Art Basel

For nearly six decades, Dotty Attie (b. 1938) has rigorously engaged the grid as a formal and conceptual tool, masterfully rendering small-scale drawings and canvases in cadenced arrangements that disrupt the accepted art historical canon. A presence in the New York art scene since the late 1960s, Attie co-founded A.I.R. Gallery, the first all-female cooperative artists’ gallery and presented seven solo exhibitions there between 1972 and 1986. Attie’s lifelong dedication to recontextualizing sourced images with unique text has resulted in a profoundly original body of work that reveals to the viewer “the parts of ourselves that we don’t really share with anybody else.” Attie was born in Pennsauken, NJ, and lives and works in New York, NY. She received a BFA from the Philadelphia College of Art, Philadelphia, PA, in 1959 and attended the Art Students League, New York, NY in 1967. She was awarded a National Endowment for the Arts grants in 1976 and 1983 and was inducted into the National Academy of Design in 2013. Her work is in the collections of the Yale University Art Gallery, New Haven, CT; Walker Art Center, Minneapolis, MN; Wadsworth Athenaeum, Hartford, CT; Museum of Modern Art, New York, NY; Whitney Museum, New York, NY; and Brooklyn Museum, New York, NY; among others. Attie’s work has been the subject of solo exhibitions at P·P·O·W, New York, NY; Cantor Arts Center at Stanford University, Stanford, CA; New Museum, New York, NY; Wadsworth Atheneum Museum of Art, Hartford, CT; Contemporary Arts Museum, Houston, TX; and A.I.R. Gallery, New York, NY; among others. Her work has been featured in numerous group exhibitions including The Grid and the Curve, JTT, New York, NY; This Will Have Been: Art, Love & Politics in the 1980s, curated by Helen Molesworth, Museum of Contemporary Art, Chicago, IL; Institute of Contemporary Art, Boston, MA; and Walker Art Center, Minneapolis, MN; and Burning Down the House: Building a Feminist Art Collection, curated by Maura Reilly and Nicole Caruth, Brooklyn Museum of Art, New York, NY. In Summer 2023, P·P·O·W presented What Surprised Them Most, Attie's tenth solo exhibition with the gallery. Her first solo exhibition in the UK, 40 Years, is on view through June 28, 2025, at Public Gallery, London.

Throughout his work, Owen Fu (b. 1988) excavates the superficial surface of ordinary life to uncover a hybrid being of emotions and desires. In his paintings, which often depict surreal domestic scenes cast in a nocturnal glow, ghostly figures and inanimate objects merge as the distinction between reality and dreams disintegrates. Fu completed his MFA in 2018 at the ArtCenter College of Design, Pasadena, CA, preceded by a BA in Philosophy from the Stony Brook University, New York, NY and a BA in Fine Art from the School of the Art Institute of Chicago, IL. His recent solo exhibitions include Last Summer, Balice Hertling, Paris, France; Stealing Beauty, Antenna Space, Shanghai, China; Ordinary Things, O-Town House, Los Angeles, CA; Bubbly Hills, Mine Project, Hong Kong; among others. He has been featured in group exhibitions at Antenna Space, Shanghai, China; Hammer Museum, Los Angeles, CA; and Gagosian, Hong Kong; among others. His works belong to the collections of the Los Angeles County Museum of Art, Los Angeles, CA; Domus Collection, New York, NY; K11 Art Foundation, Hong Kong; START Museum, Shanghai, China; George Economou Collection, Athens, Greece; Aïshti Foundation, Beirut, Lebanon; and Sunpride Foundation, Hong Kong; among others. Fu presented his first solo exhibition with P·P·O·W, Own Alone, in 2025. 

Elizabeth Glaessner (b. 1984) conjures a saturated, densely layered world of transformation and multiplicity. Inviting amorphousness in her subjects and environments, Glaessner’s surreal universe is populated by evocative forms in various states of becoming or undoing. In her review of Glaessner’s 2022 exhibition at P·P·O·W, Johanna Fateman writes, “Glaessner’s vaporous figuration and dreamy backgrounds can recall such symbolists as Edvard Munch and Odilon Redon, but her color is bolder. She deploys a singular alchemy of high-key stains and pours, overlaid with rich oil paint, to achieve a hazy deep space and smoothly modelled volumes.” Glaessner received her BA from Trinity University, San Antonio, TX in 2006, and she completed her MFA at the New York Academy of Art, New York, NY in 2013. She was awarded a postgraduate fellowship at the New York Academy of Art in 2013. Her work has been included in group shows at Journal Gallery, New York, NY; Brigitte Mulholland, Paris, France; Public Gallery, London, UK; GlogauAIR, Berlin, Germany; Perrotin, Paris, France; FLAG Art Foundation, New York, NY; and Kasmin, New York, NY; among others. In 2022, Glaessner presented her third solo exhibition with P·P·O·W, Phantom Tail, as well as her first institutional solo presentation, Four Legs in a Garden, at Le Consortium, Dijon, France. Glaessner has recently presented solo exhibitions at Perrotin, Paris, France and Francois Ghebaly, Los Angeles, CA. Her fourth exhibition with P·P·O·W will open in September 2025. 

In her meticulously rendered small-scale paintings, Hilary Harkness (b. 1971) fuses traditional techniques with a distinctly contemporary sensibility to explore power struggles inherent in sex, race, and class systems. Working in episodic series that take years to complete, Harkness wields unparalleled skill and imagination to elevate the stories and intersectional experiences of women, people of color, and LGBTQIA+ people. Harkness earned her BA from UC Berkeley and her MFA from Yale University. Her work has been featured in exhibitions at FLAG Art Foundation, New York, NY; Museo Thyssen-Bornemisza, Madrid, Spain; American Academy of Arts and Letters, New York, NY; Portland Institute of Contemporary Art, Portland, OR; and Aldrich Museum of Contemporary Art, Ridgefield, CT; among others. Her work is in the permanent collection of the Whitney Museum of American Art, New York, NY; Yuz Museum, Shanghai, China; Mead Art Museum, Amherst, MA; and the Seavest Collection, New York, NY; among others. In 2017, she received the Henry Clews Award and participated in the inaugural Master Residency Program at the Château de La Napoule, France. In 2014, she co-curated Roy Lichtenstein: Nudes and Interiors at FLAG Art Foundation, New York, NY. Harkness’s first solo exhibition with P·P·O·W, Prisoners from the Front, was on display in Fall 2023. In 2024, Black Dog Press and P·P·O·W co-published Hilary Harkness: Everything for You, the first comprehensive monograph on the artist’s work.

Yu Ji (b. 1985) cultivates a diverse practice that spans sculpture, installation, performance and video. Her work investigates the concept of place and the capacity for specific loci to be charged with geographical and historical narratives. Through her staged interventions, the artist creates instances where the natural and man-made form an inseparable whole. Yu Ji obtained her MFA at the Fine Art College of Shanghai University in 2011. In 2008, she co-founded am art space, an artist-led initiative promoting experimentation and exchanges between artists, curators and the public. Her recent solo exhibitions include Hide Me in Your Belly, Centro Pecci, Prato, Italy; Protrude, Sadie Coles HQ, London, UK; We the singular in multiple ghosts. I the multiple as parts of whole., Institute of Contemporary Arts at NYU Shanghai, China; and Yu Ji: A Guest, A Host, A Ghost, Orange County Museum of Art, Costa Mesa, CA; among others. Her work has been featured in group exhibitions at Kiang Malingue, Hong Kong; New Museum, New York, NY; Rockbund Art Museum, Shanghai, China; Palais de Tokyo, Paris, France; and more. Her work is part of the public collections of De Ying Foundation, Shanghai, China; Longlati Foundation, Shanghai, China; Louisiana Museum of Modern Art, Humlebaek, Denmark; and M+, Hong Kong. Yu Ji will present her first solo exhibition with P·P·O·W in early 2026. Her work will be presented by Sadie Coles HQ, London, UK, in Art Basel’s 2025 edition of Parcours.

Set in fantastical, utopian landscapes, Sanam Khatibi (b. 1979) crafts atemporal and allegorical works showcasing primal impulses and unrestrained animality, wherein humans and beasts have little emotional or physical distinction. Channeling magical naturalism through paintings, tapestries, and sculptures, Khatibi both exalts and cautions against the fine line between triumph and failure, peace and brutality, and ultimately, civilization and destruction. Khatibi lives and works in Paris, France. She has presented solo exhibitions at Mendes Wood DM, São Paulo, Brazil; the Groeningemuseum, Bruges, Belgium; rodolphe janssen, Brussels, Belgium; Kunsthal Gent, Belgium; and P·P·O·W, New York, NY; among others. She has also been included in Paradise, the Kortrijk Triennial, in 2021, and The Seventh Continent, the 16th Istanbul Biennial, curated by Nicolas Bourriaud in 2019. Her work has been featured in group exhibitions at Centraal Museum, Utrecht, the Netherlands; National Museum of Contemporary Art, Athens, Greece; S.M.A.K, Gent, Brussels; UTA Artist Space, Los Angeles, CA; Museum of Contemporary Art, Antwerp, Belgium; Centre Régional d’Art Contemporain Occitane, Sète, France; Paul Kasmin Gallery, New York, NY; Musée d’Art Contemporain, Marseille, France; and Museum of Deinze, Belgium; among others. Khatibi’s recent solo exhibitions include We Wait Until Dark at P·P·O·W, New York, NY, in 2024, and The Hunger at Mendes Wood DM, Paris, France, in 2025.  Sanam Khatibi: Everything I Don't Remember, the first international monograph on Khatibi’s work, was recently published by Rizzoli. This comprehensive publication features new essays by curator Annabelle Ténèze and writer Lauren Elkin, as well as an interview with the artist and art historian Katy Hessel.

In his multidisciplinary practice, Carlos Motta (b. 1978) documents the social conditions and political struggles of sexual, gender, and ethnic minority communities to challenge normative discourses through visibility and representation. As a historian of untold narratives and an archivist of repressed histories, Motta is committed to in-depth research on the struggles of post-colonial subjects and societies. His work manifests in a variety of media including video, installation, sculpture, drawing, web-based projects, performance, and symposia. Motta received his MFA from Bard College in 2003 and completed the Whitney Independent Study Program in 2006. He has presented three solo shows with P·P·O·W alongside exhibitions worldwide including Carlos Motta: Formas de libertad, Museo de Arte Moderno de Medellín, Colombia, which travelled to Matucana100, Santiago, Chile; Carlos Motta: For Democracy There Must Be Love, Röda Sten Konsthall, Gothenburg, Sweden; and Your Monsters, Our Idols, the Wexner Center of the Arts, Columbus, OH; among others. His work is in the permanent collections of the Art Institute of Chicago, IL; Centre Pompidou, Paris, France; Guggenheim Museum, New York, NY; Metropolitan Museum of Art, New York, NY; Museum of Modern Art, New York, NY; Museo Nacional Centro de Arte Reina Sofia, Madrid, Spain; Museo de Arte Contemporaneo de Barcelona, Spain; Museo de Arte de Banco de la República, Bogotá, Colombia; Pérez Art Museum, Miami, FL; and San Francisco Museum of Modern Art, San Francisco, CA; among others. Carlos Motta: History’s Backrooms, a 20-year career monograph, was published by SKIRA in June 2020. His work was featured in Marco Scotini’s Disobedience Archive at the sixtieth Venice Biennale. Carlos Motta: Pleas of Resistance, a mid-career survey exhibition at Museu d’Art Contemporani de Barcelona, Spain is on view through October 26, 2025. In conjunction with the exhibition, he will present The International Queer/Cuir, a program of live arts, music, and performance on June 19 and 20, 2025.

Erin M. Riley (b. 1985) crafts meticulous, large-scale tapestries depicting intimate, erotic, and psychologically raw imagery that reflects upon relationships, memories, fantasies, and trauma. Collaging personal photographs, images sourced from the internet, newspaper clippings, and other ephemera to create her compositions, she 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 with P·P·O·W, The Consensual Reality of Healing Fantasies, 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 and an MFA from the Tyler School of Art. Her work has been included in solo and group exhibitions at P·P·O·W, New York, NY; Hashimoto Contemporary, San Francisco, CA; Kohn Gallery, Los Angeles, CA; Henie Onstad Kunstsenter, Høvikodden, Norway; Frances Young Tang Teaching Museum and Art Gallery at Skidmore College, Saratoga Springs, NY; Gana Art Gallery, Seoul, South Korea; kaufmann repetto, New York, NY, and Milan, Italy; Timothy Taylor, London, UK; and Brooklyn Museum, Brooklyn, NY; among others. Riley is the recipient of a United States Artists Fellowship Grant in 2021 and an American Academy of Arts & Letters Art Purchase Prize in 2021. She has completed residencies at MacDowell Colony, Peterborough, NH, and Museum of Art and Design, New York, NY. Her work was featured in 52 Artists: A Feminist Milestone at 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; among others. Recent solo exhibitions include The Invisible Third, UTA Artist Space, Los Angeles, CA; watering false flowers, cadet capela, Paris, France; and Look Back at It, mother's tankstation, London, UK. She will present her third solo exhibition with P·P·O·W in September 2025. 

David Wojnarowicz (1954 -1992) was among the most incisive and prolific American artists of the 1980s and 90s. Wojnarowicz’s work has been included in solo and group exhibitions at the Museum of Modern Art, New York, NY; Museum of Contemporary Art, Chicago, IL; American Center, Paris, France; Busan Museum of Modern Art, Busan, Korea; Centro Galego de Art Contemporanea, Santiago de Compostela, Spain; Barbican Art Gallery, London UK; and Museum Ludwig, Cologne, Germany; among others. His work is in permanent collections of major museums nationally and internationally and his life and work have been the subject of significant scholarly studies including Cynthia Carr’s Fire in the Belly: The Life and Times of David Wojnarowicz (2012), winner of a Lambda Literary Award for “Gay Memoir/Biography’’ and finalist for the J. Anthony Lukas Book Prize awarded by Columbia Journalism School and the Nieman Foundation at Harvard University. Wojnarowicz has had retrospectives at the galleries of the Illinois State University, Normal, IL, curated by Barry Blinderman, in 1990, and at the New Museum, New York, NY, curated by Dan Cameron, in 1999. A third retrospective, David Wojnarowicz: History Keeps Me Awake at Night, co-curated by David Kiehl and David Breslin, opened at the Whitney Museum of American Art in July 2018. The widely acclaimed exhibition traveled to the Museo Reina Sofia, Madrid, Spain, in May 2019, and Musee d/Art Moderne Grand-Duc Jean, Luxembourg City, Luxembourg, in November 2019. A concurrent exhibition of Wojnarowicz’s films and photographs opened at the KW Institute, Berlin, Germany in 2019. Wojnarowicz: Fuck You Faggot Fucker, a comprehensive feature-length documentary directed by Chris McKim, premiered in November 2020 and was named one of 2021’s best documentaries by Rolling Stone, The New Yorker, Esquire, and IndieWire, among others. In 2022, the solo exhibition Dear Jean Pierre: The David Wojnarowicz Correspondence with Jean Pierre Delage, 1979-1982 at P·P·O·W unveiled an archive of letters, drawings, and photographs from Wojnarowicz’s early career, followed by the release of a catalogue published by Primary Information in 2023. This past September, P·P·O·W and the David Wojnarowicz Foundation mounted a series of programs throughout New York City in celebration of the artist’s would-be 70th birthday, with screenings, performances, and activations at the Museum of Modern Art, Leslie-Lohman Museum of Art, and NYC AIDS Memorial. His work is currently on view in a solo exhibition at Hall Art Foundation, Reading, VT, and will be mounted in a major solo exhibition at Leslie-Lohman Museum of Art, New York, NY, in Fall 2025.