Maryam Hoseini at Green Art Gallery
Maryam Hoseini’s Lost Pussies is our favorite from a strong solo presentation with Green Art Gallery. We were drawn to the piece of the New York-based artist’s figuration because of the erotic fishing motif, which reminds us of the simultaneous embarrassment and appeal of putting yourself out there on dating apps. It is a strong continuation of Hoseini’s investigations into love in its many forms.
Yuka Hasegawa at XYZ Collective
We resolved this year to do away with fast fashion, yet Tokyo-based artist Yuka Hasegawa’s hand-knitted sweater (UNIQLO) has us pining. Part of a new body of work, this handcrafted fake makes use of material puns to flesh out ideas about authenticity and the social chains through which commerce flows. If you’re looking to send us something nice, this would ensure we were your loyal sheep forevermore.
Jorge Gonzalez at Embajada
Practicality is not something that usually comes to the tip of our tongues when talking about far purchases, but beauty is. Both qualities coalesce nicely in Jorge Gonzalez’s After Arklu chair. The woven cord seat has almost bodily armatures that toy with the intersection of identity and modernity—these kinds of investigations feel appropriate to an artist who uses Boricua (Puerto Rican) culture to address differences in indigenous and contemporary ideas around living.
Daniel Rios Rodriguez at Lulu
A snake striped with “pa” winds its way around a wooden frame. The message if there is one gets tangled in the creature’s tongue, on its own twisted warpath around Texas-based artist Daniel Rios Rodriguez’s composition. With simple gestures in oil paint and rope, Rodriguez captures the labyrinth-like feeling of pandemic in a way that is both personal and universal.
Eva LeWitt at VI, VII
Eva LeWitt came onto our radar about the same time her Jewish Museum debut was announced. The lobby was a jungle of friends on opening night in New York. These plastic floral arrangements were impossible to see through the crowds but in the light of the next morning, one got a sense of the way LeWitt plays not only with form but also with light. We’d live with a piece of that memory.