Rana Begum

Photo credit: Natan Dvir. Joseph Cohen (b. 1982, Houston, Texas) is an American artist whose work examines the relationship between perception, materiality, and the aspects of human experience that exist beyond the visible world. Working at the intersection of painting, material science, and optics, Cohen creates tactile artworks that investigate presence, time, and the limits of human perception. His ongoing Proposition series is developed through an accumulation of gestures, decisions, and materials over extended periods, with each painting becoming a record of sustained attention and the belief that our identities are shaped by the actions and experiences we accumulate, including those that are no longer visible. His interdisciplinary practice incorporates advanced materials, including separated carbon nanotubes, quantum dots, and specialized pigments that exhibit optical properties beyond the visible spectrum. For more than a decade, Cohen has collaborated with scientists and researchers at institutions including Memorial Sloan Kettering Cancer Center, Rice University, and Houston Methodist Research Institute. His collaboration with the Heller Lab at Memorial Sloan Kettering contributed to research published in Nature Communications in 2019, demonstrating the potential for artistic experimentation to inform scientific innovation. Cohen’s work has been exhibited nationally and internationally, including his 2026 solo exhibition To Be Here at Friedrichs Pontone in New York. Proposition 504 (2025): Separated carbon nanotubes, surfactant, binder, pigment, tracer dyes, gold, and iron on 600 lb. Arches 30″x22″ Proposition 533 (2026): Separated carbon nanotubes, surfactant, binder, pigment, tracer dyes, gold, and iron on 600 lb. Arches 40″x59″ (paper) Proposition 531 (2026): Separated carbon nanotubes, surfactant, binder, pigment, tracer dyes, gold, wax, and iron on 600 lb. Arches 30″x22″ (paper)

Steve Greene was born in 1955 and grew up in a small farming town in Arkansas. He moved to New York City in 1978, where he studied at Pratt Institute, receiving a BFA in illustration. Greene has had nine solo shows, including five with FROSCH&CO since 2011. His work has been exhibited at SCOPE Basel in Switzerland, The Drawing Center, Art in General, The Alternative Museum, and Adam Baumgold Fine Art in NY, The Brooklyn Museum, Pierogi 2000 in Brooklyn, and other venues, and is represented by numerous corporate and private collections. His work has been reviewed by Two Coats of Paint, The Paris Review, and JJ Murphy. Since 2019 he has lived and worked in the Farmington Valley in Connecticut. The all-golden image-memory encyclopedia, 2026 Oil, paint stick on canvas 24 x 20 in Out-of-Body in the Parking Lot, 2026 Oil on canvas 14 x 12 in Reclaimed Cloud of the New Weather, 2026 Oil on canvas 18 x 16 in 45.7 x 40.6 cm

Channing Hansen (b. 1972) explores ideas of connection through his abstract knitted forms. He collects, processes, and dyes raw fleece from conservation-bred sheep. After spinning fleece into yarn, Hansen transforms the material into complex forms through knitting, weaving, and felting. Elaborate computer algorithms dictate his designs, combining craft and computation. By uniting technology with human-made and environmental concerns, Hansen’s work underscores our interconnected place in the universe, whether to the earth itself, an algorithmic world, or the cosmos, and asks us to consider what mark we should leave behind. Selected group exhibitions: Museum of Contemporary Art, Los Angeles, California (2024); Los Angeles County Museum of Art, Los Angeles, California (2022); Long Beach Museum of Art, Long Beach, California (2019); Casas Riegner, Bogotá, Colombia (2018); Wexner Center for the Arts, Columbus, Ohio (2018); and Institute of Fine Arts, New York University, New York (2017). Hammer Museum, Los Angeles, California, USA (2014). The artist’s work is found in permanent collections including the Museum of Contemporary Art, Los Angeles; the Rachofsky Collection, Dallas; the Art Institute of Chicago; Hammer Museum, Los Angeles; Los Angeles County Museum of Art; the San Francisco Museum of Art; and the Stedelijk Museum, Amsterdam, among others. Channing Hansen, Nonlocal Topology, 2026 Various fibers Dimensions variable, Copyright The Artist, Courtesy of the artist and Susan Inglett Gallery, NYC. Channing Hansen, Mutually Assured Emanations , 2026 California Variegated Mutant/Rambouillet/Cotswold/Border Leicester hybrid (Daisy), Cotswold (Petunia), Cotswold (Rupert), Romeldale/California Variegated Mutant (Koso), Romeldale/California Variegated Mutant (Natasha), and Vicuña fibers; silk noils, Mulberry silk, and Tussah silk fibers; holographic polymers, prismatic polymers, photo – luminescent recycled polyester, and stainless steel fibers; banana cellulose, bamboo, bamboo carbon fiber, Ingeo corn top, and pineapple fibers; pine 37 x 38 in. Copyright The Artist, Courtesy of the artist and Susan Inglett Gallery, NYC. Channing Hansen, G to the Power of D , 2026 Border Leicester/California Variegated Mutant/Rambouillet hybrid (Peppermint Patty), Cotswold (Petunia), Cotswold (Rupert), Romeldale/California Variegated Mutant (Koso), Romeldale/California Variegated Mutant (Natasha), and Vicuña fibers; silk noils, Mulberry silk, and Tussah silk fibers; holographic polymers, prismatic polymers, and stainless steel fibers; banana cellulose, bamboo, bamboo carbon fiber, and pineapple fibers; pine 38 x 42 in. Copyright The Artist, Courtesy of the artist and Susan Inglett Gallery, NYC.  

Kirsten Batten-Leach is an interdisciplinary artist who makes sculptures and performances about carework and bodily autonomy. She creates a record of these durational works in the form of photography and drawing. Her background as a former ballet dancer and domestic worker informs the physical rigor of her object-making practice. She is currently a 2025-26 A.I.R. Gallery Fellow, was shortlisted for the Smack Mellon Residency Program and is a Puffin Foundation Grant Recipient. She has exhibited works at NYU Gallatin Galleries, My Pet Ram, The Factory (Long Island City) and Black Brick Project. Raised in Boston, MA she completed her MFA in Integrated Practices at Pratt Institute and earned a BFA in English Literature from Mount Holyoke College.  Labor cocoon with spiracles: letting oxygen weather our work, 2026 Rust and verdigris-stained canvas scraps, dried flowers, ink, turmeric, wine, thread 94 x 67 inches (dimensions variable) Aspergillus, penicillium and stachybotrys chartarum on heel of bread, 2026 Graphite on paper  51.5 x 42 inches Aimant (a lover/a magnet), 2026 Paper pulp clay, molding paste, steel, graphite power, neodymium magnets dimensions variable

Rana Begum, 2025, Artist Portrait, Image Courtesy of SCAD Museum of Modern Art. Courtesy the artist, Lehmann Maupin, New York, Seoul, and London and Kate MacGarry, London. Born in Bangladesh in 1977, Begum lives and works in London. In 1999, Begum graduated with a BA in Fine Art from Chelsea College of Art and Design, and in 2002, she earned an MFA in Painting from Slade School of Fine Art. Begum has exhibited in museums and biennials worldwide and created public art commissions in Europe, Asia, and the United States. Notable museum presentations include her participation in Is this Tomorrow at the Whitechapel Gallery in London, as well as her site-specific installation at the Museum of Fine Arts, Boston, which remains on permanent view. Her work has also been featured in numerous biennials around the world, including the Taipei Biennial in 2026, Desert X in Coachella Valley in 2023, and the 11th Gwangju Biennial in South Korea in 2016, among others. Her work is held in numerous international public and private collections, including the Museum ofFine Arts, Boston; the Samdani Art Foundation, Bangladesh; The Farjam Foundation, Dubai; the Ashmolean Museum, UK; Sainsbury’s Visual Art Centre, UK; the Kiran Nadar Museum of Art, India; and Wanas Konst, Sweden. She was elected a Royal Academician in 2020. No. 1272 Chainlink, 2023, powder coated chainlink, 141 3/4 x 141 3/4 x 177 1/8 inches, 360 x 360 x 450 cm. Courtesy the artist, Lehmann Maupin, New York, Seoul, and London and Kate MacGarry, London. No. 1628, 2026 paint on powder-coated aluminum (20 sections) 78 3/4 x 76 3/4 x 2 inches 200 x 195 x 5 cm Courtesy the artist, Lehmann Maupin, New York, Seoul, and London and Kate MacGarry, London. No. 1261 T Reflector, 2023, reflectors on aluminum, 98 5/8 x 16 5/8 x 17 1/4 inches, 250.6 x 42.2 x 43.8 cm. Courtesy the artist, Lehmann Maupin, New York, Seoul, and London and Kate MacGarry, London.

Loren Erdrich (b. 1978) lives and works in New York City. Her undergraduate degrees include a BA, magna cum laude, from the University of Pennsylvania in Philadelphia, PA (2000) and a BFA from the School of the Art Institute of Chicago in Chicago, IL (2005). In 2007 she received her MFA from the Burren College of Art at the National University of Ireland, Galway. Erdrich’s work has been the subject of solo exhibitions at SHRINE New York (2022, 2023, 2026); SHRINE Los Angeles (2024); and Bricks Gallery Copenhagen (2024, 2025). She has also been featured in numerous group exhibitions including Harper’s (New York, NY); Massey Klein (New York, NY); Nicodim Gallery (Los Angeles, CA); Wasserman Projects (Detroit, MI); Soho Revue (London, UK); Saint Cloche (Sydney, AUS); and Kotaro Nukaga (Tokyo, JP). Erdrich has been awarded residencies at Yaddo; The Sam & Adele Golden Foundation for the Arts; Elizabeth Murray Artist Residency; Jentel Foundation; Santa Fe Art Institute; Sculpture Space; Vermont Studio Center; and Art Farm Nebraska. Her work has been written about in publications such as Cultured, DNA Mexico, FAD, ArtMaze, Maake, The Chicago Tribune and Il Giornale Dell’Arte. She frequently collaborates with the poet Sierra Nelson, co-authoring the award-winning I Take Back the Sponge Cake (published by Rose Metal Press, 2012) and Isolation (limited edition artist book, 2020). Erdrich is currently represented by SHRINE (New York, NY) and Bricks Gallery (Copenhagen, DK). Loren Erdrich, Arc I, 2026 Water, acrylic, watercolor and dye on muslin 30 x 34 in. 76.20 x 86.36 cm Loren Erdrich, Inverted World, 2026 Water, acrylic, watercolor and dye on muslin 48 x 36 in. 121.92 x 91.44 cm Loren Erdrich, Archive, 2026 Glazed ceramic 23.5 x 10 x 6.75 in. 59.69 x 25.40 x 17.14 cm

Portrait of Jenna Gribbon by Shawna Ferreira Jenna Gribbon is currently the subject of a major solo exhibition at the Rose Art Museum at Brandeis University in Waltham, MA, a comprehensive survey of 25 years of painting. She was also the subject of a solo exhibition at Collezione Maramotti, Reggio Emilia, Italy (2022–2023). Recent group exhibitions include She Said, She Said: Contemporary Women Artists, Akron Art Museum, OH (2025); From Dawn Til Dusk: The Shadow in Contemporary Art, Kunstmuseum Bonn, Germany (2025); Day for Night: New American Realism, Palazzo Barberini, organized by the Aïshti Foundation, Rome (2024); Making Their Mark, Shah Garg Foundation, New York (2023); Living Histories: Queer Views and Old Masters, The Frick Collection, New York (2022); and Paint, also known as Blood: Women, Affect and Desire in Contemporary Painting, Warsaw Museum of Modern Art, Poland (2019). Her work is in the permanent collections of institutions including Kunstmuseum The Hague, Netherlands; Brooklyn Museum; Dallas Museum of Art; Museum of Fine Arts, Boston; San Francisco Museum of Modern Art; Honolulu Museum of Art; New Orleans Museum of Art; Musée d’Art Moderne et Contemporain, Geneva; Kurpfälzisches Museum, Heidelberg, Germany; and Rubell Museum, Miami. Gribbon lives and works in New York.

Annie Hémond Hotte (b. 1980, Montreal, Canada; lives and works in Brooklyn, New York) received her MFA from Goldsmiths, University of London, in 2009, where she was awarded the Warden Purchase Prize. In 2023, she received the Rema Hort Mann Foundation Emerging Artist Grant. Selected solo and two-person exhibitions include Margot Samel, New York (2026); The Pit, Los Angeles (2025); Marvin Gardens, New York (2024); Centre Clark, Montreal (2017); and Thomas Rehbein Galerie, Cologne, Germany (2009). Selected group exhibitions include Rema Hort Mann Foundation, New York (2024); The Pit, Los Angeles (2024); Andrew Rafacz, Chicago (2024); Marvin Gardens, New York (2023); Dimin Gallery, New York (2023); The Low Museum, Atlanta (2015); Contemporary Art Centre (CAC), Vilnius, Lithuania (2014); and Kumu Art Museum, Tallinn, Estonia (2014). Annie Hémond Hotte, Hourglass (the circles of Hell), 2026, Oil on canvas, 186.4 x 149.2 cm, photo © Matthew Sherman 2026 Annie Hémond Hotte, Limbo (Beatrice appearing to Virgil), 2026, Oil on canvas, 74.9 x 61 cm, photo © Matthew Sherman 2026 Annie Hémond Hotte, Lust (leopard in a shadowed wood), 2025-26, Oil on canvas, 90 x 110 cm, photo © Matthew Sherman 2026

Ana Segovia produces images through paintings that subvert the heteronormativity of popular imaginaries. The artist revisits mythical scenes and figures from industries like film and sports, reconfiguring their hegemonic role as idealized models of masculinity. An intimate connection to cinema constantly inspires and drives him to transgress norms. Segovia takes familiar images from the Golden Age of Mexican cinema and the Western genre, intervening in their forms, altering their tonalities, and dislocating them. It’s in this disruption where he reveals the montage, artifice, and the performativity in constructing gender and national identities. Segovia’s paintings confront viewers with undefined faces, strident color palettes, and scenes infused with humor that juxtaposes the serious. His work positions playfulness as a political tool, challenging and creating tensions in a dialogue between the norm and the unconventional. Segovia rewrites our visual models, inviting us to reconsider them, and offers the possibility of encountering the familiar from a perspective that questions and blurs its contours. Ana Segovia received his BFA from the School of the Art Institute of Chicago (SAIC), specializing in painting and drawing. In spring 2020, he participated in the Casa Wabi Residency, Puerto Escondido, Mexico. Segovia lives and works in Mexico City. Ana Segovia 1991 “apparently the iron doesn’t burn more than the surface III”, 2026 Oil on linen canvas 110 x 90 cm (43 1/4 x 35 3/8 in) Ana Segovia 1991 Noche Americana I, 2023 Oil on canvas 140 x 200 cm (55.12 x 78.74 in.) Ana Segovia 1991 (sin título aún), 2023 Oil on canvas 30 x 20 cm (11.81 x 7.87 in.)

credit Ryan Warner-2026 Erin Milez (b. 1994, Pittsburgh, PA) received a MFA from New York Academy of Art, NY and a BA from Seattle Pacific University, Seattle, WA. Her work has recently been exhibited at Studio E, Seattle; Seattle Pacific University, Seattle Pacific Art Center, Seattle; Cob Gallery, London; Kutlesa Gallery, Switzerland and Monya Rowe Gallery, NY. Milez’s work is included in an upcoming group exhibition at Lazy Mike, Seoul in November 2026. The artist was awarded an Elizabeth Greenshields Foundation Grant in 2021 and 2024. Milez lives and works in Seattle, WA and is represented by Monya Rowe Gallery, NY. She was interviewed previously in 2023, that interview can be found here. ERIN MILEZ Inside Flower, 2026 oil, acrylic and flashe on canvas 14 by 10 inches. Courtesy of Monya Rowe Gallery, NY ERIN MILEZ, A Giving Tree, 2026 oil, acrylic and flashe on canvas 20 by 16 inches. Courtesy of Monya Rowe Gallery, NY ERIN MILEZ Harvest, 2026 oil, acrylic and flashe on canvas 18 by 12 inches. Courtesy of Monya Rowe Gallery, NY