Anne Lilly, To See, 2016. Mixed media, 75 x 48 x 8".


Sponder Gallery is showing multiple sculptures by Anne Lilly, known for her kinetic works that use engineered motion to challenge our perceptions of time and space. Her sculptures are done in a precise visual language—minimal and made of steel—and typically require the engagement of the viewer to kickstart their motion. 

Theodore Boyer, Reclining Nude, 2017. Acrylic, bleach, and dye on linen, 72 x 63".


Shulamit Nazarian gallery is showing the work of Theodore Boyer, whose photo-realistic paintings often confound viewers in their exactness. A piece like Reclining Nude appears to be a satellite photo from far away, yet up close, reveals itself to be carefully painted with hand-dyeing, bleach, and acrylic. Using NASA journals as a reference point, Boyer blurs the line between organic and manufactured, while also appropriating techniques from land artists and abstract expressionists who came before him.

Nancy Rubins, Study: Monochrome for Paris, 2012. Handmade painted wood model boats, epoxy putty, and steel armature, 65 x 63 3/4 x 52".


Gagosian Gallery presents the work of Nancy Rubins, known for her large-scale assemblages of found objects. Works like this one, a configuration of boat forms, reference a system of compression and tension called tensegrity, which is used to erect and balance larger structures. In doing so, Rubins' work explores the possibilities of everyday objects and how they exist in space.

Lee Wan, For Better Tomorrow & Proper Time (installation view), 2017. Mixed media, dimensions variable.


313 Art Project shares work by Lee Wan, who is also representing South Korea at this year's Venice Biennale. For Better Tomorrow & Proper Time is an installation of 668 clocks that have the name, date of birth, nationality, and occupation of subjects Wan interviewed about their socioeconomic circumstances. The clocks move at different rates to show the amount of time each person has to work in order to afford a meal, representing Wan's broader research on the topic of global inequality.

John Grade, Pingo, 2017. Wood, 43.5 x 30.5 x 11.5".


Davidson Galleries presents a new piece by John Grade, who often creates sculptural works inspired by patterns found in nature. His interest in "pingos," small hills with intricate ice formations— known for indicating climate change—is reflected in his 2017 Pingo wood piece. Grade shaped a rectangular piece of wood to have a wave-like form, with holes to reflect the pattern carried by pingos.

Daniel Arsham, Blue Calcite Miami Heat Jacket (with stand), 2016, Blue calcite crystal, hydrostone, and stand in powder coated steel and oolite stone, 71 x 30 x 30".


Galerie Perrotin presents a sculpture by Daniel Arsham, which was part of a larger show first presented at the gallery's New York location last year. An offshoot of his Fictional Archaeologies series, which presents monochrome, decaying technological relics of our current moment, the sculptures are the first the artist has shown in color. Prior to using EnChroma glasses, Arsham was colorblind; he first saw blue and purple, thus his vibrant color choice for the new works.

Gisela Colon, Morph Pod (Iridescent Blue), 2016. Blow-molded acrylic, 41.25  x 41.5 x 12". Courtesy of Diane Rosenstein Gallery.


Diane Rosenstein Gallery features this Morph Pod by Gisela Colon, which was made using vibrant, blow-molded plastic. This sculpture series references larvae, amoebas, and other biomorphic forms, likening them to the human body through intense, distorted abstraction.

Amano Yoshitaka, 2017, 2017. Oil on canvas, 197 x 291 cm each (a set of two panels).


Tokyo's Mizuma Art Gallery shares work by Amano Yoshitaka, a former animator whose manga and anime influences are readily apparent in pieces like 2017. Though many of his works are close-up portraits, 2017 resembles a history painting in its depiction of a specific narrative, including heroes, villains, and fantastical creatures, in addition to recognizable flags—all painted in vivid Japanese brushwork.

Mira Dancy, Blue Flame, 2015. Neon. Courtesy of Night Gallery.


Night Gallery presents a glowing artwork by Mira Dancy, known for her large-scale female nudes on canvas. The neon piece, titled Blue Flame, signals her recent exploration into new surfaces, which include walls, projections, and even shower curtains. This piece, like others in her body of work thus far, positions the female body in equal posession of strength and sex appeal.

Kurt Cobain, Incesticide. Courtesy of UTA Artist Space.


UTA Artist Space brings the first-ever exhibition focusing on the visual art of Kurt Cobain to the Seattle Art Fair. It includes previously unseen notebooks as well as two original paintings by Cobain. An additional piece that Nirvana fans will undoubtedly recognize is this collaged cover of the band's 1992 Incesticide compilation.