Exhibitions

More than two decades ago, when Tetsuya Ishida was still a young emerging artist in Japan, he was already dreaming big. He had his eyes set on New York, wishing that he would one day have his solo exhibition in the center of the contemporary art world. He was preparing himself, saving money from a part-time job and learning English when he was not painting.
Ishida’s dream, however, did not materialize prior to his untimely death in 2005 at the age of 31 due to a train accident. But that was not the end of his story: This fall, the late Japanese artist’s wish will come true next month when Gagosian opens “Tetsuya Ishida: My Anxious Self” at its 555 West 24th Street space in New York on September 12.
Featuring more than 80 works, the exhibition, curated by Cecilia Alemani, is set to be the artist’s largest show outside of his native Japan. The gallery is also now representing Ishida globally in association with the artist’s estate, Artnet News can exclusively reveal.
Tetsuya Ishida, Exercise Equipment (1997). © Tetsuya Ishida Estate. Photo: Rob McKeever. Courtesy Gagosian.
“In getting to know the family over the past several years, we learned that an exhibition in New York was Tetsuya’s greatest artistic ambition, and we are incredibly honored to present his paintings in New York on the 50th anniversary of his birth,” Nick Simunovic, senior director of Gagosian in Asia, told Artnet News.
Born in Yaizu, Japan, in 1973, Ishida grew up as part of the country’s “lost generation,” a term referring to those who graduated during the 1990s and 2000s in a period of recession. During his short-lived artist career, Ishida created about 200 works. The sentiment of loss and despair experienced among this generation during a decade marred by high unemployment and high suicide rates can be felt in Ishida’s poignant paintings and graphic works.
Often meticulously detailed, Ishida’s paintings depict expressionless or sad faces of young men, their human bodies merged with objects surrounding them, including plastic bags, airplanes, buildings, broken satellites, machine parts, and animals like crabs and seahorses. At times, his human figures appear nearly lifeless in his paintings, lying on a conveyor belt or arriving as packaged goods.
Critics in Japan relate Ishida’s work with the country’s dominating manga and anime culture, but at the same time, this “convergence” with objects can also be understood as a visualization of the psychological survival mechanism needed during a repressive time.
“At first, it was a self-portrait. I tried to make myself—my weak self, my pitiful self, my anxious self—into a joke or something funny that could be laughed at… It was sometimes seen as a parody or satire referring to contemporary people. As I continued to think about this, I expanded it to include consumers, city-dwellers, workers, and the Japanese people,” the artist was quoted in a statement.
Ishida’s works were exhibited and collected in some parts of Asia but they did not get to travel beyond the region until November 2013, when Gagosian held a solo exhibition of the artist at its Hong Kong space, the artist’s first outside of Japan.
Tetsuya Ishida c. 1995 © Tetsuya Ishida Estate. Courtesy the artist and Gagosian
Recalling the organization of the exhibition, Simunovic, who was leading the gallery’s Hong Kong operation at the time, was first introduced to the artist’s enigmatic paintings through a Hong Kong collector more than 12 years ago. “I was immediately taken with the work and showed it to Larry [Gagosian], who was equally captivated,” Simunovic said. “We both agreed that it would be interesting to present an exhibition and, as we didn’t know the family at the time, we began making plans to mount a show of work from the secondary market. We secured great loans from collectors across Asia.”
The 2013 Hong Kong exhibition became a turning point for Ishida’s art. Jessica Morgan, a curator at the Tate at the time, saw the show and subsequently included the artist in the 2014 edition of Gwangju Biennale, when she served as its artistic director. “Okwui Enwezor, who was on the Gwangju jury at the time, was fascinated by Ishida and the power of his work, and, in turn, featured the artist in his exhibition for the 56th Venice Biennale in 2015,” Simunovic noted. And then, Reina Sofia’s curatorial team saw the Venice show and subsequently offered Ishida’s family a solo show at the museum in Madrid in 2019.
In between, the artist’s relatives became aware of the growing reputation of his work and reached out to Simunovic. “We slowly began building a relationship and we were given works for sale, which we placed in esteemed collections around the world,” he said.
Tetsuya Ishida, Refuel Meal (1996) © Tetsuya Ishida Estate. Courtesy the artist, Shizuoka Prefectural Museum of Art, and Gagosian.
The gallery and the artist’s family were initially working on a show in New York, which was stalled due to the Covid-19 lockdowns. “We believe in his work and feel it’s extremely important that it be seen and understood in the West,” Simunovic said. The 80 works to be featured in the New York show represent nearly half of Ishida’s entire body of work. Some of them are on loan from the collection of the Shizuoka Prefectural Museum of Art, which is located in the artist’s home town in Japan, as well as other private collections. Others are from the estate and will be available for sale, but Simunovic declined to reveal exactly how many works and the price range.
Simunovic is confident the show will resonate with an audience in the West. Ishida’s art, which addresses the themes of disconnection, alienation, and despair, are universal and highly relevant to the current times, he added.
“We live in a pluralistic art world where there are countless western collectors who enjoy collecting Asian contemporary art, just as there are countless Asian collectors who are avidly collecting western contemporary art,” he said.

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Whether or not you know the life and work German-Venezuelan artist Gego (1912–1994) may depend on where in the world you call home. The deeply influential artist—best known for her conceptual and elegant wire sculptures—has routinely been hailed as one of the most influential figures of post-war Latin American art. In the United States, particularly, however, her recognition has been slow-coming when compared to the fame of her contemporaries. “Gego: Measuring Infinity” at the Solomon R. Guggenheim Museum, the artist’s first major museum retrospective in the United States since 2005, aims to rectify this discrepancy and introduce Gego’s work to a broader American audience. On view through September 10, 2023, the exhibition presents a simultaneously chronological and thematic survey of her work and practice, offering insight into her distinctive approach to abstraction and influential artistic innovation.
Installation view of “Gego: Measuring Infinity” (2023). Photo: David Heald. © Solomon R. Guggenheim Foundation, New York.

Who was Gego?
Born Gertrude Louise Goldschmidt to a secular Jewish family in Hamburg, Germany, in 1912, Gego (a sobriquet used throughout her career using the first two letters of her first and last name) did not begin her career as an artist. She studied at the University at Stuttgart (formerly the Technische Hochschule Stuttgart) under German architect Paul Bonatz, earning a degree in architecture and engineering in 1938. While at university, she was exposed to a variety of art and design movements and trends including those produced by the Staatliches Bauhaus, the leading school and eponymous architectural style that flourished in the interwar period.
During this time, Gego was witness to the Nazi party’s ascension to power, the dramatic rise of antisemitism, and Adolf Hitler’s appointment as Chancellor of Germany. Increasingly throughout the 1930s, anti-Jewish laws and legislative persecution of Jews made remaining in Germany untenable. Gego’s German citizenship was nullified in 1935, and the same year as she graduated the German Reich Ministry of Interior began formally restricting the freedom of movement of Jewish people. Compelled to leave the country, many of Gego’s family members were able to flee to England, however, she was unable to obtain an English visa. Instead, in 1939, she immigrated to Venezuela, where she established herself in the capital city of Caracas.
Unfamiliar with the country, culture, and language, coupled with the fact that she was a woman and nonnational, Gego’s opportunities were often few and far between. Regardless, she was able to use her educational background to undertake work as a freelance architect and designer for several firms. At one such firm in 1940, she met urban planner Ernst Gunz. The pair were married that same year, and they went on to have two children. For a brief period, they operated a furniture studio and shop for which Gego worked as a designer. In 1948, however, Gego returned to working on architectural projects, and in 1951 the couple separated. The following year, Gego met graphic designer Gerd Leufert, with whom she would spend the rest of her life. Coinciding with this, Gego left her architecture practice behind and devoted herself to making art.
Installation view of “Gego: Measuring Infinity” (2023). Photo: David Heald. © Solomon R. Guggenheim Foundation, New York.

Line, Form, and Space
Undoubtedly greatly influenced by her professional and educational background in architecture, Gego’s oeuvre is an enduring testament to her exploration and mastery of line, form, and space. Some of the artist’s earliest works, many of which took inspiration from the natural landscape of Venezuela, illustrate her immediate interest in the formal elements of artmaking and familiarity with prevailing artistic trends of the time, including geometric abstraction. Featured on the first ramp of the Guggenheim exhibition, her watercolor, tempera, and gouache paintings feature vibrant, lush vignettes and her first experimentations with variable composition techniques. Also included are early prints and ink drawings, showing a burgeoning fascination with the possibilities of line—predecessors to the three-dimensional works she commenced making in 1956.
Compared to the airy, kinetic sculptures Gego later became recognized for, the early series of sculptures from the 1950s and ’60s on view are visually (and presumably literally) heavy. Largely comprised of painted iron rods and bars, these early sculptures exemplify the artist’s preoccupation with the interaction of line and space, and an ongoing investigation into the possibilities of different geometric forms. Shapes ranging from squares to tetrahedra, comprised of repeating metal lines, overlap, merge, and stagger and space, offering a different visual understanding of composition based on perspective.
Both sculpture and printmaking remained stalwart facets of Gego’s practice, and the evolution of her work can be traced through her use of line. Initially favoring parallel lines in repetition, as she further explored their potential for interacting with space and form, her lines began to intersect and be overlaid in increasingly complex manners—both in her two- and three-dimensional work.
Gego (Gertrud Goldschmidt), Sin título (Tamarind 1848B) (Untitled [Tamarind 1848B]), 1966. Colección Fundación Gego, Caracas. © Fundación Gego. Photo: Carlos Germán Rojas. Courtesy of Archivo Fundación Gego.

Tamarind Studio, “Drawing Without Paper,” and “Reticulárea”
In both 1963 and 1966, Gego was invited to the Tamarind Lithography Workshop in Los Angeles, where she assumed a comprehensive exploration of the print medium, which resulted in some of her most significant print works. Examples of her experiments into various printmaking techniques, including engraving, etching, lithography, and even embossing, highlight her mastery, as well as exhibit her refined and disciplined approach to color and composition. The Tamarind period prints further emphasize her meticulous investigations into line and shape within the confines of the medium.
In 1969, there was a pivotal shift in Gego’s work, when she moved away from parallel lines to what she termed “reticuláreas,” reticular shapes that resembled nets or structures comprised of nets in her two-dimensional work. This shift soon appeared in her sculptural work as well and subsequently led her to use lighter, more easily manipulated materials such as wire (rather than iron or steel rods or bars). The change in approach is made manifest in pieces from her largest sculpture series, produced between 1976 and 1988, “Dibujos sin papel (Drawings Without Paper).” Here, wire took the place of drawn line, and with each handwoven sculpture hung in proximity from a wall, the wire resembles graphite or ink, and further light cast on the works casts shadows that add another dimension to the work. In a piece from 1985 within the Guggenheim exhibition, the addition of a thin line of red along the edge of the wire grid brings to mind standard graph paper, with a warped addition of gridded wire mimicking a volumetric drawing.
Gego (Gertrud Goldschmidt), Dibujo sin papel (Drawing without Paper) (1985). Private collection. Photo: Barbara Brändli. © Fundación Gego.
Foremost in her use of “reticuláreas,” her hanging sculptures made up of interwoven and repeated webs of wire capture her pursuit of line, form, and space most succinctly, and are widely considered Gego’s most famous works. From comparatively simple and petite constructions to large scale, room-spanning installations, these sculptures have a penchant for moving with the ambient air within the spaces they are exhibited. Within Gego’s body of “reticuláreas” sculptures, the artist created various individual series inspired by nature—recalling the influence of nature seen in her earliest paintings—such as Troncos (Trunks) and Bichos (bugs).
Gego (Gertrude Goldschmidt), Tronco n°5 (Trunk No. 5) (1976). Private collection. © Fundación Gego. Photo: Tomas R. DuBrock. Courtesy of the Museum of Fine Arts, Houston.

Gego’s Enduring Legacy
Considering Gego’s work and practice within the art historical canon, her career and practice can be recognized as an indispensable facet of 20th-century art. Though just over a decade his junior, her work and innovation within the realm of kinetic art are in many ways a formal counterpart to and furtherance of Alexander Calder’s iconic hanging mobiles. Within the context of 20th-century South American art, her experimentations with kinetic sculpture can be seen echoed in work as Brazillian artist Lygia Clark’s reticulated “Bicho (Critter),” or fellow Venezuelan artist Jesús Rafael Soto and Alejandro Otero, emphasizing the importance of the formal aims she pursued in her practice. Though she received widespread acclaim in her lifetime and has maintained name recognition throughout much of the world, her life and oeuvre are primed for renewed recognition in the United States.
“Gego: Measuring Infinity” is on view at the Solomon R. Guggenheim Museum through September 10, 2023.
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After years of studying public sculptures across the U.S. to better understand how these monuments tell the story of our nation’s history, Monument Lab, a public art nonprofit based in Philadelphia, has just erected six of its own on the National Mall in Washington, D.C.
Titled “Pulling Together,” the temporary exhibition, curated by Monument Lab’s Paul Farber and Rutgers University–Newark professor Salamishah Tillet, features new work by Derrick Adams, Wendy Red Star, Paul Ramírez Jonas, Vanessa German, Tiffany Chung, and Ashon T. Crawley.
It is the first curated outdoor exhibition on the mall—and the first phase of the organization’s new public art initiative “Beyond Granite,” which hopes to bring more inclusive, equitable, and representative commemorative artworks to the heart of the capitol.
“The mall remains a symbol of our Democratic ideals as a nation. ‘Beyond Granite: Pulling Together’ does not shy away from those aspects in our history that can be very hurtful to Americans. We must tell those untold stories fiercely,” Charles Sams, director of National Park Service, said at the exhibition’s unveiling. “We are only stronger by our diversity. Without it, ecosystems collapse.”
Vanessa German, Of Thee We Sing (2023) in the Monument Lab’s exhibition “Beyond Granite: Pulling Together” on the National Mall in Washington, D.C. (detail). Photo by AJ Mitchell, courtesy of Monument Lab.
Founded in 2012 by Farber and Ken Lum, Monuments Lab rose to new prominence in the wake of the George Floyd protests, which saw activists vandalize and forcibly remove Confederate monuments. The question of what to do with public memorials with problematic histories sparked a nationwide debate and numerous court battles—and also prompted a wider reevaluation of who is honored in town squares across the country.
Monument Lab was the inaugural recipient for the Mellon Foundation’s “Monuments Project,” a $250 million campaign to change the face of American monuments.
Paul Ramírez Jonas, Let Freedom Ring (2023) in the Monument Lab’s exhibition “Beyond Granite: Pulling Together” on the National Mall in Washington, D.C. (detail). Photo by AJ Mitchell, courtesy of Monument Lab.
The philanthropic organization’s $4 million research grant allowed Monument Lab to conduct a comprehensive audit of national, state, and local monuments in the U.S. What it found was of the 50 most-memorialized figures, 42 were white men, and 25 owned slaves.
In organizing “Pulling Together,” Farber and Tillet aimed to create monuments that would honor the untold stories that have been left out of America’s public landscapes, showcasing them alongside famed memorials to the Founding Fathers and those who have fought on behalf of America.
The artist selected for the project represent a diverse group—three Black, one Latino, one Asian, one Native American, and half of them women.
Vanessa German, Of Thee We Sing (2023) in the Monument Lab’s exhibition “Beyond Granite: Pulling Together” on the National Mall in Washington, D.C. Photo by AJ Mitchell, courtesy of Monument Lab.
At the Lincoln Memorial, German pays homage to the renowned Black singer Marian Anderson, who famously performed in concert at the monument, back in 1939, when the nation’s capitol was still segregated. The sculpture incorporates historical photographs of the event, as well as steel Sandhof lilies, native to Africa, and blue bottles that make up the singer’s skirt, as a reference to their spiritual significance to enslaved Africans who lived on the Gullah in the Lowcountry.
Anderson was also the point of inspiration for Jonas, who has created a carillon sculpture titled Let Freedom Ring with 32 automated bells that play “My Country ‘Tis of Thee”—part of the set list for her performance. The public is invited to ring a 600-pound bell beneath the tower to sound the final note in the song.
Paul Ramírez Jonas, Let Freedom Ring (2023) in the Monument Lab’s exhibition “Beyond Granite: Pulling Together” on the National Mall in Washington, D.C. Photo by Paul Ramírez Jonas.
Another interactive project is Adams’s America’s Playground: DC, a functional children’s jungle gym also meant to recall the history of segregation. One half of the piece is brightly colored, the other in shades of gray, bisected by a historical photograph of Black and white children playing together at a D.C. playground just days after the U.S. Supreme Court ruling Bolling v. Sharpe declared it unconstitutional to segregate D.C. schools.
For Adams, installing a playground at the heart of U.S. politics is also symbolic. “It’s a place where you have to learn negotiation,” he told the Washington Post. “It’s a place where you have to learn to take turns. It’s a place where you understand leadership, and take risks.”
Derrick Adams, America’s Playground (2023) in the Monument Lab’s exhibition “Beyond Granite: Pulling Together” on the National Mall in Washington, D.C. Photo by Florie Hutchinson.
For the Living, Tiffany Chung’s installation next to the Vietnam Veterans Memorial, is a monumental world map dedicated to Southeast Asian immigrants and refugees, tracing their diaspora due to the war.
Red Star’s piece, The Soil You See…, draws a parallel between the Apsáalooke (Crow) Nation chiefs who signed U.S. government treaties and the 56 signatories of the Declaration of Independence, by placing a large sculpture of a thumbprint on which she’s inscribed the names of those Indigenous leaders near the mall’s Declaration of Independence Memorial.
Tiffany Chung, For the Living (2023) in the Monument Lab’s exhibition “Beyond Granite: Pulling Together” on the National Mall in Washington, D.C. Photo by AJ Mitchell, courtesy of Monument Lab.
“What I noticed is that there really isn’t any color represented on the Mall,” the artist told the Post. “That was surprising to me. Everything is, like, the color of the natural materials the monuments are made of. So my thumbprint is red.”
Finally, there is Crawley’s HOMEGOING, an audiovisual memorial to the victims of the AIDS crisis located on the site of the first display of the AIDS Memorial Quilt in 1987. A writer and musician, the artist has installed speakers amid a series of small stages that play a three-movement composition that incorporates music from Black churches, as a tribute to Black queer musicians, as well as a reading of the names of some of those who have died from AIDS.
Ashon T. Crawley, Homegoing (2023) during installation for the Monument Lab’s exhibition “Beyond Granite: Pulling Together” on the National Mall in Washington, D.C. (detail). Photo by AJ Mitchell, courtesy of Monument Lab.
The exhibition, which runs for a month, is a collaboration between the National Capital Planning Commission and the Trust for the National Mall.
“Beyond Granite: Pulling Together” is on view at various locations on the National Mall, Washington, D.C., August 18–September 18, 2023. 
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As Beatlemania spread across the globe during the early 1960s, the Beatles found themselves in a whirlwind of flashing cameras and suddenly their faces were everywhere. Until now, however, we have relatively little idea of what the experience was like from their perspective. For the first time, Paul McCartney is showing the public over 250 photographs that he took between November 1963 to February 1964 in a show that has inaugurated the temporary exhibition galleries at the newly renovated National Portrait Gallery.
Most of the photographs are either of McCartney himself or his bandmates John Lennon, George Harrison, and Ringo Starr, and were taken at a time when the Beatles shot to fame in the United States. In one series, they are shown rehearsing for a pivotal TV appearance on the Ed Sullivan Show in February 1964 that was watched by an audience of 73 million. That same month, frenzied fans are caught on camera chasing the group’s car down West 58th Street in New York and McCartney also recorded a series of personal mementos from a beach holiday in Miami.
“Looking at these photos now, decades after they were taken, I find there’s a sort of innocence about them,” said McCartney in a press statement. “Everything was new to us at this point. But I like to think I wouldn’t take them any differently today. They now bring back so many stories, a flood of special memories, which is one of the many reasons I love them all, and know that they will always fire my imagination.”
Many of the photographs were recently printed for the first time, having been left as negatives in McCartney’s personal archive and only rediscovered by the musician in 2020. Presented alongside McCartney’s own reflections, they offer a fresh behind-the-scenes lens on the famous story of how four young men from Liverpool became global superstars and redefined the meaning of celebrity for the modern era.
“Paul McCartney Photographs 1963-64: Eyes of the Storm” runs through October 1 before traveling across the pond to the Chrysler Museum of Art in Norfolk, Virginia, where it will run from December 5, 2023, to April 7, 2024. A book of photographs paired with McCartney’s recollections from the period has also been published by Penguin Press in the U.K. and W.W. Norton in the U.S.
Check out images from the exhibition below.
Paul McCartney, George looking young, handsome and relaxed. Living the life. Miami Beach, February 1964 (1964). Photo: © 1964 Paul McCartney.
A visitor looks at photographs taken by Paul McCartney in Miami. Photo: © National Portrait Gallery, London.
Paul McCartney, John and George, Paris. 1964 Photo: © 1964 Paul McCartney.
A visitor looks at photographs taken by Paul McCartney while rehearsing for The Ed Sullivan Show. Photo: © National Portrait Gallery, London.
Paul McCartney, Self-portraits in a mirror, Paris, 1964 (1964). Photo: © 1964 Paul McCartney.
“Paul McCartney Photographs 1963-64: Eyes of the Storm” at the National Portrait Gallery. Photo: © National Portrait Gallery, London.
Paul McCartney, Photographers, Central Park, New York, February 1964 (1964). Photo: © 1964 Paul McCartney.
A visitor to the National Portrait Gallery looks at photographs taken by Paul McCartney in Paris, 1963-64. Photo: © National Portrait Gallery, London.
Paul McCartney, The crowds chasing us in A Hard Day’s Night were based on moments like this. Taken out of the back of our car on West Fifty-Eight, crossing the Avenue of the Americas. New York, February 1964 (1964). Photo: © 1964 Paul McCartney.
“Paul McCartney Photographs 1963-64: Eyes of the Storm” at the National Portrait Gallery. Photo: © National Portrait Gallery, London.
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