it is a part of the art. You’re the connection: it is the mix of human being and reflection and

artwork.”

Exhibited alongside this nine-element installation are two mirror works whose shapes respond to Sufi mathematical principles, and a selection of historically significant drawings. Drawing was an integral throughline in Monir’s wideranging practice, providing a means for exercising dimensional thinking through experimentation with geometric structure. The drawings on view in this exhibition were created in the 1990s and 2000s, when Monir returned to Tehran after a 26-year period of exile in New York following the Islamic Revolution in 1979. Collectively, they demonstrate her decades-long, two-dimensional exploration of sculptural possibilities and sculptural production, as well as what curator Suzanne Cotter describes as the “intensely spatial nature of Monir’s artistic thinking.”

The work of MONIR SHAHROUDY FARMANFARMAIAN (b. Qazvin, Iran, 1924 - d. 2019) has been exhibited internationally beginning in the 1960’s. Her forthcoming solo exhibition at the High Museum of Art in Atlanta, GA will open in 2022. Recent solo exhibitions include Sunset Sunrise, Irish Museum of Modern Art, Dublin, Ireland (2018), which travelled to Sharjah Art Foundation, United Arab Emirates (2019); Mirror Variations: The Art of Monir Shahroudy Farmanfarmaian, Grand Rapids Art Museum, MI (2018); Lineages, Savannah College of Art and Design Museum of Art, Savannah, GA (2017); Monir Shahroudy Farmanfarmaian: Infinite Possibility. Mirror Works and Drawings, 1974-2014, Serralves Museum of Contemporary Art, Porto, Portugal (2014), which travelled to Solomon R. Guggenheim Museum, New York, NY (2015); and Chrysler Museum of Art, Norfolk, VA (2017); Monir Shahroudy Farmanfarmaian: Convertibles and Polygons, The Museum of Fine Arts, Houston, TX (2013); and Monir Shahroudy Farmanfarmaian: Mirror Mosaics, Victoria and Albert Museum, London, United Kingdom (2007).

Her work is held in the permanent collections of major institutions worldwide, including the Alfond Collection of Contemporary Art, Cornell Fine Arts Museum, Rollins College, Winter Park, FL; The Andy Warhol Museum, Pittsburgh, PA; the Barry Art Museum, Norfolk, VA; Grand Rapids Museum of Art, Grand Rapids, MI; Guggenheim Museum, Abu Dhabi, United Arab Emirates; High Museum of Art, Atlanta, GA; Hirshhorn Museum and Sculpture Garden, Washington, DC; Louis Vuitton Foundation, Paris, France; M+ Museum, Hong Kong; McNay Art Museum, San Antonio, TX; Metropolitan Museum of Art, New York, NY; Monir Museum, Negarestan Museum Park Gardens, Tehran, Iran; Museum of Contemporary Art, Tokyo, Japan; Museum of Contemporary Art, Chicago, IL; Museum of Fine Arts, Boston, MA; Museum of Fine Arts, Houston, TX; Museum of Modern Art, Tehran, Iran; Niavaran Cultural Center, Tehran, Iran; Queensland Gallery of Contemporary Art, Queensland, Australia; Sharjah Art Foundation, Sharjah, United Arab Emirates; Solomon R. Guggenheim Museum, New York, NY; Tate Modern, London, United Kingdom; Tehran Museum of Contemporary Art, Tehran, Iran; Toledo Art Museum, Toledo, OH; Victoria and Albert Museum, London, United Kingdom.

JAMES COHAN GALLERY

48 Walker St New York, NY 10013 

291 Grand St New York, NY 10002

www.jamescohan.com

Firelei Báez @ James Cohan Gallery, New York

Firelei Báez: Je bâtis a roches mon langage
James Cohan Gallery, New York
April 20 - June 16, 2019

FIRELEI BAEZ

Je bâtis a roches mon langage, 2019

Perforated tarp, printed mesh, artificial

and real plants; two paintings

© Firelei Báez, Courtesy James Cohan, New York

James Cohan presents Je bâtis a roches mon langage, an exhibition of new work by Firelei Báez, at the gallery’s Lower East Side location. This is the artist’s debut solo exhibition at James Cohan.

Dominican-born, New York-based artist Firelei Báez reconfigures visual references drawn from the past to explore new possibilities for the future. Incorporating subject matter from a breadth of diasporic narratives, the artist’s intricate works on paper and canvas, large-scale sculptures, and installations explore the ways in which personal and collective identities are shaped by inherited histories. Firelei Báez incorporates the visual languages of regionally-specific mythology and ritual alongside those of science fiction and fantasy, to envision identities as unfixed, and inherited stories as perpetually-evolving. By rendering spectacular bodies that exist on opposite sides of intersecting boundaries, Firelei Báez carries portraiture into an in-between space where subjectivity is rooted in historical narratives as much as it can likewise become untethered by them.

Acknowledging the reciprocal nature of migration as a non-linear course of movement, Firelei Báez creates sites of connectivity, where overlapping histories and modes of understanding coexist. For Je bâtis a roches mon langage, the artist has created an immersive installation in the main gallery that spreads into the reception area. The space is cocooned in hand-perforated blue tarp—often used for temporary shelter, and thus a symbol of both disaster and refuge—casting light onto material patterned with black diasporic symbols of nurturing and resistance. Overhead is a geo-specific map of the stars as they appeared in the night sky at the onset of the Haitian Revolution (1791-1804). A successful uprising led by self-liberated enslaved people against the French colonial government in Saint-Domingue, the Haitian Revolution was an early precursor to abolition movements internationally and had an indelible—if often unacknowledged—impact on the ideological and geopolitical landscape of the 19th century world. The installation’s oceanic quality suggests the broader history of black diaspora and the Middle Passage, in relationship to Glissant’s theory of the ocean as a connector and a repository of physical memory.

Facing each other within the tented installation are two imaginative portraits of empowered, black female protagonists. The viewer is positioned in the discursive space between their mutual gaze. The artist’s portrayals draw reference to the Haitian priestesses whose revolutionary contributions are absent from its heroic retellings, and tignons, head-coverings women of color were legally required to wear in 18th century New Orleans. Rendered in spectacular color, their bodies are in flux—always in the process of being made and unmade. For Firelei Báez, painting becomes a means of giving form to memory, evincing the idea that presence is not negated by passing.

With Je bâtis a roches mon langage, Firelei Báez has created a generative space in which the transmission of dominant historical narratives and ideologies can be reexamined, subaltern histories excavated, and new speculative possibilities explored. Throughout the run of the exhibition, the artist will organize readings and programs that break down and expand the white cube of the gallery, inviting others to enrich and activate the space with their own narratives and experiences.

FIRELEI BAEZ (b. 1981, Dominican Republic) received an M.F.A. from Hunter College, a B.F.A. from the Cooper Union’s School of Art, and studied at the Skowhegan School of Painting and Sculpture. Her work is the subject of 2019 solo exhibitions at the Witte de With Center for Contemporary Art, Rotterdam, the Netherlands, and the Mennello Museum of Art, Orlando, FL. The artist’s monumental outdoor sculpture, 19.604692°N 72.218596°W, is included in En Plein Air, the 2019 High Line Art exhibition. Her current commission for the Modern Window at the Museum of Modern Art, New York, is on view through November. Firelei Báez recently participated in the 2018 Berlin Biennale, and was also featured in biennials Prospect.3: Notes for Now (2014), Bronx Calling: The Second AIM Biennial (2013), and El Museo’s Bienal: The (S) Files (2011). Her major 2015 solo exhibition Bloodlines was organized by the Pérez Art Museum Miami and travelled to the Andy Warhol Museum in Pittsburgh.

Firelei Báez is the recipient of many awards: most recently, the United States Artists Fellowship (2019), the College Art Association Artist Award for Distinguished Body of Work (2018), the Future Generation Art Prize (2017), the Chiaro Award (2016), and Joan Mitchell Painters and Sculptors (2011). Her work belongs to the permanent collections of institutions including of the Studio Museum in Harlem, New York, NY; Kemper Art Museum, St. Louis, MO; Pérez Art Museum Miami, FL; The Cleveland Clinic Fine Art Collection, Cleveland, OH; Phillip and Tracey Riese Foundation, New York, NY; San Jose Museum of Art, San Jose, CA; Ruth and Elmer Wellin Museum of Art, Hamilton College, Clinton, NY; Sindika Dokolo Foundation Collection, Luanda, Angola; Spelman College Museum of Fine Art, Atlanta, GA; and the Salomon Foundation for Contemporary Art, Annecy, France.

JAMES COHAN GALLERY
291 Grand St., New York, NY 10002
www.jamescohan.com

Simon Evans™ @ James Cohan Gallery, NYC - Passing through the gates of irresponsibility

Simon Evans™: Passing through the gates of irresponsibility
James Cohan Gallery, New York
Through April 14, 2019

Simon Evans™

The city of lists, 2019

Mixed media, 52 1/2 x 74 3/4 in.

© Simon Evans™, Courtesy James Cohan Gallery, New York

James Cohan presents Passing through the gates of irresponsibility, an exhibition of new work by Simon Evans™ at the gallery’s Lower East Side location. This is the artist’s fifth solo exhibition at James Cohan.

Simon Evans™ is the artistic collaboration between Simon Evans and Sarah Lannan. Together the New York-based artists create dense text-based collages brimming with poetic handwritten phrases, drawings, and images often scavenged from the detritus of everyday life both inside and outside the studio. The works depict and describe a universe suspended between the poles of earnestness and irony. With deft wit and a wry brand of melancholy, ambiguously personal and fictional narratives are woven into diagrams, charts, maps, taxonomies, advertisements, diary entries, inventories, and cosmologies that plunge the viewer into alternate states of pathos and hope.

The works in Passing through the gates of irresponsibility demonstrate the continuous evolution and versatility of the artists’ distinctive visual language, reflecting their long-standing interests in concrete poetry, surface treatment, personal branding, and memory and historical narrative, both individual and collective. The stream-of-consciousness, elliptical prose layered throughout their work creates surprising—and occasionally startling—juxtapositions that produce moments of lyrical profundity and accidental poetry.

I Wandered Lonely as a Cloud and Sky are contemporary ruminations on the work on 18th century English Romantic poet William Wordsworth. I Wandered Lonely as a Cloud, 2018, takes its title from a line from Wordsworth's famous poem, “Daffodils,” yet the artists play against the romantic poet’s sentimental ode to bucolic pleasures. Their cumulus cloud is an expansive accumulation of the noise of the world today—the chaotic oversaturation of text and picture information enabled by the digital cloud—that hints at the anxieties and feelings of isolation often engendered by such omnipresent inundation. Sky, 2018, offers a distinctly serene counterpoint. As Evans notes, “I wanted to make a calm piece but I wanted it to be very much about the constant flux everything exists in. I wanted to construct a clear sky as a shield against the one we have, which to me seems loud and terrifying and constant, with noises and words and images...I saw it as a challenge as a word person to make something of satisfaction without them.”

All that potential energy, 2019, is a large-scale mixed media work on paper covered in layered gold leaf. The gilt surface of the work is a consideration of both the material’s elemental qualities—gold is a highly conductive metal and has been used in electrical wiring since the days of the telegraph—and its historical use in art and architecture, as suggested by the beautifully-sculpted hand that centers the composition. Into the grey night we go, 2019, is also an exploration of surface and material, in which delicate graph paper cut-outs represent fragile infrastructures and rich passages of orange poster board and pigment recall the gleam of construction signage under the headlights of passing vehicles at night. There is an ambiguous darkness to the composition that proposes both an end and a renewal. These works are preoccupied not just with the surface of the pictures but also, ultimately, the process of art making. They invite the viewer into a space suffused with possibilities for revelation and continued exploration.

In a tomb, 2017, Evans replicates his childhood bedroom in a shoe box. The impetus for the work was his parents’ sudden and dramatic split after forty years of marriage the previous year. As he recalls, “Now I was getting to know my mum, and I remembered this one time she helped me make an Egyptian tomb in a shoe box for school. I was big into ancient Egypt like many children were, and through it I began to look back before I was born down the long road of history.” The work is a nod to the rare special moment Evans and his mother shared in his childhood, as well as a way of mourning the demise of his parents’ marriage. It touches upon both intensely personal pasts and the broader strokes of world history. The microcosm of the personal and the macrocosm of the universal are also syncretized in The World Again, 2017, a map of the world filled up with other worlds—and other planets—all hand-drawn and labeled. Its title recalls a 2002 piece in which the artist imagined the world as a giant, man made island. With The World Again, Simon Evans and Sarah Lannan represent the world as it is today using the archaic language of cartography. The seeming condensation of the universe into the palm of the hand—achieved by smartphones and tablets—is reflected in the densely layered worlds that fill the composition.

Several other works in the exhibition continue the play between past and present. The city of lists, 2019, is an abstracted landscape of a city of cities, both ancient and modern, in which a length of classical meandros is juxtaposed with a contemporary wall clock. Relic, 2019, is—like a tomb—a work inspired by ancient Egypt. Hieroglyphic illustrations are interspersed with layered lists and phrases at turns profound (dear god i miss the old dark ages when your face was the sky/ in this new one all we have is money and whatever we want to think) and profoundly silly (Photographing your salad turns it in into a ghost). It is a picture that attempts to capture the flux of time through naming and listing, with small everyday acts and thoughts reflecting the movement of human civilization through history.

Simon Evans™ (Simon Evans, b. 1972, London and Sarah Lannan, b. 1984, Phoenix) has exhibited extensively, both in the US and internationally. Significant solo museum exhibitions include  Palais de Tokyo, Paris (2016); Museum of Contemporary Art Cleveland, OH (2013); Musée d’Art Moderne Grand-Duc Jean (MUDAM), Luxembourg (2012); Aspen Art Museum, CO (2005); and White Columns, New York (2005). Simon Evans™ was featured in the 12th International Istanbul Biennial in Turkey and the 27th São Paulo Biennial in Brazil. Work by Simon Evans™ is included in the permanent collections of major institutions worldwide, including the Berkeley Art Museum, CA; Cisneros Fontanals Art Foundation (CIFO), Miami; Honolulu Museum of Art, HI; Louisiana Museum of Modern Art, Humlebaek, Denmark; Pérez Art Museum Miami, FL; Musée d’Art Moderne Grand-Duc Jean (MUDAM), Luxembourg; Philadelphia Museum of Art, PA; Museum of Art Rhode Island School of Design, Providence; and the San Francisco Museum of Modern Art, CA. Simon Evans and Sarah Lannan currently live and work in Brooklyn, NY.

JAMES COHAN GALLERY
291 Grand St, New York, NY 10002
www.jamescohan.com

Naotaka Hiro : Big Question @ Brennan & Griffin Gallery, New York

Naotaka Hiro : Big Question

Brennan & Griffin Gallery, New York

May 3 - June 5, 2016

Brennan & Griffin presents Big Question, an exhibition of new work by Naotaka Hiro.  This exhibition inaugurates the gallery’s new location at 122 Norfolk St, on the Lower East Side of Manhattan.  For this exhibition, the artist presents video, sculpture, and works on paper that explore his ongoing interest in the “Unknown.” 

Over the past several years, Hiro’s daily drawing practice has formed the basis from which his exploration of the body has generated an expansive set of ideas and images which influence his broader practice. For the exhibition, Naotaka Hiro presents a selection of twelve works on paper, each 42 x 32 inches (a scale that approximates one-half of the artists body). Here, contorted, self-examining forms and distended body parts, rib cages, hair, legs, genitals, are viscerally rendered and serve as Hiro’s visual lexicon.

Big Question (2016) is a human-scaled bronze sculpture that develops upon his recent self-cast body works: Ass Gong (2009), The Log (2013) and Four-Legged (Toe to Heel) (2014).  Within this methodology, Hiro’s reconstruction of his own form and image becomes defined by the limitations of his sight and reach. The sculpture is an attempt to turn a pose into a sign: the body itself becomes a “question mark.” A path navigates the artist’s body beginning at his left finger tips and right ear and passes his armpit, left nipple, navel, penis, and right knee ending at the right foot. 

For Peak and Peaking (both 2016), Naotaka Hiro constructed a roughly 10 foot canvas tube within which he filmed himself drawing and painting its interior. In Peaking, a single-channel video filmed by the artist during the painting and drawing stages, Hiro inserts himself inside the body and the viewer assumes his perspective as he scrawls and sprays pigment within its confines. The pink staining suggests an exaggerated skin-tone, while the drawn gestures simulate wrinkles, hair, and moles.  In the resulting work, the canvas is suspended from the ceiling of the gallery becoming an amalgam of the skin, intestine, and distended genitalia.  The exterior of the canvas is spotted with traces of pigment resulting from the performance, while the interior remains viewable only through a slit in the surface that is stitched with rope. 

NAOTAKA HIRO  (b. 1972, Osaka, Japan) lives and works in Los Angeles.  He received his Master of Fine Arts from the California Institute of the Arts in 2000.  Recent notable exhibitions include: Alfred Jarry Archipelago: La valse des paintins - Act II, La Ferme du Buisson Centre d'Art Contemporain, Noisiel, FR (2015), Mirror Effect (2015) and Men in LA: Three Generations of Drawers: Naotaka Hiro, Paul McCarthy, and Benjamin Weismann (2014), The Box, Los Angeles; Misako & Rosen, Tokyo (Solo 2015, 2008, 2007); and RSVP Los Angeles: The Project Series at Pomona, Pomona College Museum of Art, Claremont, CA (2015).  Additionally, Hiro's work will be included in the forthcoming exhibition A Modest Proposal at Hauser & Wirth: 18th Street.

BRENNAN & GRIFFIN

122 Norfolk Street, New York, NY 10002

www.brennangriffin.com