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Grayson Cox Studio

@graysoncoxstudio

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Grayson Cox: Survey 2004–2026 presents twenty-two years of work alongside artists whose friendships, conversations, and collaborations have shaped my practice during moments of growth.
Every solo exhibition I have made began as the idea for a group exhibition. Looking back, that realization feels less accidental than foundational. My work emerges from conversations with other artists. This survey makes those conversations visible.
For this exhibition, thirteen artists whose paths have intersected with mine during moments of significant change were invited to create a “cover” of one of my artworks from the past twenty-two years. Like musicians covering a song, they begin with an existing work and transform it into something entirely their own. These are not reinterpretations of my work. They are new works that carry a shared history.
The exhibition proposes a contradiction: a solo survey constructed through the work of others. It is built through invitations rather than commissions, through enduring relationships rather than transactions.
For years I have been interested in collaboration and the limits of relational art. The collaborations that have mattered most in my life have not been organized around participation alone, but around relationships sustained through years of conversation, critique, generosity, and trust. Being an artist has often felt less like belonging to a profession than belonging to an order.

The exhibition also returns to a persistent question in my practice: How do material conditions shape artistic production? Budgets, truck dimensions, studio space, taxi trunks, and suitcase sizes become invisible collaborators. Every artwork is negotiated between imagination and circumstance. Constraints have not limited our work; they have given it form.

Each participating artist will exchange their work for an artwork from my studio. Rather than dispersing after the exhibition, the works will remain together as a single collection that can accompany future survey exhibitions. The exchange is not simply a trade; it is the mechanism that allows the work to stay whole.
The exhibition is accompanied by a publication.
My first Survey taken in Berlin, Germany by @graysoncoxstudio

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21 days ago

This Alexa meeting James Turrell painting I made a few years ago in the Cragsmoor Historical Society. taken in Cragsmoor Historic District by @graysoncoxstudio

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a day ago

@nadjafra ‘s “Iced Coffee for Grayson Cox” in
Grayson Cox Survey: 2004-2026 @moist_roomtoswingacat

Plastic Cups, wood, Epoxy Resin Dimensions Variable

This sculpture covers multiple shows with “Iced Coffee” sculptures from a bunch of shows. These were masterfully made in Nadja’s piece here.

A half-gone and wasted status accessory and potentially undrinkable iced coffee as the protagonist in a story still being written. Its parts are all contentious given that the container and straw are plastic and major ocean pollutants and the coffee is a globally fraught commodity requiring a lot of energy. These soon-to-be extinct elements compose a significant part of the American ideal: a sated consumer with an iced coffee in one hand and a screen in the other.

Nadja also was one of the organizers of the show and showed me real hospitality during my stay in Berlin.
So much gratitude!
@nadjafra taken in Berlin, Deutschland by @graysoncoxstudio

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4 days ago

“An Ambivalent Path to Everywhere” (after Grayson Cox)
Blake Marques Carrington
2026
Software program, infinite loop, variable dimensions

Ambient sound design by Joshua Gosselin + Blake Marques Carrington
Additional sound design, sound effects, and mixing by Blake Marques Carrington

Part of Grayson Cox: Survey 2004-2026 at @moist_roomtoswingacat

An Ambivalent Path to Everywhere is a generative simulation of urban growth inspired by Tokyo’s tenji blocks—the tactile paving system invented in 1965 by Seiichi Miyake to help blind pedestrians navigate the city. Originally designed for accessibility, the blocks have become an enduring example of universal design.

The work draws on the Situationist practice of the dérive, embracing wandering, intuition, and chance over efficiency and predetermined destinations. Rather than leading somewhere specific, the software continuously generates new pathways according to a set of simple rules, producing unexpected patterns that evolve over time.

Created for Grayson Cox: Survey 2004–2026, the work remixes an earlier project Cox made while living in Japan (c. 2003–2005). Inspired by the same tactile paving, Cox wore a yellow T-shirt and invited strangers to draw individual tenji blocks on it with black marker. As each interaction accumulated, pathways emerged collectively—not authored by a single individual, but shaped through social encounters and shared participation.

Like the exhibition itself, this work asks how artworks, ideas, and relationships continue to evolve as they are carried forward by others.

Grayson Cox: Survey 2004–2026
📍 mõist ~ room to swing a cat, Berlin
🗓️ July ##–##, 2026 taken in Berlin, Deutschland by @graysoncoxstudio

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10 days ago

@jomar_statkun ‘s piece “Amazon Shrine” in
Grayson Cox Survey: 2004-2026

Jomar is one of the organizers of the show with @nadjafra and I.
A sponsor of so many of my projects.
This work feels like a mirror of the dark times of the pandemic and a hilarious riff on some depressing Icons of our time.
Depicted here is a woodblock print that I made in a barn in Oregon during the depths of of the pandemic. I used the block to make 10 paintings and a bunch of prints. Here it is reproduced in merch like wearables like scarfs and shirts and sandles. Some my other works are shown on pillows that also juxtapose Jack Handy quotes. taken in Berlin, Deutschland by @graysoncoxstudio

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11 days ago

@larasaget ‘s “School” in
Grayson Cox: Survey 2004-2026
@moist_roomtoswingacat
Organized by: @nadjafra @jomar_statkun and Grayson Cox

I met Lara at an after party for a show @davidkennedycutler organized and soon after went to India with her and 4 others to make a new public sculpture at @art_ichol
Lara was a guest lecturer in my class @prattfineart and is a teacher in every way.

She says:

It took almost a decade to really perfect fusing the metal and stone. The union is a revelation that the two materials were once one.

The fish is related to teaching. Visiting your class and also the way you lead through teaching. I feel the sense of teaching through your work. Specifically with how you invite locals in India to printmake, there is a quiet guiding voice that only a good teacher has.

I used the word “school” because through working the Spiritual Teachings I study, I have experienced that the world is but a classroom. My Path is a Sound Current Path, The Path of Soul Transcendence. It has brought forward the Direct Experience of the Divine within. The fish are also biblical, symbolizing great miracle. The miracle is the classroom and the great gift of school or life. taken in Berlin, Deutschland by @graysoncoxstudio

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13 days ago

@goatmotherindustrial ‘s ”Gracious for Endless Foothills: a preface and ode to This Time Next Year”” —— India ink on primed canvas that is adhered and unstretched, 4.5 inches (i think) by roughly 20 ft “ in
Grayson Cox: Survey 2004-2026
@moist_roomtoswingacat

Organized by @nadjafra @jomar_statkun @graysonsan

Mark Rice’s long painting references a project of mine he supported back in 2004 at the Art Hospital in Bloomington, Indiana.
The “Rice Grant” meant the world to me.
That next year was amazing. I met @hollislovesyou taken in Berlin, Deutschland by @graysoncoxstudio

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14 days ago

@davidkennedycutler ‘s “For Grayson, Breath Metal” on view at @moist_roomtoswingacat in
Grayson Cox: Survey 2004-2026 in Berlin.

A cover of my painting “Breath Metal” that I made about my Mom and Monsanto products.

David made this new piece that has a real presence in the space. 36” wide and a bit bigger than life which makes you feel you could wear it. taken in Berlin, Deutschland by @graysoncoxstudio

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15 days ago

OPENING: Friday, July 10th at 7pm
@moist_roomtoswingacat

Grayson Cox: Survey 2004–2026 presents twenty-two years of work alongside artists whose friendships, conversations, and collaborations have shaped my practice during moments of growth.

Every solo exhibition I have made began as the idea for a group exhibition. Looking back, that realization feels less accidental than foundational. My work comes from conversations with other artists. This survey makes those conversations visible.

For this exhibition, twelve artists whose paths have intersected with mine during moments of significant change were invited to create a “cover” of one of my artworks from the past twenty-two years. Like musicians covering a song, they begin with an existing work and transform it into something entirely their own. These are not reinterpretations of my work. They are new works that carry a shared history.

The exhibition proposes a contradiction: a solo survey constructed through the work of others. It is built through invitations rather than commissions, through enduring relationships rather than transactions.

For years I have been interested in collaboration and the limits of relational art. The collaborations that have mattered most in my life have not been organized around participation alone, but around relationships sustained through years of conversation, critique, generosity, and trust. Being an artist has often felt less like belonging to a profession than belonging to an order.

The exhibition also returns to a persistent question in my practice:
How do material conditions shape artistic production? Budgets, truck dimensions, studio space, taxi trunks, and suitcase sizes become invisible collaborators. Every artwork is negotiated between imagination and circumstance. Constraints have not limited our work; they have given it form.

The exhibition is accompanied by a publication that documents this moment—not as a conclusion, but as another beginning.

And now,

My first survey.

Grayson Cox

*Organized by Nadja Frank, Jomar Statkun & Grayson Cox

mõist ~ room to swing a cat
Kienitzer Str. 98, 12049 Berlin-Neukölln by @graysoncoxstudio

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15 days ago

@jessicasegallstudio ‘s piece, ( Classy Bougie Ratchet / Savage) Doppelgangbanger (It gets better) Verschlimmbessern, 2026, Steel, paper, bone folder and drawing utensils.

*Organized by Nadja Frank, Jomar Statkun & Grayson Cox

Part of Grayson Cox: Survey 2004-2026 @moist_roomtoswingacat in Berlin by @graysoncoxstudio

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15 days ago

Opening: Friday, July 10th at 7pm
@moist_roomtoswingacat

*Organized by Nadja Frank, Jomar Statkun & Grayson Cox

*Join us for ice coffee with the organizers:
Saturday & Sunday (July 11th & 12th) from 3pm – 6pm
Or by appointment: info@supermoist.de

mõist ~ room to swing a cat
Kienitzer Str. 98, 12049 Berlin-Neukölln
(2. Hinterhof/2nd backyard) by @graysoncoxstudio

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19 days ago

OPENING: Friday, July 10th at 7pm
@moist_roomtoswingacat

Grayson Cox: Survey 2004–2026 presents twenty-two years of work alongside artists whose friendships, conversations, and collaborations have shaped my practice during moments of growth.

Every solo exhibition I have made began as the idea for a group exhibition. Looking back, that realization feels less accidental than foundational. My work comes from conversations with other artists. This survey makes those conversations visible.

For this exhibition, twelve artists whose paths have intersected with mine during moments of significant change were invited to create a “cover” of one of my artworks from the past twenty-two years. Like musicians covering a song, they begin with an existing work and transform it into something entirely their own. These are not reinterpretations of my work. They are new works that carry a shared history.

The exhibition proposes a contradiction: a solo survey constructed through the work of others. It is built through invitations rather than commissions, through enduring relationships rather than transactions.

For years I have been interested in collaboration and the limits of relational art. The collaborations that have mattered most in my life have not been organized around participation alone, but around relationships sustained through years of conversation, critique, generosity, and trust. Being an artist has often felt less like belonging to a profession than belonging to an order.

The exhibition also returns to a persistent question in my practice:
How do material conditions shape artistic production? Budgets, truck dimensions, studio space, taxi trunks, and suitcase sizes become invisible collaborators. Every artwork is negotiated between imagination and circumstance. Constraints have not limited our work; they have given it form.

The exhibition is accompanied by a publication that documents this moment—not as a conclusion, but as another beginning.

And now,

My first survey.

Grayson Cox

*Organized by Nadja Frank, Jomar Statkun & Grayson Cox

mõist ~ room to swing a cat
Kienitzer Str. 98, 12049 Berlin-Neukölln
(2. Hinterhof/2nd backyard) by @graysoncoxstudio

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21 days ago