Ramiro Gomez (b. 1986) depicts the people whose labor often goes unrecognized and underappreciated by society. At The Armory Show, we will present a recent painting in anticipation of Gomez’s debut exhibition at P·P·O·W, his first solo exhibition in New York City, which will open on March 22, 2018. Gomez first gained recognition for what is now described as his Hockney series, works that reimagine David Hockney’s iconic Los Angeles paintings, and his imagery is often focused on the scenery and social politics of southern California. For his newest work, his critical inquiries around race, labor and representation will focus on New York City. Gomez has exhibited at the University of Michigan, Institute for the Humanities and the West Hollywood Public Library as part of Pacific Standard Time: LA/LA. His work has also been featured in group shows at notable institutions including: the 2017 Whitney Biennial; Los Angeles County Museum of Art; the Denver Art Museum; Blanton Art Museum, University of Texas at Austin; Museum of Contemporary Art San Diego; and the Cornell Fine Arts Museum at Rollins College, Florida; among others. Domestic Scenes: The Work of Ramiro Gomez, a monographic catalog by Lawrence Weschler, was published by Abrams in 2016. His work is currently on view at the National Portrait Gallery as part of its group exhibition The Sweat of Their Face: Portraying American Workers.

Hunter Reynolds (b. 1959) uses photography, performance and installation to address issues of gender, identity, sexuality, mourning, loss, survival, and healing. P·P·O·W will present Patina du Prey’s Vanity, an installation from 1990 that serves as a dressing station for Reynolds’s alter- ego Patina du Prey. Originally presented at Simon Watson Gallery (1990) and the ICA Boston (1993), this work consists of a photographic archive of Patina's various performances (documented by Michael Wakefield and Maxine Henryson) and related costume elements. This installation embodies the social and political activism that has been central to Reynolds work for over forty years, as well as the individual capacity for transformation. Reynolds was an early member of ACT UP and in 1989 co-founded Art Positive, an affinity group of ACT UP that fought homophobia and censorship in the arts.  He has been the subject of numerous solo exhibitions including White Columns, New York, NY; Artist Space, New York, NY; Participant Inc., New York, NY; ICA Boston, Boston, MA; Yerba Buena Center for the Arts, San Francisco, CA; and DOCUMENTA, Kassel, Germany. He has been included in group exhibitions at the New Museum of Contemporary Art, New York, NY; Aldrich Museum of Art, Ridgefield, CT; Akademie der Kunste and Kunst-Werke in Berlin, Germany and more.  In 2017, Reynolds was awarded a Guggenheim Fellowship. Reynolds will have a solo exhibition of historical works at Hales Gallery, London in the summer of 2018.

Betty Tompkins (b.1945) is best known for paintings, drawings, and collages that appropriate images of graphic sexuality to explore the tension between representation and experience.  At The Armory Show, P·P·O·W will be debuting a new series entitled Apologia, an ongoing project of transcribing apologies issued in response to accusations of sexual violence or harassment onto art historical images. A recent diptych on differently reproduced text book images features Chuck Close’s public statement on the body of Holofernes in Artemesia Gentileschi's “Judith Beheading Holofernes."  We will also be exhibiting recent works in her series of Women Words, which the artist initiated in 2010. In this series, disproportionately crude and sexual language mined from an international network of email contacts obscure female figures. Spanning the Renaissance to the mid-20th Century, this series harnesses and subverts Western art historical narratives that, until recently, have lionized only men’s contributions. Recent solo exhibitions include Virgins, P·P·O·W, New York (2017); Betty Tompkins, Galerie Rodolphe Janssen, Brussels (2017), Betty Tompkins, Kunstraum Innsbruch, Austria (2017) and Betty Tompkins, Ribordy Contemporary, Switzerland (2018). Tompkins work has recently been included in The Feminist Avant-Garde from the 1970s: Works from the SAMMLUNG VERBUND, Stavanger Art Museum, Norway (2018) and Historias da sexualidade, Sao Paulo Museum of Art, Brazil (2018).

David Wojnarowicz (1954-1992) was an undeniable presence in the New York City art scene of the 1970s, 80s, and early 90s. P·P·O·W will present a new edition of his seminal Untitled (One Day This Kid) 1990-91, one of the his best known and most widely published works, in ten languages: Arabic, English, German, French, Mandarin, Polish, Portuguese, Russian, Spanish and Turkish. Originally made when the artist was battling AIDS, this piece frames his childhood portrait with a list of abuses he will encounter once he discovers his sexuality. This expanded edition will be presented with a colophon by Cynthia Carr documenting the artist’s intention to translate this work into many languages, a goal unrealized before his untimely passing. Wojnarowicz’s work has been included in solo and group exhibitions around the world, at institutions such as The Museum of Modern Art, New York; Museum of Contemporary Art, Chicago; The American Center, Paris, France; The Busan Museum of Modern Art, Korea; Centro Galego de Art Contemporanea, Santiago de Compostela, Spain; The Barbican Art Gallery, London; and the Museum Ludwig, Cologne. His works are in permanent collections of major museums nationally and internationally and his life and work have been the subject of significant scholarly studies. Wojnarowicz has had retrospectives at the galleries of the Illinois State University in 1990, curated by Barry Blinderman and at the New Museum in 1999 curated by Dan Cameron. A third retrospective, David Wojnarowicz: History Keeps Me Awake at Night, co-curated by David Kiehl and David Breslin, will open at the Whitney Museum of American Art in Summer 2018.