Since her residency at the Kohler Arts Center in 1991, Ann Agee’s (b. 1959) practice has focused on replicating objects by hand, a process employed to simulate mass production and engage ambiguous delineations between fine art, design, and craft; histories of cultural appropriation and exchange; and the range of women’s lived experiences. Honing and developing her Madonnas of the Girl Child sculptures over the course of the last five years, Agee has expanded the series in both number and scale, invoking a new sense of monumentality. Together, her sculptures form a landscape of color, pattern, and technique, showcasing both her mastery of the medium and her ongoing experimentation. Her work has been included in notable group exhibitions, including: Bad Girls (1994), New Museum, NY; Dirt on Delight (2009), Institute of Contemporary Art, PA, and the Walker Art Center, MN; Conversations in Clay (2008), Katonah Art Museum, NY; and To Begin Again: Artists and Childhood (2022), Institute of Contemporary Art, Boston, MA. Her works are included in the permanent collection of institutions including the Brooklyn Museum of Art, New York, NY; Philadelphia Museum of Art, Philadelphia, PA; RISD Art Museum, Providence, RI; Los Angeles County Museum of Art, Los Angeles, CA; Henry Art Museum, Seattle, WA; the Kohler Art Center, Sheboygan, WI; and the Museum of Contemporary Art North Miami, Miami, FL.

Ishi Glinsky (b. 1982) grounds his multidisciplinary practice in an exploration of the traditions of his tribe, the Tohono O’odham Nation, as well as other North American First Nations. Working in a variety of media, including painting, drawing, and sculpture, Glinsky honors Indigenous histories by creating contemporary tributes to sacred practices, subsequently integrating the past with the present. “My work is a visual retelling of the beauty and at times a horrific side of ‘history,’” states Glinsky. “Moments in time or artifacts are filtered through my work as a concept in hopes to provide a new platform for observation.” Glinsky lives and works in Los Angeles, CA. He has presented solo exhibitions at Chris Sharp Gallery, Los Angeles, CA; Visions West, Denver, CO; These Days, Los Angeles, CA; Open Studio, Tokyo, Japan; Four Corners Gallery at Tucson Desert Art Museum, Tucson, AZ; Thvm Studios, Los Angeles, CA; and BPMW, Los Angeles, CA. In 2022, Glinsky presented his first institutional survey, Upon A Jagged Maze, curated by Gabriel Ritter, at The Art, Design & Architecture Museum at UC Santa Barbara, CA. His work is currently on view in Indian Theater: Native Performance, Art, and Self-Determination since 1969 at the Hessel Museum of Art, Bard College, Annandale-On-Hudson, NY and Made in LA, 2023: Acts of Living, at the Hammer Museum, Los Angeles, CA. Glinsky’s first solo exhibition with the gallery will open in fall 2024. 

Hortensia Mi Kafchin (b. 1986) imbues a highly classical painting style with her own mythologies, fairytales, and belief systems, and her avatars traverse time, space, and reality to reach states of self-transformation and liberation. Hybridity, a central tenet of Kafchin’s practice, is innately tied not only to her transition from male to female, but also to her upbringing in post-Communist Romania in which an influx of Western culture intertwined with deeply rooted Eastern Orthodoxy and Medieval traditions. In works such as Future Self, 2023, Kafchin explores the anxiety associated with undergoing plastic surgery but also aims to de-stigmatize it, viewing plastic surgery instead as a natural progression of human evolution. She lives and works in Cluj, Romania, and Berlin, Germany. Her work can be found in collections including the Centre Pompidou, Paris, FR; Collection Deutsche Telekom, Bonn, DE; and the Ludwig Museum, Köln, DE. Kafchin has presented solo exhibitions at the National Museum of Contemporary Art, Bucharest, RO; Galerie Judin, Berlin, DE; Nicodim Gallery, Los Angeles, CA; Art Encounters Foundation, Timișoara, RO; Lyles & King, New York, NY; Museum of Art, Cluj, RO, among others. Kafchin has also taken part in group exhibitions at the Centre Pompidou, Paris, FR; New Museum, New York, NY; Austrian Museum of Applied Arts, Vienna, AT; Prague Biennale, Prague, CZ; La Kunsthalle Mulhouse, Paris, FR; La Triennale, Paris, FR; Espace Louis Vuitton, Paris, FR, among others. Years of Bad Hair, Kafchin’s first exhibition with the gallery, was on view in May 2023.

Combining sculpture, painting, performative acts, and installation, Guadalupe Maravilla (b. 1976) grounds his transdisciplinary practice in activism and healing. Engaging a wide variety of visual cultures, Maravilla’s work is autobiographical, referencing his unaccompanied, undocumented migration to the United States due to the Salvadoran Civil War. Across all media, Maravilla explores how the systemic abuse of immigrants physically manifests in the body, reflecting on his own battle with cancer. Maravilla received his BFA from the School of Visual Arts and his MFA from Hunter College in New York. His work is in the permanent collections of the Museum of Modern Art, New York, NY; Solomon R. Guggenheim Museum, New York, NY; Whitney Museum of American Art, New York, NY; Museo Nacional Centro de Arte Reina Sofía, Madrid, Spain; Institute of Contemporary Art, Miami, FL; Brooklyn Museum, Brooklyn, NY; Hirshhorn Museum, Washington, DC; Peréz Art Museum, Miami, FL; San Francisco Museum of Modern Art, San Francisco, CA; and Blanton Museum of Art, Austin, TX, among others. He has presented solo exhibitions at the Museum of Modern Art, New York, NY; Brooklyn Museum, Brooklyn, NY; Museum of Contemporary Art, Denver, CO; Henie Onstad Kunstsenter, Oslo, Norway; Socrates Sculpture Park, New York, NY; P·P·O·W, New York, NY; the Institute of Contemporary Art, Miami, FL, among others. Guadalupe Maravilla: Mariposa Relámpago, a solo exhibition featuring a newly commissioned immersive installation at the Institute of Contemporary Art, Boston’s Watershed, was on view from May 25 - September 4, 2023. In a multi-year tour, Mariposa Relámpago will travel to venues across Texas beginning with Ballroom Marfa, November 3, 2023 - March 30, 2024; the Contemporary Austin, opening April 4, 2024; and The Blaffer Museum of Art opening November 2024. Maravilla’s second solo exhibition at P·P·O·W will open in March 2024.  

Pat Phillips' (b. 1987) paintings combine personal and historical imagery into surreal juxtapositions. Meditating on complex questions of race, class, labor, and a militarized culture, Phillips creates imagery drawn from his lived experience. Growing up primarily in a small town in Louisiana, Phillips found his way to art through painting and photographing boxcars. He embraces this entry point, creating paintings that discuss Americana subculture and current social and political threads. Shown for the first time, Roasted Kaepernick Jersey (Scouts Honor), 2020, is a monumental portrayal of the burning of NFL football player Colin Kaepernick’s jersey after he took the knee on the field in protest of police brutality in 2016. In the background a line of identical hands rise in a three-finger salute, a gesture synonymous with the Boy Scouts of America. Phillips’ imagery often operates as doubles. What may appear as a wholesome campfire can also be read as the bonfire of an angry mob. Is Ranger Smith’s hand gesture an innocuous “okey-doke” or is it a coopted symbol for White Power? On the far left of the composition a writhing Liberty Bell nods to Phillips’ experiences living in Philadelphia during the height of Black Lives Matter protests. Together, these symbols reveal the dangerous hypocrisy behind American ideals of liberty, freedom, and democracy. Phillips’ work was featured in the 2019 Whitney Biennial at the Whitney Museum of American Art, New York, NY. He has presented solo exhibitions at Jeffrey Deitch, New York, NY; M+B Gallery, Los Angeles, CA; Catinca Tabacaru Gallery, New York, NY; Antenna Gallery, New Orleans, LA; Masur Museum of Art, Monroe, LA; among others. His work can be found in the collections of the Whitney Museum of American Art, New York, NY; Buffalo AKG Art Museum, Buffalo, NY; Block Museum of Art, Evanston, IL; and New Orleans Museum of Art, New Orleans, LA, among others. Phillips’ first exhibition at P·P·O·W will open in May 2024.

mosie romney (b. 1994) uses painting as a portal through which to explore themes of self-perception and polychronic time. A worldbuilder informed by a background in set design and puppetry, romney stages fantasy worlds which disrupt our notions of nostalgia, memory, the archive, time, the past and the present. In their 2022 BOMB Magazine interview with Ben Fama, romney stated “I’ve been thinking about visibility and its complications, the satisfaction and limited subjectivity of seeing and being seen.” They received their BFA in Visual Art from SUNY Purchase in 2016 and have completed residencies with the Home School, Hudson, NY; Pocoapoco, Oaxaca City, MX; Painters Painting Paintings, Amsterdam, Netherlands; and Mahler & LeWitt Studios, Spoleto, Italy, among others. Their work is in the permanent collections of the Institute of Contemporary Art, Miami, FL; Pond Society, Shanghai, China; the Studio Museum in Harlem, New York, NY; and the Yuz Museum, Shanghai, China. romney’s work has been included in exhibitions at White Columns, New York, NY; Nicodim, Bucharest, RO, Los Angeles, CA, and New York, NY; Greene Naftali, New York, NY; Gern en Regalia, New York, NY; Almine Rech, London, UK, and New York, NY; Rachel Uffner Gallery, New York, NY; Fine Arts Center Gallery at University of Arkansas, Fayetteville, AR; and Luce Gallery, New York, NY, among others. Their work has been featured in articles in BOMB Magazine, Hyperallergic, The Brooklyn Rail, T Magazine, and Juxtapoz, among others.  

A “documenter of the constellation of social life,” Martin Wong (1946-1999) developed innovative approaches to technique and form, creating rich surfaces and intricate details from astrology, architectural space, and various modes of language. Wong was born in Portland, Oregon and raised in San Francisco, California. After moving to Manhattan’s Lower East Side (Loisaida) in the early 1980s, Martin Wong began painting the figures and buildings that were visibly at-hand, carving out an iconic form of figuration by meticulously rendering the brick facades of the buildings that comprised the neighborhood. Wong would come to push this brick motif to its extremes, and one of the most impressive examples can be seen in the “Pop-eye” series in which the artist composed the recognizable character entirely of bricks. Never exhibited during his lifetime, Pop-eye stands as visual testament to the artist’s skillful blending of pop cultural iconography and social realist messaging, placing the well-known cartoon image inside the graphics of the urban environment. Wong exhibited for two decades at notable downtown galleries including EXIT ART, Semaphore, and P·P·O·W, among others, before his passing in San Francisco from an AIDS related illness. His work is represented in the collections of The Metropolitan Museum of Art, New York, NY; Museum of Modern Art, New York, NY; The Bronx Museum of the Arts, New York, NY; Whitney Museum of American Art, New York, NY; Cleveland Museum of Art, Cleveland, OH; Art Institute of Chicago, Chicago, IL; and the San Francisco Museum of Modern Art, San Francisco, CA, among others. Human Instamatic, a comprehensive retrospective, opened at the Bronx Museum of The Arts in November 2015, before traveling to the Wexner Center for the Arts in 2016 and the UC Berkeley Art Museum and Pacific Film Archive in 2017. In late 2022, the first extensive, touring exhibition of Wong’s work in Europe, Martin Wong: Malicious Mischief, debuted at the Centro de Arte Dos de Mayo in Madrid, before travelling to the KW Institute for Contemporary Art in Berlin, and the Camden Art Centre in London. Curated by Krist Gruijthuijsen and Agustín Pérez-Rubio, the final leg of the exhibition is currently on view at the Stedelijk Museum, Amsterdam, until April 2024. P·P·O·W will present an exhibition featuring Wong’s work in dialogue with Canadian artist Paul P. in spring 2024.