Marina Adams
Ancient Intel (for Norma Cole), 2026
acrylic on linen
70 x 50 in. (177.8 x 127 cm.)

Visual Weight

October 14-November 18, 2026

EXHIBITION CHECKLIST:
https://bit.ly/BrittneyLeeanneWilliams-Huddle-Checklist

Alexander Berggruen is pleased to present Visual Weight. This group exhibition will open Wednesday, October 14 with a 6-8 pm opening reception at the gallery (1018 Madison Ave., Fl. 3), open to the public.

Included in Visual Weight are works by:

Marina Adams
Richard Diebenkorn
Camilla Engström
Marie Hazard (Ad Hoc)
Sheree Hovsepian
Anna Kunz
Eddie Martinez
Julie Mehretu
Gabriel Mills
Joan Mitchell
Yoab Vera

Eddie Martinez
Untitled, 2025
acrylic and oil paint on linen
20 x 24 in. (50.8 x 61 cm.)
Photo: JSP Photography

Visual Weight surveys how artists find compositional balance within abstraction. Whether purely abstract or informed by landscape or the figure, these works often balance colors, shapes, and textures in a state of productive instability that generates distinct emotional registers.

Pattern and structure emerge as organizing elements for several artists in this exhibition. Julie Mehretu draws on extensive research into patterns of movement and architectural diagrams, translating them into ambiguous representations of complex spatial relationships. As Marina Adams has stated, “We can see pattern in the most basic things. It’s in basic truths that we can find communion.” In her paintings, Adams returns to interlocking geometric forms that suggest connection and the way forms fit within—or spill beyond—a given space. Similarly, Anna Kunz’s soft, arcing lines seep into and lean on one another in what she calls “productive instability.”

Yoab Vera
Temporal Horizons: Volver al Porvenir, 2026
oil, oil stick, and concrete on canvas, framed
51 1/8 x 70 7/8 in. (130 x 180 cm.)
Photo: Erick Hizar

Color is, for many artists, a guiding compositional device. Across the exhibition, color draws areas of a work forward or pushes them back, creating tension as the eye moves around the work. For Kunz, color creates its own structure, rather than geometric order. Her compositions are also informed by her body: she paints standing over the work, comparing the scale of its forms to her own. For Gabriel Mills, color and atmospheric perspective construct an optical space without relying on linear perspective. This optical space appears to extend beyond the painting’s physical surface, while its heavily textured paint reaches out into the room and asserts the work’s weighty material presence. Similarly, Marie Hazard explores the spiral as both image and material structure: it appears in her drawing Ad Hoc Spiral and is echoed in the spools of thread woven into All that Glitters.

The body enters the exhibition both through the process of making and through direct references to the figure. Sheree Hovsepian and Eddie Martinez engage the body more directly in their work. Hovsepian assembles gelatin silver prints of cropped photographs of her sister with ceramics, nylon, string, and wood, constructing semblances of bodies. These assemblages hover in a precarious balance against their black linen background. In Fixed, mirrored and rotated photographs of a figure’s back are held together by spiraling ceramics of various sizes and enveloped within an oval of nails. Throughout Eddie Martinez’s abstract compositions, cartoon-like faces, eyes, skulls, butterflies, tennis balls, and improvised forms recur and mutate, emerging from and dissolving back into the surrounding composition.

Marie Hazard (Ad Hoc)
All that Glitters, 2026
handwoven with lurex, nylon and cotton yarns, beech frame
11 1/4 x 12 1/4 in. (28.5 x 31 cm.)

Just as some artists draw on the body in their process or subject matter, others turn to the natural world. Camilla Engström intuitively paints imagined landscapes of curving forms that capture movement verging on abstraction. Flowing rivers echo the shapes of tree branches and flowers, and reflections on water become a wash of undulating color. Yoab Vera uses the horizon as a recurring compositional structure. His modular paintings begin with geometric abstraction, while intuitive mark-making introduces references to natural phenomena. Textured bands of saturated color suggest horizons suspended within an airy atmosphere, while circles representing the sun—or flowers hovering low in the sky—introduce further sensations of weight and weightlessness. Richard Diebenkorn’s 1977 work on paper was made during the period of his Ocean Park paintings, which drew inspiration from the Ocean Park neighborhood of Santa Monica. Its simplified geometric forms and airy layers of paint gesture toward elements of landscape: horizon, sky, and atmosphere. Similarly, Joan Mitchell’s rhythmic, layered fields of color draw on her surroundings to evoke a sense of place or experience. Her painting in this exhibition was created during her years in Vétheuil, France, when the colors of the surrounding landscape became an important source for her richly atmospheric work.

Anna Kunz
Moonflower’s Errand, 2024
acrylic on canvas
72 x 78 in. (182.9 x 198.1 cm.)

In Visual Weight, pattern, feeling, the body, and the natural world shape how abstraction is perceived and understood. The imagery oscillates between groundedness and instability, weight and weightlessness, and everything in between.

Press release by Kirsten Cave, adapted from the artists’ statements.

Visual Weight will run at Alexander Berggruen (1018 Madison Avenue, Floor 3) from October 14-November 18, 2026. The exhibition’s preview is available upon request. For all inquiries, please contact the gallery at info@alexanderberggruen.com.

Camilla Engström
Blue River, 2026
oil on canvas
60 x 18 in. (152.4 x 45.7 cm.)

About the Artists

Alain Biltereyst (b. 1965, Brussels) has exhibited internationally. Recent solo shows have been held at QG- Gallery, Brussels; PS projectspace, Amsterdam; dr.julius art projects, Berlin; Xippas, Genève; Adhoc, Bochum, Germany; Xippas, Paris; and Jack Hanley Gallery, New York, NY. His work has been exhibited at institutions such as Bonisson Art Center, Rognes, France; Fondation CAB, Brussels; Museum Voorlinden, Wassenaar, Netherlands; Tremenheere Sculpture Garden, Penzance, UK; and Museum De Lakenhal, Leiden, NL. The artist lives and works in Brussels.

Azadeh Elmizadeh (b. 1987 Tehran, IR) received an MFA from the University of Guelph, a BFA in Drawing and Painting from OCAD, and a BFA in Visual Communication and Graphic Design at Tehran University. Elmizadeh has presented solo and two-person exhibitions at Tara Downs, New York; Frieze London, UK; Sea View, Los Angeles; Tube Culture Hall, Milan, IT, curated by Domenico de Chirico; the Southern Alberta Art Gallery, Lethbridge, AB; and Franz Kaka, Toronto, CA. Her work has been exhibited internationally at Make Room, Los Angeles; Harkawik, New York; Anat Ebgi, Los Angeles; Public Gallery, London, UK; Nanaimo Art Gallery, CA; Winnipeg Art Gallery, CA; Kamloops Art Gallery, CA; and The Blackwood, Mississauga, CA; among others. Elmizadeh’s work has been written about in Hyperallergic, Frieze, Blackflash Magazine, Canadian Art, Border Crossings, The Editorial Magazine, and Elle Canada. She was the 2020 recipient of the Joseph Plaskett Award in painting. Elmizadeh lives and works in Toronto, CA.

Evan Holloway (b. 1967, Whittier, California) has been featured in numerous institutional group exhibitions, including 40 for LA, Museum of Contemporary Art, Los Angeles, CA (2019); The Sculpture Park, Madhavendra Palace, Nahargarh Fort, Jaipur, India (2017); Los Angeles – a fiction, Musée d’art contemporain de Lyon, France (2017) and Astrup Fearnley Museet, Oslo, Norway (2016); Don’t Look Back: The 1990s at MOCA, Museum of Contemporary Art, Los Angeles, CA (2016); Lightness of Being, Public Art Fund, City Hall Park, New York, NY (2013); All of this and nothing, Hammer Museum, Los Angeles, CA (2011); 2008 California Biennial, Orange County Museum of Art, Newport Beach, CA; The Uncertainty of Objects & Ideas, Hirshhorn Museum and Sculpture Garden, Washington, D.C. (2006); and Whitney Biennial 2002, Whitney Museum of American Art, New York, NY. His work is in the permanent collections of museums including the Hirshhorn Museum and Sculpture Garden, Washington, D.C.; Hammer Museum, Los Angeles, CA; Los Angeles County Museum of Art, CA; Museum of Contemporary Art Chicago, IL; Museum of Contemporary Art, Los Angeles, CA; Museum of Contemporary Art San Diego, CA; Palm Springs Art Museum, CA; and Whitney Museum of American Art, New York, NY. Holloway lives and works in Los Angeles.

Paul Kremer (b. 1971, Chicago, IL) is an American artist known for his unique minimalist abstractions, which utilize traditional methods of painting with acrylics and gouache on canvas to create heavily formal compositions softened by the texture of their permeable support. Kremer’s work oscillates between digitally printed meditations on the internet and massive color field abstractions. Kremer is also known for having invented the now cult-followed social media account “Great Art in Ugly Rooms,” an internet phenomenon that presents shockingly realistic photo renderings of masterworks in laundromats, public restrooms, discount stores, and the like. For a span of twenty years, Kremer owned a graphic design studio and worked with renowned clients including Lou Reed, Tom Waits, PBS, and National Geographic. During this time, Kremer also co-founded the art collective “I Love You Baby,” a group of artists that held all-night painting parties from the 90s to the mid-aughts. A self-taught artist, Kremer’s works have garnered global recognition, being held in numerous collections and showcased in both solo and group exhibitions worldwide. He has been included in publications such as The New York Times, Interview Magazine, and Whitelies Magazine. His work is included in the collection of Birmingham Museum of Art, AL. Kremer lives and works in Houston, Texas.

Anna Kunz received an MFA from Northwestern University, Evanston, IL and a BFA from The School of the Art Institute of Chicago, Chicago, IL. Kunz participated as an artist-in-residence in the Marie Walsh Sharpe Studio Program, Brooklyn, NY; The Skowhegan School of Painting and Sculpture, Skowhegan, ME, and the Monira Foundation at Mana Contemporary, New Jersey, among others. The artist’s work has been exhibited at numerous galleries and institutions including: The Smart Museum of Art, University of Chicago, IL; Hyde Park Art Center, Chicago, IL; Alexander Berggruen, New York, NY; Berggruen Gallery, San Francisco, CA; Galleri Urbane, Dallas, TX; McCormick Gallery, Chicago, IL; Providence College Galleries, Providence, RI; and TSA Gallery, Los Angeles, CA, Brooklyn, NY, and Madrid, Spain. Her work is included in the public collections of The Philadelphia Museum, Philadelphia, PA; The Smart Museum of Art, University of Chicago, IL; The Block Museum, Chicago, IL; and Columbia University Teachers College, New York, NY; among others. Kunz has been honored with nominations from: Anonymous Was a Woman, 3Arts Foundation, Louis Comfort Tiffany Foundation, Richard H. Driehaus Foundation, Emerging Artist award from the National Museum of Women in the Arts, Artadia, the Rema Hort-Mann Foundation’s Individual Artists Grant, and The Joan Mitchell Foundation. Kunz lives and works in Buchanan, Michigan.

Vicente Matte (b. 1987, Chile) received his BA from Universidad Finis Terrae, Santiago, CL and studied at Hochschule für bildende Künste Hamburg, Hamburg, DE. Matte’s work has been exhibited at Centro Cultural Gabriela Mistral GAM, Santiago, CL; Museo de Arte Contemporáneo, Santiago, CL; Feria de Arte Contemporáneo, Santiago, CL; Fort Gansevoort, New York, NY; Centro Cultural Matta, Buenos Aires, ARG; Beers London Gallery, London, UK; Alexander Berggruen, New York, NY; Galería Patricia Ready, Santiago, CL; Galería The Intuitive Machine, Santiago, CL; Tappeto Volante, New York, NY; Fundación Cultural de Providencia, Santiago, CL; MAMOTH Contemporary, London, UK; Underdonk Gallery, New York, NY; and Galleri Christoffer Egelund, Copenhagen, DK. He lives and works in Santiago, CL.

H. E. Morris (b. 1989, New York) received a PhD in Philosophy and Fine Art from Newcastle University, an MFA from Goldsmiths in Contemporary Art Theory, an MFA in Painting and Drawing from the University of Iowa, and a BA from Hampshire College. Morris was a fellow at the Fine Arts Work Center in Provincetown, MA in 2019, and a Soho Revue Artist in Residence in 2023. Her work has been exhibited at LBF Contemporary, London UK; 36 Gallery, Ouseburn, Newcastle UK; The Green Family Art Foundation, Dallas, TX; and Turner Contemporary, Margate Kent, UK, among others. She lives and works in London, UK.

Press

Artcube 2026 Discoveries Report: Top 100 Early-Career Artists

ARTCUBE

H.E. Morris is best known for abstract compositions that merge gestural mark-making with atmospheric fields of color, creating surfaces that feel simultaneously constructed and eroded. Her often draw on memory, emotional residues, and the instability of perception, using fragmented forms and shifting tones. H.E. is now beginning to gain international visibility, including her upcoming inclusion in a group exhibition at Alexander Berggruen in New York.

— Adam Green, Art advisor

H.E. Morris Future, 2025 oil on cotton 51 1/8 x 63 in. (130 x 160 cm.)

Installation view of Stephanie H. Shih: Domestic Bliss (January 22-February 26, 2025) at Alexander Berggruen, NY.

Household Objects of the ’90s, Recreated in Clay

THE NEW YORK TIMES STYLE MAGAZINE

Artist Stephanie Shih conjures a poignant domestic drama by recreating the symbols of temptation, vice, convenience and self-improvement that defined American life in the 1990s.

In Domestic Bliss, a tenderly realized portrait of American life in the 1990s at Alexander Berggruen in New York, the artist Stephanie Shih draws us into a fraught family narrative.

The artist builds the pieces by hand, using a fine brush to decorate their surfaces. There are subtle signs that each object is handmade, evoking the crafted pop sensibility of Corita Kent or Liza Lou — a slightly dappled finish here, a hint of hand lettering there. The net result is the uncanny feeling that the whole room has been seen, recorded, lost, then lovingly recreated, each element conjured by a human being with a memory that aches.