Mira Schor
Fernanda Galvão
Aneta Grzeszykowska
Akea Brionne
Mira Schor is one of the foremost feminist painters of the past fifty years. Operating in the nexus of language, painting, and feminist theory, Schor has continually imbued formalism with political urgency, and reminded viewers that written discourse and physical form are inherently linked. She draws on multiple sources of imagery and art historical reference to inform her paintings. The central theme in recent work is the experience of living in a moment of incipient fascism, climate collapse, and accelerated time, set against the powerful pull of older notions of craft, and visual pleasure. Her imagery and surfaces are sometimes transgressive, yet often at the same time delicate, poetic, and private, embodying her richly dimensional thinking. Schor overlays imagery and language to reverse the elision of female agency, systems of power, control, and subversion. In today’s social climate of conservative backslide and the erasure of civil liberties, her legacy and current work are as important as ever.
Mira Schor , Area of Denial - Breast, 1992, oil on linen, 12 x 16 inches, 30.5 x 40.6 cm.
Mira Schor, Ocean Cruise, 2026, acrylic and ink on canvas, 71 x 101 inches, 180.3 x 256.5 cm.
Mira Schor, Mask (book), 2025, ink, acrylic, and gesso on Japanese paper, 10.75 x 14.5 inches, 27.3 x 36.8 cm.
Mira Schor , Double Bubble, 1990, oil on canvas, 22.5 x 8 inches, 57.15 x 20.32 cm.
Fernanda Galvão paints ecosystems of plant life rooted in careful study and fantastical invention. Through color and form she suggests narrative scenes of entropy and renewal, looking to biology for metaphor. Her research is driven by the idea that plants can be a reservoir for memory; several of her paintings evoke a mangrove coastline as a site of imaginative rebirth, with titles referencing the Earthsea universe of feminist fiction writer Ursula K. LeGuin.
Fernanda Galvão, Água Marinha, 2026, charcoal, dry pastel, oil bar, and oil on linen, 43.25 x 44.25 inches, 110 x 112.5 cm.
Fernanda Galvão, Cocoa Caracol, 2026, charcoal, dry pastel, oil bar and oil on linen, 25.625 x 31.75, 65 x 80.5 x 4 cm.
Fernanda Galvão, Polvo, 2024, lithograph, 15.75 x 15.375 inches, 40 x 39 cm, Edition of 23
Fernanda Galvão, Cucumber-Smelling Smelt, 2024, charcoal, dry pastel and oil stick on paper, 24.25 x 33.875 inches, 61.5 x 86 cm.
Aneta Grzeszykowska's photographs and video use dark, probing humor to explore sexuality, feminism, and the construction (and violent erasure) of the self. Over the past two decades, Grzeszykowska has used performance, photography, sculpture, and video to investigate the multiplicities of the self, the history of feminism and the phenomenology of her respective mediums. Grzeszykowska’s art draws her into the arena of Donna Harraway’s woman-cyborg. In breaking with the old, outdated schema, faded frames and post-romantic, patriarchal phantasms, she retains an unpredictability and hybridity that lies beyond the confines of the dual-channel possibilities of identity, connecting that which is human with what is technical, the organic with the synthetic, male and female, alluring and repugnant, and, particularly in the case of her latest works, the artistic and the non-artistic. Grzeszykowska’s “Mama” series is on view at the Fondazione D'ARC in Rome and the New Museum in New York City.
Aneta Grzeszykowska, Mama #36, 2018, silver gelatin print, 19.75 x 14.125 inches 50 x 36 cm., ed. of 5 + 1 A.P.
Aneta Grzeszykowska, Mama #20, 2018, silver gelatin print, 19.75 x 14.125 inches 50 x 36 cm., ed. of 5 + 1 A.P.
Aneta Grzeszykowska, Mama #23, 2018, silver gelatin print, 19.75 x 14.125 inches 50 x 36 cm., ed. of 5 + 1 A.P.
Aneta Grzeszykowska, DAUGHTER #12, 2025, archival pigment print, 27.5 x 20.67 inches, 70 x 52.5 cm., ed. 1/3 + 2 AP
Akea Brionne is an interdisciplinary researcher and artist, working at the intersection of lens and fiber based media, painting, and artificial intelligence. Her practice explores the relationship between colonial and imperialist history and their impact on identity politics, cultural storytelling, memory, and assimilation. Her work analyzes this primarily through observation within the African Diaspora, with a particular emphasis on Creole culture.
Akea Brionne, Mask for a New Hour, 2025, jacquard, glitter, adhesive, rhinestone, oil stick, 48 x 36 inches, 121.92 x 91.44 cm.
Akea Brionne, Time Splits at the Doorframe, 2025, jacquard, glitter, rhinestones, door knob, wood, adhesive, oil stick, 60 x 48 inches, 152.4 x 121.92 cm.
Akea Brionne, The Garden Does Not Rush, 2025, jacquard, glitter, adhesive, oil stick, 60 x 48 inches, 152.4 x 121.92 cm.
Akea Brionne, The Mirror is Not Neutral, 2025, jacquard, glitter, adhesive, rhinestone, oil stick, 48 x 60 inches, 121.92 x 152.4 cm.
Mira Schor (b. 1950, New York) has exhibited at Bourse de Commerce - the Pinault Collection, Paris, FR; Centre Pompidou-Metz, Metz, FR; Musée d’art contemporain de la Haute-Vienne, Rochechouart, FR; The Jewish Museum, New York, US; The Hammer Museum, Los Angeles, US; MoMA P.S.1, New York, US; the Neuberger Museum, Purchase, US; The Aldrich Museum, Ridgefield, US; Hauser & Wirth, New York, US; Lyles & King, New York, US; David Nolan, New York, US; P.P.O.W., New York, US; Mendes Wood DM, São Paolo, BR and Brussels, BE; and many other institutions and galleries. Schor’s work is in the collections of Museum of Modern Art, New York, NY; Centre Pompidou, Paris, FR; Carnegie Museum of Art, Pittsburgh, US; Centre national des arts plastiques (CNAP), Paris, FR; Hessel Museum of Art, Annandale-on-Hudson, US; Minneapolis Institute of Art, Minneapolis, US; Musée d’Art Moderne de la Ville de Paris, Paris, FR; Norton Simon Museum, Pasadena, US; Pennsylvania Academy of the Fine Arts, Philadelphia, US; Portland Art Museum, Portland, US; Pinault Collection, Paris, FRl; and University of Kentucky Art Museum, Lexington, US. Her work has been included in exhibitions at She is the author of A Decade of Negative Thinking: Essays on Art, Politics, and Daily Life (2009); Wet: On Painting, Feminism, and Art Culture (1997; both Duke University Press); and of the blog A Year of Positive Thinking. She is the co-editor of M/E/A/N/I/N/G. Schor is the recipient of many prestigious awards including a Guggenheim Fellowship in Painting, a Pollock-Krasner Grant, the College Art Association’s Frank Jewett Mather Award in Art Criticism, the Anonymous Was A Woman grant, and the Creative Capital / Warhol Foundation Arts Writers Grant. Schor is represented by Lyles & King, New York and Marcelle Alix, Paris. She lives and works in New York, NY.
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Fernanda Galvão (b.1994, São Paulo, Brazil) has a BA in Visual Art from Fundação Armando Alvares Penteado, São Paulo, Brazil. She has had solo exhibitions at Casa Triângulo, São Paulo, Brazil; Foundry Seoul, Seoul, South Korea; and Museu de Arte de Ribeirão Preto, Ribeirão Preto, Brazil; among others. Her work has been exhibited in group exhibitions at Museu Oscar Niemeyer, Curitiba, Brazil; Trisivrikos, London, England; Instituto Tomie Ohtake, São Paulo, Brazil; La Dons Gallery, Hamburg, Germany; Neon Gallery, London, England; and Oficina Cultural Oswald de Andrade, São Paulo, Brazil; among others. She has received the Acquisition Awards; 44º SARP at Museu de Arte de Ribeirão Preto (2021) and 47º Salão de Arte Contemporânea Luiz Sacilotto in Santo André, São Paulo. In June 2023, she participated in the Joshua Tree Highlands Art Residency in the Mojave Desert in California and than in the Cité International Des Arts in Paris. Galvão lives and works in Paris, France.
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Aneta Grzeszykowska's (b. 1974, Warsaw, Poland) photographs are currently on view in New Humans: Memories of the Future at the New Museum in New York. Her work has been exhibited at the 2022 Venice Biennale; Haus der Kunst, Munich, DE; Kunstforum tu Darmstad, Darmstad, DE; The Francisco Carolinum Museum for Modern and Contemporary Art, Linz, AT; Raster, Warsaw, PL; MOCAK Museum of Contemporary Art, Krakow, PL; Contemporary Art Museum, St. Louis, US; Heidelberger Kunstverein, Heidelberg, DE; Fotografiska Stockholm, Stockholm, SE; Fotomuseum Winterthur, Winterthur, CH; Zachęta National Gallery of Art, Warsaw, PL; Ludwig Museum of Contemporary Art, Budapest, HU; Museo de Arte Moderno, Mexico City, MX; and Walker Art Center, Minneapolis, US; among many others. Her work is included in several museum collections, including the Solomon R. Guggenheim Museum, New York; Centre Pompidou, Paris; San Francisco Museum of Modern Art, San Francisco; Walker Art Center, Minneapolis; Fotomuseum Winterthur, Winterthur; Hammer Museum, Los Angeles; Yokohama Museum of Art, Yokohama; Museum of Modern Art, Warsaw; Sammlung Verbund, Vienna; and many others. Grzeszykowska is represented by Raster Gallery and Lyles & King. She lives and works in Warsaw.
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Akea Brionne (b. 1996; New Orleans, LA) was named to Forbes' 30 Under 30 in 2024 in the Art & Culture category. She has forthcoming solo exhibitions at the Cranbrook Museum of Art, MI and the Mattress Factory, PA. Her work has recently been exhibited at the Brooklyn Museum of Art, NY; the Baltimore Museum of Art, MD; the California African American Museum, CA; Mississippi Museum of Art, MS; Wellin Museum of Art, NY; Cranbrook Museum of Art, MI; and Library Street Collective, MI, among others. Brionne’s work is in the collections of Mississippi Museum of Art, MS; the Cranbrook Museum of Art, MI; Wellin Museum of Art, NY; the Baltimore Museum of Art, MD; and Los Angeles Center for Digital Art, CA; among others. She was the youngest artist included in the California African American Museum group exhibition, A Movement in Every Direction:Legacies of the Great Migration, which was named by the New York Times as one of the best shows of 2022. She lives and works in Detroit, MI.