Dinh Q. Lê (b. 1968) works in video, photography, sculpture, and installation, often interlacing fiction and memory, with narratives of conflict and dislocation. We will present The Multitudes, 360 View (2017) which addresses informal urban systems for signaling the availability of certain goods and services on the streets of Hà Tiên, Vietnam, the artist’s hometown. The use of disposable materials relating to a particular trade creates a portable, economical system of advertising, as well as enterprising self-reliance. A symbol of the dexterity of the Vietnamese people who have lived through war and poverty, this many-mirrored bicycle reveals Lê's admiration of the resilience and inventiveness of the people of Vietnam as shown in their everyday life. P·P·O·W will also present Fragile Springs (2012), a portfolio of 10 screen prints, appropriating iconic photojournalism from uprisings in Burma, Iran, Iraq, Libya, Thailand, Tibet, Tunisia, Ukraine, Vietnam, and Yemen. Lê participated in the 2013 Carnegie International at the Carnegie Museum of Art, PA, dOCUMENTA 13 in 2012; the 2009 Biennale Cuveê in Linz, Austria; the 2008 Singapore Biennale; and the 2006 Asia-Pacific Triennial of Contemporary Art, in Brisbane, Australia. His work has been exhibited at major institutions and international exhibitions including the Museum of Modern Art, NY; Carnegie Museum, PA; MoMA PS1, NY; the Museum of Contemporary Art, IL; The Museum of Fine Arts, TX; Tufts University Art Gallery, MA; and the Asia Society, NY, among many others. In 2010, he was awarded the Prince Claus Award for his outstanding contribution to cultural exchange. A major survey exhibition, Dinh Q. Lê: Memory for Tomorrow, was presented at the Mori Art Museum in Tokyo in 2015. Lê lives and works in Ho Chi Minh City, Vietnam, where he co-founded Sàn Art.

Carlos Motta (b. 1978) examines multicultural political histories of those oppressed for their sexuality and gender in projects that engage an array of media, including installation, video, photography, and sculpture. P·P·O·W will present works from Motta’s 1998 Untitled series of photographic self-portraits, which feature the artist performing fictive characters in eerily constructed landscapes. In these early photographs, Motta experiments with the representation of sexual alterity, the elasticity of identity, and the politics of difference, coinciding with the themes that he engages in his current practice. Motta’s work has been exhibited at the Tate Modern, London; the New Museum, the Guggenheim Museum, and MoMA/PS1, New York; the Institute of Contemporary Art, Philadelphia; the Museo de Arte del Banco de la República, Bogota; Serralves Museum, Porto; the Museu d’Art Contemporani, Barcelona; the National Museum of Contemporary Art, Athens; the Sala de Arte Público Siqueiros, Mexico; Castello di Rivoli, Turin; CCS Bard Hessel Museum of Art, Annandale-on-Hudson; San Francisco Art Institute; Hebbel am Ufer, Berlin; and X Lyon Biennale; among others. Motta was awarded the Main Prize of the Future Generation Award, Pinchuk Art Centre, Kiev in 2014 and nominated for a Guggenheim in 2008. He has received grants from Art Matters, NYSCA, and the Creative Capital Foundation. Motta lives and works in New York City and is a professor at Parsons, The New School of Design. As a member of the collective SPIT!, Motta will present a series of performances for Frieze Projects 2017. The Crossing, an 11-channel video installation, debuted at The Stedejlik Museum, Amsterdam in September 2017.

Betty Tompkins (b.1945) For the last forty years, Tompkins has created paintings, drawings and collages based on the tension of intimacy and representation of sexuality in monochromatic tones. P·P·O·W will be presenting new large-scale paintings alongside historical collages from the early-1970s; Tompkins’ vintage paintings will be featured in Sex Work: Radical Art and Feminist Politics in Frieze Masters, organized by independent curator and scholar Allison Gingeras. By subverting a genre typically associated with men’s pleasure and the submission of women, Tompkins reclaims the imagery often considered taboo, positioning the female body as a strong and powerful force. While much of Tompkins’ early work was under appreciated by contemporary art critics, her provocative and complex paintings have recently had a resurgence in recognition, and offer a timely response to current dialogues in feminism. Tompkins lives and works between New York, NY, and Pleasant Mount, PA. Recent solo exhibitions include Virgins, P·P·O·W, New York (2017); WOMEN Words, Phrases, and Stories, Flag Art Foundation, New York (2016); Sex Works/ WOMEN Words, Phrases and Stories, Gavlak Gallery, Los Angeles, CA (2016); Real Ersatz, FUG, The Bruce High Quality Foundation, New York (2015); Paintings & Works on Paper 1972-2013, Gavlak Gallery, Palm Beach, FL (2014); Fuck Paintings, Galerie Rodolphe Janssen, Brussels, Belgium (2012); New Work, Mitchell Algus Gallery, New York (2009). Tompkins’s work has also been featured in numerous group exhibitions, including Black Sheep Feminism: The Art of Sexual Politics, Dallas Contemporary, Dallas, Texas (2016); The Shell (LANDSCAPES, PORTRAITS & SHAPES), Almine Rech Gallery, Paris, France (2014); A Drawing Show, Matthew Marks Gallery, New York (2014); A Chromatic Loss, Bortolami Gallery, New York (2014); Sunset and Pussy, Marianne Boesky Gallery, New York (2013); Elles, Centre Pompidou, Paris (2011).