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A neutral colored box frame with a background that has painted cherries on it and a brick colored...
Robert Gober, Plunger/Cherries, 2001-2017. Terra-cotta, acrylic paint on fabric, 14 15/16 x 13 3/8 x 4 5/16 inches (37.9 x 34 x 11 cm). ©Robert Gober; Courtesy of the artist and Matthew Marks Gallery.
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Maybe Maybe Not (2003) by Christopher Wool and Medinilla, Wanda, and Annelise (2019) by Jordan Casteel have both been given as promised gifts in honor of The Met's 150th anniversary. Both works are now on view at The Met!
A body, revealed curated by Kevin Beasley on view February 11 - April 30, 2022
The Hill Art Foundation is a public exhibition and education space that presents rotating exhibitions and ongoing arts education programs. Opened in 2019 in a custom-built 7,700 square-foot space in New York’s Chelsea neighborhood, the Foundation is free and open to the public. Exhibitions include works on loan from the Hill Collection, as well as collaborative projects with leading artists, collections, and institutions. The Foundation was founded by J. Tomilson and Janine Hill, collectors and philanthropists based in New York.
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“Pictures of Beasley’s grandfather’s trailer, blown up and printed across still more T-shirts, cover two of the pieces on view at “A body, revealed,” another show of the artist’s work, running through the end of April at Manhattan’s Hill Art Foundation. In a way, these resin-treated tees reconstruct the mobile home, sold off years ago, inside the gallery — a place and its former occupant unearthed by their absence.”

Miguel Morales, T Magazine

“People of refinement have a disinclination to colors,” Goethe argued in an 1810 treatise on chromatic perception. That’s as good a justification as any for the three shows, all excellent, quite unalike, staged so far at this private foundation. Last year we saw the paintings and photography of Christopher Wool (black, white, gray) and the sculptures of Charles Ray (silver, aluminum); now the Hill turns to Minjung Kim, a South Korean artist whose painstaking, profoundly beautiful ink paintings deploy, in the main, a muffled palette of grays and blacks.”

Jason Farago, The New York Times
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