10 Standout Gallery Exhibitions to See during Armory Week 2023

Joe Fig - Yayoi Kusama_Aspiring to Pumpkin’s Love, the Love in My Heart, Zwirner, 2023 - Cristin Tierney

10 Standout Gallery Exhibitions to See during Armory Week 2023

eptember marks the beginning of a bustling fall season in the art world. In New York, art collectors, curators, and dealers converge on the city to participate in a growing list of art fairs. Most of these fairs are scheduled for the second weekend in September, with VIP previews on the 6th and 7th, depending on the specific event. The focal point of these fairs is the prestigious Armory Show, which returns to the Javits Center this year, alongside the New York debut of PHOTOFAIRS. Other notable events include Art on Paper, the artist-centric SPRING/BREAK, and the latest edition of Independent, focusing on 20th-century art.

In addition to the exhibitions within the fair venues, the Armory Show also features public art installations throughout the city, from Times Square to Astor Place to the U.S. Open. One of the standout installations is Zizipho Powsa’s bronze sculpture titled “Mam’uNoBongile (2023),” presented by Southern Guild, a gallery based in Cape Town. This sculpture is inspired by the artist’s Xhosa spirituality and traditions, paying tribute to the women in Powsa’s community.

With international art industry leaders attending the fairs, September offers local galleries an opportunity to showcase both established and emerging artists. After a summer of typical group exhibitions, many galleries have opted for solo and two-person shows in September, providing in-depth insights into the artists’ creative processes. From conceptual explorations of natural forces to a notable selection of female figurative painters, artists across the city are sharing their personal perspectives on experiences that unite us all.

Here, we highlight 10 exceptional exhibitions that you should not miss during Armory Week.

Natalie Terenzini's "As Good As It Gets" at Thierry Goldberg Gallery

September 8 – October 7

In her exhibition “As Good As It Gets,” artist Natalie Terenzini uses her own image as a profound alter ego to navigate the intricate terrain of femininity. She fearlessly embraces her own discomfort, awkwardness, and vulnerabilities, laying bare the complexities of the female experience through a series of vividly hued paintings.

Within these artworks, Terenzini presents her character in various states of undress, engaging in candid scenes infused with raw emotion. Her alter ego teeters on the precipice of transformation, capturing moments that range from almost shedding tears to intimate encounters or finishing the final puffs of a cigarette. Each painting offers an unflinching glimpse into the emotional and physical weight of the in-between moments and subtleties that define the female experience.

Terenzini’s paintings in “As Good As It Gets” revolve around the intricate web of yearning—a state that can lead to either disappointment, fulfillment, or a complex mixture of both. Each piece seems to encapsulate a pivotal moment in the larger narrative of the character’s life journey. The expressions of these figures span from eager and passionate to contemplative and exasperated. Yet, all of them are sincere, bearing their emotions with raw intensity, and inviting viewers to connect on a deeply human level.

In certain paintings, the character gazes directly at the viewer, exposing herself and her self-awareness. Yet, this vulnerability is met with empathy, serving as a poignant reminder of the awkward, uncomfortable, and emotionally charged moments that are intrinsic to everyone’s lives.

"Joe Fig's "Contemplating Compositions" at Cristin Tierney Gallery

September 8 – October 21

In “Contemplating Compositions,” Joe Fig takes a delightfully humorous approach to reverse the traditional relationship between art and its viewers. His subjects are everyday individuals, regular museum and gallery visitors. Fig captures them candidly in the midst of their interactions with paintings, sculptures, and installations. His work serves a dual purpose: it acts as an ethnographic exploration of human behavior while also chronicling recent art exhibitions.

The paintings featured in this exhibition are the culmination of nearly a decade of Fig’s work, during which he traversed the country, documenting exhibitions from the perspective of both an observer and an artist. In some of his works, his subjects are fully engrossed in the artworks before them, their expressions reflecting awe and wonder as they gaze at monumental pieces like Marilyn Minter’s paintings. In other instances, Fig captures moments when interest wanes, as people drift into contemplation, peering into the distance, or nonchalantly leaning over the iconic Guggenheim spiral, seemingly unfazed by the blockbuster Alex Katz exhibition that surrounds them.

Throughout this series, Fig portrays some of the most iconic figures in modern and contemporary art, each depicted alongside recognizable works that are emblematic of their respective artistic practices. From Yayoi Kusama’s pumpkins and Andy Warhol’s self-portraits to Brice Marden’s flowing abstractions, Fig’s paintings provide a fascinating glimpse into the interaction between art and its diverse audience.”

"Carlos Motta's "Jjagɨyɨ: Air of Life" at P.P.O.W

September 8 – October 7

Over the course of two decades, artist Carlos Motta has been dedicated to producing meticulously researched multimedia installations that shed light on suppressed histories, particularly focusing on the enduring consequences of colonialism as experienced by marginalized communities. In his latest body of work presented in “Jjagɨyɨ: Air of Life,” Motta collaborates closely with Indigenous cultural leaders from the Colombian Amazon to explore the erosion of intersectional cultural knowledge caused by the presence of Capuchin Missions and the schools they established in the region.

This exhibition showcases Motta’s creative collaborations with artists, musicians, leaders, and craftspeople such as Elio Miraña, ELO, Gil Farekatde Maribba, Higinio Bautista, Kiyedekago, Rosita, and Yoí nanegü, all of whom are deeply involved in the exploration and preservation of Indigenous traditions. The artworks on display encompass a diverse range of mediums, including wood sculptures, paper and cardboard installations, audio compositions, and video footage capturing firsthand accounts of the ongoing struggle against cultural erasure. Through these artistic interventions, Motta and his collaborators champion the survival of Indigenous traditions, highlighting both what has been lost and what continues to endure.”

"Rebecca Morgan's "Over the Hill" at Asya Geisberg Gallery

September 7 – October 21

Prepare for a delightful immersion into the whimsical world of “Over the Hill,” Rebecca Morgan’s fifth solo exhibition at Asya Geisberg Gallery. This captivating showcase is adorned with cartoonish and playful figures, providing a unique window into the artist’s life as she grapples with significant milestones: the metaphorical hill of approaching her 40s, and the literal hills that have surrounded her since her relocation to the Hudson Valley in June 2022.

Subtle hints of the latter theme surface in “Hudson Valley Plein Air (May 12, 2023) (2023),” paying homage to the legacy of landscape painters who once marveled at the natural beauty of this region. In “Self-Portrait as a Romanticized Painter (2023),” Morgan ingeniously inserts herself into this historical narrative, capturing the act of painting en plein air. A miniature rendering of “Hudson Valley Plein Air (May 12, 2023)” graces her easel, as if it were documenting her artistic process.

Indeed, the entire exhibition serves as a fascinating exploration of the artist’s journey through different phases of the creative process. It commences with a slightly frazzled self-portrait titled “Self-Portrait on the First Day of Summer Break (First Day of Making This Show) (2023).” As viewers move through the exhibition, they encounter glimpses of Morgan’s contemplations about the future, including a self-portrait at the age of 100, accompanied by a whimsical cartoon that poses the profound question: “What does it all mean?” This exhibition is a captivating and introspective journey through the artist’s evolving perspective on life and art.”

"Davide Balliano's "Event Horizon" at Tina Kim Gallery

September 7 – October 7

Davide Balliano embarks on a captivating exploration of the thresholds of perception through his sculptures and textured paintings, meticulously crafted from plaster, gesso, and varnish. “Event Horizon” unveils a striking collection of new marble sculptures that bear the hallmark arches and undulating U-shapes that have become synonymous with the artist’s distinctive style. In these sculptures, Balliano extracts shapes from the seemingly boundless tapestries of patterns in his paintings, isolating these forms within single and double arches that delve into the realms of voids and negative space.

In his latest paintings, Balliano revisits the realm of geometric abstractions on a grander scale, crafting immersive fields from his monochromatic and black-and-white patterns. These fields are intentionally disrupted by fragmented circles and arches, inviting viewers to lose themselves in the interplay of form and void. In both his sculptures and paintings, Balliano masterfully directs our attention to the materials themselves. He deliberately exposes glimpses of raw, natural marble and the thick, gravity-induced drips of paint. This artistic choice pays homage to his Italian heritage and the historical use of marble in antiquities and architecture while also preserving traces of his own artistic touch and the effects of gravity on the paint, providing visual hints of unseen natural forces at play.”

"Jessica Frances Grégoire Lancaster and Pajtim Osmanaj's "Recall" at Trotter&Sholer

September 7 – October 21

In their joint exhibition, “Recall,” Jessica Frances Grégoire Lancaster and Pajtim Osmanaj delve into the intricate ways memories shape our understanding of self, even as they remain fragile and elusive. Both artists draw inspiration from photographs: Lancaster selects images featuring strangers, while Osmanaj turns to his own family archive. From these visual cues, they craft reinterpretations that infuse their unique perspectives into depictions of the past.

Lancaster’s subjects may be unknown, but she carefully chooses photographs capturing everyday moments with minimal contextual information, allowing for wide-ranging interpretations that evoke a sense of familiarity. In “Goodnight Idols (2023),” she focuses on a tender moment between two figures represented solely by their intertwined legs and distinctive footwear. Meanwhile, in “Recall (2023),” Lancaster combines two perspectives of a red vintage car in distinct settings, suggesting a journey or the passage of time. Echoing the process of memory retrieval, she reverses her painting technique on glass, starting with the intricate details and gradually filling in the background.

Osmanaj takes a more personal approach, working from his family’s cherished photographs. By occasionally altering specific details, such as relocating figures to different settings, he disrupts the chronological narrative of his own life. He then adds an airbrushed veil of radiant light to his compositions, imbuing them with a dreamlike quality that mirrors the hazy nature of memories. Through their distinct artistic processes, Lancaster and Osmanaj invite viewers to contemplate the intricate interplay between memory and personal identity.”

"Kelly Beeman's "Summer" at Perrotin

September 6 – October 14

In the waning moments of summer, Kelly Beeman invites us to reminisce about the everyday experiences that define those warm, leisurely days. Through a collection of new paintings, drawings, and watercolors, Beeman, a self-taught artist, offers a nostalgic glimpse into the essence of summer. This marks her debut solo exhibition at Perrotin’s New York gallery.

Beeman’s art centers on the portrayal of young people, predominantly featuring a young girl with flowing brown hair, as they engage in activities that capture the innocence and nostalgia of summer. Her work employs muted colors and simplified lines, depicting her subjects pausing on park benches, strolling past groups of pink flamingos, or resting in the backseat of a car. Each figure wears unique attire, ranging from long dresses to patterned shirts—a recurring theme in Beeman’s art that reflects her own fascination with fashion. The expressions on these youthful faces are relaxed yet content, as if fully embracing the hazy tranquility of slow summer days.

Beeman deliberately provides minimal visual cues for identifying her subjects, allowing viewers to craft their own narratives and forge personal connections with the evocative essence of summer. In this exhibition, she invites us to bask in the memories and feelings that this cherished season brings.”

"Tariku Shiferaw's "Marking Oneself in Dark Places" at Galerie Lelong & Co.

September 7 – October 21

In his latest solo exhibition with Galerie Lelong & Co., Tariku Shiferaw, previously featured in The Artsy Vanguard’s 2021 edition, continues his exploration of hierarchical systems and the exclusionary constructs prevalent in Western arts and culture. Through the intricate interplay of geometric abstractions and the dense layering of materials, he delves into the concept of markmaking and the profound human inclination to leave traces of their existence as a form of self-assertion.

“Marking Oneself in Dark Places” presents a captivating array of new paintings alongside an immersive gallery transformation. The exhibition’s centerpiece, titled “A Sign in Space (2023),” draws inspiration from Italo Calvino’s “Cosmicomics” (1965), a collection of 12 short stories weaving narratives around scientific facts to narrate the history and evolution of the universe. “A Sign in Space” focuses on a being fixated on making a mark to assert their presence in the vast, ever-turning cosmos. Shiferaw’s cosmic installation encompasses paintings, ceramic sculptures, and an audio component that conjures the night sky, featuring sounds symbolic of the African diaspora. Through this thought-provoking exhibition, Shiferaw prompts viewers to contemplate the significance of marking one’s presence in a complex and evolving world.”

"Sheida Soleimani's "Birds of Passage" at Denny Gallery

September 5 – October 7

With a skillful blend of humor and satire in her photographic assemblages, Sheida Soleimani sheds light on often overlooked, misunderstood, and challenging themes that shape the complex human experience. Her focus centers on scrutinizing how the media represents global issues.

In “Birds of Passage,” Soleimani redirects her lens towards her own parents, effectively “ghostwriting” their life stories to engage with collective social concerns through the lens of personal narratives. She intricately weaves together memories shaped by her parents’ accounts of the 1979 Iranian Revolution and their journey to seek refuge in Europe and the United States. By envisioning her parents in various scenarios, Soleimani delves into broader issues affecting oppressed and marginalized communities. Her work delves into how the reverberations of trauma unite individuals as they navigate the challenges of coping, surviving, and caring for one another.

Embracing the fragmented nature of memory and storytelling, along with the inherent biases present in historical narratives, Soleimani’s images take on the appearance of dreamlike sequences. They are rich with unexpected objects, bursts of color, and symbolic motifs, such as the recurring presence of a snake, which alludes to the South Asian and Persian survival game of “snakes and ladders.” By rewriting her parents’ history, Soleimani deliberately draws attention to their pain and hardships, as well as their resilience, paying tribute to their enduring legacy while acknowledging the broader stories of survival that resonate with countless others.”

"France-Lise McGurn and Rita McGurn's "Matching Mother/Daughter Tattoos" at Margot Samel

September 5 – October 14

In “Matching Mother/Daughter Tattoos,” France-Lise McGurn delves into the intricate dynamics of her relationship with her late mother, Rita McGurn. The exhibition’s title finds its origin in a moment when France-Lise had a tattoo resembling her mother’s, to which Rita responded with a touch of derision, humorously remarking, “matching mother-daughter tattoos? Charming.”

Rita, an artist and set designer, left behind a diverse body of work encompassing paintings and textiles, including woven sculptures of whimsical figures and rugs that now grace the exhibition space. Although Rita’s creations were not widely exhibited during her lifetime, her artwork adorned the home where France-Lise grew up, shaping her perception of visual and material culture as she embarked on her own journey as a painter.

The exhibition seamlessly blends Rita’s works with new paintings by France-Lise. While France-Lise is renowned for her figurative artistry, her recent pieces adopt fluid, minimalist brushstrokes and a subdued color palette. Her relaxed, ethereal subjects, characterized by overlapping limbs and bodies that gently fade into space, exude a captivating sensuality. In a remarkable reflection of the figures spilling onto the rugs surrounding Rita’s sculptures, France-Lise has created a site-specific wall mural that envelops the gallery with a procession of bodies. “Matching Mother/Daughter Tattoos” provides an intimate exploration of the two artists’ practices, unveiling both their similarities and distinctions and inviting viewers to contemplate the intricacies of mother-daughter relationships.”

10 Standout Gallery Exhibitions to See during Armory Week 2023