October 12, 2018 - January 27, 2019

Commemorating the two hundredth anniversary of Frankenstein—a classic of world literature and a masterpiece of horror—a new exhibition at the Morgan shows how Mary Shelley created a monster. It traces the origins and impact of her novel, which has been constantly reinterpreted in spinoffs, sequels, mashups, tributes and parodies. Shelley conceived the archetype of the mad scientist, who dares to flout the laws of nature, and devised a creature torn between good and evil. Her monster spoke out against injustice and begged for sympathy while performing acts of shocking violence. In the movies, the monster can be a brute pure and simple, yet he is still an object of compassion and remains a favorite on stage and screen.

For the first time it will be possible to view art and artifacts (including comic books, film posters, publicity stills, and movie memorabilia) that explain how Frankenstein caught the popular imagination in the course of two hundred years. Portions of the original manuscript will be on display along with historic scientific instruments and iconic artwork such as Henry Fuseli’s Nightmare, a six-sheet poster advertising the Boris Karloff movie in 1931, and the definitive portrait of the author. The modern myth of Frankenstein is based on a long cultural tradition, also recounted in the exhibition with a vivid display of books, manuscripts, posters, prints, and paintings.



October 7, 2018 - January 13, 2019

“Art must be an integral part of the struggle,” Charles White insisted. “It can’t simply mirror what’s taking place. … It must ally itself with the forces of liberation.” Over the course of his four-decade career, White’s commitment to creating powerful images of African Americans—what his gallerist and, later, White himself described as “images of dignity”—was unwavering. Using his virtuoso skills as a draftsman, printmaker, and painter, White developed his style and approach over time to address shifting concerns and new audiences. In each of the cities in which he lived over the course of his career—Chicago, New York, and, finally, Los Angeles—White became a key figure within a vibrant community of creative artists, writers, and activists.

White’s far-reaching vision of a socially committed practice attracted promising young artists, including many artists of color, and he became one of the 20th century’s most important and dedicated teachers. Charles White: A Retrospective is the first major museum survey devoted to the artist in over 30 years. The exhibition charts White’s full career—from the 1930s through his premature death in 1979—with over 100 works, including drawings, paintings, prints, photographs, illustrated books, record covers and archival materials.



June 2 - October 31, 2018

Leila Heller Gallery is pleased to announce Governors Island's immersive Public Exhibition by Artist Jacob Hashimoto. Two breathtaking installations composed of thousands of delicate, hanging screen printed rice paper kites, cubes and funnels displayed in historic St. Cornelius Chapel and Liggett Hall Archway.

Hashimoto’s "The Eclipse" is a monumental work of thousands of delicate rice paper kites, enveloping viewers in a tangible, yet ever shifting fog. Originally installed at the Palazzo Flangini during the 57th Venice Biennale, the cloud-like work has been newly adapted for Governors Island’s St. Cornelius Chapel. Contrasting the installation in nearby St. Cornelius, Hashimoto’s "Never Comes Tomorrow" is a colorful, whimsical overhead outdoor installation adapted for Governors Island’s landmark Liggett Hall Archway. "Never Comes Tomorrow" merges Hashimoto’s interests in the systems of architecture, history and cosmology. 




through September 9, 2018

Since the 1970s, Sue Coe (British and American, b. 1951) has worked at the juncture of art and activism to expose injustices and abuses of power. Protesting various forms of exploitation and violence, she tackles issues of sexism, racism, economic inequality, xenophobia, and animal cruelty. Graphic Resistance highlights these concerns in a selection of drawings, prints, and large-scale collages, as well as illustrations that Coe produced for newspaper opinion pages.

Art’s persuasive power has long been understood by rulers and rebels alike. Situated in a lineage of socially-engaged artists from Francisco Goya and Käthe Kollwitz to Leon Golub, Coe harnesses this capacity in works that depict suffering to call her audiences to action. She challenges complacency by spotlighting subjects that are typically relegated to the margins of attention, demanding that the vulnerabilities she pictures be not simply seen, but felt. “Neutrality,” she has stated, is “no longer a position we can afford.”


The Face in the Moon: Drawings and Prints by Louise Nevelson

July 20, 2018 - unknown

Louise Nevelson (1899–1988), an artist best known for her monochromatic wooden sculptures, produced a distinctive body of works on paper over the course of her long career. Drawn entirely from the Whitney’s collection, this exhibition follows her work in drawing, printing, and collage, from her early focus on the human body through her progression into abstraction.

Nevelson frequently used unconventional or recycled materials. In her prints, she layered scraps of fabric to create deeply textured environments containing mystical figures and architectural forms. Her paper collages, like her sculptures assembled from wooden objects, reconfigure the disparate materials from which they are composed, including scraps of paper and foil, into unified, unexpected compositions. Interested in the physical constraints of objects, Nevelson sought to transform the materials that she used and the subjects that she depicted. She believed that art could reorient one’s relationship to the built and natural world, challenging us to see our environments differently through her work.



February 15, 2018, August 17, 2018

Including artwork by Josef Albers, Lee Bontecou, Jack Bush, Friedel Dzubas, Sam Francis, Helen Frankenthaler, Glenn Goldberg, Nancy Graves, Stephen Greene, Grace Hartigan, Hans Hofmann, Paul Jenkins, Alfred Leslie, Robert Motherwell, Kenneth Noland, Jules Olitski, Larry Poons, Susan Roth, Kurt Schwitters, David Smith, Theodoros Stamos, Frank Stella, Esteban Vicente, John Walker, Kit White, and Jack Youngerman.


Enrique Leal: A Kingdom of Fruitful Ambiguities

June 30, 2018 - July 27, 2018

The Abyssalia series captures the organic patterns of generative formations in a singular moment of their development. By virtue of active forces and indeterminacies in the handling of materials and processes, there emerges an event or occasioning, a drawing out of polymorphous configurations in the unfathomable darkness of a silk-mezzotint print.


Michele van de Roer: The Infinite Plate II

June 30 - July 27, 2018

"Michele is on a mission, a fearless exploration of printing in all media know to mankind, on copper or wood, with acid or with sugarlift, building a wonderful body of work."

"Michèle est investie d’une mission, une exploration intrépide de la gravure à travers toutes les techniques connues de l’humanité : sur cuivre ou sur bois, à l’acide ou au sucre, construisant un merveilleux corpus d’œuvres." - John Szoke Gallery, New York, Septembre 2017 John Szoke

In an evolution of  ‘The Infinite Plate’ show at MGC Gallery in 2015, Michèle van de Roer provides a further interpretation of her work using both Japanese reduction woodblock carving techniques as taught by Takuji  Hamanako and sugar lift techniques by Vijay Kumar.  This extension of her earlier work entitled ‘The Infinite Plate II’ uses a single matrix and a variety of printing combinations to assert that there is great variety even in apparent commonality.  The same curvilinear patterns variously suggest to the viewer topography, drapery and volumetric dimension that are highly sculptural and diverse.



June 13, 2018 - July 27, 2018


Pace Prints presents a selection of works with a focus toward artist estates and later career artists in the Main gallery and pop and graffiti-inspired artists in the Small gallery. The Main gallery features Helen Frankenthaler, Robert Mangold, Kenneth Noland, Pat Steir, James Turrell and Dan Walsh. In the Small gallery the KAWS portfolio Man’s Best Friend hangs with work by Keith Haring, Erik Parker and Peter Saul.



May 24 - July 13, 2018

521 West 26th Street, 3rd & 4th Floors, New York, NY 10001

Jean Dubuffet’s editions will open May 24 at Pace Print. Dubuffet's editions were always closely related to his paintings and sculptures. They reflect the various manifestations of his iconography, including his L’Hourloupe and Théâtre de Memoire periods. Intrigued with process, Dubuffet was an incredible innovator.  This exhibition highlights his inventive application of media, including traditional screenprinting techniques and groundbreaking applications of the medium on paper, silk, and canvas.  His dedication to printmaking pushed the medium to become a vital playground for artistic creativity.


Jean Dubuffet: Prints & Multiples

May 24, 2018 – July 13, 2018

Jean Dubuffet’s editions were always closely related to his paintings and sculptures. They reflect the various manifestations of his iconography, including his L’Hourloupe and Théâtre de Memoire periods. Intrigued with process, Dubuffet was an incredible innovator. This exhibition highlights his inventive application of media, including traditional screenprinting techniques and groundbreaking applications of the medium on paper, silk, and canvas. His dedication to printmaking pushed the medium to become a vital playground for artistic creativity.


Drawing The Line: Realism and Abstraction in Expressionist Art

March 20, 2018 - July 6, 2018

Despite certain broad affinities among its artists, Expressionism was not a coherent style in the manner of Impressionism or Cubism. Wassily Kandinsky, the movement’s dominant theorist, described two basic formal approaches: “the great realism” and “the great abstraction,” both of which, he said, ultimately serve the same end: to express “the inner resonance of the thing.” The two strands were also called “the extensive,” which retained ties to recognizable subject matter, and “the intensive,” which renounced such imagery. Whether oriented toward realism or abstraction, Expressionists were driven by a need to re-envision the world.   

The exhibition examines varied influences - Primitivism, Symbolism, Nietzsche, and Theosophy, to name a few – on works that arose from formal as well as casual artistic alliances within and across national boundaries. The earliest group, Die Brücke (The Bridge) was established in 1905. In 1909, it was followed by Kandinsky’s New Artists’ Association, which pulled into its orbit Lyonel Feininger, Alfred Kubin, Paul Klee, August Macke, and Franz Marc — all of whom showed with Der Blaue Reiter (The Blue Rider) between 1911 and 1913.   


Ruth Moscovitch: Unspent Motion: Copper and Steel

June 3, 2018 - June 29, 2018

In her current work, Ruth has continued to concentrate on urban images of structural steel in the form of bridges, girders, buildings and fire escapes.  To her, these dynamic yet unmoving structures represent “Unspent Motion,” a phrase used by the poet Hart Crane to describe the Brooklyn Bridge.  The title  “copper" in addition to “steel”  is a reference to the plates used for etching images.  In this show, Ruth includes images of New York bridges cut into linoleum; fire escapes and girders captured on copper etched plates as well as solar plates; and abstract, dynamic constructions made by printing copper plates over one another, twisting their positions to capture “unspent motion” in another context.


David Mitchell: Recent Photographs

May 19, 2018 - June 28, 2018

David Mitchell makes luminous abstractions that look like stained-glass windows designed by a color-field painter. Juxtaposing blocks of hot, cool and sugar-sweet colors (the spectrum veers from fauve to Necco wafer), he makes images that are at once orderly and trippy. The pictures are Mitchell’s attempts to give form to the auras he experiences as a result of left-temporal-lobe epilepsy, and they sometimes appear more atmospheric than solid, as if they were about to evanesce out of their frames.

Rooted in geometric abstraction, David Mitchell continues to translate his visions and aura sensations into color-field imagery. His process is a continued exploration of photographing collages made from a variety of materials, such as fabric, plastic, paper, and tape. The final images undergo multiple exposures, resulting in non-objective compositions that range from soft and ethereal collages to more hard, edged shapes.



Apr 27th – Jun 9th

New York, 521 West 26th Street

Pace Prints will present a Peter Saul print retrospective that will include prints from 1966 to the present at both Pace Prints Galleries, located at 521 West 26th street and 32 East 57th Street, from April 27–June 9, 2018. An opening reception will be held Thursday, April 26.

Peter Saul’s prints are powerfully energetic. They celebrate the grotesque and tease the hypocrisies of our culture. Like his paintings, his prints explore topics of political and social injustices, they confront the atrocities and savagery of war, lampoon rampant consumerism, and challenge the hierarchy between high art and popular culture.



Apr 19th – Jun 9th

New York, 526 West 26th Street SUITE 816

David Krut Projects, New York is pleased to present “William Kentridge: 25 Years of Print Publishing with David Krut Projects” featuring a selection of William Kentridge prints published by David Krut between 1992 and 2017.



April 30th 2018

New York, 25 Central Park West

View pop unique & limited editions prints and works on paper by Keith Haring, Jasper Johns, Roy Lichtenstein, Richard Pettibone, Robert Rauschenberg, Gerhard Richter, Thomas Ruff, Cindy Sherman, Donald Sultan, Andy Warhol & Tom Wesselmann. 


March 14th - April 28th 2018

425 Madison Avenue, 3rd Floor, 10017, NY

Ronin Gallery invites you to immerse yourself in the fantastical realms of Kuniyoshi's woodblock prints. The exhibition Kuniyoshi: The Masterpieces explores the ravenous imagination and unmatched skill of this ukiyo-e master through his most celebrated designs, including his most iconic triptychs such as Tametomo and his Son Rescued from the Sea Monster by Tengu and Princess Takiyasha and the Skeleton Specter.  While the words “ukiyo-e” and Japanese print often call to mind elegant courtesans and picturesque landscapes, Kuniyoshi (1797-1861) presents a complementary, yet counter point.  Like Hokusai is to landscape, Kuniyoshi belongs to the ukiyo-e canon, bringing Japanese myth, magic, history, and legend to life.