Alexander Gray Associates

Alexander Gray Associates Contemporary art gallery located in New York City. NYC location open Tuesday – Saturday

Owners and Principals:
Alexander Gray, David Cabrera

Unsolicited artist submissions are not considered.

OPENING SOON | Donald Moffett: “Snowflake” marks the artist’s first solo exhibition with the Gallery, featuring new extr...
09/02/2025

OPENING SOON | Donald Moffett: “Snowflake” marks the artist’s first solo exhibition with the Gallery, featuring new extruded oil and spray paintings alongside an installation of bumper stickers and “Aluminum/White House Unmoored” (2004). Collectively, these works explore the fraught possibilities of politically engaged art in an era of escalating crises, from climate change to democratic breakdown to institutional erosion. The show opens next Friday, September 12, followed by a reception from 6:00 to 8:00 PM.

The show’s artworks refine this approach through their physical presence. Crafted in white, pewter, and powdery blue, the paintings’ pierced and drilled forms seem to dissolve into the Gallery’s walls or float in front of them, suggesting systems under stress. This tension between surface and structure defines his “NATURE CULT” series, begun in the 2010s to address accelerating climate change. If Moffett’s “Snowflake” paintings manifest this paradox, “Aluminum/White House Unmoored” (2004) makes it explicit, depicting the White House disintegrating with urgent relevance today.
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Installation views: Donald Moffett: “Snowflake,” Alexander Gray Associates, New York, 2025
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Melvin Edwards created "Ventana a Isla Negra" in homage to the Chilean poet Pablo Neruda, who died in Isla Negra, Chile ...
07/14/2023

Melvin Edwards created "Ventana a Isla Negra" in homage to the Chilean poet Pablo Neruda, who died in Isla Negra, Chile in 1973. Edwards was interested in Neruda’s poetry, as well as his political engagement, and made this work while reflecting on the 1971 Attica Prison Riot, one of the most famous and important riots during the Prisoners' Rights Movement. Among the familiar forms incorporated into this work, two point to the politics that framed the time in which Edwards produced "Ventana a Isla Negra" (1973). Edwards incorporates a plaque sourced from collected scraps from a military base on the bottom right side of the work with a hole made from a bullet shot. To the top left, Edwards includes a machete, which he began incorporating in sculptures in 1973, and which he continues to use in his Dakar studio, as a formal and symbolic element in his works. In West Africa, machetes are used as agricultural tools, and Edwards recognizes this daily utilitarian object as “another shape of steel that already exists.” At the same time, the knives connote violence and stand as important symbols for social movements such as the revolutions of Haiti and Cuba.
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"Ventana a Isla Negra," 1973, Welded steel and barbed wire
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Ricardo Brey's "Every life is a fire" (2010–2015) is an installation created by Ricardo Brey that was showcased at the 2...
07/13/2023

Ricardo Brey's "Every life is a fire" (2010–2015) is an installation created by Ricardo Brey that was showcased at the 2015 Venice Biennale, "All the World’s Futures." Consisting of spheres connected by chains, "Every life is a fire" is a representation of a solar system, implying the vastness of the cosmos, with its disparate yet connected celestial bodies, confirming humanity’s place as but a single speck within the boundless expanse of the universe. Speaking to his artistic process, Brey explains: “I approach spaces in a free stance, moved by intuition rather than by an aesthetic formula, working at the crossroads of construction and deconstruction; my aim is to instill life to shapes with the interaction of their meaning.”
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"Every life is a fire," 2010–2015. Mixed media. Installation view: "Fuel to the Fire," Saint-Paul’s Church, Antwerp, 2015. Photo: We Document Art
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Teresa Burga’s "Acqua Alta" series comprises deeply saturated drawings of Venetian Carnival costumes that highlight a cl...
07/12/2023

Teresa Burga’s "Acqua Alta" series comprises deeply saturated drawings of Venetian Carnival costumes that highlight a close engagement with color, pattern, and play. In "Untitled (Acqua Alta I)," a solitary female figure anchors the composition, donning a floor-length red cloak, a decorative hat, and a walking cane. Abstract patterns are collaged in the background, including a black-and-white checkerboard design—a recurring motif in Burga’s practice. Layers of ink and indentation marks from ball-point pens and felt-tip markers contribute to the textural quality of the work. Patches of white-out distinguish the bottom portion of the drawing from the rest of the composition. Although formally distinct from her conceptual work of previous decades, which frequently entailed working methodically with data, statistics, and information systems, Burga's more recent drawings similarly acknowledge the parameters of their own production. In the margins of the “Acqua Alta” drawings, Burga inscribes the dates and time spent on working on each piece—tracking her hours as if clocking in and out of a job.
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"Untitled (Acqua Alta I)," 2019, Mixed media on collaged paper
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Luis Camnitzer's "Copyright" (2022) pinpoints the physical location of an abstract concept. The work is part of an ongoi...
07/11/2023

Luis Camnitzer's "Copyright" (2022) pinpoints the physical location of an abstract concept. The work is part of an ongoing project, begun in 2020, in which Camnitzer has set out to map the entire dictionary by searching each word in Google Maps.

"Copyright" spotlights the consecutive entries for “copyright” and “copyrighter,” annotating the original page of the dictionary with screenshots of the purported destinations. By combining lexicography and cartography, Camnitzer exposes the limitations of both representational systems. His presentation of copyright as a singular entity that can be definitively located advances his critique of individual authorship since the 1960s. The work is a winking acknowledgement of Camnitzer's own intellectual property claim over the piece itself, which is composed of images in the public domain.
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"Copyright," 2022, Inkjet print on paper
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Chloë Bass’s "Soft Services" (2022) encompasses a series of sculptural stone benches inscribed with phrases written by t...
07/10/2023

Chloë Bass’s "Soft Services" (2022) encompasses a series of sculptural stone benches inscribed with phrases written by the artist and marked with a silhouette of a local plant rendered in light-responsive pigment. Applied in Optima font­, each inscription pays tribute to the typeface used by Maya Lin in her Vietnam Veterans Memorial while also recalling the minimalist branding of contemporary wellness companies. As a result of these associations, Bass’s project emerges as a simultaneous act of grieving and care. Deeply tied to its site in Volunteer Park in Seattle, a location of AIDS activism, "Soft Services" nods to the funds from the Ryan White Comprehensive AIDS Resources Emergency (CARE) Act, which were distributed for “soft services,” non-medical types of support considered beneficial to those with the virus. Further reinforcing its connection to its site, the outdoor installation incorporates flora unique to the area. Highlighting native, cultivated, and invasive plants whose presence in Volunteer Park is tied to human intervention, Bass’s imagery invites viewers to make connections between the natural world and modern medicine, as well as mythological botanical histories. Juxtaposing what is cultivated with what is allowed to grow wild, Bass articulates the precarity of our present moment, drawing parallels between recent tragedies and historic losses.

"Chloë Bass: "Soft Services" is currently on view through August 2023 at Volunteer Park, Henry Art Gallery, Seattle, WA.
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Installation view: "Chloë Bass: Soft Services," Henry Art Gallery, University of Washington, Seattle, WA, 2022. Photo: Jueqian Fang
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Joan Semmel's "Untitled" (1971) and Hugh Steers's "White Gown" (1994) are currently on view through September 24, 2023 i...
07/07/2023

Joan Semmel's "Untitled" (1971) and Hugh Steers's "White Gown" (1994) are currently on view through September 24, 2023 in the group exhibition, "Full and Pure: Body, Materiality, Gender" at Green Family Art Foundation, Dallas, Texas.

"Full and Pure: Body, Materiality, Gender" explores the scene of deliverance by reflecting on the becomings of gender, bodies, and materiality. This exhibition is comprised of the works of 37 intergenerational artists creating in a range of mediums: from poetry, video, and sculpture, to painting, photography, and installation. Every work speaks to some combination of the three axes around which this exhibition is centered: the somatic, materiality, and gendered embodiment. All three are reconsidered in their most generous forms through processes of abstraction and experimentation.
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Installation view of Joan Semmel, "Untitled," 1971, Oil on canvas, "Full and Pure: Body, Materiality, Gender," 2023. Photo: Evan Sheldon.
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Installation view of Hugh Steers, "White Gown," 1994, Oil on canvas, "Full and Pure: Body, Materiality, Gender," 2023. Photo: Evan Sheldon.
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Regina Silveira’s "Biscoito Arte (Art Cookie)" (1976/1997) is currently on view through December 2023 in the exhibition ...
07/06/2023

Regina Silveira’s "Biscoito Arte (Art Cookie)" (1976/1997) is currently on view through December 2023 in the exhibition “EXTRA/ordinary" at MAR, Museo de Arte Contemporáneo de la Provincia de Buenos Aires in Mar del Plata, Argentina. The exhibition innagurates the fourth edition of BIENALSUR, The International Biennial of Contemporary Art of the South, which is taking place in more than 70 cities across 28 countries.

Silveira's iconic intervention, photographically documented and displayed in the museum, was reenacted on July 1 at the opening reception for "EXTRA/ordinary" with audiences consuming cookies that read "ARTE" (ART).
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“Biscoito Arte,” 1976/1997, Photograph
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Valeska Soares's "Vagalume (Firefly)" (2006) is on view through Sunday, July 30 at the Dallas Museum of Art as part of t...
07/05/2023

Valeska Soares's "Vagalume (Firefly)" (2006) is on view through Sunday, July 30 at the Dallas Museum of Art as part of the exhibition "Movement: The Legacy of Kineticism." The exhibition traces the origins and evolution of kineticism through three distinct time periods, unifying two-dimensional paintings, three-dimensional sculptures, projections and interactive objects. Viewers will encounter both contemporary and historical works of kineticism, demonstrating the legacy of early artists in real time.

Through the play on the relationship between the mechanical and organic, the digital and the natural, viewers are empowered to engage with their work. Upon entering the exhibition, viewers are invited to activate artist Valeska Soares’s 2006 installation "Vagalume (Firefly)" by switching overhead light fixtures on and off through the manipulation of a sea of hanging pull chains, creating an impermanent and deeply personal art experience that conjures the childlike wonder that inspired the artist to create the installation.
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"Movement: The Legacy of Kineticism," September 18, 2022 - July 30, 2023. Valeska Soares, "Vagalume," 2006, mixed media. © 2022 Valeska Soares Studio, All rights reserved. Image courtesy Dallas Museum of Art.
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"I Spy," a group exhibition of paintings, works on paper, and sculptures by Jennie Jieun Lee, Carrie Moyer, and Betty Pa...
07/01/2023

"I Spy," a group exhibition of paintings, works on paper, and sculptures by Jennie Jieun Lee, Carrie Moyer, and Betty Parsons, will have its opening reception today, Saturday, July 1, from 4:00–6:00 PM.

Spanning more than a half-century of artmaking, "I Spy" spotlights alternative, yet complimentary approaches to abstraction that embrace optical pleasure and compositional play. Together, Lee, Moyer, and Parsons use nonrepresentation to challenge divisions between content and form, embedding pseudo-figurative imagery into their work for viewers to parse out over time.
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Installation views: “I Spy,” Alexander Gray Associates, Germantown, 2023
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Luis Camnitzer will participate in the two-day symposium "THE EDUCATIONAL WEB" at Kunstverein in Hamburg, in conjunction...
06/30/2023

Luis Camnitzer will participate in the two-day symposium "THE EDUCATIONAL WEB" at Kunstverein in Hamburg, in conjunction with the exhibition of the same name. His lecture, "THE ART TURN" will be livestreamed Sunday, July 2, at 4 PM GMT+2 (10 AM EDT).

"Art as discipline” is admired as an area of specialization that promotes professionalism and competitiveness. But it doesn’t generate creative minds, it only allows some creative minds to survive. In educational terms the process of promoting creativity stops after kindergarten. It is then interrupted until one decides to go to art school and specialize. The in-between is STEM education country. It always has been that, since the moment quantitative scientific knowledge was equated as knowledge itself, and made education a partial affair effective for labor and the international pecking order. The “educational turn” of the last thirty years barely touched art institutions, let alone the rest. What we need is to work on an “art turn”, one that radically revamps the whole educational system and makes it an integral process of maturation. We don’t need so much to produce more enlightened art producers, but to ensure that we create a society of free thinkers from which, as byproducts, enlightened art workers may emerge."
- Luis Camnitzer

Please follow the Linktree in our bio to register. Note that the event schedule is subject to change.
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Luis Camnitzer, 2012.
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Address

384 Broadway
New York, NY
10013

Opening Hours

Tuesday 10:30am - 6pm
Wednesday 10:30am - 6pm
Thursday 10:30am - 6pm
Friday 10:30am - 6pm
Saturday 10:30am - 6pm

Website

https://linktr.ee/AlexanderGrayAssociates

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