CURRENT EXHIBITION: 25. Keren Cytter + Cytter/Roebas

‘Sex is not an option’

Organized by Syndicate

12 September to mid-November

We're in a gateway to elsewhere.

Trivial moments happen in places exactly like this – crucially benign stories which conclude or spark the consequential ones. While bars aren't the principal point of reference when defining society, they are stubbornly fleshly and byzantine while the balance of life dematerializes. Streams of bodies continually depart and arrive at this time-arrested refuge, summoned from anonymity by a rosy beacon.

'Sex is not an option' is a loose frame for communal occurrences featuring works by the artist Keren Cytter and her collaborations with artist John Roebas. Cytter's emotionally charged films Der Spiegel (2007) and Object (2016) plus the lighting fixtures by Cytter/Roebas subtly background the independent occurrence of daily events at Beverly's; a continual stage where characters meet, argue, flirt, and deal.

Keren Cytter (*1977 Tel Aviv IL) is an artist representing social realities through experimental methods of storytelling. Cytter's solo projects this past year include 'Size Matters', Hamlet (Zurich CH), 'Sponsored content', Center for Contemporary Art (Tel Aviv IL), and 'Mature content', Museion (Bolzano IT). She has exhibited at institutions worldwide including the Museum of Contemporary Art (Chicago US), Kunsthal Charlottenborg (Copenhagen DK), Tate Modern (London UK), Stedelijk Museum (Amsterdam NL), Hammer Museum (Los Angeles US), Moderna Museet (Stockholm SE), and MUMOK (Vienna AT); additionally participating in Momentum Biennial 2019 (Oslo NO), 2016 Busan Biennial, 2014 Liverpool Biennial, 2009 Venice Biennial, and Manifesta 7 (Trentino IT). She lives in New York US.

Cytter / Roebas is a collaborative project by Keren Cytter and John Roebas (*1985 Tegucigalpa HN, lives in New York US).


Der Spiegel (The Mirror), 2007

A Shakespearean drama in a stripped-down Berlin apartment that actively rebukes the abuse and objectification of women. In the film, a 42-year-old woman is confronted by her mirror image, coming to realize she’s no longer a teenager. Rejected by her crush, she also has no feelings for the man who loves her. The camera follows the actors in a single shot, while words, action, gestures and image merge. The dialogue is up-tempo and staccato, and wanders outside the story and refers to itself – reciting stage directions, reading their lines unemotionally, or switching to another language.

Object, 2016

A formal manipulation of pornography, critiquing patriarchal structures and its systemic abuses through nine tightly constructed, locked-down shots in three acts. The Russian dialogue is deployed as a political tool, meditating on heteronormative sexual relationship clichés.

Cytter/Roebas, Chandeliers, 2019

Appropriate for Beverly's, the three lamps strategically hung above the bar and in the front window are literal 'conversation pieces' establishing an atmosphere and encouraging new friendships and intense discussion. The chandeliers' seductive ornamentation may also bridge the site's legacy as a 'spa' before becoming the bar of today.


Syndicate is an international platform for exhibitions, events, and publication directed by JL Murtaugh.




August 7 - September 10 2019

Jack Henry, Valery Jung Estabrook, and Sarah Bednarek are artists who work with various themes in nature, and the geometry of growth and movement within nature, to create dystopic or even sci-fi psychological spaces. Mourning, re-growth, subliminal natural patterns and structures — these truths all are central to the artists’ current works on view. As humans tattoo their wear and tear all over our planet, these artists remind us of the underlying awe-inspiring and invading natural phenomena that weave themselves back onto environments, and into our bodies. 



Jack Henry utilizes discarded objects and plant life to reflect our current role in the Anthropocene. His work points towards the sublime moments that occur when our objects depart from human contact and harbor within plant growth, resulting in accidental sculptures and monuments to cultural disaffection. Born in Jackson, MS, and raised in Flint, MI - Jack now lives and works in Brooklyn, NY. He received his BFA from Florida Atlantic University and his MFA from University of Maryland. His work has been shown in exhibitions at Wasserman Projects, Detroit; Lesley Heller Workspace, New York; ProjekTraum, Friedrichshafen, Germany; Black and White Gallery, Brooklyn; Glass Curtain Gallery, Columbia College, Chicago; Spring/Break Art Fair, New York; Nudashank, Baltimore; Fjord Gallery, Philadelphia, and more. 


Valery Jung Estabrook’s multidisciplinary work draws upon her background in film and tv, as she uses cinema tropes subvert expectations of video art, by playing off of our collective media memory bank. Her work is filled with hidden personal histories. Bees, flowers, and edible plants and fruits are metaphors that attempt to reconcile the Asian-American dilemma of the "perpetual foreigner." Valery was born in Plantation, Florida, and grew up on an organic Asian pear farm in rural southwestern Virginia. She holds an MFA in Painting from Brooklyn College and a BA in Visual Art from Brown University. Her work has been exhibited in major cities both domestically and internationally, including New York, Los Angeles, Santa Fe, Lagos, Bilbao, and Melbourne. In 2018 she received the Gold AHL-T&W Foundation Contemporary Visual Art Award, an annual award recognizing artists of Korean heritage in the United States. She currently resides in New Mexico.


Sarah Bednarek constructs sculptures that explores human biology via formal relationships such as symmetry, repetition, texture, and color through rigorous geometry and craftsmanship. Currently a cancer survivor— themes of magnification and unseen structures are both central, and personal. Sarah is a 2005 MFA graduate of the Sculpture program at Virginia Commonwealth University. She was an artist in residence at Sculpture Space in Utica, NY and was a fellow at The Hunter College Ceramics Department. Her exhibition record includes solo exhibitions at TSA New York and ADA Gallery in Richmond. She has curated various projects, and shown widely in group exhibitions nationally and internationally. 




June 27 - July 2019

‘Ride a Cow to Find a Horse’ is a Chinese saying that celebrates the dignity in making the most out of the resources that you have. This saying is from a time when humans traveled primarily on the backs of animals, and horses were the fastest means. However horses were hard to come by, and they signified a level of access that most people did not possess. Therefore it was not uncommon to see someone riding on the back of a cow — a big, heavy-footed cow. But despite the pace, the rider was getting somewhere. The desire was the achievement.

Alison Kuo, Williamson Brasfield, and Mark Sengbusch all use provisional, and often humble means to express their desire to understand societal structures. Alison Kuo uses common ‘Made In China’ store-bought materials. She assembles them into ornate sculptures, exposing child-like fantasies of sparkly opulence with personal experiences of exoticism, humor, and the human need to create a sense of place, and to be seen. Williamson Brasfield’s paintings and video exhibit his laser-focus towards seemingly banal moments, and how these moments fracture and distort themselves, revealing the raw materiality of our public and domestic environments. Mark Sengbusch’s sculptures render his paintings in three dimensions. These sculptures are inspired by his fascination in the ‘impossible joints’ that mysteriously lock together the seams and corners of traditional Japanese buildings, and the metaphorical harmony that these joints propose — a beautifully simple, and terribly complex way to fix a broken part. Throughout their diverse processes, these three artists are all lured by the sumptuousness of suggestion — of crafting a slower way to find a solution.


Alison Kuo creates multimedia sculptures, photos, and performances that examine power and class through the language of food, dollar store plastics, and transnational trends in affordable luxury. Alison received her BA from Southwestern University in Texas, and her MFA in Fine Arts at The School of Visual Arts in 2014. She has shown her work at Cuchifritos, the Abrons Art Center, Beverly’s, CANADA, the

Grace Exhibition Space, Marvin Gardens, Motel, ICI, Present Company, The NARS Foundation, the Young at Art Museum in Miami, Paraiso Bajo in Bogotá, and Malagana Macula in Managua. She also participated in the 2016 Nanjing International Art Festival. She is a faculty member at the School of Visual Arts in the MFA Fine Arts program.

Williamson Brasfield received his BFA from Penn State University in 2007, and his MFA in painting from Yale School of Art in 2013. His works traverse across sound, object and image making. He was included in the 9th Nicaraguan Biennial of Contemporary Art, curated by Omar Lopez-Chahoud, and has shown his work at the Abrons Art Center, Beverly’s, Space Heater, PAD Gallery in NYC, The Overlook Place in Chicago, and at the Woskob Gallery in State College, PA. As a founding member of the collective Jugo Del Cuerpo, he has shown at Harbor Gallery and the BAVNIC X Biennial in Nicaragua. He recently curated 60hz: Songs of Common Current, a sound art showcase in collaboration with BombPop!Up.

Mark Sengbusch received his BFA from The College for Creative Studies, and his MFA from Cranbrook Academy of Art in 2008. He has shown in New York at Transmitter Gallery, The Memorial Sloan Kettering Cancer Center, Regina Rex Gallery, Storefront Bushwick, Orgy Park, and Essex Flowers, among others. He has also shown with David Klein Gallery in Detroit, ADA Gallery in Richmond, and H Gallery in Chiang Mai, Thailand. Mark’s paintings have, over the past year turned into sculptures that draw from Japanese architectural joinery techniques that use precise geometry instead of hardware. Mark just returned from a recent residency at The Byrdcliffe Colony in Woodstock, New York. _____________________________________________________________________________


curated by POST VISION


Abi Laurel / Aitana Basquiat / Baptiste Kucharski / Clara Luzian / Devra Freelander / James Moore / Marcel C. Wilkins / Em Silver / Emma Stern / Ines Marzat / Janice Prempeh / Jason Ebeyer / Josefin Jonsson / Nicole Ruggiero / Olga Fedorova / Ruby Gloom / Simon Roulet / Stacie Antiptchouk / Tomas Aciego / Zak Ridge

Post Vision is pleased to partner with Beverly's for Body Optimized, our second IRL exhibition of the year.

Body Optimized highlights a group of digital artists whose work deals directly with female bodies in the context of virtual space. The female form is the common thread — placing these works within a larger dialogue surrounding female identity as our avatars become ever-more inextricable from our relationships with actual physical bodies. A global network of artists, including those presented in Body Optimized, are currently designing the cyber-female archetype in real time within the limitless playground of technology.

These cyber forms are proxies upon which we place our true desires, enabling us to decide whether they will manifest as heightened evolutions of our physical selves, or remain as an entirely fantasized other. 




on view through ealy April

Beverly’s is excited to show this two person exhibition by artists Kat Chamberlin and Tariku Shiferaw. Chamberlin and Shiferaw both employ rigid geometries to create space for histories that have been overlooked or under appreciated. Through painting, drawing, installation, sculpture, and video - these artists’ various works comment on aspects of their cultures that, when celebrated, are simultaneously uplifted and trivialized. Shiferaw titles many of his works after music created by African Diasporas, such as Hip Hop, Jazz, and Blues. He segments the message and syncopation into systematic painted lines, shapes, and architectural responses that comment on power and censorship. Chamberlin’s multimedia works demonstrate acute technical and formal craft, as she dissects societal competition - referencing sports and niche activities/communities such as youth cheerleading. Shiferaw was born in Addis Ababa, Ethiopia and raised in Los Angeles. Chamberlin was born in the Netherlands and raised in Turkey. They both now live and work in New York. 

Although aesthetically and materially different, both Shiferaw’s and Chamberlin’s works pay homage to rhythms and choreographed labor as forms of protest. These ideas, in combination with their complex experiences of home, of belonging and not belonging, frame their insights into structures and cultural practices that slyly shift to both exclude and welcome them.



Kat Chamberlin (Armenian/Swedish) is a multidisciplinary artist whose work responds to her experience of cultural multiplicity and conflict. Chamberlin’s work explores tribal frictions, abstractions as coping mechanisms, and our dependence on fragility. Her works have been exhibited across the U.S. and internationally, and featured in exhibitions at the Museum of Contemporary Art in Chicago, The Chicago Cultural Center, Barbara and Steven Grossman Gallery in Boston and Gana Art in New York City. Kat completed her MFA at the School of the Art Institute of Chicago and is the recipient of a Jacob K. Javits Fellowship, the Toby Devan Lewis Award and the William Dole Award. 


Tariku Shiferaw (Ethiopia/United States) creates a body of work titled, ‘One Of These Black Boys,’ that explores mark-making through painting in order to address the physical and metaphysical spaces of societal structures. Shiferaw calls upon the act of physical marking as a perfomative utterance of one’s existence - altering the immediate physical space and introducing new ideas and boundaries. His work draws on cultural instruments of resistance against a system that tries to silence and erase Black bodies. Shiferaw received his BFA from The University of Southern California, and his MFA from The Parsons The New School for Design. Recent exhibitions include the 2017 Whitney Biennial as part of Occupy Museum’s Debtfair project, a group exhibition at The Museum of Contemporary Art Cleveland, and solo exhibitions at Addis Fine Art’s project space in London, and at Cathouse Proper in Brooklyn. His work has been featured on Hyperallergic, Washington Post, and Art In America. Shiferaw is currently an artist in residence of the Whitney Museum’s Independent Study Program.



Beverly’s is excited to be showing with The Material Art Fair in Mexico City as a special project. We are showing sculpture, video, installation, and performance by

Colin Tom / Carolyn Sickles / Azikiwe Mohammed / Elise McMahon (Likeminded Objects) / Leah Dixon / Sean Fader / Sam Chun / Yeni Mao

The Material Fair, Feb 7 - 10, Frontón Mexico, CDMX




December 1st through late January

Beverly’s presents Zoë Claire Miller and Juliana Cerqueira Leite’s Garden. This new site-specific installation continues the duo’s international collaboration. For Beverly’s, Miller and Leite have transformed the bar into a lush herbal garden with sculptural planters for medicinal herbs, wall-hangings, scents, grow-lights, and recipes to cure and aid women’s issues.

Having met during the Moscow Young Art Biennale, Berlin-based Miller and Brazilian/American Leite began working together as a means to explore feminist themes and corporeal concerns. Their collaborations have always involved site-specific components, often including humor, and have been exhibited at Landing Strip Berlin, Kunsthaus Erfurt, RM Basics Munich, and now Beverly’s New York. 

Throughout this country's history, American women of all different backgrounds have used natural remedies for family planning, adopted local plant knowledge, and learned about their bodies through the study of plants. Women produced herbariums (books of pressed plants that were identified and labeled), historically important texts and regional catalogues, and became proficient in plant-based medication. Herbs and other plants were used as natural contraceptives, emmenagogues (menstruation starters) and abortives. 

This female-shared knowledge that had been passed down for countless generations has been largely erased from our memories by the pharmaceutical industry’s professionalization and capitalisation of the medical field. Perhaps in a time when many doctors overprescribe expensive medications, and when a newly appointed Supreme Court judge speaks more confidently about his love of beer than for his support for women’s rights, we can benefit from revisiting some of the practices and investigations of our female ancestors. 



curated by Paula Naughton


September 27, 2018 through early November

Liquid State Machine is a group exhibition that brings together artists who engage with technologies of connectivity and materiality through the virtual form. As is indicative of much of our social habits, many of the artists are linked to Beverly’s through its online network — the digital and real community blurred and merged as one. The circulation of cultural objects are now distributed and authenticated through networked images within these mediated platforms. Each artist speculates on complex subjects of authenticity, identity, spectatorship, and the performance of the self within the elude sociocultural space that exists between the screen and real environments.

Liquid State Machine,  by Paula Naughton, offers a grouping of work that includes a new animated installation by Alan Butler, neon by Victoria Fu, painting by Jennifer Mehigan, series of portraits by Alan Warburton, and layered wall works as well as specially designed uniforms for Beverly’s staff by Wickerham & Lomax. 



Alan Butler explores material and philosophical ideas about how imagery and meaning function in technologically mediated realities. For Beverly’s, Butler exhibits an animated installation stemming from previous work Down and Out in Los Santos. There, the artist hacked into the video game Grand Theft Auto, and took on the role of social documentarian, photographing the lives of homeless NPCs in the virtual city of Los Santos. One of the characters he encountered is at the centerpiece of his new work: a homeless NPC that bears a striking resemblance to conceptual artist Sturtevant. Proposing that a virtual algorithm of Sturtevant exists, Butler resurrects this portrait back into material form, and re-inserts Sturtevant into new modes of circulation.


Victoria Fu considers new conditions of cinematic spectatorship and image currency in the digital age. Fu creates audio-visual installations that interplay between object and image as meditations on sight, perception, and image-making. Often using imbued imagery that blurs the lines between the real and virtual, abstraction and representation, here Fu exhibits a large flashing neon hand that animates a familiar pinch-zoom movement. Absorbed into our muscle memory of pinch-zooming on screen space to enlarge images, the neon sculpture offers an interruption from slippery pixels, and a reminder of the politics of participation, and of the physical space our


Jennifer Mehigan confronts the performance of gender identity that is consumed and produced within our image economy. Spanning multiple platforms, mixing together 3D modeling, found / stock objects and images, text, textiles, video, painting, sound, scent, and installation, the objects and materials suggest human and non-human bodies merging. Fragmented narratives and mythologies perform an type of queer illegibility that recognizes its own participation in this image economy, but remains slippery enough to avoid being co-opted too enthusiastically. 


Alan Warburton’s practice delves into the virtual image in contemporary culture. Much of his work exists as highly rendered virtual worlds built through laborious processes in 3D animation software. Created during these rendering downtimes, Lockheads offers a playful counter to these dense creations. By scanning his head and utilizing it as a virtual sculpture, Warburton performs drag in a series of portraits influenced by drag, carnival, and club culture. The resulting images on view at Beverly’s, question gender and technology, the performance of identity, and the authenticity of the self in social media. 


Wickerham & Lomax is the collaborative name of Baltimore-based artists Daniel Wickerham and Malcolm Lomax. They are particularly invested in questions of identity and the body, exploring the impact of digital technologies and social spaces on the formation of subjectivities and speculative corporealities. Their practice, based on the accelerated exchange of frivolous information, gossip, and codified language, takes the form of diverse media, curatorial platforms, and networked virtualities. Working in response to specific contexts, here Wickerham & Lomax have designed multi-media wall portraits, as well as uniforms for the Beverly’s staff, as a way to both interrupt and highlight the bodies and individuals that form the fabric of this networked space. 




Thursday July 12th through early September


THE AIR is an exhibition of three artists whose works address the friction between safety, celebration, and danger. Through flashing video and pop-like text, the manipulation of pre-existing objects, such as an interior escape ladder and child’s blankets, and large-scale, dark and quilt-like tapestries — these artists highlight how graphic forms, optics, and surveillance can create both a sense of warning, and stylized security. This exhibition’s situation within a nightlife venue is appropriate — as it is this tension between fragile notions of uncertainty and festivity, that often keeps us chasing the space along the blurry border of public and private.  




Benavente is interested in parties as celebratory events that mark transitional stages in life — while also showing the sadness and loss for what preceded those celebrations. In Benavente’s video on view, party lights are replaced by flashing police sirens, dance songs are intercut with anti-protest sound cannons, and singalongs become protest chants. Dancing — be it in the streets, or in the club, is an emancipatory means of survival. It is finding happiness in a period of political transition and upheaval. Jesus Benavente holds an MFA from Rutgers University, a BFA from The University of Texas, and has attended The Skowhegan School of Painting and Sculpture, as well as Art Omi. Recent exhibitions include a performance at The Whitney Museum of Art, The Queens International, Perimeter Gallery in Belfast, The Forward Union Fair, and many others. 


Jo Shane’s work is an amalgam of found, archived and manipulated objects that reference safety, sustainability, nurturing and consumption, through both a personal and political lens — aiming to elicit a visceral and discursive response. Jo Shane has shown widely nationally and internationally, including a recent solo exhibition at 11 W 30th Projects in New York, and group exhibitions at Milk Gallery and BHQFU in New York, Franklin Parrasch Gallery New York, The Pera Museum in Istanbul, The Centro de Arte de Sevilla in Sevilla, Spain, and White Columns in New York. 


Branden’s works are conglomerates of materials that hold a multitude of prior functions and identities. Through a process of collecting, dismembering, and hand-sewing, his pieces emerge into large-scale graphic textile collages. Branden’s homes, including his current environment in New York City, and his childhood home in Northeast Ohio, greatly impact the aesthetics and sensitivities present in his works. Sam Branden holds a BFA from The Columbus College of Art & Design, and has exhibited nationally, including a solo show at Quality Gallery in Oakland, and shows at No Place Gallery in Columbus, and Space Heater Gallery in New York, Scott Charmin Gallery in Houston, among others. 




Saturday April 28th through early July 2018

Three Times in a Row is an exhibition of artists whose work centers around aspects of underrepresented youth. The works on view hint at memorabilia, and the capitalized appropriation of the creation and content that originate in these youths’ communities. Each artist points at the dangers of misunderstanding this reality. At this pressing time, we are reminded of the urgency of American gun violence, and how many young lives have been stolen or unfairly changed. Through their various media, artists Cameron Granger, Cheryl Pope, Elliot Purse, and Cameron Welch make respective bridges across this gulf of what has been taken. Their work marks this conversation — which must maintain a central space in a united youth culture. 

There will be a pre-opening discussion amongst the artists, and Rodney Lucas - the host of the short VICE documentary ‘The Children Treating Gunshot Wounds on Chicago’s South Side.’ This documentary follows UJIMAA MEDICS, the teachers, the students, and their mission.

UJIMAA MEDICS is a group of Black community members (teenagers, medical care workers, activists, pastors, professionals) in Chicago who offer training in emergency first response medicine, as well as crisis management, to people who live in the neighborhoods where shootings often occur. 

In honor of the young people who are spreading this vital and life-saving information, the opening and closing of this exhibition will serve as a fundraiser for UJIMAA MEDICS. 25% of bar sales will be donated.

Additionally, throughout the exhibition, a series of signed artist posters are available for sale. The posters are on view in tangent with the exhibition. Each poster is $25, and the proceeds go to UJIMAA MEDICS. 

*The title 'Three Times in a Row' is taken from the peom 'Instructions for Stopping' by Dana Levin.



BEVERLY'S at The Material Art Fair in Mexico City

February 8-11, 2018 Frontón Mexico, Mexico DF

with work by: Azikiwe Mohammed, Stina Puotinen, Anthony Angleró, Sean Fader, Aya Rodriguez-Izumi, Alva Calymayor, Mark Pieterson, Leah Dixon, Katherine Aungier, Siebren Versteeg - with performances by Sean Fader and #wishingpelt, Betty, Danny Castaneda


BEVERLY'S celebrates Five Years of Good Weather in North Little Rock, AR on December 2nd, 2017

In collaboration with our friends at Good Weather in North Little Rock, Arkansas - BEVERLY'S is programming an installation and party featuring artworks by COLIN TOM and ROSE NESTLER, with a DJ set by ARIELE MAX.

On December 2nd, 2017 Good Weather will be presenting its final show in its current space, before solidifying plans for a permanent space that will serve as an institutional cornerstone of the Little Rock arts community. BEVERLY'S is honored to be co-hosting this event with Good Weather, and we look forward to their very exciting future.



Natalie baxter / Rose Nestler / Franklin Cain-borgers / samuel chun / Carrick Bell / Michael Ruglio-misurell / drea cofield / mark joshua-epstein / mark pieterson / aya rodriguez-izumi / anthony angleró / sean fader / Pamela council / Andrew jilka / CARRIE ELSTON TUNICK / ELISE MCMAHON / cecilia salama / corey riddell / scott goodman / Philip Ashley / Alva calymayor / Elizabeth Ferry / chris domenick / Josep Maynou / Stina Puotinen / Alison Kuo / Azikiwe Mohammed / Ben Dowell / Martin Roth / Alan Gutierrez / Pik-Shuen Fung / Roarke Menzies / Juliana Cerquiera-Leite / Jennifer McDermott / Laura Miller / Susannah Dotson / Alana Lake / Jayson Musson / Phoebe Berglund / Jonathan Durham / Arjun Srivatsa / Sophie Parker / John Szlasa / Hein Koh / Fredman Barahona / Marvin Touré / Santiago Taccetti / Natalie Häusler / Christopher Rivera / Steve Mykietyn / Chris Held / Roxanne Jackson / Graham Hamilton / Greem Jellyfish / Ann Greene Kelly / Aakash Nibalani / Andrew Ross / Esther Ruiz / Jesse Stead / Lauren Elizabeth Panichelli / Lex Brown / Leah Dixon / Stephen McClintock / Colin Tom / Cameron Welch / Dan Conway / Chris Herity / Edward Salas / Alex Rapine / Alex Kellogg / Zach Bruder / Sharona Eliassaf / Scott Indrisek / Emily Weiner / Christopher Martino / Dani Zorzy / Irena Jurek / Natalie Colette Wood / Visakh Menon / Jesse Greenberg / Andrea McGinty / Ash Ferlito / Alejandro Guzman / Amy Ruhl / Matt Taber / Michael Assiff / Zachary Fabri / Dolly Faibyshev / Loney Abrams / Jonathan Stanish / Katherine Aungier / Nicholas Moenich / Simon Chung / Cristina Tufiño / Ben Pederson / Artie Vierkant / Josh Citarella / Robin Cameron / Alli Miller / Emet Sosna / Tyrome Tripoli / Marlous Borm / Benjamin Phelan / Christian Sampson / Theodore Sefcik / Siebren Versteeg / Barnett Cohen / Christian Lord / Daniel Feinberg / Hugo Montoya / PJ Rountree / Misael Soto / Amanda Wong / CJ Brazelton / Alta Buden / Erin Jones / Seldon Yuan / Zach Malfa-Kowalski / Em Rooney / Trish Tillman / Clare Torina / Nat Ward / Williamson Brasfield





ARTSPACE, 'Co-Founder Leah Dixon on Making Beverly's a Safe Space for the Art World' Loney Abrams, March 2017

The New Yorker, 'Electro Sets and Well-Curated Art' Nicholas Niarchos, December 2016