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Greene Naftali

@greenenaftali

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#richardhawkins #brandonndife #lubainahimid #ariadean #walterprice #helenmarten #simonefattal #justincaguiat #steffanijemison #artbaselparis

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👀 A first look at Lubaina Himid's Predicting History: Testing Translation at the 61st International Art Exhibition @la_biennale 👀 Lubaina Himid’s newly commissioned work meditates on the nature of belonging and the place we call home. The installation – with a soundscape created in collaboration with @magda_stawarska centres on five multi-panel paintings of industrious figures in surreal settings, each grappling with how to adapt to an unfamiliar place. The title characters in Architects, Tailors, Chefs, Boatbuilders and Gardeners talk intently to one another, working through the practical and creative challenges of adapting to a new environment. 🔗 Find out more in the link in bio. 📹: @zqfilm #BritishPavilion #LubainaHimid #PredictingHistoryTestingTranslation #VeniceBiennale British Pavilion Artist 2026: Lubaina Himid (@lubainapics) Shane Akeroyd Associate Curator: Ese Onojeruo (@ese_onojeruo) Soundscape created in collaboration with Magda Stawarska (@magda_stawarska) Thanks to our major partner @artfund, our supporting partners @friezeofficial and @corkstreetgalleries, our commission supporters @henrymoorefdn_gardens, Girlfriend Fund, and @rothschildfoundationofficial, and our digital partner @bloombergdotorg. @hollybush_gardens @greenenaftali @t_e_m_p_l_o 05 May 2026

Tomorrow | RICHARD HAWKINS: 𝘗𝘰𝘵𝘦𝘯𝘵𝘪𝘢𝘭𝘪𝘵𝘪𝘦𝘴 Book Launch & Screening Saturday, November 14 | 4–6 PM Greene Naftali, Ground Floor Screening through duration of event: Richard Hawkins, 𝘉𝘢𝘤𝘰𝘯 𝘉𝘦𝘢𝘴𝘵, 2025 Published on the occasion of a major survey organized by Kunsthalle Wien, Vienna and Kestner Gesellschaft, Hannover, 𝘙𝘪𝘤𝘩𝘢𝘳𝘥 𝘏𝘢𝘸𝘬𝘪𝘯𝘴: 𝘗𝘰𝘵𝘦𝘯𝘵𝘪𝘢𝘭𝘪𝘵𝘪𝘦𝘴 documents painting, collage, sculpture and video produced between 2000 and 2025. Edited by curators Michelle Cotton and Eva Birkenstock, this monograph includes essays by Rhea Anastas, Annie Ochmanek and Kristian Vistrup Madsen as well as an interview with the artist by Bruce Hainley. All texts are in English with German translations. To learn more, visit www.greenenaftaligallery.com Pictured: Richard Hawkins, 𝘉𝘢𝘤𝘰𝘯 𝘉𝘦𝘢𝘴𝘵, 2025 (still; detail) #RichardHawkins 13 Nov 2026

BRANDON NDIFE: 𝘋𝘳𝘰𝘱 𝘗𝘪𝘯 Speed Art Museum, Louisville Nov 13, 2026 – Feb 21, 2027 BRANDON NDIFE’s forthcoming solo exhibition, 𝘋𝘳𝘰𝘱 𝘗𝘪𝘯, explores notions of the public and the private through a dialogue between fragments of the built environment and domestic furniture. Drawing on his upbringing in Louisville, the exhibition examines the intersection of municipal infrastructure, ecology, and interior architecture. The exhibition is organized by Diallo Simon-Ponte, Sam Gilliam Assistant Curator of Artist Programs, Speed Art Museum. 𝘉𝘳𝘢𝘯𝘥𝘰𝘯 𝘕𝘥𝘪𝘧𝘦’𝘴 𝘸𝘰𝘳𝘬 𝘤𝘳𝘪𝘵𝘪𝘲𝘶𝘦𝘴 𝘢𝘯𝘥 𝘳𝘦𝘤𝘰𝘮𝘱𝘰𝘴𝘦𝘴 𝘵𝘩𝘦 𝘳𝘦𝘢𝘥𝘺-𝘮𝘢𝘥𝘦, 𝘭𝘢𝘺𝘪𝘯𝘨 𝘣𝘢𝘳𝘦 𝘮𝘢𝘴𝘴-𝘱𝘳𝘰𝘥𝘶𝘤𝘦𝘥 𝘥𝘰𝘮𝘦𝘴𝘵𝘪𝘤 𝘰𝘣𝘫𝘦𝘤𝘵𝘴 𝘣𝘺 𝘧𝘶𝘴𝘪𝘯𝘨 𝘵𝘩𝘦𝘮 𝘸𝘪𝘵𝘩 𝘩𝘢𝘯𝘥𝘮𝘢𝘥𝘦 𝘰𝘳 𝘯𝘢𝘵𝘶𝘳𝘢𝘭𝘭𝘺 𝘰𝘤𝘤𝘶𝘳𝘳𝘪𝘯𝘨 𝘰𝘣𝘫𝘦𝘤𝘵𝘴. 𝘕𝘥𝘪𝘧𝘦 𝘨𝘦𝘴𝘵𝘶𝘳𝘦𝘴 𝘵𝘰𝘸𝘢𝘳𝘥 𝘥𝘦𝘤𝘢𝘺, 𝘨𝘳𝘰𝘸𝘵𝘩 𝘢𝘯𝘥 𝘵𝘩𝘦 𝘪𝘯𝘥𝘰𝘮𝘪𝘵𝘢𝘣𝘭𝘦 𝘤𝘩𝘢𝘳𝘢𝘤𝘵𝘦𝘳 𝘰𝘧 𝘵𝘩𝘦 𝘦𝘯𝘷𝘪𝘳𝘰𝘯𝘮𝘦𝘯𝘵 𝘸𝘪𝘵𝘩 𝘩𝘪𝘴 𝘴𝘤𝘶𝘭𝘱𝘵𝘶𝘳𝘦𝘴, 𝘴𝘰𝘮𝘦 𝘰𝘧 𝘸𝘩𝘪𝘤𝘩 𝘩𝘢𝘷𝘦 𝘷𝘪𝘯𝘦𝘴, 𝘴𝘦𝘦𝘥𝘴 𝘢𝘯𝘥 𝘰𝘵𝘩𝘦𝘳 𝘰𝘳𝘨𝘢𝘯𝘪𝘤 𝘮𝘢𝘵𝘵𝘦𝘳 𝘴𝘵𝘦𝘢𝘥𝘪𝘭𝘺 𝘱𝘶𝘴𝘩𝘪𝘯𝘨 𝘵𝘩𝘦𝘪𝘳 𝘸𝘢𝘺 𝘵𝘩𝘳𝘰𝘶𝘨𝘩 𝘵𝘩𝘦 𝘦𝘮𝘱𝘵𝘺 𝘴𝘱𝘢𝘤𝘦𝘴. — @nytimes Pictured: Portraits of Brandon Ndife by Kenyatta Bosman. Courtesy the Speed Art Museum, Louisville #BrandonNdife 05 Nov 2026

𝘗𝘈𝘓𝘈𝘊𝘌 𝘖𝘍 𝘋𝘌𝘚𝘐𝘙𝘌 | Opens Nov 12, 6–8 PM Greene Naftali, Ground Floor KAMROOZ ARAM TOLIA ASTAKHISHVILI SULEMAN AQEEL KHILJI JUSTIN CAGUIAT THẢO NGUYÊN PHAN SOPHIA AL-MARIA & LYDIA OURAHMANE MARINA XENOFONTOS Pictured: Kamrooz Aram, 𝘜𝘯𝘵𝘪𝘵𝘭𝘦𝘥 (𝘛𝘦𝘮𝘱𝘦𝘳𝘦𝘥 𝘈𝘳𝘢𝘣𝘦𝘴𝘲𝘶𝘦), 2023. Oil, oil crayon, and pencil on linen, 60 x 66 in (152 x 168 cm). Courtesy the artist; Alexander Gray Associates, New York; and Green Art Gallery, Dubai 03 Nov 2026

LUBAINA HIMID | 𝘓𝘰𝘸 𝘒𝘦𝘺 𝘚𝘩𝘳𝘪𝘯𝘦𝘴: 𝘍𝘳𝘦𝘯𝘤𝘩 𝘗𝘢𝘪𝘯𝘵𝘪𝘯𝘨𝘴 𝘢𝘯𝘥 𝘎𝘦𝘳𝘮𝘢𝘯 𝘊𝘦𝘳𝘢𝘮𝘪𝘤𝘴 Opens November 12, 6–8 PM Greene Naftali, 8th Floor Lubaina Himid has spent five decades making art to subvert the logic of the monument, granting the dignity of depiction to those otherwise elided from the historical record. A vanguard of the Black Arts Movement in the 1980s, Himid is among Britain’s most celebrated artists and its 2026 representative to the Venice Biennale. 𝘓𝘰𝘸 𝘒𝘦𝘺 𝘚𝘩𝘳𝘪𝘯𝘦𝘴 presents a new body of work that examines the act of commemoration, reinventing the public landmarks and domestic altars we erect to honor the dead. Pictured: Lubaina Himid, 𝘏𝘦𝘳𝘰𝘪𝘤 𝘔𝘪𝘴𝘵𝘢𝘬𝘦𝘴, 2026. Acrylic on linen, 40 1/8 x 56 3/4 in (102 x 144 cm) #LubainaHimid 30 Oct 2026

ARIA DEAN & WALTER PRICE in 𝘏𝘢𝘳𝘥 𝘈𝘳𝘵 at MoMA PS1 Opens November 5, 2026 From the museum: “This fall, MoMA PS1 will present 𝘏𝘢𝘳𝘥 𝘈𝘳𝘵, a major exhibition that examines the legacy of abstract painting by Black artists in the US from 1969 to today. Hard Art features over forty artists and juxtaposes historical paintings by practitioners who came to prominence in the 1970s with recent conceptually driven practices that incorporate sculpture, video, sound, and painting. Together, these cross-generational conversations emphasize the enduring relevance and increasing urgency of abstraction in shaping the current political imaginary. The exhibition’s title derives from Peter Bradley’s description of The DeLuxe Show, which leveraged abstraction’s perceived opacity and complexity as a prompt for deepened engagement with art. 𝘏𝘢𝘳𝘥 𝘈𝘳𝘵 is organized by Connie Butler, The Agnes Gund Director of MoMA PS1, with Sheldon Gooch, Curatorial Assistant and support from June Kitahara, Research Assistant. The exhibition is accompanied by a fully illustrated publication featuring essays by Connie Butler, ARIA DEAN, Jessica Bell Brown, Torkwase Dyson, Rindon Johnson, and Erich Kessel, among other contributors.” Pictured: Walter Price, “𝘞𝘦 𝘬𝘦𝘱𝘵 𝘩𝘰𝘭𝘥𝘪𝘯𝘨 𝘰𝘯 𝘭𝘪𝘬𝘦 𝘸𝘦 𝘤𝘢𝘭𝘭𝘦𝘥 𝘵𝘩𝘦 𝘤𝘢𝘭𝘭 𝘣𝘢𝘤𝘬 𝘤𝘦𝘯𝘵𝘦𝘳”, 2024. Acrylic and gesso on canvas, 77 x 88 inches (196 x 224 cm); Aria Dean, 𝘍𝘐𝘎𝘜𝘙𝘌 𝘈, 𝘍𝘳𝘪𝘦𝘴𝘪𝘢𝘯 𝘔𝘢𝘳𝘦, 2023. Polyurethane foam, paint, wood, 39 x 40 x 48 inches (99 x 102 x 122 cm) #AriaDean #WalterPrice 29 Oct 2026

HELEN MARTEN | 𝘔𝘶𝘥 𝘗𝘩𝘺𝘴𝘪𝘤𝘴 | Now in print Institut für Kunstkritik / Sternberg Press, London Compiled here for the first time, the selected writings of HELEN MARTEN probe the critical spaces between image and language, material subject and conceptual idea. Working across sculpture, painting, drawing, writing, and video, Marten has emerged as one of the leading voices of her generation, investigating how we exist within and retranslate the world around us. Driven by both informational logics and emotional heat, her object-making compels a peculiar engagement with language—its wounding or wailing power, its sly metamorphosis, its seduction. She explores this submerged side of materiality where dark intent lies, questioning the linguistic framework of theoretical doubt as the place where mistakes are embraced to become generative. With additional texts on fellow artists including Cady Noland, Sigmar Polke, Hervé Télémaque, Laura Owens, Matthew Barney, Charline von Heyl, and Lubaina Himid, Marten explores accumulative textual venture as an inventive mode of saturation. To preorder, visit www.greenenaftaligallery.com Softcover | 240 pages | $25 4 3/4 x 7 1/2 inches #HelenMarten 27 Oct 2026

SIMONE FATTAL: 𝘊𝘪𝘵𝘪𝘦𝘴 𝘢𝘵 𝘵𝘩𝘦 𝘣𝘰𝘵𝘵𝘰𝘮 𝘰𝘧 𝘢 𝘭𝘢𝘬𝘦 Musée d’Art Moderne, Paris On view through January 24, 2027 This fall the Musée d’Art Moderne, Paris presents a major exhibition dedicated to the work of Simone Fattal. 𝘊𝘪𝘵𝘪𝘦𝘴 𝘢𝘵 𝘵𝘩𝘦 𝘣𝘰𝘵𝘵𝘰𝘮 𝘰𝘧 𝘢 𝘭𝘢𝘬𝘦 offers a survey of the artist’s career through over one hundred works and mark her first monographic exhibition at a Paris museum. The exhibition traces more than fifty years of Fattal’s career, ranging from early landscape paintings to ceramics, collages, and bronzes. A catalogue produced in close collaboration with Fattal will accompany the exhibition. Alongside the extensive imagery, it features original texts—including a contribution by Penelope Curtis, former director of Tate Britain—as well as a text and biography by the artist herself. The exhibition is curated by Jessica Castex. To learn more, visit @museedartmodernedeparis Pictured: Simone Fattal, installation view, 𝘊𝘪𝘵𝘪𝘦𝘴 𝘢𝘵 𝘵𝘩𝘦 𝘣𝘰𝘵𝘵𝘰𝘮 𝘰𝘧 𝘢 𝘭𝘢𝘬𝘦, Musée d’Art Moderne, Paris, 2026. Courtesy the artist; MAM Paris; Greene Naftali, New York; and kaufmann repetto, Milan and New York. Photo: Nicolas Borel #SimoneFattal 22 Oct 2026

JUSTIN CAGUIAT: 𝘊𝘩𝘢𝘯𝘨𝘦 𝘙𝘪𝘯𝘨𝘪𝘯𝘨 Serpentine South, London On view through January 10, 2027 The first UK institutional exhibition of new and recent works by Justin Caguiat, 𝘊𝘩𝘢𝘯𝘨𝘦 𝘙𝘪𝘯𝘨𝘪𝘯𝘨, brings together painting, sculpture, printmaking, sound and film. The artist engages with the gallery beyond its interiority, using the architecture and infrastructure of the Serpentine South building to frame and display his artworks. Justin Caguiat: 𝘊𝘩𝘢𝘯𝘨𝘦 𝘙𝘪𝘯𝘨𝘪𝘯𝘨 is curated by Hans Ulrich Obrist, Artistic Director and Natalia Grabowska, Curator at Large, Architecture and Site-specific Projects, with Alexa Chow, Assistant Exhibitions Curator. 𝘡𝘰𝘥𝘪𝘢𝘤 𝘔𝘢𝘤𝘩𝘪𝘯𝘦, organized by La Fundación Sandretto Re Rebaudengo in Madrid, was curated by Hans Ulrich Obrist and produced by Isabela Mora. Pictured: Justin Caguiat, 𝘊𝘩𝘢𝘯𝘨𝘦 𝘙𝘪𝘯𝘨𝘪𝘯𝘨, installation view, Serpentine South, 2026. Courtesy Serpentine, London. Photo: George Darrell #JustinCaguiat 21 Oct 2026

Tonight | STEFFANI JEMISON receives 2026 CARA Legacy Award October 15, 2026 | 6:30 PM Center for Art, Research and Alliances New York For the fourth annual Fall Feast & Legacy Awards, CARA will be honoring STEFFANI JEMISON and Joan Shigekawa for their enduring contributions to art. CARA’s annual Fall Feast & Legacy Awards celebrate artists, collaborators, patrons, and friends while raising critical funds for their field-expanding work across research, publishing, exhibitions, fellowships, and public programs. Presented each year at the Feast, CARA Legacy Awards honor two artists or arts advocates whose practices have meaningfully shaped how art, history, and culture are understood, experienced, and shared. Each recipient receives an unrestricted grant in support of their ongoing work and legacy. To learn more and to purchase a ticket, please visit @cara_the_org Pictured: Steffani Jemison and collaborators Sam Newsome and Tyrone S. Palmer, 𝘞𝘪𝘯𝘥𝘴, 2026 (performance view, 𝘛𝘩𝘦 𝘌𝘢𝘳𝘵𝘩, 𝘵𝘩𝘦 𝘍𝘪𝘳𝘦, 𝘵𝘩𝘦 𝘞𝘢𝘵𝘦𝘳, 𝘢𝘯𝘥 𝘵𝘩𝘦 𝘞𝘪𝘯𝘥𝘴: 𝘍𝘰𝘳 𝘢 𝘔𝘶𝘴𝘦𝘶𝘮 𝘰𝘧 𝘌𝘳𝘳𝘢𝘯𝘵𝘳𝘺 𝘸𝘪𝘵𝘩 𝘌𝘥𝘰𝘶𝘢𝘳𝘥 𝘎𝘭𝘪𝘴𝘴𝘢𝘯𝘵, CARA, New York, 2026). Photo: Destiny Mata. Courtesy CARA, New York #SteffaniJemison 15 Oct 2026

ART BASEL PARIS 2026 | Greene Naftali | Booth C11 Preview days: October 21 – 22 Public days: October 23 – 25 Artists presented: MONIKA BAER JULIE BECKER CORA COHEN TONY CONRAD ARIA DEAN DAVID DIAO SIMONE FATTAL RACHEL HARRISON LUBAINA HIMID JACQUELINE HUMPHRIES HANNA HUR DOMINIQUE KNOWLES PAUL P. WALTER PRICE KATHARINA WULFF For more information on the fair, visit @artbasel Pictured: Lubaina Himid, Woman in a Petal Drawer, 2026; Rachel Harrison, Absent Greek Figure, 2009 (detail); Dominique Knowles, My Beloved, 2026; Simone Fattal, Humbaba, 2026; Hanna Hur, Quad xi, 2026; Walter Price, It has to rain before you can see where all the leaks are at, 2026 (detail) #ArtBaselParis 15 Oct 2026

Greene Naftali is pleased to announce representation of HANNA HUR Hanna Hur’s absorbing compositions hinge on the constancy of the grid, transformed through prolonged encounter from static matrix to embodied event. “Where do images come from,” she asks—less a question than a kind of summons. “Repetitive gesture becomes a petitioning of the gods for the image to come near.” In an essay that accompanies Hur’s first solo exhibition at Greene Naftali, Daniel Marcus details her approach to painting “as ‘an act of submission’ . . . testing her capacity (and ours as well) to bear the burden of its mystery.” Hur’s rhythmic grounds are plotted with rectilinear grids, coupling the biomorphic and geometric modes that abstraction tends to cleave apart. What looks immaculate from a distance begins to waver on close inspection—the drag of pencil against the tooth of raw canvas divulging the hand at work. The final layer belongs to the image, which the discipline of patterning brings to light. Hur situates individual paintings within large-scale installations which charge the space between them, grounding their visions in the spatial coordinates of a given architecture. To stand before these works is thus to occupy the threshold state that attends their making, poised between material fact and revelation. Hanna Hur (b. 1985, Toronto) lives and works in New York. Her work was featured in 𝘔𝘢𝘥𝘦 𝘪𝘯 𝘓.𝘈. (2025–26) at the Hammer Museum, Los Angeles, and in group exhibitions at the ICA Los Angeles (2026, 2021); CAPC Bordeaux (2024); and the Aspen Art Museum (2022). Recent solo exhibitions have been held at Antenna Space, Shanghai (2026); Doosan Art Center, Seoul (2024); and Dracula’s Revenge, New York (2024). Her work is in the permanent collections of the Museum of Modern Art, New York; Museum of Contemporary Art, Los Angeles; and the Hammer Museum, Los Angeles. Pictured: Hanna Hur, 𝘘𝘶𝘢𝘥 𝘹𝘪, 2026. Acrylic, colored pencil and pigment on canvas, 80 x 76 in (203 x 193 cm) #HannaHur 13 Oct 2026

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DX8wpTokhza	👀 A first look at Lubaina Himid's Predicting His…
DfsSI-Tn9Xy	Tomorrow \| RICHARD HAWKINS: 𝘗𝘰𝘵𝘦𝘯𝘵𝘪𝘢𝘭𝘪𝘵𝘪𝘦𝘴 Book …
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shortcode	caption	likes	comments
DX8wpTokhza	👀 A first look at Lubaina Himid's Predicting His…
DfsSI-Tn9Xy	Tomorrow \| RICHARD HAWKINS: 𝘗𝘰𝘵𝘦𝘯𝘵𝘪𝘢𝘭𝘪𝘵𝘪𝘦𝘴 Book …
DfXcMijFi5C	BRANDON NDIFE: 𝘋𝘳𝘰𝘱 𝘗𝘪𝘯 Speed Art Museum, Louis…

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