Instagram Hikaye Görüntüleyici

At @uffnerliu, Arghavan Khosravi's "What Remains" takes the devotional altarpiece as a formal starting point, rebuilding its structure to explore the constraints placed on women's bodies and autonomy under systems of political, cultural, and religious control. Combining Persian miniature painting with medieval European iconography, Khosravi's layered compositions withhold resolution — images held in suspension where resistance and confinement remain in permanent, unresolved tension. Explore the standout exhibition on Artsy at the link in our bio.⁠
•⁠
#ArghavanKhosravi, The Listener, 2026⁠
#ArghavanKhosravi, Passage, 2026⁠
#ArghavanKhosravi, Behind a Curtain, 2026

At @uffnerliu, Arghavan Khosravi's "What Remains" takes the devotional altarpiece as a formal starting point, rebuilding its structure to explore the constraints placed on women's bodies and autonomy under systems of political, cultural, and religious control. Combining Persian miniature painting with medieval European iconography, Khosravi's layered compositions withhold resolution — images held in suspension where resistance and confinement remain in permanent, unresolved tension. Explore the standout exhibition on Artsy at the link in our bio.⁠
•⁠
#ArghavanKhosravi, The Listener, 2026⁠
#ArghavanKhosravi, Passage, 2026⁠
#ArghavanKhosravi, Behind a Curtain, 2026

At @uffnerliu, Arghavan Khosravi's "What Remains" takes the devotional altarpiece as a formal starting point, rebuilding its structure to explore the constraints placed on women's bodies and autonomy under systems of political, cultural, and religious control. Combining Persian miniature painting with medieval European iconography, Khosravi's layered compositions withhold resolution — images held in suspension where resistance and confinement remain in permanent, unresolved tension. Explore the standout exhibition on Artsy at the link in our bio.⁠
•⁠
#ArghavanKhosravi, The Listener, 2026⁠
#ArghavanKhosravi, Passage, 2026⁠
#ArghavanKhosravi, Behind a Curtain, 2026

Uffner & Liu is pleased to announce participation in Elsewhere art fair in Philadelphia, PA.

Uffner & Liu
Suite 303

YOWIE Hotel
226 South St, Philadelphia, PA

Press & VIP Preview: June 3 | 6:30–9 PM
Public Days: June 4 – June 6, 2026

“Elsewhere is a boutique, room-based art fair taking place at YOWIE in Philadelphia. Organized by Blah Blah Gallery, the fair brings together a focused group of galleries and independent curators for presentations that prioritize scale, hospitality, and curatorial intention. Presentations are staged across guest rooms and suites, allowing exhibitions to unfold within domestic, architectural spaces rather than traditional booth layouts. This format supports site-responsive installation, slower engagement, and sustained conversation between galleries, artists, and visitors.“

Public Days are free entry with a required RSVP. Reserve your tickets at the link in our bio

#uffnerliu #elsewhereartfair @elsewhere.fair

Uffner & Liu is pleased to announce participation in Elsewhere art fair in Philadelphia, PA.

Uffner & Liu
Suite 303

YOWIE Hotel
226 South St, Philadelphia, PA

Press & VIP Preview: June 3 | 6:30–9 PM
Public Days: June 4 – June 6, 2026

“Elsewhere is a boutique, room-based art fair taking place at YOWIE in Philadelphia. Organized by Blah Blah Gallery, the fair brings together a focused group of galleries and independent curators for presentations that prioritize scale, hospitality, and curatorial intention. Presentations are staged across guest rooms and suites, allowing exhibitions to unfold within domestic, architectural spaces rather than traditional booth layouts. This format supports site-responsive installation, slower engagement, and sustained conversation between galleries, artists, and visitors.“

Public Days are free entry with a required RSVP. Reserve your tickets at the link in our bio

#uffnerliu #elsewhereartfair @elsewhere.fair

MoMA’s recently acquired assemblages by Sheree Hovsepian are now on view as part of the Hyundai Card First Look series.

April 24 – Fall, 2026
Floor 2
📍MoMA

Born in Iran and raised in the United States, Sheree Hovsepian recalls growing up with “a hyper awareness” of her body as “a politically charged location.” This experience has continually shaped how she depicts the human figure. The artist constructs bodies from fragments, assembling photographs of body parts—mostly her sister’s, as a stand-in for the artist—into three-dimensional compositions. These works also incorporate ceramics, nylon hosiery, string, and wood. Hovsepian has said that she is drawn to materials that resist full control: “The materials have agency.”

Thank you to Marina Molarsky-Beck for interviewing Sheree Hovsepian for MoMA’s magazine. Read the full interview, “How Sheree Hovsepian Builds a Body” via the link in our bio.

@shereehovsepian @themuseumofmodernart#shereehovsepian #themuseumofmodernart

MoMA’s recently acquired assemblages by Sheree Hovsepian are now on view as part of the Hyundai Card First Look series.

April 24 – Fall, 2026
Floor 2
📍MoMA

Born in Iran and raised in the United States, Sheree Hovsepian recalls growing up with “a hyper awareness” of her body as “a politically charged location.” This experience has continually shaped how she depicts the human figure. The artist constructs bodies from fragments, assembling photographs of body parts—mostly her sister’s, as a stand-in for the artist—into three-dimensional compositions. These works also incorporate ceramics, nylon hosiery, string, and wood. Hovsepian has said that she is drawn to materials that resist full control: “The materials have agency.”

Thank you to Marina Molarsky-Beck for interviewing Sheree Hovsepian for MoMA’s magazine. Read the full interview, “How Sheree Hovsepian Builds a Body” via the link in our bio.

@shereehovsepian @themuseumofmodernart#shereehovsepian #themuseumofmodernart

MoMA’s recently acquired assemblages by Sheree Hovsepian are now on view as part of the Hyundai Card First Look series.

April 24 – Fall, 2026
Floor 2
📍MoMA

Born in Iran and raised in the United States, Sheree Hovsepian recalls growing up with “a hyper awareness” of her body as “a politically charged location.” This experience has continually shaped how she depicts the human figure. The artist constructs bodies from fragments, assembling photographs of body parts—mostly her sister’s, as a stand-in for the artist—into three-dimensional compositions. These works also incorporate ceramics, nylon hosiery, string, and wood. Hovsepian has said that she is drawn to materials that resist full control: “The materials have agency.”

Thank you to Marina Molarsky-Beck for interviewing Sheree Hovsepian for MoMA’s magazine. Read the full interview, “How Sheree Hovsepian Builds a Body” via the link in our bio.

@shereehovsepian @themuseumofmodernart#shereehovsepian #themuseumofmodernart

MoMA’s recently acquired assemblages by Sheree Hovsepian are now on view as part of the Hyundai Card First Look series.

April 24 – Fall, 2026
Floor 2
📍MoMA

Born in Iran and raised in the United States, Sheree Hovsepian recalls growing up with “a hyper awareness” of her body as “a politically charged location.” This experience has continually shaped how she depicts the human figure. The artist constructs bodies from fragments, assembling photographs of body parts—mostly her sister’s, as a stand-in for the artist—into three-dimensional compositions. These works also incorporate ceramics, nylon hosiery, string, and wood. Hovsepian has said that she is drawn to materials that resist full control: “The materials have agency.”

Thank you to Marina Molarsky-Beck for interviewing Sheree Hovsepian for MoMA’s magazine. Read the full interview, “How Sheree Hovsepian Builds a Body” via the link in our bio.

@shereehovsepian @themuseumofmodernart#shereehovsepian #themuseumofmodernart

MoMA’s recently acquired assemblages by Sheree Hovsepian are now on view as part of the Hyundai Card First Look series.

April 24 – Fall, 2026
Floor 2
📍MoMA

Born in Iran and raised in the United States, Sheree Hovsepian recalls growing up with “a hyper awareness” of her body as “a politically charged location.” This experience has continually shaped how she depicts the human figure. The artist constructs bodies from fragments, assembling photographs of body parts—mostly her sister’s, as a stand-in for the artist—into three-dimensional compositions. These works also incorporate ceramics, nylon hosiery, string, and wood. Hovsepian has said that she is drawn to materials that resist full control: “The materials have agency.”

Thank you to Marina Molarsky-Beck for interviewing Sheree Hovsepian for MoMA’s magazine. Read the full interview, “How Sheree Hovsepian Builds a Body” via the link in our bio.

@shereehovsepian @themuseumofmodernart#shereehovsepian #themuseumofmodernart

MoMA’s recently acquired assemblages by Sheree Hovsepian are now on view as part of the Hyundai Card First Look series.

April 24 – Fall, 2026
Floor 2
📍MoMA

Born in Iran and raised in the United States, Sheree Hovsepian recalls growing up with “a hyper awareness” of her body as “a politically charged location.” This experience has continually shaped how she depicts the human figure. The artist constructs bodies from fragments, assembling photographs of body parts—mostly her sister’s, as a stand-in for the artist—into three-dimensional compositions. These works also incorporate ceramics, nylon hosiery, string, and wood. Hovsepian has said that she is drawn to materials that resist full control: “The materials have agency.”

Thank you to Marina Molarsky-Beck for interviewing Sheree Hovsepian for MoMA’s magazine. Read the full interview, “How Sheree Hovsepian Builds a Body” via the link in our bio.

@shereehovsepian @themuseumofmodernart#shereehovsepian #themuseumofmodernart

MoMA’s recently acquired assemblages by Sheree Hovsepian are now on view as part of the Hyundai Card First Look series.

April 24 – Fall, 2026
Floor 2
📍MoMA

Born in Iran and raised in the United States, Sheree Hovsepian recalls growing up with “a hyper awareness” of her body as “a politically charged location.” This experience has continually shaped how she depicts the human figure. The artist constructs bodies from fragments, assembling photographs of body parts—mostly her sister’s, as a stand-in for the artist—into three-dimensional compositions. These works also incorporate ceramics, nylon hosiery, string, and wood. Hovsepian has said that she is drawn to materials that resist full control: “The materials have agency.”

Thank you to Marina Molarsky-Beck for interviewing Sheree Hovsepian for MoMA’s magazine. Read the full interview, “How Sheree Hovsepian Builds a Body” via the link in our bio.

@shereehovsepian @themuseumofmodernart#shereehovsepian #themuseumofmodernart

MoMA’s recently acquired assemblages by Sheree Hovsepian are now on view as part of the Hyundai Card First Look series.

April 24 – Fall, 2026
Floor 2
📍MoMA

Born in Iran and raised in the United States, Sheree Hovsepian recalls growing up with “a hyper awareness” of her body as “a politically charged location.” This experience has continually shaped how she depicts the human figure. The artist constructs bodies from fragments, assembling photographs of body parts—mostly her sister’s, as a stand-in for the artist—into three-dimensional compositions. These works also incorporate ceramics, nylon hosiery, string, and wood. Hovsepian has said that she is drawn to materials that resist full control: “The materials have agency.”

Thank you to Marina Molarsky-Beck for interviewing Sheree Hovsepian for MoMA’s magazine. Read the full interview, “How Sheree Hovsepian Builds a Body” via the link in our bio.

@shereehovsepian @themuseumofmodernart#shereehovsepian #themuseumofmodernart

MoMA’s recently acquired assemblages by Sheree Hovsepian are now on view as part of the Hyundai Card First Look series.

April 24 – Fall, 2026
Floor 2
📍MoMA

Born in Iran and raised in the United States, Sheree Hovsepian recalls growing up with “a hyper awareness” of her body as “a politically charged location.” This experience has continually shaped how she depicts the human figure. The artist constructs bodies from fragments, assembling photographs of body parts—mostly her sister’s, as a stand-in for the artist—into three-dimensional compositions. These works also incorporate ceramics, nylon hosiery, string, and wood. Hovsepian has said that she is drawn to materials that resist full control: “The materials have agency.”

Thank you to Marina Molarsky-Beck for interviewing Sheree Hovsepian for MoMA’s magazine. Read the full interview, “How Sheree Hovsepian Builds a Body” via the link in our bio.

@shereehovsepian @themuseumofmodernart#shereehovsepian #themuseumofmodernart

MoMA’s recently acquired assemblages by Sheree Hovsepian are now on view as part of the Hyundai Card First Look series.

April 24 – Fall, 2026
Floor 2
📍MoMA

Born in Iran and raised in the United States, Sheree Hovsepian recalls growing up with “a hyper awareness” of her body as “a politically charged location.” This experience has continually shaped how she depicts the human figure. The artist constructs bodies from fragments, assembling photographs of body parts—mostly her sister’s, as a stand-in for the artist—into three-dimensional compositions. These works also incorporate ceramics, nylon hosiery, string, and wood. Hovsepian has said that she is drawn to materials that resist full control: “The materials have agency.”

Thank you to Marina Molarsky-Beck for interviewing Sheree Hovsepian for MoMA’s magazine. Read the full interview, “How Sheree Hovsepian Builds a Body” via the link in our bio.

@shereehovsepian @themuseumofmodernart#shereehovsepian #themuseumofmodernart

Thank you to Grace Ebert (@grace.l.ebert) for reviewing Arghavan Khosravi's current exhibition, "What Remains" for Colossal.

To read the full review, please see the link in our bio.

Arghavan Khosravi, “What Remains’ is on view at Uffner & Liu through July 2, 2026.

@arghavan_khosravi #arghavankhosravi #uffnerliu

Thank you to Grace Ebert (@grace.l.ebert) for reviewing Arghavan Khosravi's current exhibition, "What Remains" for Colossal.

To read the full review, please see the link in our bio.

Arghavan Khosravi, “What Remains’ is on view at Uffner & Liu through July 2, 2026.

@arghavan_khosravi #arghavankhosravi #uffnerliu

Thank you to Grace Ebert (@grace.l.ebert) for reviewing Arghavan Khosravi's current exhibition, "What Remains" for Colossal.

To read the full review, please see the link in our bio.

Arghavan Khosravi, “What Remains’ is on view at Uffner & Liu through July 2, 2026.

@arghavan_khosravi #arghavankhosravi #uffnerliu

Thank you to Grace Ebert (@grace.l.ebert) for reviewing Arghavan Khosravi's current exhibition, "What Remains" for Colossal.

To read the full review, please see the link in our bio.

Arghavan Khosravi, “What Remains’ is on view at Uffner & Liu through July 2, 2026.

@arghavan_khosravi #arghavankhosravi #uffnerliu

Thank you to Grace Ebert (@grace.l.ebert) for reviewing Arghavan Khosravi's current exhibition, "What Remains" for Colossal.

To read the full review, please see the link in our bio.

Arghavan Khosravi, “What Remains’ is on view at Uffner & Liu through July 2, 2026.

@arghavan_khosravi #arghavankhosravi #uffnerliu

Thank you to Grace Ebert (@grace.l.ebert) for reviewing Arghavan Khosravi's current exhibition, "What Remains" for Colossal.

To read the full review, please see the link in our bio.

Arghavan Khosravi, “What Remains’ is on view at Uffner & Liu through July 2, 2026.

@arghavan_khosravi #arghavankhosravi #uffnerliu

We’re thrilled to have “Harlequin II” by Hilary Harnischfeger included in the @HeadlandsArts 2026 Auction! Your support gives artists the time, space, and resources to dream big, experiment, take risks, make new work, and explore bold ideas.

This annual event supports Headlands Center for the Arts—a vital space that gives artists the time, resources, and community to create bold new work. We’re proud to support their mission and this amazing artist.
Be part of it:

See the link in our bio to reach Headlands’ website for more information on the auction exhibition and how to bid.

🎟 Purchase your tickets to Headlands Auction (June 4)
 🖼️ See the Auction Exhibition in person (May 17–June 3)
 🖌️ Bid on a beautifully curated selection of artworks + once-in-a-lifetime experiences (bidding begins May 17)

The Auction program is as follows:

SUNDAY, MAY 17 - AUCTION OPENING
4-6PM Opening Reception (Free)
6PM Sunday Supper (Ticketed)
Bidding begins.

MAY 17 - JUNE 3 - AUCTION EXHIBITION
On view daily 11AM-5PM at Headlands.
(Closed May 24-25 for Memorial Day)

JUNE 4 - AUCTION NIGHT
5-6PM Artist & Sponsor Welcome
6PM Artist & Sponsor Dinner
7:30 PM General Admission Entry
8:00PM Live Auction
8:45PM Silent Lots Close
9PM Late Night Entry
~Party continues until midnight ~

@hilaryharnischfeger @headlandsarts #hilaryharnischfeger

Images 2-3: Hilary Harnischfeger, “Harlequin II”, 2024, paper, ink, dye, pigment, mica, hydrostone, ceramic, apophyllite, wood, glass, 19 1/2 x 14 1/4 x 3 3/4 in (49.5 x 36.2 x 9.5 cm)

We’re thrilled to have “Harlequin II” by Hilary Harnischfeger included in the @HeadlandsArts 2026 Auction! Your support gives artists the time, space, and resources to dream big, experiment, take risks, make new work, and explore bold ideas.

This annual event supports Headlands Center for the Arts—a vital space that gives artists the time, resources, and community to create bold new work. We’re proud to support their mission and this amazing artist.
Be part of it:

See the link in our bio to reach Headlands’ website for more information on the auction exhibition and how to bid.

🎟 Purchase your tickets to Headlands Auction (June 4)
 🖼️ See the Auction Exhibition in person (May 17–June 3)
 🖌️ Bid on a beautifully curated selection of artworks + once-in-a-lifetime experiences (bidding begins May 17)

The Auction program is as follows:

SUNDAY, MAY 17 - AUCTION OPENING
4-6PM Opening Reception (Free)
6PM Sunday Supper (Ticketed)
Bidding begins.

MAY 17 - JUNE 3 - AUCTION EXHIBITION
On view daily 11AM-5PM at Headlands.
(Closed May 24-25 for Memorial Day)

JUNE 4 - AUCTION NIGHT
5-6PM Artist & Sponsor Welcome
6PM Artist & Sponsor Dinner
7:30 PM General Admission Entry
8:00PM Live Auction
8:45PM Silent Lots Close
9PM Late Night Entry
~Party continues until midnight ~

@hilaryharnischfeger @headlandsarts #hilaryharnischfeger

Images 2-3: Hilary Harnischfeger, “Harlequin II”, 2024, paper, ink, dye, pigment, mica, hydrostone, ceramic, apophyllite, wood, glass, 19 1/2 x 14 1/4 x 3 3/4 in (49.5 x 36.2 x 9.5 cm)

We’re thrilled to have “Harlequin II” by Hilary Harnischfeger included in the @HeadlandsArts 2026 Auction! Your support gives artists the time, space, and resources to dream big, experiment, take risks, make new work, and explore bold ideas.

This annual event supports Headlands Center for the Arts—a vital space that gives artists the time, resources, and community to create bold new work. We’re proud to support their mission and this amazing artist.
Be part of it:

See the link in our bio to reach Headlands’ website for more information on the auction exhibition and how to bid.

🎟 Purchase your tickets to Headlands Auction (June 4)
 🖼️ See the Auction Exhibition in person (May 17–June 3)
 🖌️ Bid on a beautifully curated selection of artworks + once-in-a-lifetime experiences (bidding begins May 17)

The Auction program is as follows:

SUNDAY, MAY 17 - AUCTION OPENING
4-6PM Opening Reception (Free)
6PM Sunday Supper (Ticketed)
Bidding begins.

MAY 17 - JUNE 3 - AUCTION EXHIBITION
On view daily 11AM-5PM at Headlands.
(Closed May 24-25 for Memorial Day)

JUNE 4 - AUCTION NIGHT
5-6PM Artist & Sponsor Welcome
6PM Artist & Sponsor Dinner
7:30 PM General Admission Entry
8:00PM Live Auction
8:45PM Silent Lots Close
9PM Late Night Entry
~Party continues until midnight ~

@hilaryharnischfeger @headlandsarts #hilaryharnischfeger

Images 2-3: Hilary Harnischfeger, “Harlequin II”, 2024, paper, ink, dye, pigment, mica, hydrostone, ceramic, apophyllite, wood, glass, 19 1/2 x 14 1/4 x 3 3/4 in (49.5 x 36.2 x 9.5 cm)

We’re thrilled to have “Harlequin II” by Hilary Harnischfeger included in the @HeadlandsArts 2026 Auction! Your support gives artists the time, space, and resources to dream big, experiment, take risks, make new work, and explore bold ideas.

This annual event supports Headlands Center for the Arts—a vital space that gives artists the time, resources, and community to create bold new work. We’re proud to support their mission and this amazing artist.
Be part of it:

See the link in our bio to reach Headlands’ website for more information on the auction exhibition and how to bid.

🎟 Purchase your tickets to Headlands Auction (June 4)
 🖼️ See the Auction Exhibition in person (May 17–June 3)
 🖌️ Bid on a beautifully curated selection of artworks + once-in-a-lifetime experiences (bidding begins May 17)

The Auction program is as follows:

SUNDAY, MAY 17 - AUCTION OPENING
4-6PM Opening Reception (Free)
6PM Sunday Supper (Ticketed)
Bidding begins.

MAY 17 - JUNE 3 - AUCTION EXHIBITION
On view daily 11AM-5PM at Headlands.
(Closed May 24-25 for Memorial Day)

JUNE 4 - AUCTION NIGHT
5-6PM Artist & Sponsor Welcome
6PM Artist & Sponsor Dinner
7:30 PM General Admission Entry
8:00PM Live Auction
8:45PM Silent Lots Close
9PM Late Night Entry
~Party continues until midnight ~

@hilaryharnischfeger @headlandsarts #hilaryharnischfeger

Images 2-3: Hilary Harnischfeger, “Harlequin II”, 2024, paper, ink, dye, pigment, mica, hydrostone, ceramic, apophyllite, wood, glass, 19 1/2 x 14 1/4 x 3 3/4 in (49.5 x 36.2 x 9.5 cm)

This is the last day to see our presentation at Independent. Stop by Booth 515 and say hello!

Independent
May 14–17, 2026
Pier 36, 299 South Street, NY

Image 1: Sacha Ingber, “Water and Sand Wheel”, 2026, glazed stoneware, grout, urethane with pigments, epoxy clay, oil paint, shells, paper, gouache, 20 1/2 x 21 x 2 1/4 in (52.1 x 53.3 x 5.7 cm)

Image 2: Sacha Ingber, “Color Wheel”, 2026, glazed stoneware, grout, urethane with pigments, epoxy clay, oil and acrylic paint, 21 1/2 x 22 x 2 1/2 in (54.6 x 55.9 x 6.3 cm)

Image 3: Bernadette Despujols, “Perro y manguera en bajada”, 2024, oil on linen, 40 x 30 in (101.6 x 76.2 cm)

@independent_hq @bernadettedespujols @sachingber #bernadettedespujols #sachaingber #uffnerliu

This is the last day to see our presentation at Independent. Stop by Booth 515 and say hello!

Independent
May 14–17, 2026
Pier 36, 299 South Street, NY

Image 1: Sacha Ingber, “Water and Sand Wheel”, 2026, glazed stoneware, grout, urethane with pigments, epoxy clay, oil paint, shells, paper, gouache, 20 1/2 x 21 x 2 1/4 in (52.1 x 53.3 x 5.7 cm)

Image 2: Sacha Ingber, “Color Wheel”, 2026, glazed stoneware, grout, urethane with pigments, epoxy clay, oil and acrylic paint, 21 1/2 x 22 x 2 1/2 in (54.6 x 55.9 x 6.3 cm)

Image 3: Bernadette Despujols, “Perro y manguera en bajada”, 2024, oil on linen, 40 x 30 in (101.6 x 76.2 cm)

@independent_hq @bernadettedespujols @sachingber #bernadettedespujols #sachaingber #uffnerliu

This is the last day to see our presentation at Independent. Stop by Booth 515 and say hello!

Independent
May 14–17, 2026
Pier 36, 299 South Street, NY

Image 1: Sacha Ingber, “Water and Sand Wheel”, 2026, glazed stoneware, grout, urethane with pigments, epoxy clay, oil paint, shells, paper, gouache, 20 1/2 x 21 x 2 1/4 in (52.1 x 53.3 x 5.7 cm)

Image 2: Sacha Ingber, “Color Wheel”, 2026, glazed stoneware, grout, urethane with pigments, epoxy clay, oil and acrylic paint, 21 1/2 x 22 x 2 1/2 in (54.6 x 55.9 x 6.3 cm)

Image 3: Bernadette Despujols, “Perro y manguera en bajada”, 2024, oil on linen, 40 x 30 in (101.6 x 76.2 cm)

@independent_hq @bernadettedespujols @sachingber #bernadettedespujols #sachaingber #uffnerliu

Thank you to Tessa Solomon for featuring our booth at Independent art fair for ArtNews.

Find us at Booth 515 at Independent (Pier 36), currently open through May 17. We are presenting a two artist booth: Bernadette Despujols and Sacha Ingber.

See the full article at the link in our bio to continue reading.

@independent_hq @bernadettedespujols @sachingber #bernadettedespujols #sachaingber #uffnerliu

Thank you to Tessa Solomon for featuring our booth at Independent art fair for ArtNews.

Find us at Booth 515 at Independent (Pier 36), currently open through May 17. We are presenting a two artist booth: Bernadette Despujols and Sacha Ingber.

See the full article at the link in our bio to continue reading.

@independent_hq @bernadettedespujols @sachingber #bernadettedespujols #sachaingber #uffnerliu

Our presentation at Independent is currently on view at Booth 515.

Working in earthy tones and with physical, tactile mark-making, Bernadette Despujols depicts friends, relatives, and members of the Venezuelan diaspora in scenes drawn from everyday life. Her figures are often situated in gardens and amongst plant life, a reference to tenets of ecofeminism that draw connections between the exploitation of the natural world and the oppression of women.

In dialogue with Despujols’ oil paintings, Sacha Ingber’s sculptures introduce a materially rich and sculptural counterpoint. Drawing on the forms and textures of Brazilian modernist architecture and craft traditions, Ingber constructs hybrid objects that oscillate between furniture, architectural structures, and human figures. In her recent sculptures, produced following the birth of her son, the female body becomes increasingly morphed with the form of a house—its strength and protective quality echoed in swelling forms, biomorphic supports, and surfaces that seem both armored and tender.

Independent
May 14–17, 2026
Pier 36, 299 South Street, NY

For more information or to continue reading, see the link in our bio.

Image 1: Bernadette Despujols, “El final de los peces”, 2026, oil on linen, 36 x 24 in (91.4 x 61 cm)

Image 2-4: Sacha Ingber, “27 years”, 2026, glazed stoneware, grout, wood, 14 x 17 1/2 x 6 in (35.6 x 44.5 x 15.2 cm)

Image 5: Bernadette Despujols, “Perros en el jardín”, 2024, oil on linen, 30 x 24 in (76.2 x 61 cm)

@independent_hq @bernadettedespujols @sachingber #bernadettedespujols #sachaingber #uffnerliu

Our presentation at Independent is currently on view at Booth 515.

Working in earthy tones and with physical, tactile mark-making, Bernadette Despujols depicts friends, relatives, and members of the Venezuelan diaspora in scenes drawn from everyday life. Her figures are often situated in gardens and amongst plant life, a reference to tenets of ecofeminism that draw connections between the exploitation of the natural world and the oppression of women.

In dialogue with Despujols’ oil paintings, Sacha Ingber’s sculptures introduce a materially rich and sculptural counterpoint. Drawing on the forms and textures of Brazilian modernist architecture and craft traditions, Ingber constructs hybrid objects that oscillate between furniture, architectural structures, and human figures. In her recent sculptures, produced following the birth of her son, the female body becomes increasingly morphed with the form of a house—its strength and protective quality echoed in swelling forms, biomorphic supports, and surfaces that seem both armored and tender.

Independent
May 14–17, 2026
Pier 36, 299 South Street, NY

For more information or to continue reading, see the link in our bio.

Image 1: Bernadette Despujols, “El final de los peces”, 2026, oil on linen, 36 x 24 in (91.4 x 61 cm)

Image 2-4: Sacha Ingber, “27 years”, 2026, glazed stoneware, grout, wood, 14 x 17 1/2 x 6 in (35.6 x 44.5 x 15.2 cm)

Image 5: Bernadette Despujols, “Perros en el jardín”, 2024, oil on linen, 30 x 24 in (76.2 x 61 cm)

@independent_hq @bernadettedespujols @sachingber #bernadettedespujols #sachaingber #uffnerliu

Our presentation at Independent is currently on view at Booth 515.

Working in earthy tones and with physical, tactile mark-making, Bernadette Despujols depicts friends, relatives, and members of the Venezuelan diaspora in scenes drawn from everyday life. Her figures are often situated in gardens and amongst plant life, a reference to tenets of ecofeminism that draw connections between the exploitation of the natural world and the oppression of women.

In dialogue with Despujols’ oil paintings, Sacha Ingber’s sculptures introduce a materially rich and sculptural counterpoint. Drawing on the forms and textures of Brazilian modernist architecture and craft traditions, Ingber constructs hybrid objects that oscillate between furniture, architectural structures, and human figures. In her recent sculptures, produced following the birth of her son, the female body becomes increasingly morphed with the form of a house—its strength and protective quality echoed in swelling forms, biomorphic supports, and surfaces that seem both armored and tender.

Independent
May 14–17, 2026
Pier 36, 299 South Street, NY

For more information or to continue reading, see the link in our bio.

Image 1: Bernadette Despujols, “El final de los peces”, 2026, oil on linen, 36 x 24 in (91.4 x 61 cm)

Image 2-4: Sacha Ingber, “27 years”, 2026, glazed stoneware, grout, wood, 14 x 17 1/2 x 6 in (35.6 x 44.5 x 15.2 cm)

Image 5: Bernadette Despujols, “Perros en el jardín”, 2024, oil on linen, 30 x 24 in (76.2 x 61 cm)

@independent_hq @bernadettedespujols @sachingber #bernadettedespujols #sachaingber #uffnerliu

Our presentation at Independent is currently on view at Booth 515.

Working in earthy tones and with physical, tactile mark-making, Bernadette Despujols depicts friends, relatives, and members of the Venezuelan diaspora in scenes drawn from everyday life. Her figures are often situated in gardens and amongst plant life, a reference to tenets of ecofeminism that draw connections between the exploitation of the natural world and the oppression of women.

In dialogue with Despujols’ oil paintings, Sacha Ingber’s sculptures introduce a materially rich and sculptural counterpoint. Drawing on the forms and textures of Brazilian modernist architecture and craft traditions, Ingber constructs hybrid objects that oscillate between furniture, architectural structures, and human figures. In her recent sculptures, produced following the birth of her son, the female body becomes increasingly morphed with the form of a house—its strength and protective quality echoed in swelling forms, biomorphic supports, and surfaces that seem both armored and tender.

Independent
May 14–17, 2026
Pier 36, 299 South Street, NY

For more information or to continue reading, see the link in our bio.

Image 1: Bernadette Despujols, “El final de los peces”, 2026, oil on linen, 36 x 24 in (91.4 x 61 cm)

Image 2-4: Sacha Ingber, “27 years”, 2026, glazed stoneware, grout, wood, 14 x 17 1/2 x 6 in (35.6 x 44.5 x 15.2 cm)

Image 5: Bernadette Despujols, “Perros en el jardín”, 2024, oil on linen, 30 x 24 in (76.2 x 61 cm)

@independent_hq @bernadettedespujols @sachingber #bernadettedespujols #sachaingber #uffnerliu

Our presentation at Independent is currently on view at Booth 515.

Working in earthy tones and with physical, tactile mark-making, Bernadette Despujols depicts friends, relatives, and members of the Venezuelan diaspora in scenes drawn from everyday life. Her figures are often situated in gardens and amongst plant life, a reference to tenets of ecofeminism that draw connections between the exploitation of the natural world and the oppression of women.

In dialogue with Despujols’ oil paintings, Sacha Ingber’s sculptures introduce a materially rich and sculptural counterpoint. Drawing on the forms and textures of Brazilian modernist architecture and craft traditions, Ingber constructs hybrid objects that oscillate between furniture, architectural structures, and human figures. In her recent sculptures, produced following the birth of her son, the female body becomes increasingly morphed with the form of a house—its strength and protective quality echoed in swelling forms, biomorphic supports, and surfaces that seem both armored and tender.

Independent
May 14–17, 2026
Pier 36, 299 South Street, NY

For more information or to continue reading, see the link in our bio.

Image 1: Bernadette Despujols, “El final de los peces”, 2026, oil on linen, 36 x 24 in (91.4 x 61 cm)

Image 2-4: Sacha Ingber, “27 years”, 2026, glazed stoneware, grout, wood, 14 x 17 1/2 x 6 in (35.6 x 44.5 x 15.2 cm)

Image 5: Bernadette Despujols, “Perros en el jardín”, 2024, oil on linen, 30 x 24 in (76.2 x 61 cm)

@independent_hq @bernadettedespujols @sachingber #bernadettedespujols #sachaingber #uffnerliu

OPENING TODAY | Nasir Young, “Nowhere/Everywhere”, May 15 – July 2, 2026. Please join us for the opening reception on Friday, May 15 from 6–8pm.

At the center of “New Frontier For The Glory Days” is a portrait of one of Young's friends, mid-ride on a small dirt bike. Behind him, an interposed Marlboro advertisement drops into the scene like an overlaid image-cum-cinematic backdrop: wheat fields, open sky, the Marlboro cowboy. Young grew up on westerns, and sees Marlboro's branding as among the most potent in American commercial history – the cowboy image functioning as its own kind of mythology. The painting holds these two figures, his friend and the cowboy, in an easy, unforced juxtaposition – two versions of frontier.

Taken together, the works in “Nowhere/Everywhere” make the case that the mundane is never merely background. Young treats the built world – its signage, its parking disputes, its all-night gas stations – as a portrait of collective life, one that rewards exactly the kind of sustained, unhurried attention he brings to it. The result is a body of work that feels as specific to Philadelphia as it is open to everywhere at once.

Image 1: Nasir Young, “New Frontier For The Glory Days”, 2025, oil on panel, 18 x 18 in (45.7 x 45.7 cm)

Image 2: Nasir Young, “Lawn Ornaments”, 2025, oil on panel, 8 x 8 in (20.3 x 20.3 cm)

@nasiryoungart #nasiryoung #uffnerliu

OPENING TODAY | Nasir Young, “Nowhere/Everywhere”, May 15 – July 2, 2026. Please join us for the opening reception on Friday, May 15 from 6–8pm.

At the center of “New Frontier For The Glory Days” is a portrait of one of Young's friends, mid-ride on a small dirt bike. Behind him, an interposed Marlboro advertisement drops into the scene like an overlaid image-cum-cinematic backdrop: wheat fields, open sky, the Marlboro cowboy. Young grew up on westerns, and sees Marlboro's branding as among the most potent in American commercial history – the cowboy image functioning as its own kind of mythology. The painting holds these two figures, his friend and the cowboy, in an easy, unforced juxtaposition – two versions of frontier.

Taken together, the works in “Nowhere/Everywhere” make the case that the mundane is never merely background. Young treats the built world – its signage, its parking disputes, its all-night gas stations – as a portrait of collective life, one that rewards exactly the kind of sustained, unhurried attention he brings to it. The result is a body of work that feels as specific to Philadelphia as it is open to everywhere at once.

Image 1: Nasir Young, “New Frontier For The Glory Days”, 2025, oil on panel, 18 x 18 in (45.7 x 45.7 cm)

Image 2: Nasir Young, “Lawn Ornaments”, 2025, oil on panel, 8 x 8 in (20.3 x 20.3 cm)

@nasiryoungart #nasiryoung #uffnerliu

OPENING TODAY | Arghavan Khosravi, “What Remains” May 15 – July 2, 2026. Please join us for the opening reception tonight, May 15 from 6–8pm.

Khosravi's practice has long operated at the intersection of the personal and the political. Working across painting and sculpture, she constructs layered compositions that draw on Persian miniature painting and medieval European iconography to explore the pressures and contradictions that shape women's lives under systems of political, cultural, and religious control. Her work is ultimately a celebration of female power and agency – and an ongoing investigation of the structures (both historical and contemporary) that regulate the body and limit autonomy.

To continue reading or for more information, please see the link in our bio.

Images: “Bearing”, 2026, acrylic on canvas stretched over shaped wood panel, acrylic on wood panel, wood cutouts, plexi mirror, 88 x 26 1/2 x 7 3/4 in (223.5 x 67.3 x 19.7 cm)

@arghavan_khosravi #arghavankhosravi #uffnerliu

OPENING TODAY | Arghavan Khosravi, “What Remains” May 15 – July 2, 2026. Please join us for the opening reception tonight, May 15 from 6–8pm.

Khosravi's practice has long operated at the intersection of the personal and the political. Working across painting and sculpture, she constructs layered compositions that draw on Persian miniature painting and medieval European iconography to explore the pressures and contradictions that shape women's lives under systems of political, cultural, and religious control. Her work is ultimately a celebration of female power and agency – and an ongoing investigation of the structures (both historical and contemporary) that regulate the body and limit autonomy.

To continue reading or for more information, please see the link in our bio.

Images: “Bearing”, 2026, acrylic on canvas stretched over shaped wood panel, acrylic on wood panel, wood cutouts, plexi mirror, 88 x 26 1/2 x 7 3/4 in (223.5 x 67.3 x 19.7 cm)

@arghavan_khosravi #arghavankhosravi #uffnerliu

OPENING TODAY | Arghavan Khosravi, “What Remains” May 15 – July 2, 2026. Please join us for the opening reception tonight, May 15 from 6–8pm.

Khosravi's practice has long operated at the intersection of the personal and the political. Working across painting and sculpture, she constructs layered compositions that draw on Persian miniature painting and medieval European iconography to explore the pressures and contradictions that shape women's lives under systems of political, cultural, and religious control. Her work is ultimately a celebration of female power and agency – and an ongoing investigation of the structures (both historical and contemporary) that regulate the body and limit autonomy.

To continue reading or for more information, please see the link in our bio.

Images: “Bearing”, 2026, acrylic on canvas stretched over shaped wood panel, acrylic on wood panel, wood cutouts, plexi mirror, 88 x 26 1/2 x 7 3/4 in (223.5 x 67.3 x 19.7 cm)

@arghavan_khosravi #arghavankhosravi #uffnerliu

OPENING TODAY | Arghavan Khosravi, “What Remains” May 15 – July 2, 2026. Please join us for the opening reception tonight, May 15 from 6–8pm.

Khosravi's practice has long operated at the intersection of the personal and the political. Working across painting and sculpture, she constructs layered compositions that draw on Persian miniature painting and medieval European iconography to explore the pressures and contradictions that shape women's lives under systems of political, cultural, and religious control. Her work is ultimately a celebration of female power and agency – and an ongoing investigation of the structures (both historical and contemporary) that regulate the body and limit autonomy.

To continue reading or for more information, please see the link in our bio.

Images: “Bearing”, 2026, acrylic on canvas stretched over shaped wood panel, acrylic on wood panel, wood cutouts, plexi mirror, 88 x 26 1/2 x 7 3/4 in (223.5 x 67.3 x 19.7 cm)

@arghavan_khosravi #arghavankhosravi #uffnerliu

NOW OPEN | Booth 515 at Independent

Uffner & Liu returns to Independent art fair at Booth 515 with a two-person booth featuring new paintings by Bernadette Despujols and sculptures by Sacha Ingber. Both artists engage deeply with themes of home, family, migration, and womanhood, subjects shaped by their Latin American backgrounds and refracted through the lens of new motherhood.

Independent
May 14–17, 2026
Pier 36, 299 South Street, NY

For more information or to continue reading, see the link in our bio.

Images: Installation views, Bernadette Despujols & Sacha Ingber, Uffner & Liu, Booth 515, Independent, NY, May 14–17, 2026. Photography courtesy Gabriele Abbruzzese

@independent_hq @bernadettedespujols @sachingber #bernadettedespujols #sachaingber #uffnerliu

NOW OPEN | Booth 515 at Independent

Uffner & Liu returns to Independent art fair at Booth 515 with a two-person booth featuring new paintings by Bernadette Despujols and sculptures by Sacha Ingber. Both artists engage deeply with themes of home, family, migration, and womanhood, subjects shaped by their Latin American backgrounds and refracted through the lens of new motherhood.

Independent
May 14–17, 2026
Pier 36, 299 South Street, NY

For more information or to continue reading, see the link in our bio.

Images: Installation views, Bernadette Despujols & Sacha Ingber, Uffner & Liu, Booth 515, Independent, NY, May 14–17, 2026. Photography courtesy Gabriele Abbruzzese

@independent_hq @bernadettedespujols @sachingber #bernadettedespujols #sachaingber #uffnerliu

NOW OPEN | Booth 515 at Independent

Uffner & Liu returns to Independent art fair at Booth 515 with a two-person booth featuring new paintings by Bernadette Despujols and sculptures by Sacha Ingber. Both artists engage deeply with themes of home, family, migration, and womanhood, subjects shaped by their Latin American backgrounds and refracted through the lens of new motherhood.

Independent
May 14–17, 2026
Pier 36, 299 South Street, NY

For more information or to continue reading, see the link in our bio.

Images: Installation views, Bernadette Despujols & Sacha Ingber, Uffner & Liu, Booth 515, Independent, NY, May 14–17, 2026. Photography courtesy Gabriele Abbruzzese

@independent_hq @bernadettedespujols @sachingber #bernadettedespujols #sachaingber #uffnerliu

NOW OPEN | Booth 515 at Independent

Uffner & Liu returns to Independent art fair at Booth 515 with a two-person booth featuring new paintings by Bernadette Despujols and sculptures by Sacha Ingber. Both artists engage deeply with themes of home, family, migration, and womanhood, subjects shaped by their Latin American backgrounds and refracted through the lens of new motherhood.

Independent
May 14–17, 2026
Pier 36, 299 South Street, NY

For more information or to continue reading, see the link in our bio.

Images: Installation views, Bernadette Despujols & Sacha Ingber, Uffner & Liu, Booth 515, Independent, NY, May 14–17, 2026. Photography courtesy Gabriele Abbruzzese

@independent_hq @bernadettedespujols @sachingber #bernadettedespujols #sachaingber #uffnerliu

NOW OPEN | Booth 515 at Independent

Uffner & Liu returns to Independent art fair at Booth 515 with a two-person booth featuring new paintings by Bernadette Despujols and sculptures by Sacha Ingber. Both artists engage deeply with themes of home, family, migration, and womanhood, subjects shaped by their Latin American backgrounds and refracted through the lens of new motherhood.

Independent
May 14–17, 2026
Pier 36, 299 South Street, NY

For more information or to continue reading, see the link in our bio.

Images: Installation views, Bernadette Despujols & Sacha Ingber, Uffner & Liu, Booth 515, Independent, NY, May 14–17, 2026. Photography courtesy Gabriele Abbruzzese

@independent_hq @bernadettedespujols @sachingber #bernadettedespujols #sachaingber #uffnerliu

In Memoriam: SEPTEMBER Gallery and Uffner & Liu honor the life and legacy of American painter and sculptor Reginald Madison, who passed away on May 12, 2026, at the age of 85.

Born in 1941 in Chicago, Madison emerged within the vibrant cultural landscape of the Black Arts Movement (1965–1975). His story is one of self-determination and unwavering commitment to his practice. Entirely self-taught, he began painting after discovering a discarded box of paints as a teenager—an encounter that sparked a lifelong devotion to artmaking.

Madison later worked at U.S. Steel South Works, taking on extra shifts to support his young family and to fund a formative year of travel in Europe, where he visited museums in Paris, Munich, and Madrid. In 1968, he had his first public presentation at Art & Soul in Chicago, where he was awarded third place in a competition juried by artist Richard Hunt and curator Jan van der Marck, founding director of the Museum of Contemporary Art Chicago. This early recognition affirmed his path and propelled him to continue his practice in New York City and Western Massachusetts, before ultimately settling in Hudson, where he lived and worked for the remainder of his life.

Madison’s work and legacy will endure through his oeuvre and his contributions to the art historical canon.

Uffner & Liu and SEPTEMBER Gallery are honored to present a solo booth of Reggie’s work at Independent 20th century this fall. 

#ReginaldMadison #InMemoriam @reginald_madison_artist