OPENING RECEPTIONS
Thursday 30 October 2025 6:00pm – 8:00pm
Karin Davie | 525 West 22nd Street
Jacob Hashimoto | 515 West 22nd Street
Wolf Kahn | 520 West 21st Street
James Siena | 511 West 22nd Street
Karin Davie, Strange Terrain no. 5, 2025, Oil on linen, 60 x 105 inches.
ON 22ND STREET
KARIN DAVIE
It Comes In Waves
525 West 22nd Street
When much of the 1990s art world declared painting passé (overshadowed by the rise of performance, installation, and new media), Karin Davie was among a new generation of artists that proved otherwise. Following her breakout emergence in the 90’s New York art scene, Davie has returned again and again to the “stripe” motif to depict anthropomorphic contours and evocative forms, grounded by uniquely shaped formats.
Jacob Hashimoto, Some truths are just not worth having, 2025, Acrylic, paper, bamboo, wood, and Dacron, 60 x 48 inches.
JACOB HASHIMOTO
515 West 22nd Street
Jacob Hashimoto’s layered, kite-like structures blur the lines between sculpture and painting. In reframing the brushstroke as a modular unit, Hashimoto splinters painting’s most fundamental conventions (stroke, mark, surface) into discrete, discernible forms. Each screen-printed, paper disc oscillates between ornament and gesture, object and mark, generating fields that feel both painterly and architectural.
James Siena, Cephaelin, 2025, Acrylic on linen, 70 x 56 inches.
JAMES SIENA
511 West 22nd Street
Before the “dot com” boom of the mid-90s made code a cultural cornerstone, Siena was already exploring the aesthetics of computational logic. By giving form to the concepts of artificial intelligence and data transmission, he was an early voice in the nascent intersection between art and code.
Wolf Kahn, Across the Valley, 2005, Oil on canvas, 42 x 52 inches.
ON 21ST STREET
WOLF KAHN
520 West 21st Street
Wolf Kahn painted the world around him with a reverent devotion. . . As a master colorist, his palette was not limited to the naturalistic or muted tones of traditional landscape painting; with vibrant oranges, pensive lilacs, and acidic greens, Kahn moved beyond mere representation and captured the complex interplays of himself within these changing surroundings.