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David Castillo

David Castillo is a leading contemporary art gallery whose groundbreaking artists are reframing history. Follow us on Twitter! http://twitter.com/CastilloGallery

10/04/2026

Sanford Biggers: Fragments and Foci opens Kunsthal n October 7, 2026.

A fragment may seem excavated from a distant past and at the same time be immensely contemporary. The antique quilts from the Codex-series get painted and staged. Woven into Japanese patterns and hip-hop and American folklore on secret sign posts.

(…)

For Biggers history is still alive and in use. He continues to work with what we have inherited, making room for what we have overlooked, erased, and misunderstood. We are allowed to see it all again—as we have never seen it before—and as it actually always has been.

The above text and image come courtesy of Kunsthal N

10/01/2026

Pepe Mar’s solo show at the Currier Museum opens today, Thursday, October 1, 2026 and will be on view through February 21, 2027.

Pepe Mar: Dream House offers visitors a phantasmagorical world in which holdings from the Currier Museum of Art’s permanent collection are integrated with the artist’s maximalist assemblage and collage works.

“ Mar selects, acquires, and arranges the vast surplus of objects from this contemporary material churn and uses them not to depict a world, but to create a new one. His engagement with museums, and his formation of environments that incorporate objects from those museums in tandem with his own works is subversive precisely because it unites the historically stable, classification-bound interior of the collecting institution with the shifting, proliferating world in which [his alter ego] Paprika resides.”

- Anastasia Kinigopoulo, Curator of Modern and Contemporary Art, Currier Museum of Art.

09/26/2026

Google has announced the commission of Sanford Biggers for the renovations of the iconic Thompson Center.

Titled Vector, the angular, winding sculpture will be made from glazed terra cotta panels, bringing Biggers’ celebrated Codex series into dialogue with the architecture of the Chicago building.

Drawing from the geometry, pattern, craftsmanship, and cultural history of American quilts, Vector continues Biggers’ exploration of the “hidden meanings and sacred geometries” found within antique quilts.

Sanford Biggers Google

Photo: Rendering of Sanford Biggers’ Vector, provided by Google.

09/23/2026

Small Oscillations Among Everyday Forms is on view through October 1, 2026.

For Small Oscillations Among Everyday Forms, photographs of flora, both made in Miami backyards, are transformed into paper collages dotted with rectangular swatches in grey, white, black, and an earthy olive. Guerrier’s collages are often like palimpsests or diagrams, containing a photograph flanked by spheres and patches of color drawn from the original image. Here, the wildflowers are also transferred onto paper, rendered in graphite, acrylic, and gouache, sunset-pink and green, their colors renewed. Flowers made into photos, made into paintings, repeated, repeated again: these are the small oscillations of the exhibition’s title.

Installation view of Small Oscillations Among Everyday Forms at David Castillo Gallery, 2026

09/17/2026

>Placeholder Future< is on view through October 1, 2026.

Mayer has spent over a decade examining the possibilities and probabilities of the future, and our ongoing relationship with technology—the way we might physically integrate with it, its potential to liberate the self from utilitarian concerns. Her investigations have revealed that the future, though, never quite arrives; as technology outpaces itself, revolutionary tools becoming artifacts overnight and new advancements threaten to deplete our resources, the need for adaptation continues. Perhaps the future is better understood as an ever-present container for the imagination.

Installation view of >Placeholder Future< at David Castillo Gallery, 2026.

09/12/2026

Sanford Biggers, ‘Haute Mess’, 2014 is on view Studio Museum in Harlem through February 28, 2027

This exhibition brings together a selection of works from a historic gift to the Studio Museum in Harlem by Peggy Cooper Cafritz (1947–2018) to celebrate her legacy as an advocate for the arts and her lifelong commitment to artists and their practices. An arts patron, educator, and civil rights activist, Cafritz bequeathed the majority of her art collection to the Studio Museum and the Duke Ellington School of the Arts, a public school in Washington, DC, which she cofounded in 1974. Cafritz acquired “Haute Mess” from David Castillo’s 2014 exhibition “Amerika”.

[...]

Cafritz described one aspect of her approach to collecting as a “relentless search for beauty,” which “has always been, in part, a political act.” Her bequest to the Museum included over four hundred works by more than two hundred artists of African descent.

Image: Sanford Biggers, Haute Mess, 2014

08/31/2026

Belkis Ayón Estate in Museu de Arte de São Paulo “Latin American Histories,” curated by Amanda Carneiro and Julieta González.

This international exhibition occupies five floors of the Pietro Maria Bardi building at MASP. Organized into five sections, the exhibition will investigate how the idea of Latin America was created and contested over time and is accompanied by a major publication.

Image: Belkis Ayón, “Ya Estamos Aquí,” 1994, collagraph on Damuji paper, 72-1/2 x 86-1/2 inches.

08/30/2026

Join us for the opening reception of two exhibitions: Jillian Mayer ‘Placeholder Future’ and Adler Guerrier “Small Oscillations among Ordinary Forms” 🗓️ Thursday, September 3, 6 - 9 PM

Jillian Mayer is an artist and filmmaker. Through, videos, sculptures, online experiences, photography, performances, and installations, Mayer explores how technology affects our lives, bodies, and identities by processing how our physical world and bodies are impacted and reshaped by our participation in a digital landscape. Mayer investigates the points of tension between our online and physical worlds and makes work that attempts to inhabit the increasingly porous boundary between the two. Mayer’s artwork has a consistent thread of modeling how to subvert capital-driven modes of technological innovation. Solo exhibitions include Bemis Center for Contemporary Arts, Omaha, Nebraska (2019), Kunst Aarhus, Aarhus, Denmark (2019), Tufts University, Boston, MA (2018); Pérez Art Museum, Miami, FL (2016); and LAXART, Los Angeles, CA (2016). She has exhibited, screened films, and performed at MoMA PS1 (2017); MoMA (2013); the Bass Museum of Art, North Miami, FL (2012); the Guggenheim Museum (2010); and the Musée d’Art Contemporain de Montréal, Québec as a part of the Montréal Biennial (2014). Mayer is a recipient of the Creative Capital Fellowship, South Florida Cultural Consortium Visual/Media Artists Fellowship, Cintas Foundation Fellowship for Cuban Artists, and was named one of the “25 New Faces of Independent Film” by Filmmaker magazine. She has lectured at The Solomon R. Guggenheim Museum, CalArts, the Sundance Institute, ICA Miami, Carnegie Mellon University and more. Mayer’s films have screened at festivals including Sundance, SXSW, Rottenberg Film Fest, and the New York Film Festival. Mayer is represented by David Castillo in Miami, FL.

🗓️Thursday, September 3, 2026
📍25 Ne 39th St, Miami FL, 33137

Image: Still from Jillian Mayer, How to Disappear, 2026

Join us for the opening reception of two exhibitions: Jillian Mayer ‘Placeholder Future’ and Adler Guerrier “Small Oscillations among Ordinary Forms” 🗓️ Thursday, September 3, 6 - 9 PM

Adler Guerrier is a Haitian-born art

08/22/2026

‘The Majesty of the Elemental’ is on view through August 29, 2026

Studio Lenca Historiantes comes from a monumental tradition in its own right: the ceremonial masked dances of rural El Salvador, the artist’s homeland. Displaced during the Salvadoran Civil War and a dancer himself,
Studio Lenca, born Jose Campos, was drawn to the Historiantes’ movement, their ability to embody and reenact history, and the insight they offer into his place of origin. He poses as and paints the Historiantes, the word itself a portmanteau of “history” and “student”; some works are housed in ornate, European frames,
painted over, the portraits spilling into them. It’s an attempt, he explained in an interview with Talking With Creatives, “to think about how messy history actually is.”

08/17/2026

Belkis Ayón Estate ‘Myth and Disobedience’ is on
view MALBA through October 12, 2026

Created between 1991 and 1998, the works presented here belong to a pivotal period in Ayón’s practice, marked by the recurring presence of Sikán, the central figure in the Abakuá foundation myth, whom the artist
reinterpreted in order to challenge the patriarchal structure of the brotherhood. Ayón sought to give visual form to a ritual tradition that had previously lacked pictorial representation, as the Abakuá myth had been
transmitted exclusively through oral tradition.

Top image: Ayón Estate, La Cena , 1993.

‘The Majesty of the Elemental’ is on view

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Tuesday	10am - 6pm
Wednesday	10am - 6pm
Thursday	10am - 6pm
Friday	10am - 6pm
Saturday	10am - 6pm

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https://davidcastillogallery.com/wp-content/uploads/2022/12/DCG-The-New-York-Times-December-2018.pdf, https://davidcasti

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