Opening reception Saturday, July 18, 6 – 9 pm
To coincide with their exhibition, The Woods, Dan Mitchell and Richard Sides have curated a group exhibition entitled The Cars of Los Angeles.
The artists are: Carlos Agredano, Merlin Carpenter, Fiona Connor, Sylvie Fleury, Max Göran, Jason Hirata, Alan Michael, Josephine Pryde, Ed Ruscha, Lucien Samaha, Nicole-Antonia Spagnola, and Angharad Williams. The exhibition also includes a fake John Chamberlain and a work after Richard Hamilton.
The exhibition text that follows below was written by Sophia Roxane Rohwetter.
In Nicole Antonia Spagnola‘s video Ragged Dick, set in the early twentieth century and imitating black-and-white silent cinema, intercut with archival footage, a child shoe shiner waits for a job to earn the two cents needed to go to the movies. Eventually, a customer comes by, flipping the coin into the child’s hand, who seals it with his eyes, then moves the brush across the bourgeois shoe as if it were a toy car and the shoe a highway. After leaving the movie theater, the montage suggests that he is run over by a horse-drawn carriage and dies. The video runs in an endless loop, accelerating, through the repetition of economic transcendence and death, toward the horsepower of the car, keeping pace with the speed of the (death) drive.
If, in the early days of automobilization, the shoe shiner was run over by a horse-drawn carriage, the horse, in turn, was run over by a car. By 1910, the city of New York was populated by more than 20,000 dead horses, which were carried away by cars modelled after carriages — recall the Horsey Horseless, a hybrid of automobile and carriage, whose bolted-on wooden horse head served as a gasoline tank — or simply left to die, becoming obstructions that blocked the streets and brought traffic to a standstill. Street cleaners often waited until the bodies had decomposed, making them easier to saw into pieces, ready to be carted away as dog food. Such was the food chain of automobility’s ur-time.
The invention of the automobile, one of speed and imagination, collided with that of cinema, and before long both Fordism and the film factory were selling motion out of what is, essentially, stillness — nowhere perhaps more than in Los Angeles, where highways rose alongside Hollywood. Images rush by on a screen, or past a windshield, while the driver or viewer sits still, held there by the same promise as the shoe shiner’s ticket to the movies: a pathway to class mobility. What we inherit now, more than a century into the car’s reign, in a present known as petro-capitalism, is transcendence, like the shoe shiner’s, of another kind: not a rising above, but a passing away, an a road headed toward destruction from the start.
The ancient echo of an enraged whinny from the early age of automobilization reaches me, writes Monika Rinck in Kritik der Motorkraft, a 2018 book of auto-moto-fiction, like an evil haunting … And soon the last automobiles came quietly rolling up and knew they would be like the horses, one day they would park in endless recycling yards for an infinite time. And soon we too will be like the horses, said the grazing drivers, overtaken, but of the greatest beauty.
The end of the road, the beauty of the wreckage yard, was perhaps already prefigured in cinema’s early beginnings. In 1896, Maxim Gorky went to see the Lumières’ cinematograph at the All-Russia Industrial and Art Exhibition, where the empire unveiled its first automobile, the carriage-like Yakovlev-Freze. Gorky described entering a kingdom of shadows, where everything — the earth, the trees, the people, the water and the air — is dipped in monotonous grey. Grey rays of the sun across the grey sky, grey eyes in grey faces, and the leaves of the trees are ashen grey. It is not life but its shadow. It is not motion but its soundless spectre. Watching L’arrivée d’un train en gare de La Ciotat, Gorky felt as if the train darted like an arrow straight into the darkness towards where he was sitting, reducing him, the viewer, to a mangled sack of skin, full of crumpled flesh and splintered bones, and transforming the theater, so full of wine, women, music and vice, into fragments and dust. But this, too, he knew, was merely a train of shadows. The soundless spectre of early cinema, its carriages and cars flickering in grey, now haunts the kingdom of automobiles: cities submerged in the grey light of their own debris.
Ilya Ehrenburg’s industrial novel 10 л.с. (10 HP) — written in Paris in 1929, and translated into English as The Life of the Automobile in 1976, during the era of malaise — proceeds through the birth of the automobile and the industrialization that follows: the fictional assembly-line worker Pierre Chardain, the real-life capitalist André Citroën, the toxic gases and foul death-breath of machines, colonial exploitation, and the violent struggles over rubber and oil. The book opens with Charles Bernard, who first dealt in cigarette paper, then sold the paper depot and simply began living, slow and wise, like a turtle, and who, after seeing a galloping horse running across the screen, goes to the movies every Friday. When, one week, a car races across the screen and Bernard feels that he too is racing somewhere, he buys a car: ten horsepower, a smooth ride, a steel body. On the road, the car takes its own way, goes crazy. Things like that happen. A chapter in the manual: Illnesses of the Engine. Addendum: Mental Illnesses… Here comes the end. The highway ended. The long, straight highway came to an end. School, cigarette paper, Estrapade, sparrows. Everything ended. Faster! Faster, faster! Bernard dies, but he was never quite living, a mere invention, as Ehrenburg writes, unlike the car, which has a heart that beats. There are no people at the stock exchange. In fact, there are no people anywhere. Citroën is stocks, it’s lightbulbs on the Eiffel Tower, it’s the iron belt, presses, acids, Michelin tires, Deterding gasoline, it’s the dust and howling on the straight highway, the trembling of needles and dials, the heartbeat of engines, but there are no people anywhere — people are just a fabrication.
In Viktor Shklovsky’s 1923 quasi-auto-theoretical novel Zoo, or Letters Not About Love, his beloved Alya is a fabrication, as is his love for her — though the pain of it is nevertheless real. From exile in Berlin, somewhere close to Tiergarten where Russian émigrés took their walks, he writes her a tragic minnesong in letters. She, however, refuses him in return, and asks that he not write about love, as she is just very tired. So he writes letters not about love, but about Ehrenburg and Andrei Bely, about literature and life after the revolution, about the services of the automobile before the revolution (You brought the revolution sloshing into the city like foam, O automobiles!), about the driver who is not a worker, for he is alone in his car, about speed divorcing one from life, about the difficulty of starting a car that has no heart, no crank to turn, about sad taxis, about the pleasant crescendo of the Fiat’s engine, and the snobbish, deceptive length of the Hispano-Suiza’s hood, which Alya foolishly admires. The car becomes an object, a metaphorical vehicle, of sublimation.
In letter thirteen, a long one written between six and ten in the morning, when automobiles slowly awaken, and like most letters, a cheerless one, he writes to her instead of writing a potboiler, a film advertising motorcycles: Thoughts about you, motorcycles and automobiles swirl in my head … A man begins to love on the day after he has said, ‘I love you.’ Therefore those words should not be said. The love keeps growing, the man’s ardor increases, but by then you have lost interest. When this lack of synchronization happens in an engine, the car backfires. … I sit here with my malady; I think about you, about automobiles. (The combination helps.) You have turned my life the way a worm screw turns a rack. A rack, however, is unable to turn a wheel. In technical language this is called a stationary transmission. Stationary is my fate.
The letter ends with a myth in which God, who does not want to get wet or dirty his hands, sends the devil down to retrieve sand from the bottom of the sea. He sends him down three times; then, from the sand brought back by the devil’s dive, he creates man. If, by the 21st century, God has taken the form of a catalytic converter, as Jason Hirata’s readymade sculpture suggests, the devil, on God’s command, dives for fossil fuel. Created from that, we drive on horsepower toward our own de-creation. We, the drivers-turned-horses, might end with great beauty, but the cars decay with terrible grace, as Rinck’s Kritik der Motorkraft continues. Oh, what a strangely frivolous privilege: to see grace in decay. And the picturesque overpainting, in chalky pastel colors — light green, neon, mint! An endless peeling, the future desert. But what, then, would be the alternative? Don’t ask.
—Sophia Roxane Rohwetter
Dan Mitchell
After Richard Hamilton, 2026
matte vinyl
14 x 18 in (35.6 x 45.7 cm)
Jason Hirata
God, 2026
cable spacer, exhaust section
dimensions variable
Fiona Connor
Automobile Skid Mark, 2026
existing wall, graphite
installation dimensions variable
Josephine Pryde
I let the car drive me (I), 2003
c-print
12 1/4 x 9 1/2 in (31 x 24 cm)
Alan Michael
A Rainbow, 2016
oil on canvas
33 1/8 x 23 1/4 in (84 x 59 cm)
Merlin Carpenter
Untitled, 1991-2/2022/2026
Barbie Ferrari boxes
14 x 18 x 22 in (35.6 x 45.7 x 55.9 cm)
Angharad Williams
Maserati Royal, 1989 (Royale Is Vivaldi), 2026
charcoal on paper
78 x 140 1/4 in (198.1 x 356.2)
Fake John Chamberlain, 2026
card packaging, hot glue, enamel, spray paint
29 x 15 x 19 3/4 in (74 x 38 x 50 cm)
Nicole-Antonia Spagnola
Ragged Dick, 2023
MP4
runtime: 00:03:08
Max Göran
Nothing Runs Like a Deere, 2023
video
runtime: 00:17:11
Ed Ruscha
Universal Studios, Universal City, 1967–2013. (Exhibition Set 1/2)
gelatin silver print on paper
framed: 15 3/4 x 15 1/4 x 1 in (40 x 38.7 x 2.5 cm); unframed: 14 x 11 in (35.6 x 27.9 cm)
© Ed Ruscha. Courtesy Gagosian
Carlos Agredano
Collector, 2020
smog, carbon monoxide (CO), sulfur dioxide (SO2), nitrogen dioxide (NO2), ground-level ozone (O3), particulate matter (PM2.5 and PM10), soot, dirt, dust, guano, automobile tire microplastics, and other unidentified debris sourced from Lynwood, California on canvas
framed: 102 3/4 x 72 1/4 in (261 x 184 cm); unframed: 101 x 71 1/2 in (257 x 182 cm)
Lucien Samaha
Untitled 0392-01-Las Vegas, 1994
archival inkjet print, aluminium frame
framed: 17 x 22 1/4 in (43.2 x 56.5 cm); unframed: 10 1/2 x 15 3/4 in (26.7 x 40 cm)
Ed Ruscha
Motor, 2021
lithograph
16 3/4 x 26 in (42.5 x 66 cm)
Sylvie Fleury
Beauty Case, 1995
SD video, color, sound
runtime: 00:05:52
Sylvie Fleury
She Devils Pit Stop, 2026
mixed media installation
dimensions variable
Carlos Agredano (b. 1998, Los Angeles, CA) lives and works between Los Angeles and New York City. He received his MFA from University of California, Los Angeles, in 2023, and was a 2025 – 2026 Hodder Fellow at Princeton University. His work has been presented in numerous exhibitions including Exhibition House, Frankfurt Ordorica, Los Angeles (2026); Second Body, David Kordansky Gallery, Los Angeles (2025); Fume, Los Angeles Nomadic Division (2025); Smog Check, Human Resources, Los Angeles (2023); Strong Winds Ahead, François Ghebaly, Los Angeles (2023); and In Practice: You may go, but this will bring you back, Sculpture Center, New York (2021).
Merlin Carpenter (b. 1967, Pembury, UK) lives and works between Shepperton, London, and Berlin. Carpenter’s work has been the subject of numerous solo exhibitions and projects, including Stress Busters, Kunstraum Schwaz (2024);archive élastique, Centre d’Art Contemporain – La synagogue de Delme (2020); MIDCAREER PAINTINGS, Kunsthalle Bern (2015); Poor Leatherette, MD72, Berlin (2015); Formalist Sidewalk Poetry Club, Formalist Sidewalk Poetry Club, Miami (2010); Children of the Projects, American Fine Arts, Co., New York (2003); and As a Painter I Call Myself the Estate of, Secession, Vienna (2000). His work is in major private and public collections including the Museum of Contemporary Art, Los Angeles; Centre Georges Pompidou, Paris; and The British Council, London.
Fiona Connor (b. 1981, Tāmaki Makaurau, Auckland, New Zealand) lives and works in Los Angeles. Vital, recurring concerns in her practice include the social and psychological life of the object, the politics of camouflage and mimesis, and the ethics and aesthetics of the built environment. She holds an MFA from California Institute of the Arts (2011), a BA from University of California, San Diego (2008), and a BFA from University of Auckland’s Elam School of Fine Arts (2004). Recent solo exhibitions include Hereditary, 100 Bell Towers, Montreal (2024); Drawing something under itself, Kunstverein für die Rheinlande und Westfalen, Düsseldorf (2023); Continuous Sidewalk, Château Shatto, Los Angeles (2023); Long Distance, Maureen Paley, London (2022); #4, Closed for installation, Sculpture Center, New York (2019); #8, Closed for Installation, Sequence of Events, Secession, Vienna (2019); and Closed Down Clubs, MAK Center for Art and Architecture, Los Angeles (2018). Connor’s work is held in numerous public collections, including Adam Art Gallery, Victoria University, Wellington; Auckland Art Gallery; Australia Art Gallery of New South Wales, Sydney; Berkeley Art Museum and Pacific Film Archive; Christchurch Art Gallery Te Puna o Waiwhetū; Collezione La Gaia, Turin; Dunedin Public Art Gallery; Govett-Brewster Art Gallery, New Plymouth; Hammer Museum, Los Angeles; Henry Art Gallery, University of Washington, Seattle; Los Angeles County Museum of Art; Monash University Museum of Art, Melbourne; Museum of Contemporary Art, Los Angeles; and Museum of New Zealand Te Papa Tongarewa, Wellington. Connor is currently Assistant Professor of Art at University of California, Riverside.
Sylvie Fleury (b. 1961, Geneva, Switzerland) lives and works in Geneva. Selected solo exhibitions include Sylvie Fleury. “Thunderb”, Mrac Occitanie, Sérignan (2025); Museum der Moderne Salzburg (2025); Yes to All, Kunsthal Rotterdam (2024); Kunstmuseum Winterthur (2023); Turn Me On, Pinacoteca Agnelli, Turin (2022); Double Positive, Bechtler Stiftung, Uster (2022); Kunstraum Dornbirn (2019); Chaussures italiennes, Instituto Svizzero, Rome (2019); My Life on the Road, Villa Stuck, Munich (2016); Centro de Arte Contemporaneo, Málaga (2011); Paillettes et Dépendances ou la fascination du néant, Musée d’Art moderne et contemporain Genève (2008–2009); Ich möchte alles haben, was gut, ächt und schön ist!, Mozarteum Salzburg (2006); 49000, ZkM | Museum für Neue Kunst, Karlsruhe (2001); Le Magasin – Centre national d’Art Contemporain à Grenoble (2001); and The Museum of Contemporary Art Chicago (1995). Selected group exhibitions include Performa Biennial, New York (2025); Muzeum Sztuki Nowoczesnej / Museum of Modern Art, Warsaw (2025); National Museum of Modern Art, Kyoto (2024); Aspen Art Museum (2024); Kunsthaus Zürich (2023); Monnaie de Paris (2023); Migros Museum für Gegenwartskunst, Zürich (2022/2013); Jeu de Paume, Paris (2020); Grand Palais, Paris (2019); Kunsthaus Zürich (2018); Museum Angewandte Kunst, Frankfurt am Main (2017); Museum Haus Konstruktiv, Zürich (2016); Belvedere, Vienna (2012); Städtische Galerie im Lenbachhaus, Munich (2010); Chelsea Art Museum, New York (2007); P.S.1, New York (2006); Collection Lambert, Avignon (2003); and Museum Ludwig, Cologne (2000). Fleury’s work is included in the collections of CAPC Musée d’art Contemporain de Bordeaux; Centre d’Art Contemporain, Geneva; Centre Georges Pompidou, Paris; Centro de Arte Contemporaneo, Málaga; Kunst Museum, St. Gallen; Musée d’Art Moderne et Contemporain, Genève; Museum der Moderne, Salzburg; and The Museum of Modern Art, New York, among others.
Max Göran (b. 1987, Furudal, Sweden) is an artist filmmaker who lives and works between Berlin and Sweden. She was a 2025 artist-in residence at Can Serrat, El Bruc. Solo and two-person exhibitions include brave and pathetic is better than drowning in shame, Cell Project Space, London (2023 – 2024); Taste & Discernment, Ceradon, Los Angeles (2024); and Assholes Live Forever, Jenny’s, Los Angeles (2019). Göran’s work has been presented in numerous group exhibitions such as CPH:DOX, Copenhagen (2026, 2024, 2023); the 15th Kaunas Biennial (2025); the 7th Edition of the Athens Biennale (2021); New Contemporaries, London (2021); Galerie Neu (2023); Kasseler Dokfest, Kassel (2023); Kunstverein München (2020); and European Media Art Festival, Osnabrück (2018).
Jason Hirata (b. 1986, Seattle, WA) lives and works in New Jersey. He received his BFA in 2009 from the University of Washington, Seattle. Hirata has been the subject of solo and two-person presentations including Dà a chi avaregia, Fanta-MLN, Milan (2024); Werkgelegenheid / Interruptions & Coincidence, Billytown, The Hague (with Magnus Frederik Clausen, 2023); Minutes, Ulrik, New York (2022); Nap, Paid, Seattle (2022); Plot, Theta, NYC, New York (with Tony Chrenka, 2021); and From Now in Then, Fanta-MLN, Milan (2021). Recent group exhibitions include Carnegie Museum of Art, Pittsburgh (2026 – 2027); Hessel Museum of Art, New York (with Ghislaine Leung and Robert Barry, 2025); Regards, Chicago (2023); Simian, Copenhagen (2023); Museum of Modern and Contemporary Art, Bolzano (2023); Baader-Meinhof, Omaha (2022); The Wig, Berlin (2022); Bonner Kunstverein, Bonn (2022); Château Shatto, Los Angeles (2021); DREI, Mönchengladbach (2021); Kunstverein Kevin Space, Vienna (2020); 80WSE, New York (2020); Kunstverein Nürnberg (2019); Kai Matsumiya, New York (2019); and Joan, Los Angeles (2017).
Alan Michael (b. 1967, Glasgow, Scotland) lives and works in London. Solo and two-person exhibitions of Michael’s work have been presented at Jan Kaps, Cologne (2023); Jenny’s, New York (2022); Halle fur Kunst, Lüneburg (2021); High Art, Paris (2021); Cell Projects, London (2018); Zero, Milan (2015); Tramway, Glasgow (2014); Artists Institute, New York (2013); David Kordansky Gallery, Los Angeles (2011); Siakos Hanappe, Athens (2011); Galerie Micky Schubert, Berlin (2009); Schürmann, Berlin (2008); Tate Britain, London (2008); Talbot Rice Gallery, Edinburgh (2008); Modern Art, London (2005); Sorcha Dallas, Glasgow (2005); HOTEL, London (2003); Entwistle, London (2002); Transmission Gallery, Glasgow (2000); and Collective Gallery, Edinburgh (1999). Michael’s work has been featured in recent group exhibitions including Not With Symbols, Bodenrader, Chicago (2026); Fanta-MLN, Milan (2025); ten thousand ugly inkblots, Schiefe Zähne, Berlin (2025); and Image of the City, Part 1 | Peter Cain, Josey, Cologne (2025).
Josephine Pryde (b. 1967, Alnwick, England) lives in Berlin. She is Professor of Photography at Kunstakademie Düsseldorf. Recent solo exhibitions of Pryde’s work include Tiny Phones, Birkenstraße 149, Düsseldorf (2026); How Frequency The Eye, Haus am Waldsee, Berlin (2024); The Splits, Centre d’Art Contemporain – La synagogue de Delme (2023 – 2024); The Vibrating Slab, Art Institute of Chicago (2022); Club Med, Soccer Club Club, Chicago (2022); Taylor Swift’s ‘Lover’ & The Gastric Flu, Reena Spaulings Fine Art, New York (2022); The Flight That Moved Them, Gandt, New York (2021); and Exterior, Night, Day, Galerie Neu, Berlin (2020). Her work was also included in Kim Gordon for Design Office Feat. In-House Photography by Josephine Pryde, Museum im Bellpark, Kriens (2022). Pryde has been featured in numerous group exhibitions, most recently at Reena Spaulings Fine Art, New York (2026); Fanta-MLN, Milan (2026); Institut Funder Bakke, Silkeborg (2025); Hamburger Kunsthalle, Hamburg (2025); Centraal Museum, Utrecht (2026) & Museum of Modern and Contemporary Art, Bolzano (2025); MO.CO. – Montpellier Contemporain, Montpellier (2025); FRAC Lorraine, Metz (2024); The Wig at Bonner Kunstverein, Bonn (2022); Kunsthal Charlottenborg, Copenhagen (2022) & Mudam Luxembourg (2021); and mumok – Museum moderner Kunst Stiftung Ludwig Wien (2022). Pryde’s work is in the collections of The Art Institute of Chicago; The British Council, London; Fonds National d’Art Contemporain, France; Kunstmuseum Bern; The Metropolitan Museum of Art, New York; Museum of Contemporary Art, Los Angeles; The Museum of Modern Art, New York; and Stedelijk Museum, Amsterdam.
Ed Ruscha (b. 1937, Omaha, NE) lives and works in Los Angeles. Ruscha’s career spans more than six decades, and his practice comprises artist’s books, drawings, films, paintings, photographs, and prints. A critical figure in the Pop Art and Conceptual Art movements, Ruscha was recently the subject of a major museum retrospective, entitled ED RUSCHA / NOW THEN, which opened at The Museum of Modern Art, New York (2023 – 2024), and traveled to the Los Angeles County Museum of Art (2024). Prior solo exhibitions include Oklahoma Contemporary, Oklahoma City (2021); Blanton Museum of Art, Austin (2020); Secession, Vienna (2019); National Gallery, London (2018); Louisiana Museum of Modern Art, Humlebaek (2018), traveled to KODE Art Museum, Bergen (2018); Hayward Museum, London (2009); Museo Nacional Centro de Arte Reina Sofia, Madrid (2001); Hirshhorn Museum and Sculpture Garden, Washington, D.C. (2000); Centre Georges Pompidou, Paris (1989); and the San Francisco Museum of Modern Art (1983), among others. Landmark group exhibitions include the 51st Venice Biennale (2005), where Ruscha represented the United States, and New Painting of Common Objects at the Pasadena Art Museum (1962), the first survey of American Pop Art in the United States. Ruscha’s work is included in the collections of The Art Institute of Chicago; Centre Georges Pompidou, Paris; Hirshhorn Museum and Sculpture Garden, Washington, D.C.; Los Angeles County Museum of Art; Metropolitan Museum of Art, New York; The Museum of Contemporary Art, Los Angeles; Museum of Fine Arts, Boston; The Museum of Modern Art, New York; National Gallery of Art, Washington, D.C; San Francisco Museum of Modern Art; Stedelijk Museum, Amsterdam; Tate Gallery, London; Walker Art Center, Minneapolis; and The Whitney Museum of American Art, New York. Ed Ruscha is represented by Gagosian.
Lucien Samaha (b. 1958, Beirut, Lebanon) is a photographer based in New York. He has been photographing his life since he took one of the first photography courses offered in a high school curriculum in 1975. Samaha’s work has been presented in A Day in the Life of the Lilac Festival, The Wig, Berlin (2024); The Price of Gas & First Digitals, Schiefe Zähne, Berlin (2024); A History of Digital Photography, Pioneer Works, New York (2019 – 2020); The Flight Attendant Years: 1978 – 1986, Lombard Freid Gallery, New York (2013); The Searchers, Feldman Gallery, Pacific Northwest College of Art, Portland, OR (2008); I Want to Show You Somewhere, Cooley Gallery, Reed College, Portland, OR (2006); Good is What Pleases, Museum für Moderne Kunst, Frankfurt (2006); Warm Up 2, P.S.1, New York (1999); Warm Up, P.S.1, New York (1998); Overpromised, Technosophia 1, Swiss Institute, New York (1998); and Color Diptychs – The 2nd Tokyo International Photo-Biennale, Tokyo Metropolitan Museum of Photography (1997). Samaha is a founding member of the Arab Image Foundation and was a finalist for the 2004 Nam June Paik Award. After his time as a flight attendant at TWA, Samaha worked as a marketing manager for Eastman Kodak Company, and then as a DJ on the 107th floor of the World Trade Center, continuing to document his hours at work and his personal life.
Nicole-Antonia Spagnola (b. 1991, Los Angeles, CA) lives and works in Los Angeles. Recent solo and two-person exhibitions include The first person, Felix Gaudlitz, Vienna (2026); Commercial Street, Los Angeles (2025); Street Nuisance, Kunstverein München (2024); Artists under the big Lid, Ivory Tars, Glasgow (2024); The Amateur, Felix Gaudlitz, Vienna (2023); Slow Dance (4), Stadtgalerie Bern (with Richard Sides, 2023); Ragged Dick, The Wig, Berlin (2023); Life Live, Reena Spaulings Fine Art, New York (with Bedros Yeretzian and Morag Keil, 2023); Your Friend, 100 Bell Towers, Montreal (2022); Anti-Genesis, Artists Space, New York (2022); and Pig Kingdom Come, Full Haus, Los Angeles (with Bedros Yeretzian, 2017). Recent group exhibitions include Kunstforum Baloise Park, Basel (2026); Hammer Museum, Los Angeles (2025); The Wig, Berlin (2024); Reena Spaulings Fine Art & Galerie Hussenot, Paris (2024); Sgomento Zurigo, Zürich (2024); Ivory Tars, Glasgow (2024); 3236RLS, London (2024); Bel Ami, Los Angeles (2024); Felix Gaudlitz, Milan (2024); and Galerie Neu, Berlin (2023).
Angharad Williams (b. Ynys Cybi) is an artist based in Wales and Berlin. She has been the subject of numerous solo exhibitions, including Portrait, Fondazione Sandretto Re Rebaudengo, Turin (2025 – 2026); What are we in now??, KIN, Brussels (2025); The Bottom Dogs ll, Simian, Copenhagen (2025); Berlin Straße, Schiefe Zähne, Berlin (2024); NEW TECHNOLOGY, Fanta-MLN, Milan (2023); Picture the Others, Mostyn, Llandudno (2022); Eraser, Kunstverein für die Rheinlande und Westfalen, Düsseldorf (2022); and High Horse, Kunstverein Kevin Space, Vienna (2021). Williams was a participant in the 2025 Edition of the Okayama Art Summit: The Parks of Aomame, curated by Philippe Parreno. She has participated in numerous group exhibitions at prestigious institutions and galleries including Kölnischer Kunstverein, Köln (2026); Mudam, Luxembourg (2026); Z33, Hasselt (2026); Bechtler Stiftung, Uster (2025); Museo Madre, Naples (2024); The Wig, Berlin (2024); and Reena Spaulings Fine Art, New York (2023). Her solo performances have been presented at Haus am Waldsee, Berlin (2025); Sadie Coles HQ, London (2024); and Zunsthalle Zürich (2023). Eraser, Williams’s first book of fiction, was published by After8 Books, Paris, and Kunstverein Düsseldorf in 2023. In 2025, Williams released Now Watch This Drive, a limited 12” vinyl, with Concentric Group, London, and the Bauhaus Foundation, Dessau.