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In this week’s Substack, I wrote about why you can’t rely on AI for information about the art market

Artwork selection includes work by 
Emma Safir @grem.jpg
Rob Davis @bobsonofdavis
Michael Assiff @michael_as_if_

Cover image: Installation view of Emma Safir’s “Fairly Rings” at RAINRAIN, New York, 2026

Full text and pricing linked in bio

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Today is the last day for By Ear, A Group Exhibition @rainraingallery. I had the pleasure of dwelling in the hums of these works when writing the text and title for this special group show with @miradayal @peter_s_brock @grem.jpg @lornabauer. The title came as a belated revelation to the obvious obstacle to configuring in air, in remoteness and disconnection. in silences of grief. The key is listening,
the keys to listening.

Special appreciation for @rainluart
Full text on the gallery website.

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& all the art stuff from nyc

PEARLS

I repeat, more sculpture shows.

Arthur Jafa: I am Tony.

Mini reunion @robran2 ✨️

Our star, SaraNoa

🤍

Circled back thrice

Incredible booth by 193 Gallery.

Taryn Simon | Father Country I Do Love you

Always a treat to see Edgar Arceneaux's work

On my wishlist

First time at Rainrain gallery 🤍

Can't not

Stunninnngggggg

Magenta Plains

Another favourite

One of my favourite shows I've seen in 2026!
Emma Beatrez: Candy Apple
HAIR + NAILS NYC

Sliver of the Taryn Simon show

I'd love to

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folly chaise, 2025 stainless steel, pewter, glass beads
39 × 70.75 × 26.5 in.

On view @rainraingallery as part of By Ear on view
thru Oct 10

pic by Jenny Gorman courtesy of Hesse Flatow and me

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folly chaise, 2025
stainless steel, pewter, glass beads
39 x 70.75 x 26.5 in.

On view @rainraingallery as part of By Ear on view thru Oct 10

ttyyyyyyyy @friendly_metals for making this little armature wire drawing come true

Sat on the floor for a week straight to do the steel netting/beading/nestling of pewter shells (all cast from sells collected on fishers island when @tothelighthouseworks 2025)

pic by Jenny Gorman courtesy of Hesse Flatow n me

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one of many ‘Fairy Rings’ on view @rainraingallery as part By Ear, featuring works by Lorna Bauer, Peter Brock, Mira Dayal, and myself.

Opening reception tonight! Xx

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Summer is slipping away… There’s another kind of slipperiness explored by the group exhibition curated by @spine.nyc that we are still thinking about.

Borrowing from the language of systems yet breaking out of its framework, “Wetware” brought together nine artists across generations to examine the unstable boundaries between bodies, technologies, and the material systems meant to contain them. Moving through obsolete devices, reflective surfaces, bodily adaptations, and the shifting fabric of New York itself, the exhibition can be read as a kind of “urban stratigraphy,” writes art critic Christine Chen @_amuseforchris, one in which technologies, materials, and histories continually leak into and reshape one another.

The exhibition was on view @rainraingallery from July 9 to August 7, 2026. Read the full review through our link in bio!

@aidanchisholm @_lb_online @bettina_estate @ulrik.nyc @toygrandpiano @allupinit_123 @alisonknowlesofficial #avivasilverman #khiahong #pattychang @adhocsensing @tishanhsu @spazioveda @james_fuentes_llc @martos_gallery @lisson_gallery @romance.gal @new_document_

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Back in early June, my friend Kosuke Kawahara’s (@teppennisiri ) drawing performance (w/ @sstewrat ) in Chinatown.

#35mm #kosukekawahara #blacklight

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Thank you @impulse_magazine_ and @avadanieu for the thoughtful conversation about my practice. It was a pleasure to talk with you. 🍋✨🙏

Read the full interview here: https://www.impulsemagazine.com/articles/face-to-face-august-2026 and link in Bio.

📸 @b.brookbank
📸 @atlasdocumentation

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two summers ago, “of” at RAINRAIN, September 13— October 26, 2024

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“Wetware” CLOSES TODAY at @rainraingallery! Visit us before 6pm at 110 Lafayette St, 2nd floor 🐠

These are stills from Tishan Hsu’s first video work, “Folds of Oil” (2005), a 19-min recording of a custom software he made in collaboration with programmer Sam Jackson. Its fluctuating topographies contend with the flattening logic of the digital. Planes of grass, fur, oil, skin, scale, and water warp and fold in tandem with a soundtrack that similarly mixes roaring, breathing, bleating, beeping, chirping, and sirens with an intense ASMR effect. Consciousness cannot be located neatly inside or outside a living subject as defined by the false threshold of the skin. Instead the body appears as a membrane, one with the screen.

Hsu (b. 1951) has long explored the interplay between flesh and interface, anticipating the ontological questions that shape our present. Skipping back three decades, Hsu’s painting, “New Portable” (1988) postures as a mechanical interface—its use unknown. A single stainless steel grip bar studs the center like the rung of a swimming pool ladder or a massive post-surgery staple. At either end, a scratched-in texture resembles hair, with darkened voids (orifices? dead screens?) floating at either end.

“Folds of Oil” will appear in Hsu’s career-spanning exhibition opening at @mocacleveland later this month, alongside his most recent video work “emergent mesh” (2025).

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Alison Knowles (1933–2025) broke ground in her approach to the live, performative potential of non-living materials. As a founding member of the Fluxus group in the late ‘60s, she carried forward the invention of the Event Score—short, simple instructions functioning as performance prompt (eg. “Make a Salad”). Her later Event Threads (begun c. 2000s) seem to translate this logic into sculptural form.

These hanging, vertical assemblages “thread” together a non-linear timeline from found materials collected over years of walking the streets of New York. Their quiet, talismanic compositions carry remnants from past unscripted activities in a bricolage manner. Much like her early approach to collaborating with technology (eg. programming a printer to self-generate lines of poetry), with this work Knowles understands the city itself as a collaborator; one with its own locus of intelligence.

“Found Gloves In Line” (2018) marks the artist’s final Event Thread.

It’s the last chance to see this work in “Wetware” at @rainraingallery. Visit us today and tomorrow, 11am–6pm. 110 Lafayette St, 2nd floor

Big thanks to @james_fuentes_llc and @alisonknowlesofficial estate 🤍

Final slides: other Event Threads on view in “by Alison Knowles: A Retrospective (1960-2022)” touring @bampfa @museumwiesbaden @mamcsaintetienne @nikolajkunsthal @nyugrey

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