James Cohan

James Cohan 48 WALKER ST | 52 WALKER ST | NYC

James Cohan is pleased to present Blooms Disrupted, an exhibition of new and recent work by Fred Tomaselli, on view from...
04/30/2026

James Cohan is pleased to present Blooms Disrupted, an exhibition of new and recent work by Fred Tomaselli, on view from May 15 through June 27, 2026, at the gallery’s 48 Walker Street location. This is Tomaselli’s seventh solo exhibition with James Cohan. The gallery will host an opening reception with the artist on Friday, May 15 from 6-8PM.

For over forty years, Fred Tomaselli has invoked the power of nature through deftly constructed maximalist paintings and works on paper. Tomaselli’s singular painting approach fuses organic matter, photographic reproductions, and dense ornamentation into surfaces that seem to pulse with their own internal light. His work has always moved between registers: the microscopic and the cosmic, the botanical and the geometric, the careful study of the shape of nature and the vertigo of deep space.

🔗 Learn more about Fred Tomaselli and preview the upcoming exhibition via link in bio.

© Fred Tomaselli, “Month of August (evening),” 2026 (detail). Acrylic, photo collage and resin on wood panel, 48 x 48 in (121.9 x 121.9 cm). © Fred Tomaselli 2026. Courtesy of the artist and James Cohan, New York.

See work by Richard Pousette-Dart in A slash of Blue / A sweep of Gray, on view through May 9, 2026, at James Cohan’s 52...
04/18/2026

See work by Richard Pousette-Dart in A slash of Blue / A sweep of Gray, on view through May 9, 2026, at James Cohan’s 52 Walker Street location.

Richard Pousette-Dart (1916-1992) was an integral member of the New York School and one of Abstract Expressionism's earliest pioneers. Attempting to represent the “spiritual nature of the divine," Pousette-Dart utilized his unconscious to produce luminous and richly layered works, channelling an intuitive process known as psychic automatism. Beginning in the 1960s and continuing through the 1980s, Pousette-Dart shifted his practice from more linear compositions to overall chromatic fields. This laborious, calculated body of work features short brush strokes that create a network of individual interacting clusters of color. The effects achieve tactile surfaces, likened to the pointillism of Post-Impressionist painters such as Georges Seurat and Paul Signac.

Sky, Illumine, 1985-1986, represents the culmination of Pousette-Dart’s lifelong pursuit of spirituality in abstraction. Its heavily encrusted surface and cosmic composition, achieved with paint applied directly from the tube, reveal complex layers of color and emphasize texture and luminosity through varying peaks of paint.

🔗 Learn more about Richard Pousette-Dart and the other artists featured A slash of Blue / A sweep of Gray via link in bio.

📸: RICHARD POUSETTE-DART, Sky, Illumine, 1985-86, oil on linen, 37 x 53 in94 x 134.6 cm. © Estate of Richard Pousette-Dart 2026. Courtesy of Michael Rosenfeld Gallery, New York. Photo by Phoebe d'Heurle.

Don't miss the final days to see Diane Simpson: "Good for Future" at the Art Institute of Chicago. The exhibition closes...
04/17/2026

Don't miss the final days to see Diane Simpson: "Good for Future" at the Art Institute of Chicago. The exhibition closes this coming Sunday, April 19th.

Over the past 50 years, the Chicago-based artist Diane Simpson has created work inspired by a diverse range of sources including clothing, household objects, and architecture., Working from highly detailed preparatory drawings, Simpson develops complex geometries which she then transforms into three-dimensional objects that call into question perspective and scale. Produced entirely by hand with painstaking care, Simpson’s sculptures are intimately domestic, spatially challenging, and terrifically strange.

For her installation on the Bluhm Family Terrace, Simpson produced three newly commissioned works derived from a set of drawings she made in the mid-1980s for sculptures that were never realized. On the outside of her rolled-up drawings, she wrote a note to herself: “Good for Future.”

Merging past and present, Diane Simpson: “Good for Future” places Simpson’s architectonic forms in dialogue with the Chicago skyline in the artist’s inaugural presentation of outdoor sculpture.

🔗 Learn more about Diane Simpson on our website via link in bio.

📸: Installation view, Diane Simpson: "Good for Future," Art Institute of Chicago, Chicago, IL, October 4, 2025 - April 19, 2026. Courtesy Art Institute of Chicago.

See work by Angela Lane in A slash of Blue / A sweep of Gray, on view through May 9, 2026, at James Cohan’s 52 Walker St...
04/16/2026

See work by Angela Lane in A slash of Blue / A sweep of Gray, on view through May 9, 2026, at James Cohan’s 52 Walker Street location.

Angela Lane (b. 1974, United Kingdom; lives and works in Waikanae, New Zealand) paints postcard-size landscapes, aligning herself with the art historical tradition of depicting environments of celestial and mysterious phenomena. Robust pastoral beauty, bathed in soft light or cloaked in fog, is offset by dramatic eclipses, comets, or twin suns. These phenomena suggest a range of mirages and visions open to broad interpretation, which in Lane’s words “leave the events in the paintings to be their own messengers.”

The intimate scale of Lane’s oil on wood paintings compels viewers to draw quite near in order to see them properly, giving the sense that these visions are your very own. Despite this commitment to the diminutive, the artist achieves a magnetic sense of drama and verdant solitude. Occasionally, certain phenomena are repeated either in title or through shared compositional elements, suggesting passage of time, or varying moods and emotional states.

🔗 Learn more about Angela Lane and the other artists featured A slash of Blue / A sweep of Gray via link in bio.

📸: ANGELA LANE, Spectral Occurrence, 2025, oil on birch plywood, 9 x 6 in, 22.9 x 15.2 cm. © Angela Lane 2026. Courtesy the artist and Anat Egbi, Los Angeles/ New York. Photo by Phoebe d'Heurle.

Since January 2001, Byron Kim has kept a singular weekly ritual: every Sunday, he looks upward, mixes paint to match a p...
04/15/2026

Since January 2001, Byron Kim has kept a singular weekly ritual: every Sunday, he looks upward, mixes paint to match a patch of sky and renders it on a small canvas. Inscribed across each painted field is a brief journalistic entry—sometimes mundane, sometimes momentous—that records the specific place, time, and thoughts of the day. The resulting Sunday Paintings are a chronicle of lived experience, by turns intimate and universal, in which clouds, children’s milestones, political upheavals, and personal reckoning share the same quietly radiant surface.

Kim has spoken of the series as his longest and most personal project, one that reflects his abiding question: “My work has mostly been concerned with the relationship of a part to the whole. How am I connected to the others in the world, and how are we all connected to the greater whole?”

See an entire year of Sunday Paintings in A Little Deepness, Byron Kim's solo exhibition at 48 Walker Street, on view through May 9, 2026.

🔗 Learn more about the artist and plan your visit via link in bio

📸: BYRON KIM, Sunday Painting (2/18/24), 2024, acrylic and pencil on panel, 14 x 14 in, 35.6 x 35.6 cm. Photo by GC Photography.

Congratulations to Claudia Alarcón & Silät on their exhibition Living, Weaving, on view at MASP — Museu de Arte de São P...
04/14/2026

Congratulations to Claudia Alarcón & Silät on their exhibition Living, Weaving, on view at MASP — Museu de Arte de São Paulo Assis Chateaubriand through August 2, 2026. This major survey brings together 25 works tracing the artistic production of Claudia Alarcón (La Puntana, Argentina, 1989) & Silät, a collective of more than one hundred Wichí women weavers. Curated by Adriano Pedrosa, Artistic Director, MASP, and Laura Cosendey, Assistant Curator, MASP, the exhibition marks the first presentation of the artist and the collective in a Brazilian museum.

Living, Weaving underscores an understanding of weaving as a continuous act—a practice that spans generations and is integrated into the movement of life itself. Preserving this practice is, in itself, an act of courage. Reinventing it is an act of boldness.

🔗 Learn more about Claudia Alarcón and Silät on our website via link in bio.

📸: Installation photo by Eduardo Ortega. Acervo do [Collection of] Centro de Pesquisa do [Research Center of] Museu de Arte de São Paulo Assis Chateaubriand.

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See work by Sylvia Plimack Mangold in A slash of Blue / A sweep of Gray, on view through May 9, 2026, at James Cohan’s 5...
04/11/2026

See work by Sylvia Plimack Mangold in A slash of Blue / A sweep of Gray, on view through May 9, 2026, at James Cohan’s 52 Walker Street location.

For more than four decades, Sylvia Plimack Mangold (b. 1938, New York) has been painting the trees that surround her home and studio in Washingtonville, New York. Known since the 1960s for developing a singular visual language rooted in figuration, Mangold’s paintings boil down nature to its purest ether. The large maple tree growing directly outside her studio window has provided Mangold with her exclusive subject for over ten years.

Describing the visual splendors of the tree as it changes over the course of days, weeks, months, and seasons, Mangold’s paintings are portraits of time’s passage. Her winter paintings reveal the complex latticework of the tree’s denuded branches against a bleached blue sky. While focusing here on the leafless winter maple, time remains the central subject of Mangold’s work, and experiencing time's passage through stillness.

🔗 Learn more about Sylvia Plimack Mangold and the other artists featured A slash of Blue / A sweep of Gray via link in bio.

📸: SYLVIA PLIMACK MANGOLD, Winter Maple, 2023, oil on linen, 45 x 50 in, 114.3 x 127 cm. © Sylvia Plimack Mangold 2026. Courtesy the artist and Pace Gallery. Photo by Phoebe d'Heurle.

A Little Deepness, an exhibition of new and historic work by Byron Kim, is now open at James Cohan’s 48 Walker Street lo...
04/10/2026

A Little Deepness, an exhibition of new and historic work by Byron Kim, is now open at James Cohan’s 48 Walker Street location. This is Kim’s fifth solo exhibition with the gallery.

A Little Deepness brings together early large-scale skyscapes with an entire year of Kim’s landmark ongoing Sunday Paintings series. Together, these works celebrate a lifelong dedication to the close observation of the natural world, offering an intimate and expansive portrait of an artist for whom abstraction has long expressed the interconnectivity of the universe.

Presenting a full year of Sunday Paintings from 2024 allows viewers to witness the series in its most essential form: as a calendar, a diary, and a meditation on duration. This year is one marked by the pleasures and irritations of modern life–numerous games of Go and unexpected travel delays–as well as moments of profound joy and loss–the arrival of the artist’s first grandchild and the death of his father.

🔗 A Little Deepness is on view through May 9, 2026. Learn more about Byron Kim and plan your visit via link in bio.

📸: BYRON KIM, Sunday Painting (6/2/24), 2024, acrylic and pencil on panel, 14 x 14 in, 35.6 x 35.6 cm. Photo by GC Photography.

"If we imagine modern American visual culture as a body, then artist Trenton Doyle Hancock could be its surgeon, careful...
04/09/2026

"If we imagine modern American visual culture as a body, then artist Trenton Doyle Hancock could be its surgeon, carefully excising its most malignant parts," writes Jessica Simmons-Reid () for Artforum in her review of the recent exhibition Draw Them In, Paint Them Out: Trenton Doyle Hancock Confronts Philip Guston, which closed last month at the Skirball Cultural Center in Los Angeles. Draw Them In, Paint Them Out was originally presented at The Jewish Museum in New York in 2024, and pairs the two trailblazing artists for the first time.

"The pairing of Guston’s and Hancock’s work ultimately reminded me of the fertile potential of this type of intimate, dialogic comparison, which, rather than transmitting predetermined conclusions, invites close looking as a rigorous act," Simmons-Reid concludes.

🔗 Read the full review and discover more about Trenton Doyle Hancock's work on our website via link in bio.

📸: TRENTON DOYLE HANCOCK, TTT vs. K*K, When I Think of Home, 2024, acrylic, graphite, paper collage, plastic bottle caps on canvas, 90 x 108 in, 228.6 x 274.3 cm. Photo by Dan Bradica.

A slash of Blue / A sweep of Gray, a group exhibition exploring artistic depictions of the sky, opens this Friday, April...
04/08/2026

A slash of Blue / A sweep of Gray, a group exhibition exploring artistic depictions of the sky, opens this Friday, April 10th at James Cohan's 52 Walker Street location. Please join us for an opening reception from 6-8 PM.

In dialogue with Byron Kim’s sustained engagement with color, light, and daily variation on view concurrently at 48 Walker Street, A slash of Blue / A sweep of Gray situates contemporary approaches within a longer history of artists responding to the ever-shifting conditions of the atmosphere. Works range from intimate plein air paintings, in which the scale of the canvas heightens the personal, immediate quality of the encounter, to expansive explorations of the sky as a field for abstraction and formal inquiry.

A slash of Blue / A sweep of Gray features D**e Blair, Charles Burchfield, Tacita Dean, Beauford Delaney, Lois Dodd, Arthur Dove, Spencer Finch, Felrath Hines, Byron Kim, Angela Lane, Norman Lewis, Sylvia Plimack Mangold, Daniella Portillo, Richard Pousette-Dart, and Norman Zammitt.

🔗 Preview the exhibition online and plan your visit via link in bio.

📸: CHARLES BURCHFIELD, Summer, 1920, watercolor, gouache, and charcoal on joined paper, 25 x 29 in, 63.5 x 73.7 cm. © Charles E. Burchfield Foundation, courtesy of DC Moore Gallery, New York. Photo by Phoebe d'Heurle.

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48 Walker Street
New York, NY
10013

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

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+12127149500

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