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max popov
Visit Max Popov’s debut exhibition at Gordon Robichaux, ‘Between me and you,’ Friday-Sunday, 12-6pm, and by appt.
Popov’s exhibition brings together a group of three wall-based sculptures, a small “icicle” assemblage mounted near the ceiling, and a site-responsive work installed in the gallery’s windows. The installation exemplifies the artist’s sensitivity to context and site; his transformation of trash, antiquated electronics, and material technology; and his deeply felt experiences with objects that evoke transience and the resonance of memory.
The primary feature of the gallery space is two large windows that open to an expansive view of the city. Within their frames, Popov has installed ‘Between red and green (communal markers),’ which the artist describes as “an optical reliquary, a lens, and a container.” The work comprises eight shelves—four per window—constructed from one-inch-thick sections of polished Plexiglas that span the width of the openings. The shelves support an arrangement of optical glass objects and geometric and irregularly shaped transparent “prisms” the artist has cast with epoxy resin. Upon close inspection, the installation reveals an array of images of monarch butterflies embedded within the luminous forms and carefully placed under, behind, and between them and the windowpanes.
IMAGES: Max Popov ‘Between red and green (communal markers) I’ 2025-2026, Matchbooks, playing cards, printed image still from Janet Jackson’s ‘Together Again (deeper remix)’ music video, various product packaging, food verification seals, plastic tote, stickers, temporary tattoos, auctioned page from a magazine, ceramic plate, sugar packet, paper butterflies, postage stamps, paper towels, phone case, ceramic insulator, resin, optical glass, Plexiglas, shelving rails, brackets, Each window: 66 x 38 x 3 in. / dimensions and installation variable
#MaxPopov @mxcrpv #GordonRobichaux
Visit Max Popov’s debut exhibition at Gordon Robichaux, ‘Between me and you,’ Friday-Sunday, 12-6pm, and by appt.
Popov’s exhibition brings together a group of three wall-based sculptures, a small “icicle” assemblage mounted near the ceiling, and a site-responsive work installed in the gallery’s windows. The installation exemplifies the artist’s sensitivity to context and site; his transformation of trash, antiquated electronics, and material technology; and his deeply felt experiences with objects that evoke transience and the resonance of memory.
The primary feature of the gallery space is two large windows that open to an expansive view of the city. Within their frames, Popov has installed ‘Between red and green (communal markers),’ which the artist describes as “an optical reliquary, a lens, and a container.” The work comprises eight shelves—four per window—constructed from one-inch-thick sections of polished Plexiglas that span the width of the openings. The shelves support an arrangement of optical glass objects and geometric and irregularly shaped transparent “prisms” the artist has cast with epoxy resin. Upon close inspection, the installation reveals an array of images of monarch butterflies embedded within the luminous forms and carefully placed under, behind, and between them and the windowpanes.
IMAGES: Max Popov ‘Between red and green (communal markers) I’ 2025-2026, Matchbooks, playing cards, printed image still from Janet Jackson’s ‘Together Again (deeper remix)’ music video, various product packaging, food verification seals, plastic tote, stickers, temporary tattoos, auctioned page from a magazine, ceramic plate, sugar packet, paper butterflies, postage stamps, paper towels, phone case, ceramic insulator, resin, optical glass, Plexiglas, shelving rails, brackets, Each window: 66 x 38 x 3 in. / dimensions and installation variable
#MaxPopov @mxcrpv #GordonRobichaux
Visit Max Popov’s debut exhibition at Gordon Robichaux, ‘Between me and you,’ Friday-Sunday, 12-6pm, and by appt.
Popov’s exhibition brings together a group of three wall-based sculptures, a small “icicle” assemblage mounted near the ceiling, and a site-responsive work installed in the gallery’s windows. The installation exemplifies the artist’s sensitivity to context and site; his transformation of trash, antiquated electronics, and material technology; and his deeply felt experiences with objects that evoke transience and the resonance of memory.
The primary feature of the gallery space is two large windows that open to an expansive view of the city. Within their frames, Popov has installed ‘Between red and green (communal markers),’ which the artist describes as “an optical reliquary, a lens, and a container.” The work comprises eight shelves—four per window—constructed from one-inch-thick sections of polished Plexiglas that span the width of the openings. The shelves support an arrangement of optical glass objects and geometric and irregularly shaped transparent “prisms” the artist has cast with epoxy resin. Upon close inspection, the installation reveals an array of images of monarch butterflies embedded within the luminous forms and carefully placed under, behind, and between them and the windowpanes.
IMAGES: Max Popov ‘Between red and green (communal markers) I’ 2025-2026, Matchbooks, playing cards, printed image still from Janet Jackson’s ‘Together Again (deeper remix)’ music video, various product packaging, food verification seals, plastic tote, stickers, temporary tattoos, auctioned page from a magazine, ceramic plate, sugar packet, paper butterflies, postage stamps, paper towels, phone case, ceramic insulator, resin, optical glass, Plexiglas, shelving rails, brackets, Each window: 66 x 38 x 3 in. / dimensions and installation variable
#MaxPopov @mxcrpv #GordonRobichaux
Visit Max Popov’s debut exhibition at Gordon Robichaux, ‘Between me and you,’ Friday-Sunday, 12-6pm, and by appt.
Popov’s exhibition brings together a group of three wall-based sculptures, a small “icicle” assemblage mounted near the ceiling, and a site-responsive work installed in the gallery’s windows. The installation exemplifies the artist’s sensitivity to context and site; his transformation of trash, antiquated electronics, and material technology; and his deeply felt experiences with objects that evoke transience and the resonance of memory.
The primary feature of the gallery space is two large windows that open to an expansive view of the city. Within their frames, Popov has installed ‘Between red and green (communal markers),’ which the artist describes as “an optical reliquary, a lens, and a container.” The work comprises eight shelves—four per window—constructed from one-inch-thick sections of polished Plexiglas that span the width of the openings. The shelves support an arrangement of optical glass objects and geometric and irregularly shaped transparent “prisms” the artist has cast with epoxy resin. Upon close inspection, the installation reveals an array of images of monarch butterflies embedded within the luminous forms and carefully placed under, behind, and between them and the windowpanes.
IMAGES: Max Popov ‘Between red and green (communal markers) I’ 2025-2026, Matchbooks, playing cards, printed image still from Janet Jackson’s ‘Together Again (deeper remix)’ music video, various product packaging, food verification seals, plastic tote, stickers, temporary tattoos, auctioned page from a magazine, ceramic plate, sugar packet, paper butterflies, postage stamps, paper towels, phone case, ceramic insulator, resin, optical glass, Plexiglas, shelving rails, brackets, Each window: 66 x 38 x 3 in. / dimensions and installation variable
#MaxPopov @mxcrpv #GordonRobichaux
Visit Max Popov’s debut exhibition at Gordon Robichaux, ‘Between me and you,’ Friday-Sunday, 12-6pm, and by appt.
Popov’s exhibition brings together a group of three wall-based sculptures, a small “icicle” assemblage mounted near the ceiling, and a site-responsive work installed in the gallery’s windows. The installation exemplifies the artist’s sensitivity to context and site; his transformation of trash, antiquated electronics, and material technology; and his deeply felt experiences with objects that evoke transience and the resonance of memory.
The primary feature of the gallery space is two large windows that open to an expansive view of the city. Within their frames, Popov has installed ‘Between red and green (communal markers),’ which the artist describes as “an optical reliquary, a lens, and a container.” The work comprises eight shelves—four per window—constructed from one-inch-thick sections of polished Plexiglas that span the width of the openings. The shelves support an arrangement of optical glass objects and geometric and irregularly shaped transparent “prisms” the artist has cast with epoxy resin. Upon close inspection, the installation reveals an array of images of monarch butterflies embedded within the luminous forms and carefully placed under, behind, and between them and the windowpanes.
IMAGES: Max Popov ‘Between red and green (communal markers) I’ 2025-2026, Matchbooks, playing cards, printed image still from Janet Jackson’s ‘Together Again (deeper remix)’ music video, various product packaging, food verification seals, plastic tote, stickers, temporary tattoos, auctioned page from a magazine, ceramic plate, sugar packet, paper butterflies, postage stamps, paper towels, phone case, ceramic insulator, resin, optical glass, Plexiglas, shelving rails, brackets, Each window: 66 x 38 x 3 in. / dimensions and installation variable
#MaxPopov @mxcrpv #GordonRobichaux
Visit Max Popov’s debut exhibition at Gordon Robichaux, ‘Between me and you,’ Friday-Sunday, 12-6pm, and by appt.
Popov’s exhibition brings together a group of three wall-based sculptures, a small “icicle” assemblage mounted near the ceiling, and a site-responsive work installed in the gallery’s windows. The installation exemplifies the artist’s sensitivity to context and site; his transformation of trash, antiquated electronics, and material technology; and his deeply felt experiences with objects that evoke transience and the resonance of memory.
The primary feature of the gallery space is two large windows that open to an expansive view of the city. Within their frames, Popov has installed ‘Between red and green (communal markers),’ which the artist describes as “an optical reliquary, a lens, and a container.” The work comprises eight shelves—four per window—constructed from one-inch-thick sections of polished Plexiglas that span the width of the openings. The shelves support an arrangement of optical glass objects and geometric and irregularly shaped transparent “prisms” the artist has cast with epoxy resin. Upon close inspection, the installation reveals an array of images of monarch butterflies embedded within the luminous forms and carefully placed under, behind, and between them and the windowpanes.
IMAGES: Max Popov ‘Between red and green (communal markers) I’ 2025-2026, Matchbooks, playing cards, printed image still from Janet Jackson’s ‘Together Again (deeper remix)’ music video, various product packaging, food verification seals, plastic tote, stickers, temporary tattoos, auctioned page from a magazine, ceramic plate, sugar packet, paper butterflies, postage stamps, paper towels, phone case, ceramic insulator, resin, optical glass, Plexiglas, shelving rails, brackets, Each window: 66 x 38 x 3 in. / dimensions and installation variable
#MaxPopov @mxcrpv #GordonRobichaux
Visit Max Popov’s debut exhibition at Gordon Robichaux, ‘Between me and you,’ Friday-Sunday, 12-6pm, and by appt.
Popov’s exhibition brings together a group of three wall-based sculptures, a small “icicle” assemblage mounted near the ceiling, and a site-responsive work installed in the gallery’s windows. The installation exemplifies the artist’s sensitivity to context and site; his transformation of trash, antiquated electronics, and material technology; and his deeply felt experiences with objects that evoke transience and the resonance of memory.
The primary feature of the gallery space is two large windows that open to an expansive view of the city. Within their frames, Popov has installed ‘Between red and green (communal markers),’ which the artist describes as “an optical reliquary, a lens, and a container.” The work comprises eight shelves—four per window—constructed from one-inch-thick sections of polished Plexiglas that span the width of the openings. The shelves support an arrangement of optical glass objects and geometric and irregularly shaped transparent “prisms” the artist has cast with epoxy resin. Upon close inspection, the installation reveals an array of images of monarch butterflies embedded within the luminous forms and carefully placed under, behind, and between them and the windowpanes.
IMAGES: Max Popov ‘Between red and green (communal markers) I’ 2025-2026, Matchbooks, playing cards, printed image still from Janet Jackson’s ‘Together Again (deeper remix)’ music video, various product packaging, food verification seals, plastic tote, stickers, temporary tattoos, auctioned page from a magazine, ceramic plate, sugar packet, paper butterflies, postage stamps, paper towels, phone case, ceramic insulator, resin, optical glass, Plexiglas, shelving rails, brackets, Each window: 66 x 38 x 3 in. / dimensions and installation variable
#MaxPopov @mxcrpv #GordonRobichaux
Visit Max Popov’s debut exhibition at Gordon Robichaux, ‘Between me and you,’ Friday-Sunday, 12-6pm, and by appt.
Popov’s exhibition brings together a group of three wall-based sculptures, a small “icicle” assemblage mounted near the ceiling, and a site-responsive work installed in the gallery’s windows. The installation exemplifies the artist’s sensitivity to context and site; his transformation of trash, antiquated electronics, and material technology; and his deeply felt experiences with objects that evoke transience and the resonance of memory.
The primary feature of the gallery space is two large windows that open to an expansive view of the city. Within their frames, Popov has installed ‘Between red and green (communal markers),’ which the artist describes as “an optical reliquary, a lens, and a container.” The work comprises eight shelves—four per window—constructed from one-inch-thick sections of polished Plexiglas that span the width of the openings. The shelves support an arrangement of optical glass objects and geometric and irregularly shaped transparent “prisms” the artist has cast with epoxy resin. Upon close inspection, the installation reveals an array of images of monarch butterflies embedded within the luminous forms and carefully placed under, behind, and between them and the windowpanes.
IMAGES: Max Popov ‘Between red and green (communal markers) I’ 2025-2026, Matchbooks, playing cards, printed image still from Janet Jackson’s ‘Together Again (deeper remix)’ music video, various product packaging, food verification seals, plastic tote, stickers, temporary tattoos, auctioned page from a magazine, ceramic plate, sugar packet, paper butterflies, postage stamps, paper towels, phone case, ceramic insulator, resin, optical glass, Plexiglas, shelving rails, brackets, Each window: 66 x 38 x 3 in. / dimensions and installation variable
#MaxPopov @mxcrpv #GordonRobichaux
Heart is full and I’m all amped up.. cause in two weeks I’m starting trade school to begin working toward becoming an electrician!
And thanks to all who came to support in NY and LA. My show at Gordon Robichaux is still up until the 26th. And thank you @kybennington for this photo
Our presentation of Max Popov’s sculptures is on view at Post-Fair in Los Angeles thru Saturday. The installation @post_fair precedes the artist’s debut solo exhibition at Gordon Robichaux in New York, which will open on March 15th.
Gordon Robichaux will participate in the second edition of Post-Fair with a presentation of Max Popov’s wall-based sculptures that exemplifies the artist’s transformation of trash, antiquated electronics, and material technology, and his deeply felt experiences with objects that evoke transience and the resonance of memory. The installation at Post-Fair includes two boxes that resemble reliquaries with illuminated interiors and a kaleidoscopic panel work made with segments of glass and outdated solar panels.
Max Popov (b. 1997) lives and works in New York City. He received a BFA from The Cooper Union in 2019. In March 2026, Popov will present a solo exhibition at Gordon Robichaux in New York. He has presented exhibitions and gatherings at Parent Company, Brooklyn, NY; Chatham Soccer, Chatham, NY; Kaleidoscope, Brooklyn, NY; Shower, Seoul; Emily Harvey Foundation, New York; Swiss Institute, New York; and Putty’s Coronation, Brooklyn, NY.
Photo credit: Dawn Blackman
@mxcrpv #MaxPopov #GordonRobichaux
Our presentation of Max Popov’s sculptures is on view at Post-Fair in Los Angeles thru Saturday. The installation @post_fair precedes the artist’s debut solo exhibition at Gordon Robichaux in New York, which will open on March 15th.
Gordon Robichaux will participate in the second edition of Post-Fair with a presentation of Max Popov’s wall-based sculptures that exemplifies the artist’s transformation of trash, antiquated electronics, and material technology, and his deeply felt experiences with objects that evoke transience and the resonance of memory. The installation at Post-Fair includes two boxes that resemble reliquaries with illuminated interiors and a kaleidoscopic panel work made with segments of glass and outdated solar panels.
Max Popov (b. 1997) lives and works in New York City. He received a BFA from The Cooper Union in 2019. In March 2026, Popov will present a solo exhibition at Gordon Robichaux in New York. He has presented exhibitions and gatherings at Parent Company, Brooklyn, NY; Chatham Soccer, Chatham, NY; Kaleidoscope, Brooklyn, NY; Shower, Seoul; Emily Harvey Foundation, New York; Swiss Institute, New York; and Putty’s Coronation, Brooklyn, NY.
Photo credit: Dawn Blackman
@mxcrpv #MaxPopov #GordonRobichaux
Opening Thursday: Gordon Robichaux will participate in the second edition of Post-Fair @post_fair in Los Angeles, Feb 26-28th, with a presentation of Max Popov’s wall-based sculptures. The three works exemplify the artist’s transformation of trash, antiquated electronics, and material technology, and his deeply felt experiences with objects that evoke transience and the resonance of memory. The installation at Post-Fair includes two boxes that resemble reliquaries with illuminated interiors and a kaleidoscopic panel work made with segments of glass and outdated solar panels.
‘Yellow noise/beacon (to my grandmothers, Ofelia and Marina)’ is a layered construction assembled from reconfigured objects, including a metal light fixture, Soviet-era vacuum fluorescent displays, a sheet of soft vinyl with glittery stars, a grave rubbing, and pieces of an antenna that broadcast the artist’s only conversations with his grandmother in Russia. Within the sculpture, a power source lights the vacuum fluorescent display, which renders the word ьeacoн, a phonetic spelling combining the Roman and Cyrillic alphabets to accommodate the constraints of the light’s eight-segment display. The letters are visible through the face of the sculpture—a piece of soiled glass layered with a field of tiny metallic stars, a drawing with the words “yellow noise,” and a bundle of antenna fragments.
IMAGES: Max Popov ‘Yellow noise/beacon (to my grandmothers, Ofelia and Marina)’ 2024-2025, Reduced light fixture, vacuum fluorescent displays, circuit and antenna elements, magnet wire, magnets, gel sheet, drawing, power supply, 12.25 x 6.25 x 5.5 in
@mxcrpv @gordonrobichaux @post_fair
Opening Thursday: Gordon Robichaux will participate in the second edition of Post-Fair @post_fair in Los Angeles, Feb 26-28th, with a presentation of Max Popov’s wall-based sculptures. The three works exemplify the artist’s transformation of trash, antiquated electronics, and material technology, and his deeply felt experiences with objects that evoke transience and the resonance of memory. The installation at Post-Fair includes two boxes that resemble reliquaries with illuminated interiors and a kaleidoscopic panel work made with segments of glass and outdated solar panels.
‘Yellow noise/beacon (to my grandmothers, Ofelia and Marina)’ is a layered construction assembled from reconfigured objects, including a metal light fixture, Soviet-era vacuum fluorescent displays, a sheet of soft vinyl with glittery stars, a grave rubbing, and pieces of an antenna that broadcast the artist’s only conversations with his grandmother in Russia. Within the sculpture, a power source lights the vacuum fluorescent display, which renders the word ьeacoн, a phonetic spelling combining the Roman and Cyrillic alphabets to accommodate the constraints of the light’s eight-segment display. The letters are visible through the face of the sculpture—a piece of soiled glass layered with a field of tiny metallic stars, a drawing with the words “yellow noise,” and a bundle of antenna fragments.
IMAGES: Max Popov ‘Yellow noise/beacon (to my grandmothers, Ofelia and Marina)’ 2024-2025, Reduced light fixture, vacuum fluorescent displays, circuit and antenna elements, magnet wire, magnets, gel sheet, drawing, power supply, 12.25 x 6.25 x 5.5 in
@mxcrpv @gordonrobichaux @post_fair
Opening Thursday: Gordon Robichaux will participate in the second edition of Post-Fair @post_fair in Los Angeles, Feb 26-28th, with a presentation of Max Popov’s wall-based sculptures. The three works exemplify the artist’s transformation of trash, antiquated electronics, and material technology, and his deeply felt experiences with objects that evoke transience and the resonance of memory. The installation at Post-Fair includes two boxes that resemble reliquaries with illuminated interiors and a kaleidoscopic panel work made with segments of glass and outdated solar panels.
‘Yellow noise/beacon (to my grandmothers, Ofelia and Marina)’ is a layered construction assembled from reconfigured objects, including a metal light fixture, Soviet-era vacuum fluorescent displays, a sheet of soft vinyl with glittery stars, a grave rubbing, and pieces of an antenna that broadcast the artist’s only conversations with his grandmother in Russia. Within the sculpture, a power source lights the vacuum fluorescent display, which renders the word ьeacoн, a phonetic spelling combining the Roman and Cyrillic alphabets to accommodate the constraints of the light’s eight-segment display. The letters are visible through the face of the sculpture—a piece of soiled glass layered with a field of tiny metallic stars, a drawing with the words “yellow noise,” and a bundle of antenna fragments.
IMAGES: Max Popov ‘Yellow noise/beacon (to my grandmothers, Ofelia and Marina)’ 2024-2025, Reduced light fixture, vacuum fluorescent displays, circuit and antenna elements, magnet wire, magnets, gel sheet, drawing, power supply, 12.25 x 6.25 x 5.5 in
@mxcrpv @gordonrobichaux @post_fair
Opening Thursday: Gordon Robichaux will participate in the second edition of Post-Fair @post_fair in Los Angeles, Feb 26-28th, with a presentation of Max Popov’s wall-based sculptures. The three works exemplify the artist’s transformation of trash, antiquated electronics, and material technology, and his deeply felt experiences with objects that evoke transience and the resonance of memory. The installation at Post-Fair includes two boxes that resemble reliquaries with illuminated interiors and a kaleidoscopic panel work made with segments of glass and outdated solar panels.
‘Yellow noise/beacon (to my grandmothers, Ofelia and Marina)’ is a layered construction assembled from reconfigured objects, including a metal light fixture, Soviet-era vacuum fluorescent displays, a sheet of soft vinyl with glittery stars, a grave rubbing, and pieces of an antenna that broadcast the artist’s only conversations with his grandmother in Russia. Within the sculpture, a power source lights the vacuum fluorescent display, which renders the word ьeacoн, a phonetic spelling combining the Roman and Cyrillic alphabets to accommodate the constraints of the light’s eight-segment display. The letters are visible through the face of the sculpture—a piece of soiled glass layered with a field of tiny metallic stars, a drawing with the words “yellow noise,” and a bundle of antenna fragments.
IMAGES: Max Popov ‘Yellow noise/beacon (to my grandmothers, Ofelia and Marina)’ 2024-2025, Reduced light fixture, vacuum fluorescent displays, circuit and antenna elements, magnet wire, magnets, gel sheet, drawing, power supply, 12.25 x 6.25 x 5.5 in
@mxcrpv @gordonrobichaux @post_fair
Opening Thursday: Gordon Robichaux will participate in the second edition of Post-Fair @post_fair in Los Angeles, Feb 26-28th, with a presentation of Max Popov’s wall-based sculptures. The three works exemplify the artist’s transformation of trash, antiquated electronics, and material technology, and his deeply felt experiences with objects that evoke transience and the resonance of memory. The installation at Post-Fair includes two boxes that resemble reliquaries with illuminated interiors and a kaleidoscopic panel work made with segments of glass and outdated solar panels.
‘Yellow noise/beacon (to my grandmothers, Ofelia and Marina)’ is a layered construction assembled from reconfigured objects, including a metal light fixture, Soviet-era vacuum fluorescent displays, a sheet of soft vinyl with glittery stars, a grave rubbing, and pieces of an antenna that broadcast the artist’s only conversations with his grandmother in Russia. Within the sculpture, a power source lights the vacuum fluorescent display, which renders the word ьeacoн, a phonetic spelling combining the Roman and Cyrillic alphabets to accommodate the constraints of the light’s eight-segment display. The letters are visible through the face of the sculpture—a piece of soiled glass layered with a field of tiny metallic stars, a drawing with the words “yellow noise,” and a bundle of antenna fragments.
IMAGES: Max Popov ‘Yellow noise/beacon (to my grandmothers, Ofelia and Marina)’ 2024-2025, Reduced light fixture, vacuum fluorescent displays, circuit and antenna elements, magnet wire, magnets, gel sheet, drawing, power supply, 12.25 x 6.25 x 5.5 in
@mxcrpv @gordonrobichaux @post_fair
Opening Thursday: Gordon Robichaux will participate in the second edition of Post-Fair @post_fair in Los Angeles, Feb 26-28th, with a presentation of Max Popov’s wall-based sculptures. The three works exemplify the artist’s transformation of trash, antiquated electronics, and material technology, and his deeply felt experiences with objects that evoke transience and the resonance of memory. The installation at Post-Fair includes two boxes that resemble reliquaries with illuminated interiors and a kaleidoscopic panel work made with segments of glass and outdated solar panels.
‘Yellow noise/beacon (to my grandmothers, Ofelia and Marina)’ is a layered construction assembled from reconfigured objects, including a metal light fixture, Soviet-era vacuum fluorescent displays, a sheet of soft vinyl with glittery stars, a grave rubbing, and pieces of an antenna that broadcast the artist’s only conversations with his grandmother in Russia. Within the sculpture, a power source lights the vacuum fluorescent display, which renders the word ьeacoн, a phonetic spelling combining the Roman and Cyrillic alphabets to accommodate the constraints of the light’s eight-segment display. The letters are visible through the face of the sculpture—a piece of soiled glass layered with a field of tiny metallic stars, a drawing with the words “yellow noise,” and a bundle of antenna fragments.
IMAGES: Max Popov ‘Yellow noise/beacon (to my grandmothers, Ofelia and Marina)’ 2024-2025, Reduced light fixture, vacuum fluorescent displays, circuit and antenna elements, magnet wire, magnets, gel sheet, drawing, power supply, 12.25 x 6.25 x 5.5 in
@mxcrpv @gordonrobichaux @post_fair
Gordon Robichaux is excited to participate in the second edition of the Post-Fair @post_fair in Los Angeles, Feb 26-28th, 2026, with a presentation of work by Max Popov @mxcrpv. Popov will present his first exhibition at Gordon Robichaux in March 2026.
Post-Fair
Feb 26-28, 2026
1248 5th St, Santa Monica, CA 90406
Max Popov (b. 1997) received a BFA from The Cooper Union in 2019, and he lives and works in New York City. His selected exhibitions and gatherings include Parent Company, Brooklyn, NYC; Chatham Soccer, Chatham, New York (NY); Kaleidoscope, Brooklyn, NY; Shower, Seoul; Emily Harvey Foundation, Manhattan, NY; Swiss Institute, Manhattan, NY; and Putty’s Coronation, Brooklyn, NY.
IMAGES: Details of Max Popov ‘The wreck buoy’ 2024-2025, reduced window frame, float glass, copper foil, solder, styrofoam, tissue paper, acrylic paint, 3d resin print, found objects and personal effects, fairy lights, battery, power converter, 10 x 8 x 7 in
@mxcrpv #MaxPopov @post_fair
Gordon Robichaux is excited to participate in the second edition of the Post-Fair @post_fair in Los Angeles, Feb 26-28th, 2026, with a presentation of work by Max Popov @mxcrpv. Popov will present his first exhibition at Gordon Robichaux in March 2026.
Post-Fair
Feb 26-28, 2026
1248 5th St, Santa Monica, CA 90406
Max Popov (b. 1997) received a BFA from The Cooper Union in 2019, and he lives and works in New York City. His selected exhibitions and gatherings include Parent Company, Brooklyn, NYC; Chatham Soccer, Chatham, New York (NY); Kaleidoscope, Brooklyn, NY; Shower, Seoul; Emily Harvey Foundation, Manhattan, NY; Swiss Institute, Manhattan, NY; and Putty’s Coronation, Brooklyn, NY.
IMAGES: Details of Max Popov ‘The wreck buoy’ 2024-2025, reduced window frame, float glass, copper foil, solder, styrofoam, tissue paper, acrylic paint, 3d resin print, found objects and personal effects, fairy lights, battery, power converter, 10 x 8 x 7 in
@mxcrpv #MaxPopov @post_fair
Gordon Robichaux is excited to participate in the second edition of the Post-Fair @post_fair in Los Angeles, Feb 26-28th, 2026, with a presentation of work by Max Popov @mxcrpv. Popov will present his first exhibition at Gordon Robichaux in March 2026.
Post-Fair
Feb 26-28, 2026
1248 5th St, Santa Monica, CA 90406
Max Popov (b. 1997) received a BFA from The Cooper Union in 2019, and he lives and works in New York City. His selected exhibitions and gatherings include Parent Company, Brooklyn, NYC; Chatham Soccer, Chatham, New York (NY); Kaleidoscope, Brooklyn, NY; Shower, Seoul; Emily Harvey Foundation, Manhattan, NY; Swiss Institute, Manhattan, NY; and Putty’s Coronation, Brooklyn, NY.
IMAGES: Details of Max Popov ‘The wreck buoy’ 2024-2025, reduced window frame, float glass, copper foil, solder, styrofoam, tissue paper, acrylic paint, 3d resin print, found objects and personal effects, fairy lights, battery, power converter, 10 x 8 x 7 in
@mxcrpv #MaxPopov @post_fair
Gordon Robichaux is excited to participate in the second edition of the Post-Fair @post_fair in Los Angeles, Feb 26-28th, 2026, with a presentation of work by Max Popov @mxcrpv. Popov will present his first exhibition at Gordon Robichaux in March 2026.
Post-Fair
Feb 26-28, 2026
1248 5th St, Santa Monica, CA 90406
Max Popov (b. 1997) received a BFA from The Cooper Union in 2019, and he lives and works in New York City. His selected exhibitions and gatherings include Parent Company, Brooklyn, NYC; Chatham Soccer, Chatham, New York (NY); Kaleidoscope, Brooklyn, NY; Shower, Seoul; Emily Harvey Foundation, Manhattan, NY; Swiss Institute, Manhattan, NY; and Putty’s Coronation, Brooklyn, NY.
IMAGES: Details of Max Popov ‘The wreck buoy’ 2024-2025, reduced window frame, float glass, copper foil, solder, styrofoam, tissue paper, acrylic paint, 3d resin print, found objects and personal effects, fairy lights, battery, power converter, 10 x 8 x 7 in
@mxcrpv #MaxPopov @post_fair
Gordon Robichaux is excited to participate in the second edition of the Post-Fair @post_fair in Los Angeles, Feb 26-28th, 2026, with a presentation of work by Max Popov @mxcrpv. Popov will present his first exhibition at Gordon Robichaux in March 2026.
Post-Fair
Feb 26-28, 2026
1248 5th St, Santa Monica, CA 90406
Max Popov (b. 1997) received a BFA from The Cooper Union in 2019, and he lives and works in New York City. His selected exhibitions and gatherings include Parent Company, Brooklyn, NYC; Chatham Soccer, Chatham, New York (NY); Kaleidoscope, Brooklyn, NY; Shower, Seoul; Emily Harvey Foundation, Manhattan, NY; Swiss Institute, Manhattan, NY; and Putty’s Coronation, Brooklyn, NY.
IMAGES: Details of Max Popov ‘The wreck buoy’ 2024-2025, reduced window frame, float glass, copper foil, solder, styrofoam, tissue paper, acrylic paint, 3d resin print, found objects and personal effects, fairy lights, battery, power converter, 10 x 8 x 7 in
@mxcrpv #MaxPopov @post_fair
Quick capture from a short talk about some of my work @parent.company.gallery - thank you Ada for all the support <3 After a lovely bday yesterday and looking ahead, just wanna share my gratitude to all my friends and loved ones. And any joy postponed is felt double upon release!
Future proof , 2025
76x37”
Solar panels, steel, copper foil, solder and hardware
Up now at @parent.company.gallery with @imi_b
Future proof , 2025
76x37”
Solar panels, steel, copper foil, solder and hardware
Up now at @parent.company.gallery with @imi_b
Future proof , 2025
76x37”
Solar panels, steel, copper foil, solder and hardware
Up now at @parent.company.gallery with @imi_b
Future proof , 2025
76x37”
Solar panels, steel, copper foil, solder and hardware
Up now at @parent.company.gallery with @imi_b
Imogen Brent & Max Popov | 𝘚𝘭𝘶𝘴𝘩
Opening on Thursday, May 29, from 6-8pm
On view May 29 - July 19
154 E Broadway, Basement
@mxcrpv @imi_b #parentcompanygallery
Imogen Brent & Max Popov | 𝘚𝘭𝘶𝘴𝘩
Opening on Thursday, May 29, from 6-8pm
On view May 29 - July 19
154 E Broadway, Basement
@mxcrpv @imi_b #parentcompanygallery
Instagram Stories geheim ansehen
Der Instagram Story Viewer ist ein einfaches Tool, mit dem Sie Instagram Stories, Videos, Fotos oder IGTV heimlich ansehen und speichern können. Mit diesem Service können Sie Inhalte herunterladen und offline genießen, wann immer Sie möchten. Wenn Sie etwas Interessantes auf Instagram finden, das Sie später überprüfen möchten, oder Stories anonym ansehen möchten, ist unser Viewer ideal für Sie. Anonstories bietet eine ausgezeichnete Lösung, um Ihre Identität zu schützen. Instagram hat die Stories-Funktion erstmals im August 2023 eingeführt, die schnell auch von anderen Plattformen übernommen wurde, dank ihres fesselnden, zeitlich begrenzten Formats. Stories ermöglichen es Nutzern, schnelle Updates zu teilen, sei es Fotos, Videos oder Selfies, ergänzt durch Text, Emojis oder Filter, und sind nur 24 Stunden lang sichtbar. Dieser begrenzte Zeitrahmen sorgt für eine hohe Interaktion im Vergleich zu regulären Posts. Heutzutage sind Stories eine der beliebtesten Methoden, um sich in sozialen Medien zu verbinden und zu kommunizieren. Wenn Sie jedoch eine Story ansehen, kann der Ersteller Ihren Namen in seiner Viewer-Liste sehen, was ein Problem für die Privatsphäre sein kann. Was ist, wenn Sie Stories durchsuchen möchten, ohne bemerkt zu werden? Hier wird Anonstories nützlich. Es ermöglicht Ihnen, öffentliche Instagram-Inhalte anzusehen, ohne Ihre Identität preiszugeben. Geben Sie einfach den Benutzernamen des Profils ein, das Sie interessiert, und das Tool zeigt dessen neueste Stories an. Funktionen des Anonstories Viewers: - Anonymes Browsen: Sehen Sie Stories, ohne in der Viewer-Liste zu erscheinen. - Kein Konto erforderlich: Sehen Sie öffentliche Inhalte, ohne ein Instagram-Konto zu erstellen. - Inhalte herunterladen: Speichern Sie beliebige Story-Inhalte direkt auf Ihrem Gerät für die Offline-Nutzung. - Highlights anzeigen: Greifen Sie auf Instagram-Highlights zu, auch über das 24-Stunden-Fenster hinaus. - Repost-Überwachung: Verfolgen Sie Reposts oder Interaktionen bei Stories für persönliche Profile. Einschränkungen: - Dieses Tool funktioniert nur mit öffentlichen Accounts; private Accounts bleiben unzugänglich. Vorteile: - Datenschutzfreundlich: Sehen Sie sich beliebige Instagram-Inhalte an, ohne bemerkt zu werden. - Einfach und unkompliziert: Keine App-Installation oder Registrierung erforderlich. - Exklusive Tools: Laden Sie Inhalte herunter und verwalten Sie sie auf eine Weise, die Instagram nicht bietet.
Vorteile von Anonstories
IG Stories privat entdecken
Behalten Sie Instagram-Updates diskret im Blick, schützen Sie Ihre Privatsphäre und bleiben Sie anonym.
Privater Instagram Viewer
Sehen Sie Profile und Fotos anonym an, ganz einfach mit dem Private Profile Viewer.
Kostenloser Story Viewer
Dieses kostenlose Tool ermöglicht es Ihnen, Instagram Stories anonym anzusehen und dabei Ihre Aktivität vor dem Story-Ersteller zu verbergen.
Häufig gestellte Fragen
Anonymität
Anonstories ermöglicht es Nutzern, Instagram-Stories anzusehen, ohne den Ersteller zu benachrichtigen.
Gerätekompatibilität
Funktioniert nahtlos auf iOS, Android, Windows, macOS und modernen Browsern wie Chrome und Safari.
Sicherheit und Datenschutz
Priorisiert sicheres, anonymes Browsen, ohne Login-Daten zu benötigen.
Keine Registrierung
Nutzer können öffentliche Stories ansehen, indem sie einfach einen Benutzernamen eingeben – kein Konto erforderlich.
Unterstützte Formate
Lädt Fotos (JPEG) und Videos (MP4) mühelos herunter.
Kosten
Der Dienst ist kostenlos nutzbar.
Private Accounts
Inhalte von privaten Accounts sind nur für Follower zugänglich.
Dateiverwendung
Dateien sind nur für persönliche oder Bildungszwecke und müssen Urheberrechtsregeln entsprechen.
Wie es funktioniert
Geben Sie einen öffentlichen Benutzernamen ein, um Stories anzusehen oder herunterzuladen. Der Dienst generiert direkte Links, um Inhalte lokal zu speichern.