drawings of dogs and children

María Durán Sampedro, On the Line, 2020, acrylic and tape on canvas, 40 x 60 inches.

The Holder, The Story

Curated by Bella Anastasio

Pfizer Building, Brooklyn, and online at


Storytelling is an interface for translating and harboring experience, as well as a tool by which to measure and understand ourselves in the world. Stories ground the way we make sense of life, but can also limit our understanding of what life can be. “The Holder, The Story” presents works by Julie Bena, Julia Haft Candell, Moko Fukuyama, Melissa Lohman, Adeola Olakiitan and Maria Duran Sampedro that explore what has been lost and what stands to be gained through storytelling traditions that often measure worth and humanity according to violence and achievement. Some works in “The Holder, The Story” reveal the consequences of these traditions, while others investigate the potential role of storytellers as nurturing healers for collective and individual psyches. What do we inherit from storytelling traditions? And how might we be an expansive link in a narrative chain?

Digitally manipulated photograph of face

Fabiola Larios, Internet Humans, 2020. Generated Adversarial Networks. Image courtesy of the artist.

what’s ur handle?

Curated by Angelica Fuentes

Pfizer Building, Brooklyn

To schedule a viewing, please email


“what’s ur handle?” explores online avatars as a tool of resistance. Figurative oil painter Emma Stern’s sexually empowered subjects are extended self-portraits who exercise liberation in the form of an avatar translated to paint. Interdisciplinary media artist Fabiola Larios uses social media selfie filters to declare autonomy over one’s own internet persona. Multimedia artist Emily Mulenga presents Bunniana, an overtly sexualized human-bunny avatar used to navigate digital spaces idealizing femininity. Interdisciplinary artist Lena Chen presents the Internet from the perspective of sex workers who navigate a digital environment full of harassment, discrimination and manipulation. Health-tech-politics practitioner and artist Tabita Rezaire’s video work celebrates spiritual knowledges and the empowerment of Black femmes as a means of opposing discrimination and stereotyping online. These artists create alternate personas, avatars and sometimes entire worlds to combat the way female bodies are valued in digital realms, and how female representations affect gender performativity in real life.


Digital rendering of exhibition room with human figure and Zoom grid screenshot

Screenshot from exhibition space and Club Quarantine Zoom. Image courtesy of David Hanlon.


Curated by David Hanlon

Pfizer Building, Brooklyn, and online at


“Queerisphere” is about queer performance and its recent shift to online platforms. Such platforms have enabled the formation of entirely new communities, as well as forms of support that have become increasingly rare in physical spaces due to rising gentrification, and more recently the COVID-19 pandemic. The exhibition features works created and performed on social media platforms by Patrick Arias, Seth Sanker, Julian Burzynski, Adeola Olakiitan and Alfredo Aguayo, with a live event sponsored by Club Quarantine on Zoom, a drag performance by New York queen Neon Calypso, an interview with Coco Deville, and various other performances, as well as an online component at


Group of people singing

Super Critical Mass, Moving Collected Ambience, 2016. Image Courtesy: Museum of Contemporary Art, Sydney.

In the Shape of a Square

Curated by Clifford Loh

May 7 – 15, 2021


“In the Shape of a Square” is a series of temporary site-specific interventions around New York City that attempts to trace the contours of social relations in public space. Envisioning the curatorial as an infrastructural method, works by Post Museum (Singapore), Super Critical Mass (Australia/United States) and Eating in Public (United States) serve as open proposals to the public and will unfold organically and in a manner that is not predetermined. In a time of global political and social uncertainty, during which COVID-19 precautionary measures continue to limit intimacy and direct exchange, “In the Shape of a Square” speaks to human vulnerability and the effects of the virus on both a personal and global scale. What is art’s capacity to activate a democratic effect in the complex composite situation of public space, to produce space while questioning its becoming?



Blue rabbit with bolt cutter in hand

Bidemi Tata, FTBC Bunny (I), 2020. Courtesy of the artist.

Fetch the Bolt Cutters 

Curated by Adeola Olakiitan

Online at

Digital Publication I: Tuesday, April 14

Digital Publication II: Wednesday, April 28

Digital Publication III: Wednesday, May 12


Hypercapitalism, as a more advanced form of late capitalism, continues to reveal its reliance on various forms of oppression and myth to sustain its excessive extraction and escalating plunder. Liberation, however, beckons at the other end of its sweeping dominion through long years of committed resistance and envisioning equitable futures. “Fetch the Bolt Cutters” is a counter-capitalist project (dreamwork) that stands in this constellation as a serial participatory installation and digital publication project to counter and inspire a more desirable here and now. Featuring artists and collectives Institute of Queer Ecology, Spiral Theory Test Kitchen, Internet Teapot, Bare Minimum Collective and Vicious Collective, among others, the project maps ideas, instructional artworks and materials that negate and illuminate newer articulations for immediate alternatives to life under hypercapitalism.



painting of skull in sunglasses surrounded by objects

Rachael Tarravechia, MEMENTO MORI, 2018, Acrylic, glitter, rhinestones, beads, leather, rabbit fur, and paper on panel, 24 x 24 inches.

Of Decadence and Decay

Curated by Marley C. Smit

Pfizer Building, Brooklyn

To schedule a viewing, please email


“Of Decadence and Decay” is a group exhibition of works that employ craft, kitsch and camp to reveal the innately grotesque nature of amassing extreme wealth and all its trappings in the era of late capitalism. The COVID-19 pandemic has illuminated the morbid effects of class disparity in America perpetuated by colonial, capitalist, racist and patriarchal systems. Although capitalism tends to suck everything up into its vortex, even efforts to undermine it, “Of Decadence and Decay” leans into this contradiction, while asking how craft and kitsch art can undermine classist hierarchies and illuminate pathways towards more ethical models of valuation. By remaining complicit in the capitalist mechanism that elevates anything canonized as “fine art” to an exalted status, the exhibition brings together works by Hilliary Gabryel, Christina Nicodema, Kat Ryals and Rachael Tarravechia that together contribute to kitsch and craft art’s history of undercutting the socially constructed disparities between “high” and “low” material, inviting inquiry into other normalized oppressive systems of determining value.




Ziyang Wu, Carnival 2020, 2018, video. Image Courtesy of the artist.

We, Land 

Curated by Yuan (Sylvia) Zhi 

On view from April 16 – 21, 2021

Opening Reception: Friday, April 16, 5:00 – 7:00 pm (Hong Kong Time) 

W36 Art Space, 199 Guangzhou Street, 2nd floor, Gulou District, Nanjing, China

Tuesday – Sunday, 10:00am – 5:00pm


A city is a mirror beckoning us to consider its vast opacity—the complex lives behind endless concrete and stone, the constrained streets below towering vertices, the oceans of data transmitted through the Internet. Focusing on the word “we,” the exhibition “We, Land” brings together works by Cecilia Kim, Okui Lala, Cena Lu, Ningxin Li, Ziyang Wu, Yiding Zhang and Daiqing Zhu to explore hidden narratives of the city. How do personal influences shape our perceptions of place, and how do the places we occupy reflect our selves? And what is behind this reflection? Though the city continuously absorbs memories and redefines itself, it also mourns the impossibility of returning to an enchanted world that preceded it, whether as a secular expression of spiritual need, a nostalgia for absolutes or a longing for the Edenic unity of time and space before the city gained entry into history.



Three people at the laundromat. Video still caption "We live in the shade in this country".

Fernando Sancho, still from Spin Cycle, 2020, video.

Do-Until Loop Parade

Curated by Ash Cortes, Katelynn Dunn, Emma Gasterland Gustafsson, Tamara Khasanova, Carina Martinez, Yuan Shi, Zezhou Wang, and Kevin Wu, with Exhibition Practicum instructor Noam Segal


Presentations will take place April 21 – 23, 2021, at CP Projects Space, 132 West 21st Street, 10th floor, New York, and be distributed to various locations along a mail circulation route as an exhibition in a box.


Online at 


The experience of going through the same routines in claustrophobic enclosures has prompted us to reconsider our relations to time and space. Stuck in perpetual motion, we have just begun to suspect: Are we actually moving forward? “Do-Until Loop Parade” is an exhibition in a box that seeks to stage a conversation between artists who reflect on the mobility and stagnancy of our contemporary experience. Works by Po Han Huang, Hyemi Kim, Yi Hsuan Lai, Lingfei Ren Fernando Sancho, Jinglin Wang,and Weihan Zhou hint at the existence of “loops” that have long dictated our psychological, socioeconomic and political freedoms. These loops are constructs—systems of control—but their origins and logics are obscured. Nonetheless, their effects on our lives are palpable. They manifest as the echo chambers of social media, repetitive labor that spurns the possibility of wealth accumulation, corporate-backed filibusters that deliberately prolong social injustices, or the difficulty of imagining a radically new future. Beyond examining the adverse conditions of the loops, the exhibition also attempts to offer plans to deorbit. What does it mean to escape the impasse that disguises itself as progress? “Do-Until Loop Parade” invites viewers to take part in this timely meditation.