In his luminous and physiologically complex scenes, Kyle Dunn (b. 1990) explores power dynamics of gay relationships not often represented in visual culture. Intertwining autobiographical and fictional narratives within ambiguous and spatially deceptive environments drenched in eroticism and cinematic drama, Dunn uses humor and titillation to reflect upon how we reject or subconsciously reenact the expectations of masculinity, even privately amongst ourselves. Bathed dramatically in moonlight, the nude protagonist in Dunn’s Coat is reflected out at the viewer by the central mirror draped with a coat. Capturing a moment of insomnia-driven introspection, the reflection reveals the simultaneously defiant and insecure gaze of one grappling with their relationship to the exterior world. Dunn lives and works in Queens, NY and received his BFA in Interdisciplinary Sculpture from the Maryland Institute College of Art, Baltimore, MD. His work has been included in exhibitions at P·P·O·W, New York, NY; Marlborough Gallery, London, UK; GRIMM, Amsterdam, the Netherlands; and Maria Bernheim, Zurich, Switzerland; among others. His work is in the collections of the Institute of Contemporary Art, Miami, FL and the Sunpride Foundation, Kowloon, Hong Kong. P·P·O·W presented Into Open Air, Dunn’s first solo exhibition with the gallery, in 2020. His second solo exhibition with the gallery will open in April 2023. His work is currently on view at the ICA, Miami, FL in Fire Figure Fantasy: Selections from ICA Miami’s Collection, through October 30, 2022.

Rajkamal Kahlon (b. 1974) calls upon the material culture and ethnographic research of western colonial archives in her drawings and paintings. Utilizing recuperation as a mode of aesthetic and political resistance, her ongoing series We've Come a Long Way to be Together injects vibrant color into black and white portraits of travelers from Africa, Asia and the Middle East. Sourced from Wilfred Thesiger’s Arabian Sands and painted on top of reproductions of the first edition, published in 1959, Kahlon’s portraits disrupt this biased yet historically influential travelogue by substituting the iconographies of travel associated with European subjectivities for non-Europeans. Kahlon is an American artist living and working in Berlin. She received a BFA from the University of California, Davis, Davis, CA and an MFA in Painting and Drawing from the California College of Arts, San Francisco, CA. She is an alumna of Skowhegan School of Painting & Sculpture, New York, NY and the Whitney ISP, New York, NY. Kahlon was recently appointed as a professor of painting at the University of Fine Arts in Hamburg, Germany. Her work has been exhibited internationally in biennials, including the 2012 Taipei Biennial, Taipei, Taiwan; Meeting Points 7, and the 2nd Labin Industrial Biennial, Labin, Croatia and in museums, including Haus der Kulturen der Welt, Berlin, Germany; the Museum of Contemporary Art, Antwerp, Belgium; Museum of Modern Art, Warsaw, Poland; Museo Universitario Arte Contemporáneo, Mexico City, Mexico. Kahlon is the recipient of numerous grants, awards, and residencies including the 2019 Villa Romana Prize, the Joan Mitchell Painting and Sculpture Award, Pollock Krasner Award, American Civil Liberties Union (ACLU) National Security Project Artist-in-Residence, Melon Visiting Artist Fellowship, the Berlin Artist Grant and the 2021 Hans and Lea Grundig Prize. Kahlon's solo exhibition curated by What, How & for Whom / WHW (Ivet Ćurlin, Nataša Ilić and Sabina Sabolović) will open at the Kunsthalle Wien, Museumsquartier, Vienna, Austria on December 1 and will be on view through April 16, 2023. Kahlon will present her next solo exhibition with the gallery in May 2023.

Erin M. Riley’s (b. 1985) meticulously crafted, large-scale tapestries depict intimate, erotic, and psychologically raw imagery that reflects upon relationships, memories, fantasies, sexual violence, and trauma. Collaging personal photographs, images sourced from the internet, newspaper clippings, and other ephemera to create her compositions, the Brooklyn-based weaver exposes the range of women’s lived experiences and how trauma weighs on the search for self-identity. In her review of Riley’s most recent solo exhibition, The Consensual Reality of Healing Fantasies at P·P·O·W, Roberta Smith of the New York Times wrote, “Her richly variegated colors and complex, arresting scenes take full advantage of tapestry’s stitch-by-stitch autonomy.” Riley received her BFA from the Massachusetts College of Art and Design, Boston, MA and an MFA from the Tyler School of Art, Philadelphia, PA. Her work has been included in solo and group exhibitions at P·P·O·W, New York, NY; Galerie Julien Cadet, Paris, France; Kohn Gallery, Los Angeles, CA; Henie Onstad Kunstsenter, Høvikodden, Norway; The Frances Young Tang Teaching Museum and Art Gallery at Skidmore College, Saratoga Springs, NY; Gana Art Gallery, Seoul, Korea, among others. Riley is the recipient of a United States Artists Fellowship Grant, 2021 as well as an American Academy of Arts & Letters Art Purchase Prize, 2021 and has completed residencies at MacDowell Colony, New Hampshire and the Museum of Art and Design, New York. Her work is currently on view in 52 Artists: A Feminist Milestone, the Aldrich Contemporary Art Museum, Ridgefield, CT; manifesto of fragility, the 16th Lyon Biennale of Contemporary Art, Lyon, France; and Kingdom of the Ill at Museion, Bolzano, Italy.

Known for her large-scale paintings of stylized, sentient, yet ambiguously generated female figures, Robin F. Williams (b. 1984) employs a variety of techniques, including oil, airbrush, poured paint, marbling, and staining of raw canvas to create deeply textured and complexly constructed paintings. Forgoing her characteristic use of masking tape, Williams’ new series of paintings play with visual effects such as VHS distortions and analog static found in her filmic references. In Moiréed, 2022, the newest work is this series, Williams depicts Shelley Duvall as Millie Lammoreaux in the 1977 art house film 3 Women. Continuing her examination of cultural contradictions and fundamentalist dichotomies surrounding women’s bodies, Williams depicts Duvall in a moment of defeat, where her repeated attempts to be the “right kind of woman” have failed. Adopting the role of steward, Williams’ depictions of cinematic women, in popularized vulnerable states exposes our communal complicity in the persistent exploitation of the feminine and defies each viewer to end such abuse. Williams received her BFA from the Rhode Island School of Design, Providence, RI. Her work has been included in exhibitions at P·P·O·W, New York, NY; Mrs., Queens, NY; Pace Prints, New York, NY; Various Small Fires, Los Angeles, CA; Columbus Museum of Art, Columbus, OH; Galerie Perrotin, Tokyo, Japan; Hauser & Wirth, New York, NY; Marianne Boesky Gallery, New York, NY; Flag Art Foundation, New York, NY; and Kasmin Gallery, New York, NY, among others. Her work is currently in the permanent collections of the Brooklyn Museum, Brooklyn, NY; Collection Majudia, Montreal, Canada; Columbus Museum of Art, Columbus, OH; Institute of Contemporary Art, Miami, FL; X Museum, Beijing, China; and Montreal Museum of Fine Arts, Montreal, Canada; among others. Williams will present her next solo exhibition at Morán Morán, Mexico City, Mexico in the fall of 2023. Her work is currently on view at the ICA, Miami, FL in Fire Figure Fantasy: Selections from ICA Miami’s Collection, through October 30, 2022.

During the 1970s, Martin Wong (1946-1999) was active in the San Francisco Bay Area art scene and was involved with the performance art groups The Cockettes and Angels of Light. In 1978 he moved to Manhattan, eventually settling in the Lower East Side, where his attention turned exclusively to painting, with an aim to depict the urban life happening right around his apartment. In Wong’s last major body of work before his untimely passing from AIDS-related illness in 1999, the artist focused on depicting his own heritage and painted scenes from New York and San Francisco’s Chinatowns, as seen in Jackson Chow Mein (Theater), 1992. With its clear iconography, trompe l'oeil painted border, and midnight blue palette, this work indexes Wong's compositional prowess and concern for identity in equal measure. Wong's work can be found in museum collections including The Metropolitan Museum of Art, New York, NY; The Museum of Modern Art, New York, NY; The Bronx Museum of The Arts, The Bronx, NY; The Whitney Museum of American Art, New York, NY; The Art Institute of Chicago, Chicago, IL; and the San Francisco Museum of Modern Art, San Francisco, CA. In November 2022, a major retrospective of Wong's work will open at Centro de Arte Dos de Mayo in Madrid, Spain and will travel to KW Institute, Berlin, Germany; Camden Arts Centre, London, UK; and Stedelijk Museum, Amsterdam, the Netherlands.