PRICKLING GOOSEBUMPS & A HUMMING HORIZON
9 NOVEMBER 2023 – 13 JANUARY 2024
NEW YORK, 22ND STREET
DRIFTING HABITATIONS
9 NOVEMBER 2023 – 13 JANUARY 2024
NEW YORK, 22ND STREET
PINTURA SIN MUROS
9 NOVEMBER 2023 – 13 JANUARY 2024
NEW YORK, 22ND STREET

PRICKLING GOOSEBUMPS & A HUMMING HORIZON
9 NOVEMBER 2023 – 13 JANUARY 2024
NEW YORK, 22ND STREET
DRIFTING HABITATIONS
9 NOVEMBER 2023 – 13 JANUARY 2024
NEW YORK, 22ND STREET
PINTURA SIN MUROS
9 NOVEMBER 2023 – 13 JANUARY 2024
NEW YORK, 22ND STREET
52 Walker’s latest exhibition, 52 HARDWAY, is less a show than an eruption—a collision between wrestling’s raw theatricality and the slow-burn spectacle of contemporary art.
On a quiet Sunday morning at the Musée du Louvre in Paris, an audacious daylight raid pierced the museum’s calm. At roughly 9:30 a.m., four masked figures entered the Galerie d’Apollon — the museum’s richly gilded space devoted to the French crown jewels — and in less than seven minutes made off with eight of its most prized ornaments.
Here, the Thomas Dane booth felt like a microcosm of the fair itself — expansive in ambition, generous in range, yet threaded by a consistent curatorial temperament. With artists from Hurvin Anderson’s quietly vivid interiors and figuration to Anya Gallaccio’s elemental installations, the space accommodated a layered conversation between abstraction, embodied presence, and materiality.
Ben Brown’s stand reads like a small museum of modern restlessness. Lalanne’s sheep graze in an impossible meadow of postwar masterpieces—Gerhard Richter’s precision meets Warhol’s gloss, while Boetti’s order confronts Polke’s chaos.
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