Larry Becker Contemporary Art

10/15/2026

10/13/2026

TESS WEI solo exhibition ‘falling light’
October 10 through Sunday, December 6, 2026

Hours: Friday & Saturday 12 to 5PM
Phone: 215 925-5389

Image: ‘as known during the deluge’, 2026
oil, sand, wax, flashe on panel, 24” x 30”

This body of work begins by considering a few astronomers:

“Perinthia’s astronomers are faced with a difficult choice. Either they must admit that all their calculations were wrong and their figures are unable to describe the heavens, or else they must reveal that the order of the gods is reflected exactly in the city of monsters.”

-Italo Calvino, Invisible Cities

These astronomers embody an instinctual impulse to relate our earthly circumstances to a heavenly, upward space, and offer narratives that earth is a reflection of a sublime elsewhere. In order to explain what we cannot see, we look skyward. But what happens when earth is monstrous? Is heaven monstrous? We are left to reconcile if this monstrous here is in fact reflecting a ‘heavenly’ elsewhere.
Naturally, it becomes necessary to speculate and fantasize about somewhere better than the potential, equally turbulent heaven. When heaven is in disorder there must be somewhere else. This body of work-consisting of graphite works on sandpaper and layered surfaces of sand, wax, and oil-is guided by the purposefully speculative question that might arise in this circumstance: “Does heaven have a sky?” These new paintings offer visions of heaven’s sky.

Tess Wei (b. 1995) is an artist, writer and curator born and based in Philadelphia. Recent exhibitions include Dorp, London (2026), Palazzo Grasselli, Cremona (2025), Galerie Molitor, Berlin (2024), D.D.D.D., NYC (2023), and Larry Becker Contemporary Art, Philadelphia (2022). Their recent solo exhibition, out of many waters, at Dorp, London, was mpanion show featuring other work from this series.

10/12/2026

TESS WEI solo exhibition ‘falling light’
October 10 through December 6, 2026

This body of work begins by considering a few astronomers:

“Perinthia’s astronomers are faced with a difficult choice. Either they must admit that all their calculations were wrong and their figures are unable to describe the heavens, or else they must reveal that the order of the gods is reflected exactly in the city of monsters.”

—Italo Calvino, Invisible Cities

These astronomers embody an instinctual impulse to relate our earthly circumstances to a heavenly, upward space, and offer narratives that earth is a reflection of a sublime elsewhere. In order to explain what we cannot see, we look skyward. But what happens when earth is monstrous? Is heaven monstrous? We are left to reconcile if this monstrous here is in fact reflecting a ‘heavenly’ elsewhere.
Naturally, it becomes necessary to speculate and fantasize about somewhere better than the potential, equally turbulent heaven. When heaven is in disorder there must be somewhere else. This body of work-consisting of graphite works on sandpaper and layered surfaces of sand, wax, and oil-is guided by the purposefully speculative question that might arise in this circumstance: “Does heaven have a sky?” These new paintings offer visions of heaven’s sky.

Tess Wei (b. 1995) is an artist, writer and curator born and based in Philadelphia. Recent exhibitions include Dorp, London (2026), Palazzo Grasselli, Cremona (2025), Galerie Molitor, Berlin (2024), D.D.D.D., NYC (2023), and Larry Becker Contemporary Art, Philadelphia (2022). Their recent solo exhibition, out of many waters, at Dorp, London, was mpanion show featuring other work from this series.

10/10/2026

PLEASE JOIN US TONIGHT! OPENING RECEPTION 5:30 to 7:30 for TESS WEI’s solo exhibition ‘falling light’ at LARRY BECKER CONTEMPORARY ART

Image:
‘for the shy astronomer’, 2026
1000-grit sandpaper, graphite, found debris, eraser, 12”x 36”

This body of work begins by considering a few astronomers:
“Perinthia’s astronomers are faced with a difficult choice. Either they must admit that all their calculations were wrong and their figures are unable to describe the heavens, or else they must reveal that the order of the gods is reflected exactly in the city of monsters.”
—Italo Calvino, Invisible Cities

These astronomers embody an instinctual impulse to relate our earthly circumstances to a heavenly, upward space, and offer narratives that earth is a reflection of a sublime elsewhere. In order to explain what we cannot see, we look skyward. But what happens when earth is monstrous? Is heaven monstrous? We are left to reconcile if this monstrous here is in fact reflecting a ‘heavenly’ elsewhere.
Naturally, it becomes necessary to speculate and fantasize about somewhere better than the potential, equally turbulent heaven. When heaven is in disorder there must be somewhere else. This body of work-consisting of graphite works on sandpaper and layered surfaces of sand, wax, and oil—is guided by the purposefully speculative question that might arise in this circumstance: “Does heaven have a sky?” These new paintings offer visions of heaven’s sky.

Tess Wei (b. 1995) is an artist, writer and curator born and based in Philadelphia. Recent exhibitions include Dorp, London (2026), Palazzo Grasselli, Cremona (2025), Galerie Molitor, Berlin (2024), D.D.D.D., NYC (2023), and Larry Becker Contemporary Art, Philadelphia (2022). eir recent solo exhibition, out of many waters, at Dorp, London, was mpanion show featuring other work from this series.

10/08/2026

PLEASE JOIN US in celebrating Tess’s second solo exhibition at LBCA! TESS WEI ‘falling light’ OPENING RECEPTION Saturday, October 10th 5:30 to 7:30

Image: ‘given the moon ’, 2026
1000-grit sandpaper, graphite, found debris, eraser,
9” × 12”
This body of work begins by considering a few astronomers:

“Perinthia’s astronomers are faced with a difficult choice. Either they must admit that all their calculations were wrong and their figures are unable to describe the heavens, or else they must reveal that the order of the gods is reflected exactly in the city of monsters.”
—Italo Calvino, Invisible Cities

These astronomers embody an instinctual impulse to relate our earthly circumstances to a heavenly, upward space, and offer narratives that earth is a reflection of a sublime elsewhere. In order to explain what we cannot see, we look skyward. But what happens when earth is monstrous? Is heaven monstrous? We are left to reconcile if this monstrous here is in fact reflecting a ‘heavenly’ elsewhere. Naturally, it becomes necessary to speculate and fantasize about somewhere better than the potential, equally turbulent heaven. When heaven is in disorder there must be somewhere else. This body of work-consisting of graphite works on sandpaper and layered surfaces of sand, wax, and oil—is guided by the purposefully speculative question that might arise in this circumstance: “Does heaven have a sky?” These new paintings offer visions of heaven’s sky.

Tess Wei (b. 1995) is an artist, writer and curator born and based in Philadelphia. Recent exhibitions include Dorp, London (2026), Palazzo Grasselli, Cremona (2025), Galerie Molitor, Berlin (2024), D.D.D.D., NYC (2023), and Larry Becker Contemporary Art, Philadelphia (2022). eir recent solo exhibition, out of many waters, at Dorp, London, was mpanion show featuring other work from this series.

10/05/2026

PLEASE JOIN US in celebrating Tess’s second solo exhibition at LBCA! TESS WEI ‘falling light’ OPENING RECEPTION Saturday, October 10th 5:30 to 7:30

Image: ‘the eleventh month wanders’, 2026
1000-grit sandpaper, graphite, found debris, eraser,
9” × 12”

09/25/2026

TESS WEI ‘falling light’ OPENING RECEPTION
Saturday, October 10th 5:30 to 7:30 PLEASE JOIN US in celebrating Tess’s second solo exhibition at LBCA!

Image: ‘delivered of stars’, 2026
1000-grit sandpaper, graphite, found debris, eraser, 9” × 12”

09/06/2026

‘Lunations’ a Summer Exhibition.
Continues through September 10 by appointment only: 215 925-5389
Image: 14. STUART FINEMAN ‘find (three)’; 2025
oil on wood; 11” × 9”
Exhibition Checklist:
Front room ONLY, counterclockwise from right of entry at window:
1. MARCIA HAFIF ‘Double Glaze Painting: Cerulean
Blue / Flesh Tint NY, 2004 Oil on canvas;
30” × 30” x (14”’)
2. TESS WEI ‘after sub-zero’, 2024 oil, sand, wax, flashe on panel; 16” × 20”
3. TESS WEI ‘a floor for finding’; 2024 oil, sand, wax, flashe on panel; 16” × 20”
4. JOEY KÖTTING ‘Splendeur et Misère # 02’, 2018 silver gelatin, watercolor and gesso on linen w/ artist frame; 25” × 19”
5. JOEY KÖTTING ‘Splendeur et Misère # 03, 2018 silver gelatin, watercolor and gesso on linen w/ artist frame; 25” × 19”
6. JOEY KÖTTING ‘Splendeur et Misère # 05’, 2018 silver gelatin, watercolor and gesso on linen w/ artist frame; 25” × 19”
7. JOEY KÖTTING ‘Splendeur et Misère # 08, 2018 silver gelatin, watercolor and gesso on linen w/ artist frame; 25” × 19”
8. ANNA BOGATIN OTT ‘River 5 (afternoon turquoise);
2024 acrylic on canvas over wood panel;
24” × 24”
9. ANDREW WAPINSKI ‘Reclamation 001, 2026Anthracite coal, bone ash, acrylic binders and grounds on linen mounted aluminum panel;
40”× 35”×2”
10. ANDREW WAPINSKI ‘Reclamation 003’, 2026
Anthracite coal, bone ash, acrylic binders and grounds on linen mounted aluminum panel;
40” × 35” x2”
11. JOHN ZINSSER ‘Specimen Cabinet, 2007 (silver/ mixed cobalt violet) enamel and oil on canvas;
60” X 72”
12. STUART FINEMAN ‘find (one)’; 2025
oil on wood; 11” × 9”
13. STUART FINEMAN ‘find (two), 2025
oil on wood; 11” × 9”
14. STUART FINEMAN ‘find (three); 2025
oil on wood; 11” × 9”
15. STUART FINEMAN ‘find (four); 2025
oil on wood; 11” × 9”

Stuart Fineman Joey Kötting Anna Bogatin Ott
Andrew Wapinski tess
John Zinsser Paintings minimalds21

09/06/2026

‘Lunations’ a Summer Exhibition.
Continues through September 10 by appointment only: 215 925-5389
Image: 14. STUART FINEMAN ‘find (three)’; 2025
oil on wood; 11” × 9”
Exhibition Checklist:
Front room ONLY, counterclockwise from right of entry at window:
1. MARCIA HAFIF ‘Double Glaze Painting: Cerulean
Blue / Flesh Tint NY, 2004 Oil on canvas;
30” × 30” x (14”’)
2. TESS WEI ‘after sub-zero’, 2024 oil, sand, wax, flashe on panel; 16” × 20”
3. TESS WEI ‘a floor for finding’; 2024 oil, sand, wax, flashe on panel; 16” × 20”
4. JOEY KÖTTING ‘Splendeur et Misère # 02’, 2018 silver gelatin, watercolor and gesso on linen w/ artist frame; 25” × 19”
5. JOEY KÖTTING ‘Splendeur et Misère # 03, 2018 silver gelatin, watercolor and gesso on linen w/ artist frame; 25” × 19”
6. JOEY KÖTTING ‘Splendeur et Misère # 05’, 2018 silver gelatin, watercolor and gesso on linen w/ artist frame; 25” × 19”
7. JOEY KÖTTING ‘Splendeur et Misère # 08, 2018 silver gelatin, watercolor and gesso on linen w/ artist frame; 25” × 19”
8. ANNA BOGATIN OTT ‘River 5 (afternoon turquoise);
2024 acrylic on canvas over wood panel;
24” × 24”
9. ANDREW WAPINSKI ‘Reclamation 001, 2026Anthracite coal, bone ash, acrylic binders and grounds on linen mounted aluminum panel;
40”× 35”×2”
10. ANDREW WAPINSKI ‘Reclamation 003’, 2026
Anthracite coal, bone ash, acrylic binders and grounds on linen mounted aluminum panel;
40” × 35” x2”
11. JOHN ZINSSER ‘Specimen Cabinet, 2007 (silver/ mixed cobalt violet) enamel and oil on canvas;
60” X 72”
12. STUART FINEMAN ‘find (one)’; 2025
oil on wood; 11” × 9”
13. STUART FINEMAN ‘find (two), 2025
oil on wood; 11” × 9”
14. STUART FINEMAN ‘find (three); 2025
oil on wood; 11” × 9”
15. STUART FINEMAN ‘find (four); 2025
oil on wood; 11” × 9”

Stuart Fineman Joey Kötting Anna Bogatin Ott
Andrew Wapinski tess
John Zinsser Paintings minimalds21

09/04/2026

‘Lunations’ a Summer Exhibition.
Continues through September 10 BY APPOINTMENT ONLY: 215 925-5389
Image: 12. STUART FINEMAN ‘find (two)’; 2025
oil on wood; 11” × 9”
Exhibition Checklist:
Front room ONLY, counterclockwise from right of entry at window:
1. MARCIA HAFIF ‘Double Glaze Painting: Cerulean
Blue / Flesh Tint NY, 2004 Oil on canvas;
30” × 30” x (14”’)
2. TESS WEI ‘after sub-zero’, 2024 oil, sand, wax, flashe on panel; 16” × 20”
3. TESS WEI ‘a floor for finding’; 2024 oil, sand, wax, flashe on panel; 16” × 20”
4. JOEY KÖTTING ‘Splendeur et Misère # 02’, 2018 silver gelatin, watercolor and gesso on linen w/ artist frame; 25” × 19”
5. JOEY KÖTTING ‘Splendeur et Misère # 03, 2018 silver gelatin, watercolor and gesso on linen w/ artist frame; 25” × 19”
6. JOEY KÖTTING ‘Splendeur et Misère # 05’, 2018 silver gelatin, watercolor and gesso on linen w/ artist frame; 25” × 19”
7. JOEY KÖTTING ‘Splendeur et Misère # 08, 2018 silver gelatin, watercolor and gesso on linen w/ artist frame; 25” × 19”
8. ANNA BOGATIN OTT ‘River 5 (afternoon turquoise);
2024 acrylic on canvas over wood panel;
24” × 24”
9. ANDREW WAPINSKI ‘Reclamation 001, 2026Anthracite coal, bone ash, acrylic binders and grounds on linen mounted aluminum panel;
40”× 35”×2”
10. ANDREW WAPINSKI ‘Reclamation 003’, 2026
Anthracite coal, bone ash, acrylic binders and grounds on linen mounted aluminum panel;
40” × 35” x2”
11. JOHN ZINSSER ‘Specimen Cabinet, 2007 (silver/ mixed cobalt violet) enamel and oil on canvas;
60” X 72”
12. STUART FINEMAN ‘find (one)’; 2025
oil on wood; 11” × 9”
13. STUART FINEMAN ‘find (two), 2025
oil on wood; 11” × 9”
14. STUART FINEMAN ‘find (three); 2025
oil on wood; 11” × 9”
15. STUART FINEMAN ‘find (four); 2025
oil on wood; 11” × 9”

Stuart Fineman Joey Kötting Anna Bogatin Ott
Andrew Wapinski tess
John Zinsser Paintings minimalds21