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Regen Projects
Rachel Harrison, Liz Larner, Rebecca Morris
“planchette”
April 25–May 23, 2026
Artwork by Abraham Cruzvillegas is on view at @LACMA in “Grounded” through June 21, 2026.
Grounded invites visitors to see land not just as terrain, but as a foundation for exploring ecology, sovereignty, memory, and home. Featuring 35 artists based in the Americas and the Pacific, the exhibition showcases 40 works, spanning the 1970s to today, with many on view for the first time.
With his sculpture “Autoconcanción V” (2016), Cruzvillegas upcycles everyday materials—including a plant and portable radio—to document consumption and to suggest possibilities for renewal.
Learn more at the link in bio.
#AbrahamCruzvillegas
@autoconstruido
Images: Installation views, “Grounded,” at the Los Angeles County Museum of Art, Sep 14, 2025–Jun 21, 2026, photo © Museum Associates/LACMA, by Jonathan Urban
Artwork by Abraham Cruzvillegas is on view at @LACMA in “Grounded” through June 21, 2026.
Grounded invites visitors to see land not just as terrain, but as a foundation for exploring ecology, sovereignty, memory, and home. Featuring 35 artists based in the Americas and the Pacific, the exhibition showcases 40 works, spanning the 1970s to today, with many on view for the first time.
With his sculpture “Autoconcanción V” (2016), Cruzvillegas upcycles everyday materials—including a plant and portable radio—to document consumption and to suggest possibilities for renewal.
Learn more at the link in bio.
#AbrahamCruzvillegas
@autoconstruido
Images: Installation views, “Grounded,” at the Los Angeles County Museum of Art, Sep 14, 2025–Jun 21, 2026, photo © Museum Associates/LACMA, by Jonathan Urban
Artwork by Abraham Cruzvillegas is on view at @LACMA in “Grounded” through June 21, 2026.
Grounded invites visitors to see land not just as terrain, but as a foundation for exploring ecology, sovereignty, memory, and home. Featuring 35 artists based in the Americas and the Pacific, the exhibition showcases 40 works, spanning the 1970s to today, with many on view for the first time.
With his sculpture “Autoconcanción V” (2016), Cruzvillegas upcycles everyday materials—including a plant and portable radio—to document consumption and to suggest possibilities for renewal.
Learn more at the link in bio.
#AbrahamCruzvillegas
@autoconstruido
Images: Installation views, “Grounded,” at the Los Angeles County Museum of Art, Sep 14, 2025–Jun 21, 2026, photo © Museum Associates/LACMA, by Jonathan Urban
Kader Attia’s “Whisper of Traces” (2026) is on view at La Biennale di Venezia (@labiennale) in “In Minor Keys” through November 22, 2026.
Mohamed Amer Meziane (@mohddamermeziane) describes Attia’s installation:
“Entering through a labyrinthine corridor, surrounded by objects intertwining African ritual statues and modern art, we are confronted by mesh containers of dried herbs – mnemonic traces connecting us to our own memories and those of ancestors. Ropes covered with fragments of mirror create a forest through which we move. It is as if the spirits that inhabit the Amazon have infiltrated the audio-visual technology that creates this environment. Technology believes it controls the space because it produces the space. But what if it is the spirits that control technology instead?
Attia’s installation invites us to see the ongoing deification of AI not as a mere fetishist outcome created by capital, but rather as an ancient Greek daímon: a genius that can be demonic without necessarily being evil.”
Learn more at the link in bio.
#KaderAttia
@TheKaderAttia
Images: Kader Attia. “Whisper of Traces,” 2026. Installation: ropes, polished mirror fragments, dried flowers and herbs, sieves, paper weavings, projections, sound. Dimensions variable. 61st International Art Exhibition – La Biennale di Venezia, In Minor Keys, 2026.
📷 : Marco Zorzanello
Kader Attia’s “Whisper of Traces” (2026) is on view at La Biennale di Venezia (@labiennale) in “In Minor Keys” through November 22, 2026.
Mohamed Amer Meziane (@mohddamermeziane) describes Attia’s installation:
“Entering through a labyrinthine corridor, surrounded by objects intertwining African ritual statues and modern art, we are confronted by mesh containers of dried herbs – mnemonic traces connecting us to our own memories and those of ancestors. Ropes covered with fragments of mirror create a forest through which we move. It is as if the spirits that inhabit the Amazon have infiltrated the audio-visual technology that creates this environment. Technology believes it controls the space because it produces the space. But what if it is the spirits that control technology instead?
Attia’s installation invites us to see the ongoing deification of AI not as a mere fetishist outcome created by capital, but rather as an ancient Greek daímon: a genius that can be demonic without necessarily being evil.”
Learn more at the link in bio.
#KaderAttia
@TheKaderAttia
Images: Kader Attia. “Whisper of Traces,” 2026. Installation: ropes, polished mirror fragments, dried flowers and herbs, sieves, paper weavings, projections, sound. Dimensions variable. 61st International Art Exhibition – La Biennale di Venezia, In Minor Keys, 2026.
📷 : Marco Zorzanello
Kader Attia’s “Whisper of Traces” (2026) is on view at La Biennale di Venezia (@labiennale) in “In Minor Keys” through November 22, 2026.
Mohamed Amer Meziane (@mohddamermeziane) describes Attia’s installation:
“Entering through a labyrinthine corridor, surrounded by objects intertwining African ritual statues and modern art, we are confronted by mesh containers of dried herbs – mnemonic traces connecting us to our own memories and those of ancestors. Ropes covered with fragments of mirror create a forest through which we move. It is as if the spirits that inhabit the Amazon have infiltrated the audio-visual technology that creates this environment. Technology believes it controls the space because it produces the space. But what if it is the spirits that control technology instead?
Attia’s installation invites us to see the ongoing deification of AI not as a mere fetishist outcome created by capital, but rather as an ancient Greek daímon: a genius that can be demonic without necessarily being evil.”
Learn more at the link in bio.
#KaderAttia
@TheKaderAttia
Images: Kader Attia. “Whisper of Traces,” 2026. Installation: ropes, polished mirror fragments, dried flowers and herbs, sieves, paper weavings, projections, sound. Dimensions variable. 61st International Art Exhibition – La Biennale di Venezia, In Minor Keys, 2026.
📷 : Marco Zorzanello
Kader Attia’s “Whisper of Traces” (2026) is on view at La Biennale di Venezia (@labiennale) in “In Minor Keys” through November 22, 2026.
Mohamed Amer Meziane (@mohddamermeziane) describes Attia’s installation:
“Entering through a labyrinthine corridor, surrounded by objects intertwining African ritual statues and modern art, we are confronted by mesh containers of dried herbs – mnemonic traces connecting us to our own memories and those of ancestors. Ropes covered with fragments of mirror create a forest through which we move. It is as if the spirits that inhabit the Amazon have infiltrated the audio-visual technology that creates this environment. Technology believes it controls the space because it produces the space. But what if it is the spirits that control technology instead?
Attia’s installation invites us to see the ongoing deification of AI not as a mere fetishist outcome created by capital, but rather as an ancient Greek daímon: a genius that can be demonic without necessarily being evil.”
Learn more at the link in bio.
#KaderAttia
@TheKaderAttia
Images: Kader Attia. “Whisper of Traces,” 2026. Installation: ropes, polished mirror fragments, dried flowers and herbs, sieves, paper weavings, projections, sound. Dimensions variable. 61st International Art Exhibition – La Biennale di Venezia, In Minor Keys, 2026.
📷 : Marco Zorzanello
Ever stop and wonder how many lives are unfolding parallel to your own?
“Doug Aitken: Lightscape” explores life in motion through a visual poem of interconnected stories, fleeting encounters, and landscapes charged with energy.
Get tickets today! On view starting June 25!
#theshedny #dougaitken #dougaitkenlightscape #nyc
Catherine Opie’s twelfth solo exhibition with the gallery, “Holding Blue,” opens on Thursday, May 28, 2026.
In January and February of 2024, the artist embarked on a road trip to capture Norwegian mountains enveloped in the deep azure light of the Arctic Circle in polar winter. Opie felt drawn to this “blue hour” since her first trip to Norway in 2011, reminiscent of her childhood in Ohio gazing across the expanse of Lake Erie.
Described by Opie as portraits she developed over spending days with each mountain, the photographs invoke the sublime grandeur of the Norwegian landscape through their immersive scale. For Opie, the unfiltered ultramarine hue is both a record of experiential truth and an evocation of elegiac mourning for the increasingly threatened natural environment.
Please join us for the opening reception on Thursday, May 28, 6–8 pm.
Learn more at the link in bio.
#CatherineOpie
@csopie
Image: Catherine Opie. “Untitled #11 (Norway Mountain),” 2024. Pigment print. Framed Dimensions: 78 1/2 x 59 1/2 x 2 inches (199.4 x 151.1 x 5.1 cm). Artwork Dimensions: 77 x 58 inches (195.6 x 147.3 cm).
A selection of Liz Larner’s ceramic “smiles” are currently on view at Regen Projects in “planchette.”
Jenelle Porter wrote of these sculptures for the exhibition catalogue accompanying the solo exhibition “Liz Larner: X” at the Aspen Art Museum (2015–2016):
“The smiles were the first series of several the artist made in ceramic, more specifically, in porcelain. Why smiles? Have you really ever looked at them—studied their fronts and backs, sides, edges, planes, and volumes? Given Larner’s investment in concretising the ephemeral, immortalising the atmospheric, and chronicling the unseen, the smile seems a fitting subject.
The layers in which Larner’s smiles encapsulate their materiality and concept are manifold. As Larner worked through the series, she was inspired by various literary descriptions of smiles, especially in John Gregory Dunne’s 1987 novel ‘The Red White and Blue.’ The title of each smile in the series includes a modifier in parentheses: smile (abiding), smile (declining), smile (fangs), and so on.”
Catch “planchette”—an exhibition bringing together the work of Rachel Harrison, Liz Larner, and Rebecca Morris—through Saturday, May 23, 2026 at Regen Projects.
#LizLarner
Image:
(Left) Liz Larner. “smile (fangs),” 1996-2010. Cast porcelain, epoxy, dry-process fiber board, rubber, steel, lead shot. Smile Dimensions: 19 7/8 x 31 x 8 1/4 inches (50.5 x 78.7 x 21 cm). Base Dimensions: 30 x 28 1/8 x 12 3/4 inches (76.2 x 71.4 x 32.4 cm).
(Right) Liz Larner. “smile (abiding),” 1996-2005. Cast porcelain, dry-process fiber board, rubber, steel, lead shot, Smile Dimensions: 21 x 31 x 12 1/2 inches (53.3 x 78.7 x 31.8 cm). Base Dimensions: 33 1/4 x 18 3/8 x 28 1/4 inches (84.5 x 46.7 x 71.8 cm)
Our current exhibition, “planchette,” with Rachel Harrison, Liz Larner, and Rebecca Morris is on view through May 23, 2026.
Negative spaces, imprints, absences, voids, inversions: the work in the exhibition is full of things no longer present, or things present but invisible or concealed. The absent or hidden parts of works in this exhibition might be understood as intimations of the subconscious.
Learn more about “planchette” at the link in bio.
#RachelHarrison #LizLarner #RebeccaMorris
Images: Installation views of “planchette” at Regen Projects, Los Angeles, 2026.
📷 : @emb
Our current exhibition, “planchette,” with Rachel Harrison, Liz Larner, and Rebecca Morris is on view through May 23, 2026.
Negative spaces, imprints, absences, voids, inversions: the work in the exhibition is full of things no longer present, or things present but invisible or concealed. The absent or hidden parts of works in this exhibition might be understood as intimations of the subconscious.
Learn more about “planchette” at the link in bio.
#RachelHarrison #LizLarner #RebeccaMorris
Images: Installation views of “planchette” at Regen Projects, Los Angeles, 2026.
📷 : @emb
Our current exhibition, “planchette,” with Rachel Harrison, Liz Larner, and Rebecca Morris is on view through May 23, 2026.
Negative spaces, imprints, absences, voids, inversions: the work in the exhibition is full of things no longer present, or things present but invisible or concealed. The absent or hidden parts of works in this exhibition might be understood as intimations of the subconscious.
Learn more about “planchette” at the link in bio.
#RachelHarrison #LizLarner #RebeccaMorris
Images: Installation views of “planchette” at Regen Projects, Los Angeles, 2026.
📷 : @emb
Visit Regen Projects at Printed Matter’s LA Art Book Fair at ArtCenter College of Design in Pasadena, CA, through Sunday, May 10, 2026 at Booth E10.
Today, Friday, May 8 at 1 pm, we are pleased to host a very special signing of new publications and exclusive merch with Catherine Opie at our booth. ✍️
Tap the link in bio to learn more.
@printedmatterinc
#PrintedMatterLA
Artwork by Matthew Barney is on view in “Don’t have hope, be hope!,” presented by the Sandretto Re Rebaudengo Foundation on the Isola di San Giacomo, Venice.
On view beginning May 7, 2026, the exhibition—featuring a selection of works from the Sandretto Re Rebaudengo Collection—celebrates the foundation’s inauguration of its third permanent venue on San Giacomo Island in the northern Venetian Lagoon: a center dedicated to contemporary art, research, and ecology.
Learn more at the link in bio.
#MatthewBarney
@pacecarforthehubrispill
Image: Matthew Barney. CREMASTER 3: Five Points of Fellowship, 2002. C-print in acrylic frame. 54 x 44 in (137.2 x 111.8 cm).
Regen Projects congratulates Kader Attia on his inclusion in the 61st International Art Exhibition of La Biennale di Venezia, opening May 9, 2026.
Titled “In Minor Keys” the exhibition carries out the project as conceived by the late Koyo Kouoh and will be on view through November 22, 2026. The 111 artists invited to participate hail from many geographies and regions selected by Kouoh with particular attention to the resonances, affinity, and possible convergences between practices that transcend distance. In this spirit, the presentation expands upon Kouoh’s relational geography of encounters with artists over her lifetime.
Learn more at the link in bio.
#KaderAttia
@thekaderattia
@labiennale
📷 : Camille Millerand
Regen Projects is pleased to host a book signing with Catherine Opie at Printed Matter's 2026 LA Art Book Fair, Booth E10 on Friday, May 8, 1–2 pm, located at ArtCenter College of Design, Pasadena, CA.
Featuring new publications and exclusive merch, the signing celebrates a landmark year of solo exhibitions for Opie at the Fridericianum, Kassel; National Portrait Gallery, London; PoMo, Trondheim; and the Royal Scottish Academy at National Galleries Scotland, Edinburgh, and prefigures Opie's upcoming solo show at Regen Projects, “Holding Blue,” on view May 28–July 4, 2026.
Learn more about Printed Matter’s LA Art Book Fair at the link in bio.
#CatherineOpie
@csopie
@printedmatterinc
Opening Wednesday, May 6, 2026, Anish Kapoor presents an ambitious solo exhibition at Palazzo Manfrin in Venice, Italy.
Bringing together around 100 architectural models documenting projects both realized and unrealized from the past 50 years of the artist’s practice, the exhibition presents Kapoor’s idiosyncratic approach to the space of the object and its potential to create new space in our encounter with it.
“For a long time I'd been thinking of my work as potential architecture. I've always been convinced by the idea that to create new art you have to create new space.” — Anish Kapoor
The exhibition will be on view through August 8, 2026. Learn more at the link in bio.
#AnishKapoor
@dirty_corner
@anish.kapoor
Image: Anish Kapoor. “At the Edge of the World,” 1998.
📷 : David Stjernholm
A selection of Rachel Harrison’s “Infanta” collages are currently on view at Regen Projects in “planchette.”
An intermittent series begun in 2021, the collages are based on various paintings by Diego Velázquez of the titular Spanish princess. The works currently on view in “planchette” use Velázquez’s “Portrait of the Infanta Margarita Thérèse” (1651–1673), which Harrison underlays with an FBI evidence image of a crossbow confiscated during the insurrection of January 6, 2021. Harrison further digitally manipulates and modifies the collages with Flashe and wax crayon abstractions—inspired by a conspiratorial joke that the Infanta, rather than Antifa, was present at the Capitol on January 6.
Harrison’s “Infanta” collages move between digital and material transformation, collapsing distinctions between painting, photography, and digital image-making in the age of AI.
Catch “planchette”—an exhibition bringing together the work of Rachel Harrison, Liz Larner, and Rebecca Morris—through Saturday, May 23, 2026 at Regen Projects.
#RachelHarrison
Images:
1. Installation view of “planchette” at Regen Projects, Los Angeles, 2026.
2. Rachel Harrison. “Sparkle Infanta,” 2026. Acrylic, flashe, wax crayon, glitter on inkjet print. Framed Dimensions: 28 x 23 x 1 1/2 inches (71.1 x 58.4 x 3.8 cm).
3. Rachel Harrison. “H25 Infanta,” 2026. Acrylic, wax crayon on inkjet print. Framed Dimensions: 28 x 23 x 1 1/2 inches (71.1 x 58.4 x 3.8 cm).
4. Rachel Harrison. “Infanta Collage One,” 2023. Flashe, wax crayon on inkjet print. Framed Dimensions: 28 x 23 x 1 1/2 inches (71.1 x 58.4 x 3.8 cm).
5. Rachel Harrison. “Infanta Collage Three,” 2023. Flashe, wax crayon on inkjet print. Framed Dimensions: 28 x 23 x 1 1/2 inches (71.1 x 58.4 x 3.8 cm).
6. Rachel Harrison. “Infanta Collage Two,” 2023. Flashe, wax crayon on inkjet print. Framed Dimensions: 28 x 23 x 1 1/2 inches (71.1 x 58.4 x 3.8 cm).
A selection of Rachel Harrison’s “Infanta” collages are currently on view at Regen Projects in “planchette.”
An intermittent series begun in 2021, the collages are based on various paintings by Diego Velázquez of the titular Spanish princess. The works currently on view in “planchette” use Velázquez’s “Portrait of the Infanta Margarita Thérèse” (1651–1673), which Harrison underlays with an FBI evidence image of a crossbow confiscated during the insurrection of January 6, 2021. Harrison further digitally manipulates and modifies the collages with Flashe and wax crayon abstractions—inspired by a conspiratorial joke that the Infanta, rather than Antifa, was present at the Capitol on January 6.
Harrison’s “Infanta” collages move between digital and material transformation, collapsing distinctions between painting, photography, and digital image-making in the age of AI.
Catch “planchette”—an exhibition bringing together the work of Rachel Harrison, Liz Larner, and Rebecca Morris—through Saturday, May 23, 2026 at Regen Projects.
#RachelHarrison
Images:
1. Installation view of “planchette” at Regen Projects, Los Angeles, 2026.
2. Rachel Harrison. “Sparkle Infanta,” 2026. Acrylic, flashe, wax crayon, glitter on inkjet print. Framed Dimensions: 28 x 23 x 1 1/2 inches (71.1 x 58.4 x 3.8 cm).
3. Rachel Harrison. “H25 Infanta,” 2026. Acrylic, wax crayon on inkjet print. Framed Dimensions: 28 x 23 x 1 1/2 inches (71.1 x 58.4 x 3.8 cm).
4. Rachel Harrison. “Infanta Collage One,” 2023. Flashe, wax crayon on inkjet print. Framed Dimensions: 28 x 23 x 1 1/2 inches (71.1 x 58.4 x 3.8 cm).
5. Rachel Harrison. “Infanta Collage Three,” 2023. Flashe, wax crayon on inkjet print. Framed Dimensions: 28 x 23 x 1 1/2 inches (71.1 x 58.4 x 3.8 cm).
6. Rachel Harrison. “Infanta Collage Two,” 2023. Flashe, wax crayon on inkjet print. Framed Dimensions: 28 x 23 x 1 1/2 inches (71.1 x 58.4 x 3.8 cm).
A selection of Rachel Harrison’s “Infanta” collages are currently on view at Regen Projects in “planchette.”
An intermittent series begun in 2021, the collages are based on various paintings by Diego Velázquez of the titular Spanish princess. The works currently on view in “planchette” use Velázquez’s “Portrait of the Infanta Margarita Thérèse” (1651–1673), which Harrison underlays with an FBI evidence image of a crossbow confiscated during the insurrection of January 6, 2021. Harrison further digitally manipulates and modifies the collages with Flashe and wax crayon abstractions—inspired by a conspiratorial joke that the Infanta, rather than Antifa, was present at the Capitol on January 6.
Harrison’s “Infanta” collages move between digital and material transformation, collapsing distinctions between painting, photography, and digital image-making in the age of AI.
Catch “planchette”—an exhibition bringing together the work of Rachel Harrison, Liz Larner, and Rebecca Morris—through Saturday, May 23, 2026 at Regen Projects.
#RachelHarrison
Images:
1. Installation view of “planchette” at Regen Projects, Los Angeles, 2026.
2. Rachel Harrison. “Sparkle Infanta,” 2026. Acrylic, flashe, wax crayon, glitter on inkjet print. Framed Dimensions: 28 x 23 x 1 1/2 inches (71.1 x 58.4 x 3.8 cm).
3. Rachel Harrison. “H25 Infanta,” 2026. Acrylic, wax crayon on inkjet print. Framed Dimensions: 28 x 23 x 1 1/2 inches (71.1 x 58.4 x 3.8 cm).
4. Rachel Harrison. “Infanta Collage One,” 2023. Flashe, wax crayon on inkjet print. Framed Dimensions: 28 x 23 x 1 1/2 inches (71.1 x 58.4 x 3.8 cm).
5. Rachel Harrison. “Infanta Collage Three,” 2023. Flashe, wax crayon on inkjet print. Framed Dimensions: 28 x 23 x 1 1/2 inches (71.1 x 58.4 x 3.8 cm).
6. Rachel Harrison. “Infanta Collage Two,” 2023. Flashe, wax crayon on inkjet print. Framed Dimensions: 28 x 23 x 1 1/2 inches (71.1 x 58.4 x 3.8 cm).
A selection of Rachel Harrison’s “Infanta” collages are currently on view at Regen Projects in “planchette.”
An intermittent series begun in 2021, the collages are based on various paintings by Diego Velázquez of the titular Spanish princess. The works currently on view in “planchette” use Velázquez’s “Portrait of the Infanta Margarita Thérèse” (1651–1673), which Harrison underlays with an FBI evidence image of a crossbow confiscated during the insurrection of January 6, 2021. Harrison further digitally manipulates and modifies the collages with Flashe and wax crayon abstractions—inspired by a conspiratorial joke that the Infanta, rather than Antifa, was present at the Capitol on January 6.
Harrison’s “Infanta” collages move between digital and material transformation, collapsing distinctions between painting, photography, and digital image-making in the age of AI.
Catch “planchette”—an exhibition bringing together the work of Rachel Harrison, Liz Larner, and Rebecca Morris—through Saturday, May 23, 2026 at Regen Projects.
#RachelHarrison
Images:
1. Installation view of “planchette” at Regen Projects, Los Angeles, 2026.
2. Rachel Harrison. “Sparkle Infanta,” 2026. Acrylic, flashe, wax crayon, glitter on inkjet print. Framed Dimensions: 28 x 23 x 1 1/2 inches (71.1 x 58.4 x 3.8 cm).
3. Rachel Harrison. “H25 Infanta,” 2026. Acrylic, wax crayon on inkjet print. Framed Dimensions: 28 x 23 x 1 1/2 inches (71.1 x 58.4 x 3.8 cm).
4. Rachel Harrison. “Infanta Collage One,” 2023. Flashe, wax crayon on inkjet print. Framed Dimensions: 28 x 23 x 1 1/2 inches (71.1 x 58.4 x 3.8 cm).
5. Rachel Harrison. “Infanta Collage Three,” 2023. Flashe, wax crayon on inkjet print. Framed Dimensions: 28 x 23 x 1 1/2 inches (71.1 x 58.4 x 3.8 cm).
6. Rachel Harrison. “Infanta Collage Two,” 2023. Flashe, wax crayon on inkjet print. Framed Dimensions: 28 x 23 x 1 1/2 inches (71.1 x 58.4 x 3.8 cm).
A selection of Rachel Harrison’s “Infanta” collages are currently on view at Regen Projects in “planchette.”
An intermittent series begun in 2021, the collages are based on various paintings by Diego Velázquez of the titular Spanish princess. The works currently on view in “planchette” use Velázquez’s “Portrait of the Infanta Margarita Thérèse” (1651–1673), which Harrison underlays with an FBI evidence image of a crossbow confiscated during the insurrection of January 6, 2021. Harrison further digitally manipulates and modifies the collages with Flashe and wax crayon abstractions—inspired by a conspiratorial joke that the Infanta, rather than Antifa, was present at the Capitol on January 6.
Harrison’s “Infanta” collages move between digital and material transformation, collapsing distinctions between painting, photography, and digital image-making in the age of AI.
Catch “planchette”—an exhibition bringing together the work of Rachel Harrison, Liz Larner, and Rebecca Morris—through Saturday, May 23, 2026 at Regen Projects.
#RachelHarrison
Images:
1. Installation view of “planchette” at Regen Projects, Los Angeles, 2026.
2. Rachel Harrison. “Sparkle Infanta,” 2026. Acrylic, flashe, wax crayon, glitter on inkjet print. Framed Dimensions: 28 x 23 x 1 1/2 inches (71.1 x 58.4 x 3.8 cm).
3. Rachel Harrison. “H25 Infanta,” 2026. Acrylic, wax crayon on inkjet print. Framed Dimensions: 28 x 23 x 1 1/2 inches (71.1 x 58.4 x 3.8 cm).
4. Rachel Harrison. “Infanta Collage One,” 2023. Flashe, wax crayon on inkjet print. Framed Dimensions: 28 x 23 x 1 1/2 inches (71.1 x 58.4 x 3.8 cm).
5. Rachel Harrison. “Infanta Collage Three,” 2023. Flashe, wax crayon on inkjet print. Framed Dimensions: 28 x 23 x 1 1/2 inches (71.1 x 58.4 x 3.8 cm).
6. Rachel Harrison. “Infanta Collage Two,” 2023. Flashe, wax crayon on inkjet print. Framed Dimensions: 28 x 23 x 1 1/2 inches (71.1 x 58.4 x 3.8 cm).
A selection of Rachel Harrison’s “Infanta” collages are currently on view at Regen Projects in “planchette.”
An intermittent series begun in 2021, the collages are based on various paintings by Diego Velázquez of the titular Spanish princess. The works currently on view in “planchette” use Velázquez’s “Portrait of the Infanta Margarita Thérèse” (1651–1673), which Harrison underlays with an FBI evidence image of a crossbow confiscated during the insurrection of January 6, 2021. Harrison further digitally manipulates and modifies the collages with Flashe and wax crayon abstractions—inspired by a conspiratorial joke that the Infanta, rather than Antifa, was present at the Capitol on January 6.
Harrison’s “Infanta” collages move between digital and material transformation, collapsing distinctions between painting, photography, and digital image-making in the age of AI.
Catch “planchette”—an exhibition bringing together the work of Rachel Harrison, Liz Larner, and Rebecca Morris—through Saturday, May 23, 2026 at Regen Projects.
#RachelHarrison
Images:
1. Installation view of “planchette” at Regen Projects, Los Angeles, 2026.
2. Rachel Harrison. “Sparkle Infanta,” 2026. Acrylic, flashe, wax crayon, glitter on inkjet print. Framed Dimensions: 28 x 23 x 1 1/2 inches (71.1 x 58.4 x 3.8 cm).
3. Rachel Harrison. “H25 Infanta,” 2026. Acrylic, wax crayon on inkjet print. Framed Dimensions: 28 x 23 x 1 1/2 inches (71.1 x 58.4 x 3.8 cm).
4. Rachel Harrison. “Infanta Collage One,” 2023. Flashe, wax crayon on inkjet print. Framed Dimensions: 28 x 23 x 1 1/2 inches (71.1 x 58.4 x 3.8 cm).
5. Rachel Harrison. “Infanta Collage Three,” 2023. Flashe, wax crayon on inkjet print. Framed Dimensions: 28 x 23 x 1 1/2 inches (71.1 x 58.4 x 3.8 cm).
6. Rachel Harrison. “Infanta Collage Two,” 2023. Flashe, wax crayon on inkjet print. Framed Dimensions: 28 x 23 x 1 1/2 inches (71.1 x 58.4 x 3.8 cm).
Guarda le Storie di Instagram in Segreto
Il Visualizzatore Storie Instagram è uno strumento facile da usare che ti permette di guardare e salvare le storie, video, foto o IGTV di Instagram in modo segreto. Con questo servizio puoi scaricare contenuti e goderteli offline ogni volta che vuoi. Se trovi qualcosa di interessante su Instagram che vorresti rivedere più tardi o vuoi vedere le storie restando anonimo, il nostro Visualizzatore è perfetto per te. Anonstories offre una soluzione eccellente per mantenere la tua identità nascosta. Instagram ha lanciato per la prima volta la funzionalità Storie nell'agosto 2023, che è stata rapidamente adottata da altre piattaforme per il suo formato coinvolgente e tempestivo. Le storie permettono agli utenti di condividere aggiornamenti rapidi, che siano foto, video o selfie, arricchiti con testo, emoji o filtri, e sono visibili per solo 24 ore. Questo limite di tempo crea un forte coinvolgimento rispetto ai post normali. Oggi, le storie sono uno dei modi più popolari per connettersi e comunicare sui social media. Tuttavia, quando guardi una storia, il creatore può vedere il tuo nome nella loro lista di visualizzatori, il che potrebbe essere un problema per la privacy. E se desiderassi navigare tra le storie senza essere notato? Ecco dove Anonstories diventa utile. Ti consente di guardare contenuti pubblici su Instagram senza rivelare la tua identità. Basta inserire il nome utente del profilo che ti interessa e lo strumento mostrerà le sue ultime storie. Funzionalità del Visualizzatore Anonstories: - Navigazione Anonima: Guarda le storie senza apparire nella lista di visualizzazione. - Nessun Account Necessario: Visualizza contenuti pubblici senza registrarti su Instagram. - Download dei Contenuti: Salva qualsiasi contenuto delle storie direttamente sul tuo dispositivo per un uso offline. - Guarda i Punti Salienti: Accedi ai punti salienti di Instagram, anche oltre la finestra di 24 ore. - Monitoraggio dei Repost: Tieni traccia dei repost o dei livelli di interazione nelle storie per i profili personali. Limitazioni: - Questo strumento funziona solo con account pubblici; gli account privati restano inaccessibili. Vantaggi: - Privacy: Guarda qualsiasi contenuto su Instagram senza essere notato. - Semplice e Facile: Nessuna installazione di app o registrazione richiesta. - Strumenti Esclusivi: Scarica e gestisci contenuti in modi che Instagram non offre.
Vantaggi di Anonstories
Esplora le Storie IG in Privato
Segui gli aggiornamenti di Instagram discretamente proteggendo la tua privacy e restando anonimo.
Visualizzatore Privato di Instagram
Guarda profili e foto in modo anonimo facilmente usando il Visualizzatore di profili privati.
Visualizzatore di Storie Gratuito
Questo strumento gratuito ti permette di visualizzare le storie di Instagram in modo anonimo, garantendo che la tua attività rimanga nascosta dall'utente che carica la storia.
Domande frequenti
Anonimato
Anonstories consente agli utenti di guardare le storie di Instagram senza avvisare il creatore.
Compatibilità Dispositivi
Funziona senza problemi su iOS, Android, Windows, macOS e browser moderni come Chrome e Safari.
Sicurezza e Privacy
Garantisce una navigazione sicura e anonima senza richiedere credenziali di accesso.
Nessuna Registrazione
Gli utenti possono visualizzare storie pubbliche semplicemente inserendo un nome utente—nessun account richiesto.
Formati Supportati
Scarica foto (JPEG) e video (MP4) facilmente.
Costo
Il servizio è gratuito.
Account Privati
Il contenuto degli account privati è accessibile solo ai follower.
Utilizzo dei File
I file sono destinati solo a uso personale o educativo e devono rispettare le normative sul copyright.
Come Funziona
Inserisci un nome utente pubblico per visualizzare o scaricare storie. Il servizio genera link diretti per salvare i contenuti localmente.