Tag: Rachel Uffner Gallery

Gallery Guides NYC Gallery Guide

NYC Selected Gallery Guide, February 2026

Contributed by Sharon Butler / It’s February and my head is already spinning. I saw a few shows yesterday and recommend a trip to 15 Orient on 72 Walker Street (enter on Cortlandt Alley) to see Mitchell Kehe’s show “Bonded by the Spirit of Doubt,” in which enigmatic composition seems to affirm and concretize the pit I feel in my stomach. If narrative is more your jam, stop by LUNCH, a pop-up space downstairs from NADA headquarters at 311 East Broadway. Bill Arning has curated a show called “Ambiguous Storytellers” featuring Hannah Barrett, Tyler Brandon, Ario Elami, Matthew Gilbert, T.J. Griffin, Paula Hayes, Brian Kenny, Phil Knoll, Steven Lack, Jean Paul Mallozzi, Daniel Morowitz, Donna Moylan, Rajab Ali Sayed, and Erik Daniel White. Don’t miss Hilary Harnischfeger’s “Song for Clouds,” the artist’s fifth exhibition at Uffner & Liu. She crafts handmade objects that uncannily reflect the geological processes of tectonic pressure, sediment layering, and mineral buildup. Two Coats fave Alex Kwartler returns to Magenta Plains with “Off-Peak,” a solo show in which he presents “an inventory of passing attentions” that perfectly capture this age of distraction.

Solo Shows

Sarah Martin-Nuss and the power of water

Contributed by Kun Kyung Sok / “Pouring Water Into Water,” Sarah Martin-Nuss’s first solo exhibition at the Rachel Uffner Gallery, comprises paintings and drawings that immerse viewers in fluid abstract landscapes inspired by marshes she remembers from her youth on Texas’s Gulf Coast. The paintings initially suggest serene swamps, their surfaces reflecting the sky and surrounding features. Deeper scrutiny uncovers two worlds closer by – one above the water paced by reeds swaying in a wet mist, and another below it teeming with aquatic creatures shimmering in the sunlight.

Solo Shows

Erica Mao’s unprotected souls

Contributed by Clare Gemima / In Erica Mao’s paintings, presented in “Reach Through the Veil” at Rachel Uffner Gallery, figures flee from danger. Yet the artist does not allow her characters access to refuge, or any guarantee that safety has ever been in reach. Mao has thrashed paint, then re-painted, and then thrashed paint again to create compositions of furious journeying, beating rhythmic anxiety into her characters’ faces. Somewhat cruelly, Mao locks her figures in unwarrantedly self-assured moments, knowingly rendered short by liquified cliffs, exotic swamps, ominous caves, and sulking tree trunks.