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Excited to present LUNCH, a series of paintings and works on paper at @danyoshiigallery, the inaugural show of the gallery's new space on 54 Henry Street, NY NY. Opening Thursday April 30th 2026, 6-9pm. Come hang. 🍔🌭🌯🥪🍕🍟🥓🍱🧆🍜🍝🍣🥟🥂
Excited to present LUNCH, a series of paintings and works on paper at @danyoshiigallery, the inaugural show of the gallery's new space on 54 Henry Street, NY NY. Opening Thursday April 30th 2026, 6-9pm. Come hang. 🍔🌭🌯🥪🍕🍟🥓🍱🧆🍜🍝🍣🥟🥂
Opening thursday March 26, 2026. 6-9pm 🥂🥂🇬🇷🇬🇷
"The Parthenon Marbles and other looted objects in the British Museum"
GEORGE BENIAS GALLERY
March 26- April 15
Politechneiou 10, Athina 104 33
@george_benias_gallery
The second edition of ROOM SERVICE is now available. Forever grateful to everyone who bought the first edition that sold out quickly. Available again at link in bio, soon @antennebooks for everyone in the EU. Salud 🥂 🥂
"Le Garçon"
Oil on canvas
9x12 in / 22.9 x 30.5cm
2026
On view in LUNCH@danyoshiigallery
"Le Garçon"
Oil on canvas
9x12 in / 22.9 x 30.5cm
2026
On view in LUNCH@danyoshiigallery
"Le Garçon"
Oil on canvas
9x12 in / 22.9 x 30.5cm
2026
On view in LUNCH@danyoshiigallery
"LUNCH DATE"
Collage, gesso & oil on canvas
50 x 40 inches / 127 x 101.6 cm
2026
On view at @danyoshiigallery
"LUNCH DATE"
Collage, gesso & oil on canvas
50 x 40 inches / 127 x 101.6 cm
2026
On view at @danyoshiigallery
These vibrant and idiosyncratic still lifes—often composed on hotel stationary—are the work of artist Michael McGregor, whose roots in a “huge tennis family” inform one of his favorite themes.
This week in New York @themcgregor presents LUNCH, a series of paintings and works on paper at @danyoshiigallery. Read Dorothea Hunter Sönne’s chat with the itinerant artist—whose practice has taken him from NJ to LA to CDMX to Hydra and everywhere in between—at the link in bio.
These vibrant and idiosyncratic still lifes—often composed on hotel stationary—are the work of artist Michael McGregor, whose roots in a “huge tennis family” inform one of his favorite themes.
This week in New York @themcgregor presents LUNCH, a series of paintings and works on paper at @danyoshiigallery. Read Dorothea Hunter Sönne’s chat with the itinerant artist—whose practice has taken him from NJ to LA to CDMX to Hydra and everywhere in between—at the link in bio.
These vibrant and idiosyncratic still lifes—often composed on hotel stationary—are the work of artist Michael McGregor, whose roots in a “huge tennis family” inform one of his favorite themes.
This week in New York @themcgregor presents LUNCH, a series of paintings and works on paper at @danyoshiigallery. Read Dorothea Hunter Sönne’s chat with the itinerant artist—whose practice has taken him from NJ to LA to CDMX to Hydra and everywhere in between—at the link in bio.
These vibrant and idiosyncratic still lifes—often composed on hotel stationary—are the work of artist Michael McGregor, whose roots in a “huge tennis family” inform one of his favorite themes.
This week in New York @themcgregor presents LUNCH, a series of paintings and works on paper at @danyoshiigallery. Read Dorothea Hunter Sönne’s chat with the itinerant artist—whose practice has taken him from NJ to LA to CDMX to Hydra and everywhere in between—at the link in bio.
These vibrant and idiosyncratic still lifes—often composed on hotel stationary—are the work of artist Michael McGregor, whose roots in a “huge tennis family” inform one of his favorite themes.
This week in New York @themcgregor presents LUNCH, a series of paintings and works on paper at @danyoshiigallery. Read Dorothea Hunter Sönne’s chat with the itinerant artist—whose practice has taken him from NJ to LA to CDMX to Hydra and everywhere in between—at the link in bio.
The Art Suite at Casa Monti 🌞
Created in collaboration with contemporary artist Michael McGregor as part of a six-month artistic collaboration, suite 203 is no longer simply a hotel room. It is a living, immersive work of art.
Open for booking.
The Art Suite at Casa Monti 🌞
Created in collaboration with contemporary artist Michael McGregor as part of a six-month artistic collaboration, suite 203 is no longer simply a hotel room. It is a living, immersive work of art.
Open for booking.
The Art Suite at Casa Monti 🌞
Created in collaboration with contemporary artist Michael McGregor as part of a six-month artistic collaboration, suite 203 is no longer simply a hotel room. It is a living, immersive work of art.
Open for booking.
The Art Suite at Casa Monti 🌞
Created in collaboration with contemporary artist Michael McGregor as part of a six-month artistic collaboration, suite 203 is no longer simply a hotel room. It is a living, immersive work of art.
Open for booking.
The Art Suite at Casa Monti 🌞
Created in collaboration with contemporary artist Michael McGregor as part of a six-month artistic collaboration, suite 203 is no longer simply a hotel room. It is a living, immersive work of art.
Open for booking.
The Art Suite at Casa Monti 🌞
Created in collaboration with contemporary artist Michael McGregor as part of a six-month artistic collaboration, suite 203 is no longer simply a hotel room. It is a living, immersive work of art.
Open for booking.
The Art Suite at Casa Monti 🌞
Created in collaboration with contemporary artist Michael McGregor as part of a six-month artistic collaboration, suite 203 is no longer simply a hotel room. It is a living, immersive work of art.
Open for booking.
The Art Suite at Casa Monti 🌞
Created in collaboration with contemporary artist Michael McGregor as part of a six-month artistic collaboration, suite 203 is no longer simply a hotel room. It is a living, immersive work of art.
Open for booking.
The Art Suite at Casa Monti 🌞
Created in collaboration with contemporary artist Michael McGregor as part of a six-month artistic collaboration, suite 203 is no longer simply a hotel room. It is a living, immersive work of art.
Open for booking.
The Art Suite at Casa Monti 🌞
Created in collaboration with contemporary artist Michael McGregor as part of a six-month artistic collaboration, suite 203 is no longer simply a hotel room. It is a living, immersive work of art.
Open for booking.
The Art Suite at Casa Monti 🌞
Created in collaboration with contemporary artist Michael McGregor as part of a six-month artistic collaboration, suite 203 is no longer simply a hotel room. It is a living, immersive work of art.
Open for booking.
The Art Suite at Casa Monti 🌞
Created in collaboration with contemporary artist Michael McGregor as part of a six-month artistic collaboration, suite 203 is no longer simply a hotel room. It is a living, immersive work of art.
Open for booking.
The Art Suite at Casa Monti 🌞
Created in collaboration with contemporary artist Michael McGregor as part of a six-month artistic collaboration, suite 203 is no longer simply a hotel room. It is a living, immersive work of art.
Open for booking.
The Caryatids were created between 421 and 406 BCE. The figure in London was taken from the Acropolis by Elgin's agents, along with the Parthenon Sculptures, and sold to the British government in 1816.
She is a marble, life-sized figure wearing a peplos (a draped garment) and holding her robe with one hand, standing on her right leg. Her elaborate, thick hairstyle served as a structural reinforcement for the weight of the temple roof.
The five other figures were moved to the Acropolis Museum for protection against pollution and are displayed with a replica in place of the one at the British Museum.
Greece has repeatedly asked for the return of the statue.
The Karyatids
Color Pencil on paper
2025
On view at @george_benias_gallery in Athens 🇬🇷🏛️
The Caryatids were created between 421 and 406 BCE. The figure in London was taken from the Acropolis by Elgin's agents, along with the Parthenon Sculptures, and sold to the British government in 1816.
She is a marble, life-sized figure wearing a peplos (a draped garment) and holding her robe with one hand, standing on her right leg. Her elaborate, thick hairstyle served as a structural reinforcement for the weight of the temple roof.
The five other figures were moved to the Acropolis Museum for protection against pollution and are displayed with a replica in place of the one at the British Museum.
Greece has repeatedly asked for the return of the statue.
The Karyatids
Color Pencil on paper
2025
On view at @george_benias_gallery in Athens 🇬🇷🏛️
The Caryatids were created between 421 and 406 BCE. The figure in London was taken from the Acropolis by Elgin's agents, along with the Parthenon Sculptures, and sold to the British government in 1816.
She is a marble, life-sized figure wearing a peplos (a draped garment) and holding her robe with one hand, standing on her right leg. Her elaborate, thick hairstyle served as a structural reinforcement for the weight of the temple roof.
The five other figures were moved to the Acropolis Museum for protection against pollution and are displayed with a replica in place of the one at the British Museum.
Greece has repeatedly asked for the return of the statue.
The Karyatids
Color Pencil on paper
2025
On view at @george_benias_gallery in Athens 🇬🇷🏛️
The Caryatids were created between 421 and 406 BCE. The figure in London was taken from the Acropolis by Elgin's agents, along with the Parthenon Sculptures, and sold to the British government in 1816.
She is a marble, life-sized figure wearing a peplos (a draped garment) and holding her robe with one hand, standing on her right leg. Her elaborate, thick hairstyle served as a structural reinforcement for the weight of the temple roof.
The five other figures were moved to the Acropolis Museum for protection against pollution and are displayed with a replica in place of the one at the British Museum.
Greece has repeatedly asked for the return of the statue.
The Karyatids
Color Pencil on paper
2025
On view at @george_benias_gallery in Athens 🇬🇷🏛️
The Caryatids were created between 421 and 406 BCE. The figure in London was taken from the Acropolis by Elgin's agents, along with the Parthenon Sculptures, and sold to the British government in 1816.
She is a marble, life-sized figure wearing a peplos (a draped garment) and holding her robe with one hand, standing on her right leg. Her elaborate, thick hairstyle served as a structural reinforcement for the weight of the temple roof.
The five other figures were moved to the Acropolis Museum for protection against pollution and are displayed with a replica in place of the one at the British Museum.
Greece has repeatedly asked for the return of the statue.
The Karyatids
Color Pencil on paper
2025
On view at @george_benias_gallery in Athens 🇬🇷🏛️
The Caryatids were created between 421 and 406 BCE. The figure in London was taken from the Acropolis by Elgin's agents, along with the Parthenon Sculptures, and sold to the British government in 1816.
She is a marble, life-sized figure wearing a peplos (a draped garment) and holding her robe with one hand, standing on her right leg. Her elaborate, thick hairstyle served as a structural reinforcement for the weight of the temple roof.
The five other figures were moved to the Acropolis Museum for protection against pollution and are displayed with a replica in place of the one at the British Museum.
Greece has repeatedly asked for the return of the statue.
The Karyatids
Color Pencil on paper
2025
On view at @george_benias_gallery in Athens 🇬🇷🏛️
Pour le millésime 2023 de L’Illustre Voyageur, @themcgregor imagine une nouvelle scène inspirée par l’amitié entre Hyde de Neuville et Chateaubriand — une promenade imaginaire au cœur des vendanges.
For the 2023 vintage of L’Illustre Voyageur, @themcgregor imagines a new scene inspired by the friendship between Hyde de Neuville and Chateaubriand — a poetic stroll through the harvest.
Pour le millésime 2023 de L’Illustre Voyageur, @themcgregor imagine une nouvelle scène inspirée par l’amitié entre Hyde de Neuville et Chateaubriand — une promenade imaginaire au cœur des vendanges.
For the 2023 vintage of L’Illustre Voyageur, @themcgregor imagines a new scene inspired by the friendship between Hyde de Neuville and Chateaubriand — a poetic stroll through the harvest.
Pour le millésime 2023 de L’Illustre Voyageur, @themcgregor imagine une nouvelle scène inspirée par l’amitié entre Hyde de Neuville et Chateaubriand — une promenade imaginaire au cœur des vendanges.
For the 2023 vintage of L’Illustre Voyageur, @themcgregor imagines a new scene inspired by the friendship between Hyde de Neuville and Chateaubriand — a poetic stroll through the harvest.
@themcgregor
Michael McGregor (b. 1983) presents his first solo exhibition in Athens, marking a pivotal moment
in his practice following his recent move to Greece after years living between Greece and Los
Angeles.
Known for his wide-eyed interpretations of traditional subject matter, particularly still life, McGregor
shifts his focus here, to the contested history of the Parthenon Marbles. This new body of drawings
and paintings (2023–2026), developed between London and Athens, is informed by visits to the
British Museum, the Acropolis Museum, and the Acropolis itself.
Featuring works such as The Karytides, The Parthenon Marbles, and Horse of Selene, the
exhibition reflects on displacement, cultural ownership, and return. McGregor frames the British
Museum as “the world’s largest receiver and displayer of stolen goods,” positioning the marbles not
as static artifacts, but as objects with an unresolved lineage.
Echoing voices from Lord Byron to Evangelos Venizelos, the exhibition underscores the enduring
call for restitution—not only as a national claim, but as a matter of global cultural heritage.
Balancing poetic reflection with political urgency, McGregor’s Athens debut calls for recognition of
where these works belong, and why their return still matters.
#michaelmccgregor #georgebeniasgallery
@themcgregor
Michael McGregor (b. 1983) presents his first solo exhibition in Athens, marking a pivotal moment
in his practice following his recent move to Greece after years living between Greece and Los
Angeles.
Known for his wide-eyed interpretations of traditional subject matter, particularly still life, McGregor
shifts his focus here, to the contested history of the Parthenon Marbles. This new body of drawings
and paintings (2023–2026), developed between London and Athens, is informed by visits to the
British Museum, the Acropolis Museum, and the Acropolis itself.
Featuring works such as The Karytides, The Parthenon Marbles, and Horse of Selene, the
exhibition reflects on displacement, cultural ownership, and return. McGregor frames the British
Museum as “the world’s largest receiver and displayer of stolen goods,” positioning the marbles not
as static artifacts, but as objects with an unresolved lineage.
Echoing voices from Lord Byron to Evangelos Venizelos, the exhibition underscores the enduring
call for restitution—not only as a national claim, but as a matter of global cultural heritage.
Balancing poetic reflection with political urgency, McGregor’s Athens debut calls for recognition of
where these works belong, and why their return still matters.
#michaelmccgregor #georgebeniasgallery
@themcgregor
Michael McGregor (b. 1983) presents his first solo exhibition in Athens, marking a pivotal moment
in his practice following his recent move to Greece after years living between Greece and Los
Angeles.
Known for his wide-eyed interpretations of traditional subject matter, particularly still life, McGregor
shifts his focus here, to the contested history of the Parthenon Marbles. This new body of drawings
and paintings (2023–2026), developed between London and Athens, is informed by visits to the
British Museum, the Acropolis Museum, and the Acropolis itself.
Featuring works such as The Karytides, The Parthenon Marbles, and Horse of Selene, the
exhibition reflects on displacement, cultural ownership, and return. McGregor frames the British
Museum as “the world’s largest receiver and displayer of stolen goods,” positioning the marbles not
as static artifacts, but as objects with an unresolved lineage.
Echoing voices from Lord Byron to Evangelos Venizelos, the exhibition underscores the enduring
call for restitution—not only as a national claim, but as a matter of global cultural heritage.
Balancing poetic reflection with political urgency, McGregor’s Athens debut calls for recognition of
where these works belong, and why their return still matters.
#michaelmccgregor #georgebeniasgallery
@themcgregor
Michael McGregor (b. 1983) presents his first solo exhibition in Athens, marking a pivotal moment
in his practice following his recent move to Greece after years living between Greece and Los
Angeles.
Known for his wide-eyed interpretations of traditional subject matter, particularly still life, McGregor
shifts his focus here, to the contested history of the Parthenon Marbles. This new body of drawings
and paintings (2023–2026), developed between London and Athens, is informed by visits to the
British Museum, the Acropolis Museum, and the Acropolis itself.
Featuring works such as The Karytides, The Parthenon Marbles, and Horse of Selene, the
exhibition reflects on displacement, cultural ownership, and return. McGregor frames the British
Museum as “the world’s largest receiver and displayer of stolen goods,” positioning the marbles not
as static artifacts, but as objects with an unresolved lineage.
Echoing voices from Lord Byron to Evangelos Venizelos, the exhibition underscores the enduring
call for restitution—not only as a national claim, but as a matter of global cultural heritage.
Balancing poetic reflection with political urgency, McGregor’s Athens debut calls for recognition of
where these works belong, and why their return still matters.
#michaelmccgregor #georgebeniasgallery
@themcgregor
Michael McGregor (b. 1983) presents his first solo exhibition in Athens, marking a pivotal moment
in his practice following his recent move to Greece after years living between Greece and Los
Angeles.
Known for his wide-eyed interpretations of traditional subject matter, particularly still life, McGregor
shifts his focus here, to the contested history of the Parthenon Marbles. This new body of drawings
and paintings (2023–2026), developed between London and Athens, is informed by visits to the
British Museum, the Acropolis Museum, and the Acropolis itself.
Featuring works such as The Karytides, The Parthenon Marbles, and Horse of Selene, the
exhibition reflects on displacement, cultural ownership, and return. McGregor frames the British
Museum as “the world’s largest receiver and displayer of stolen goods,” positioning the marbles not
as static artifacts, but as objects with an unresolved lineage.
Echoing voices from Lord Byron to Evangelos Venizelos, the exhibition underscores the enduring
call for restitution—not only as a national claim, but as a matter of global cultural heritage.
Balancing poetic reflection with political urgency, McGregor’s Athens debut calls for recognition of
where these works belong, and why their return still matters.
#michaelmccgregor #georgebeniasgallery
@themcgregor
Michael McGregor (b. 1983) presents his first solo exhibition in Athens, marking a pivotal moment
in his practice following his recent move to Greece after years living between Greece and Los
Angeles.
Known for his wide-eyed interpretations of traditional subject matter, particularly still life, McGregor
shifts his focus here, to the contested history of the Parthenon Marbles. This new body of drawings
and paintings (2023–2026), developed between London and Athens, is informed by visits to the
British Museum, the Acropolis Museum, and the Acropolis itself.
Featuring works such as The Karytides, The Parthenon Marbles, and Horse of Selene, the
exhibition reflects on displacement, cultural ownership, and return. McGregor frames the British
Museum as “the world’s largest receiver and displayer of stolen goods,” positioning the marbles not
as static artifacts, but as objects with an unresolved lineage.
Echoing voices from Lord Byron to Evangelos Venizelos, the exhibition underscores the enduring
call for restitution—not only as a national claim, but as a matter of global cultural heritage.
Balancing poetic reflection with political urgency, McGregor’s Athens debut calls for recognition of
where these works belong, and why their return still matters.
#michaelmccgregor #georgebeniasgallery
@themcgregor
Michael McGregor (b. 1983) presents his first solo exhibition in Athens, marking a pivotal moment
in his practice following his recent move to Greece after years living between Greece and Los
Angeles.
Known for his wide-eyed interpretations of traditional subject matter, particularly still life, McGregor
shifts his focus here, to the contested history of the Parthenon Marbles. This new body of drawings
and paintings (2023–2026), developed between London and Athens, is informed by visits to the
British Museum, the Acropolis Museum, and the Acropolis itself.
Featuring works such as The Karytides, The Parthenon Marbles, and Horse of Selene, the
exhibition reflects on displacement, cultural ownership, and return. McGregor frames the British
Museum as “the world’s largest receiver and displayer of stolen goods,” positioning the marbles not
as static artifacts, but as objects with an unresolved lineage.
Echoing voices from Lord Byron to Evangelos Venizelos, the exhibition underscores the enduring
call for restitution—not only as a national claim, but as a matter of global cultural heritage.
Balancing poetic reflection with political urgency, McGregor’s Athens debut calls for recognition of
where these works belong, and why their return still matters.
#michaelmccgregor #georgebeniasgallery
@themcgregor
Michael McGregor (b. 1983) presents his first solo exhibition in Athens, marking a pivotal moment
in his practice following his recent move to Greece after years living between Greece and Los
Angeles.
Known for his wide-eyed interpretations of traditional subject matter, particularly still life, McGregor
shifts his focus here, to the contested history of the Parthenon Marbles. This new body of drawings
and paintings (2023–2026), developed between London and Athens, is informed by visits to the
British Museum, the Acropolis Museum, and the Acropolis itself.
Featuring works such as The Karytides, The Parthenon Marbles, and Horse of Selene, the
exhibition reflects on displacement, cultural ownership, and return. McGregor frames the British
Museum as “the world’s largest receiver and displayer of stolen goods,” positioning the marbles not
as static artifacts, but as objects with an unresolved lineage.
Echoing voices from Lord Byron to Evangelos Venizelos, the exhibition underscores the enduring
call for restitution—not only as a national claim, but as a matter of global cultural heritage.
Balancing poetic reflection with political urgency, McGregor’s Athens debut calls for recognition of
where these works belong, and why their return still matters.
#michaelmccgregor #georgebeniasgallery
@themcgregor
Michael McGregor (b. 1983) presents his first solo exhibition in Athens, marking a pivotal moment
in his practice following his recent move to Greece after years living between Greece and Los
Angeles.
Known for his wide-eyed interpretations of traditional subject matter, particularly still life, McGregor
shifts his focus here, to the contested history of the Parthenon Marbles. This new body of drawings
and paintings (2023–2026), developed between London and Athens, is informed by visits to the
British Museum, the Acropolis Museum, and the Acropolis itself.
Featuring works such as The Karytides, The Parthenon Marbles, and Horse of Selene, the
exhibition reflects on displacement, cultural ownership, and return. McGregor frames the British
Museum as “the world’s largest receiver and displayer of stolen goods,” positioning the marbles not
as static artifacts, but as objects with an unresolved lineage.
Echoing voices from Lord Byron to Evangelos Venizelos, the exhibition underscores the enduring
call for restitution—not only as a national claim, but as a matter of global cultural heritage.
Balancing poetic reflection with political urgency, McGregor’s Athens debut calls for recognition of
where these works belong, and why their return still matters.
#michaelmccgregor #georgebeniasgallery
View Instagram Stories in Secret
The Instagram Story Viewer is an easy tool that lets you secretly watch and save Instagram stories, videos, photos, or IGTV. With this service, you can download content and enjoy it offline whenever you like. If you find something interesting on Instagram that you’d like to check out later or want to view stories while staying anonymous, our Viewer is perfect for you. Anonstories offers an excellent solution for keeping your identity hidden. Instagram first launched the Stories feature in August 2023, which was quickly adopted by other platforms due to its engaging, time-sensitive format. Stories let users share quick updates, whether photos, videos, or selfies, enhanced with text, emojis, or filters, and are visible for only 24 hours. This limited time frame creates high engagement compared to regular posts. In today’s world, Stories are one of the most popular ways to connect and communicate on social media. However, when you view a Story, the creator can see your name in their viewer list, which may be a privacy concern. What if you wish to browse Stories without being noticed? Here’s where Anonstories becomes useful. It allows you to watch public Instagram content without revealing your identity. Simply enter the username of the profile you’re curious about, and the tool will display their latest Stories. Features of Anonstories Viewer: - Anonymous Browsing: Watch Stories without showing up on the viewer list. - No Account Needed: View public content without signing up for an Instagram account. - Content Download: Save any Stories content directly to your device for offline use. - View Highlights: Access Instagram Highlights, even beyond the 24-hour window. - Repost Monitoring: Track the reposts or engagement levels on Stories for personal profiles. Limitations: - This tool works only with public accounts; private accounts remain inaccessible. Benefits: - Privacy-Friendly: Watch any Instagram content without being noticed. - Simple and Easy: No app installation or registration required. - Exclusive Tools: Download and manage content in ways Instagram doesn’t offer.
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