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Petzel Gallery
@PetzelGallery
Contemporary art gallery located in New York in Chelsea.
Emily Mae Smith | Opening September 17, 2026
Ross Bleckner | Opening September 17, 2026
520 W 25th Street
Joined June 2011
999 Following
15K Followers
3.5K Posts
“Beat of the Traps” (1992) is a collaborative performance work realized by Mike Kelley, Anita Pace, and Stephen Prina, structured around a deliberate collision of disparate performative registers: a dance sequence, a percussion recital, a rock drum solo, a vaudevillian monologue on the excesses of rock stardom and the performance the current number one song from the billboard top 100. This fall, the work returns to Los Angeles—the city of its 1992 origin—for a presentation at MOCA, revisiting a piece whose interest in genre, spectacle, and the mechanics of celebrity remains, three decades on, undiminished in its critical purchase.
Photos: Mike Kelley, Anita Pace, Stephen Prina. Beat of the Traps. 1992. Performed September 18, 2025, in conjunction with the exhibition Stephen Prina: A Lick and a Promise. The Museum of Modern Art, New York. Performers: Jon Baldwin and Freeda Electra. Photo: Maria Baranova. Digital Image © 2025 The Museum of Modern Art, New York.
#stephenprina #performance #petzel #mustsee
Drawing for Nicola Tyson is an intuitive and immediate act, often executed without premeditation. It has long functioned as the foundation of her practice, a space where gut feeling precedes language and images unfold without fixed intention. In “Hug” (2026), Tyson explores the medium on an expanded scale, combining charcoal with black and white pastel and conté applied to sanded paper. The gritted surface, designed specifically for charcoal and pastels, can hold more powder than traditional paper, resulting in a fluid, more painterly feel, that registers the variety of rich textures and tones, from the smoky transparent black of charcoal to the cool, velvet opacity of pastel.
Artwork: Nicola Tyson, “Hug,” 2026, Signed and dated verso, Charcoal, conte, pastel on sanded paper, 50 x 38 in, 127 x 96.5 cm, Frame: 52 x 40 in, 132 x 101.6 cm.
#nicolatyson #artist #petzel #mustsee
Raphaela Vogel's 2026 Plinth Proposal for the High Line, “The Second Opinion,” would reimagine the allegorical language of public monuments through two enduring symbols of justice: the scales and the eye.
Replacing the traditional blindfolded figure of Justice with one that sees, Vogel draws on both legal iconography and the story of Saint Lucy to question how justice is perceived, interpreted, and enacted. Rather than offering fixed answers, “The Second Opinion” invites viewers to consider justice as something that remains open to reflection, revision, and continual reexamination.
#raphaelavogel #artist #petzel #mustsee
"Fitness," a large-scale painting by Thomas Eggerer, stands at the artist’s most ambitious work to date in terms of scale. Created during a period of physical recovery, Eggerer began frequenting a gym — and environment he initially found off-putting. The sterile atmosphere and mechanical apparatus repelled him at first but soon sparked a deeper fascination. He became intrigued by the choreography of bodies in motion and the strangely human qualities of the gym equipment.
Artwork: Thomas Eggerer, “Fitness,” 2024, Oil on canvas (tbc), 114 x 162 in, 289.6 x 411.5 cm.
#thomaseggerer #petzel #artist #painting #mustsee
To mark its 40th anniversary, Swiss Institute (SI) revisits “Regift,” the landmark 2009 exhibition originally organized at SI in New York by John Miller with Piper Marshall. Co-produced by SI and Luma Foundation, the anniversary edition is presented at Luma Westbau, bringing together original participants alongside an expanded selection of artists, whose practices engage with questions of generosity, exchange, and value in contemporary contexts.
The exhibition features three works by Tschabalala Self and brings together more than 50 artists across two floors, reflecting four decades of SI’s program and international networks. "Regift” is on view through September 6, 2026.
Artwork: (1) Tschabalala Self, “Leisure Woman Alone in Chaotic Room,” 2023, Silkscreen, enamel paint, acrylic paint, gouache, colored pencil, oil stick, oil pastel and pastel on canvas, 72 x 72 in, 182.9 x 182.9 cm; (2) Tschabalala Self, “Leisure Woman with Blue Wig,” 2023, Silkscreen, enamel paint, acrylic paint, gouache, colored pencil, oil stick, oil pastel and pastel on canvas, 72 x 72 in, 182.9 x 182.9 cm; (3) Tschabalala Self, “Leisure Woman in Orange Dress in Purple Room,” 2023, Silkscreen, enamel paint, acrylic paint, gouache, colored pencil, oil stick, oil pastel and pastel on canvas, 72 x 72 in, 182.9 x 182.9 cm.
#tschabalalaself #painting #mustsee #artist
Works by Tschabalala Self are included in the third annual exhibition at The Campus in the Hudson Valley. The exhibition features recent paintings that exemplify Self's richly layered approach to figuration, combining sewn textiles, painted surfaces, and collage to construct psychologically charged portraits that expand conventional representations of the body.
The exhibition is on view through November 1, 2026.
Photo: Installation view, Tschabalala Self, The Campus Upstate, 2026. Photo by Guang Xu.
#tschabalalaself #upstateny #petzel #mustsee #paintings
Monumental woodcuts by the collaborative duo Zorawar Sidhu and Rob Swainston are among more than 100 works which will be on view in “The Mirror that Nature Holds” at the Jordan Schnitzer Museum of Art at Washington State University, featuring works from the Collections of Jordan D. Schnitzer and his family foundation. The exhibition will explore the fragile balance between the natural world and human intervention.
Sidhu & Swainston’s practice draws on the rich history of printmaking while confronting the realities of the Anthropocene. Rather than presenting nature as untouched or idyllic, the artists reveal it as a space of entanglement, where climate anxiety, ecological disruption, and coexistence become inseparable. Their works echo the exhibition's exploration of awe and precarity, reminding us that the landscapes we inhabit are shaped as much by human action as by the forces of nature itself.
“The Mirror that Nature Holds” opens August 25, 2026, and remains on view through December 12, 2026.
Artwork: Zorawar Sidhu and Rob Swainston, “Our House Is on Fire,” 2023-2025, Signed, titled and editioned on back, Multi-color woodcut on fabric, Framed: 101 7/8 x 147 3/4 in, 258.8 x 375.3 cm, Edition of 3 plus 2 AP; (2) Zorawar Sidhu and Rob Swainston, “Raft,” 2023-2024, Signed, titled and editioned on back, Multi-color woodcut on fabric, Framed: 78 x 102 1/8 in, 198.1 x 260.4 cm, Edition of 3 plus 2 AP; (3) “Spring Wake Vol. 1,” 2025, Signed, titled and editioned on front, Full edition of 8 etchings on Hahnemühle paper, Paper dimensions: 4 editions, each: 13 5/8 x 11 in, 34.6 x 27.9 cm, 4 editions, each: 11 x 13 5/8 in, 27.9 x 34.6 cm, Edition 3/20 plus BAT and 8 AP.
#zorawarsidhu #robswainston #printmaking #woodcut #petzel
In Raphaela Vogel’s new leather works mounted on metal rods, she investigates heraldic symbols whose meanings become fixed through repetition and association with power, and seeks to disrupt these orders through painting, detaching image from predetermined meaning. In this series she draws on the ideas of philosopher Charles Sanders Peirce, who described three types of signs: symbol, icon, and index. The work moves between these three poles—from fixed symbolic meaning, to recognizable imagery, to the trace-like marks of gesture and material action. These relationships can be represented as a triangle, which becomes a conceptual figure of painting itself: a form in which meaning is not fixed but kept in motion. Working on leather further emphasizes this process, as the material itself carries marks, resistance, and history. Additionally, she spotlights a nude female figure, painted after Gustave Courbet’s "L'Origine du monde,” which can also be read as a representation of the female knight the painting is named after, “Lady Nicholaa de la Haye.”
Artwork: Raphaela Vogel, “Lady Nicholaa de la Haye,” 2026, Oil on leather with metal rods, 99 1/2 x 69 x 9 in, 252.7 x 175.3 x 22.9 cm.
#raphaelavogel #artist #petzel #mustsee
Ross Bleckner’s exhibition “NEVER THE LESS,” opens at Guild Hall in East Hampton on August 9, 2026.
The show highlights a lesser-known part of Bleckner’s process, offering new insight into one of the most prolific painters of our time. Bleckner begins by making his own paint and testing it on black paper, where the experimental brushwork often produces striking results. From there, he creates a series of small canvases that gradually increase in scale, leading to the large paintings for which he is best known.
Guild Hall presents a selection of these rarely seen studies alongside major large-scale paintings. While rooted in process, the smaller works stand powerfully on their own. Together, they reveal the breadth of Bleckner’s artistic vision, offering an expansive view of his practice across time—an illustrated timeline through painting.
Bleckner will also present exhibitions at Madoo Conservancy, opening August 9, 2026, followed by a solo exhibition at Petzel opening September 17, 2026.
Artwork: Ross Bleckner, “Everyone, Someone,” 2023, Signed on verso, Oil on linen, 72 x 96 in, 182.9 x 243.8 cm.
#rossbleckner #guildhall #painting #artist #mustsee
Derek Fordjour's “Archetype I: Seduction,” currently on view as part of “ARCHETYPES” at the High Line.
Artwork: Derek Fordjour, “Archetype I: Seduction,” 2026, Bronze, paint, concrete, 83 x 15 x 22 in, 210.8 x 38.1 x 55.9 cm, Edition of 2 plus 1 AP. Photos by Thomas Barratt.
#derekfordjour #highlineart #publicart #chelsea #nyc
Simon Denny’s installation, “Monsters Between Worlds,” for Palazzo Diedo’s “Strange Rules” examines the intersection of technological change and cultural transformation, drawing on the theories of Venkatesh Rao. The installation explores a transitional moment in which the old world dissolves while the new struggles to emerge—a reference to Rao’s concept of the "Gramsci Gap."
Using generative visual systems and his own AI protocols, Denny transforms Rao’s series of clip-art style motifs into machine-assisted pictorial experiments. Produced through experimental printing techniques, the works weave together references to Futurism, defense communication aesthetics, and today's rapidly evolving digital landscape, where artificial intelligence, cryptocurrencies, and online platforms emerge as the "monsters" of a new era.
"Monsters Between Worlds” is on view at Palazzo Diedo through November 22, 2026.
Photos: Installation view, Simon Denny, “Monsters Between Worlds,” Palazzo Diedo, Venice, 2026. Photos by Nick Ash.
#simondenny #artist #petzel #mustsee #monsters
Just one month left to see Nicola Tyson's work, “Figure in Landscape 1,” (1994) currently on view in “MIX & MATCH” at the Pinakothek der Moderne, a collection presentation marking the museum's 20th anniversary. Bringing together more than 350 works spanning 120 years of art history, the exhibition reimagines the permanent collection through unexpected dialogues that transcend periods, styles, and media.
Organized around themes that resonate with contemporary life including community, migration, the environment, conflict, and identity, “MIX & MATCH” invites visitors to consider familiar works from new perspectives. In this context, Tyson's practice contributes to the exhibition's exploration of the body, psychology, and the complexities of human experience, underscoring the enduring relevance of figurative painting within today's cultural landscape.
“MIX & MATCH” is on view through August 30, 2026.
Artwork: Nicola Tyson, “Figure in Landscape 1,” 1994, Oil on linen, 54 x 48 in, 137.2 x 121.9 cm; (2) Photo: Installation view, featuring Nicola Tyson, "MIX & MATCH,” Pinakothek der Moderne, Germany, 2026.
#nicolatyson #artist #petzel #mustsee
Austin Martin White draws on various references to excavate the ways in which history can be bent, reassembled, or hallucinated. In “Unesco pose (Him) & (Her),” he places a zoomed in lens on World Heritage ruins, probing the inspirational potential of a collapsed, classical past.
Interested in how these images traffic through time as empires decline and global powers shift, White warps, stretches, and splices his sources, investigating ruins as arbiters of historical memory. Crumbling structures are fractured and extruded by White through his signature process. Drawing from archival sources, he translates imagery into digital drawings, laser-cuts vinyl stencils, and pushes latex paint through mesh screens from behind. He renders his “Ruins” in maze-like, snaking estuaries of paint. Surfaces appear ridged and vascular, as if oozing from a primordial core. Here, we see White’s recurring ‘iPhone’ character (Him and Her), which makes occasional appearances in the artist’s paintings, functioning as a kind of distancing mechanism from his source material to the present.
(1) Artwork: Austin Martin White, “Unesco pose (Him),” 2025, Acrylic medium, pigment, rubber, spray paint, vinyl, screen mesh, paper, jute, 84 x 72 in, 213.4 x 182.9 cm; (2) Artwork: Austin Martin White, “Unesco pose (Her),” 2025, Acrylic medium, pigment, rubber, spray paint, vinyl, screen mesh, 3M reflective fabric, jute, 84 x 72 in, 213.4 x 182.9 cm; (3) Detail of, “Unesco pose (Him),” 2025.
#austinmartinwhite #petzel #artist #mustsee
“The Window,” a public art initiative by CHANEL Culture Fund, presents “Decimate” (2026), a digital artwork by Emma Webster on view 24-hours a day until October 3, 2026, at the Time & Life building on Bruton Street in London. “The Window” provides access to cutting-edge artworks by artists exploring the breadth of today’s digital technologies.
Inviting viewers on a wander through the constructed landscapes behind her paintings, “Decimate” illuminates Webster’s practice of building digital dioramas populated with invented plants, animals, and ecosystems, exploring landscape through the lens of still life.
Webster's fictitious wilds come alive in “Decimate” with strange beasts and otherworldly flora. Light dapples the canopy, filtering through stretched trees and warped foliage to cast dramatic shadows across the scene. Vignettes emerge as the eye moves: a collaged deer grazing in an open meadow, a spotlit flower conjured from digital clay, the deer's own texture hinting at its amalgamated origins, each lending volume and form to an illusionistic space. Webster arrives at these scenes through a hybrid sketching-sculpting process, working across clay, papier-mâché, photography, VR sculpting, and LiDAR scanning to build virtual environments she then stages with theatrical illumination, embracing artifice, drama, and distortion.
Photo: Installation view, Emma Webster, “The Window,” CHANEL Culture Fund, Time & Life building on Bruton Street, London, 2026.
#emmawebster #digitalart #vignette #mustsee #artist
Keith Edmier's “Kelly Bag” takes as its point of departure the iconic Hermès handbag famously used by Grace Kelly to shield her pregnancy from photographers, transforming the accessory into a cast bronze sculpture. Drawing on an image embedded in popular memory, the work reflects Edmier's longstanding interest in the ways personal histories become public mythology, and how objects come to bear the weight of cultural memory.
Presented alongside archival photographs of Kelly and preserved floral arrangements inspired by her wedding bouquet and ceremonial wreaths, “Kelly Bag” traces a constellation of symbols associated with femininity, royalty, and remembrance. Together, these works examine how fleeting moments are fixed through images and objects, and how acts of preservation can simultaneously memorialize, mythologize, and transform lived experience.
Originally presented in Keith Edmier's exhibition “Kelly” at Petzel, the installation considers the uneasy relationship between intimacy and spectacle, asking how private life becomes historical record through the material traces it leaves behind.
(1) Photo: Prince Rainier III of Monaco helping his fiancée Grace Kelly out of a car. Kelly holds the style of Hermes handbag that was named after her. Photo by Bettmann Archive/Getty Images; (2) Artwork: Keith Edmier, “The Kelly Bag (Salmacis),” 2015, Glass, dental acrylic, polyurethane, acrylic paint, and silk on limestone base, 11 1/2 x 19 x 12 in, 29.2 x 48.3 x 30.5 cm, Edition 3/3, 1 AP; (3) Photo: Grace Kelly with her wedding bouquet. Photo by Everett Collection\Mondadori Portfolio. (4) Photo: Grace Kelly drying flowers. Courtesy of “My Book of Flowers Princess Grace of Monaco & Gwen Robyns Celebrity Grace Kelly," pg. 44.
#keithedmier #petzel #artist #mustsee
Cosima von Bonin is well known for her sculptures and mixed-media installations made from fabric and readymades, which often draw on comedy and elements of pop culture to critique social constructs. Embracing an approach rooted in absurdity and humor, the artist explores ideas such as play, gender stereotypes, and improvisation, as seen in “Killer Whale with Long Eyelashes I (Rhino* Version) *Rhino by Renate Mueller,” a reclining stuffed-animal whale draped over a fabricated rhino and chair.
Artwork: Cosima von Bonin, “KILLER WHALE WITH LONG EYELASHES I (RHINO* VERSION) *Rhino by Renate Mueller,” Germany, 1960s, 2018, fabric, leather, canvas, wooden chair, 42 x 105 x 39 in, 106.7 x 266.7 x 99.1 cm.
#cosimavonbonin #petzel #mixedmedia #killerwhale
Artist Maria Lassnig (@maria_lassnig_foundation) often staged vulnerable, allegorical scenarios where anthropomorphic figures appear endangered, submerged, or suspended in physical and psychic tension. Using her well-known “body awareness” painting, Lassnig painted bodily sensations as lived and felt. The degree to which visible reality informed the work varied from image to image, from phase to phase. Paintings such as “Käsekrieg (Cheese War),” reflect this approach, affirming Lassnig’s lifelong commitment to painting as a means of exploring existence from within.
Artwork: Maria Lassnig, “Käsekrieg (Cheese War),” 1991, Oil on canvas, 78 3/4 x 57 1/8 in, 200 x 145 cm. © Maria Lassnig Foundation.
#marialassnig #petzel #artists #mustsee
CLOSING TODAY
Petzel’s current exhibition “LOUCHE: Sleeping Through the Apocalypse” is closing today, July 17, 2026, at 520 W 25th Street. The exhibition will be on view from 10am–6pm.
LOUCHE: Sleeping Through the Apocalypse
📍520 W 25th Street
🗓 On view until July 17, 2026
Photos: Installation view, “LOUCHE: Sleeping Through the Apocalypse,” Petzel, 2026. Photos by Meg Symanow.
#petzel #artists #mustsee #louche
In conversation with Brooklyn Rail’s Molly Warnock, Pieter Schoolwerth reflects on his large gestural compositions:
“By forcing the initial, spontaneously improvised painting into an incredibly slow form of processing, I’d like to think that the result encodes a tension between speeds: an apparently fast and loose gestural study is compressed into the slow grind of a delicately orchestrated digital composition. This amounts to filtering conventional gesture through a contemporary lens. I like that our brains want to read the final form as fast, yet we’re forced to slow down and see its complexity.”
“Silent Pilot” is currently on view in “LOUCHE: Sleeping Through the Apocalypse,” until July 17, 2026, at 520 W 25th Street.
LOUCHE: Sleeping Through the Apocalypse
📍520 W 25th Street
️🗓 On view until July 17, 2026
Artwork: Pieter Schoolwerth, “Silent Pilot,” 2026, Signed verso, Oil, acrylic and inkjet on canvas, 71 x 87 in, 180.3 x 221 cm.
#pieterschoolwerth #petzel #artists #mustsee #louche
CLOSING THIS WEEK
Petzel’s current exhibition “LOUCHE: Sleeping Through the Apocalypse” is on view until July 17, 2026.
LOUCHE: Sleeping Through the Apocalypse
📍520 W 25th Street
🗓 On view until July 17, 2026
Artwork: Martin Kippenberger, “Untitled (Zwerg vor Kanone),” 1996, concrete, wood and steel, dimensions variable, Edition of 7 (#0/7).
#petzel #artists #mustsee #louche
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