Flux Factory

Flux Factory’s Art Auction is back! You can bid on works by over 50 Fluxers and friends.The auction will culminate with our <a target="_blank" rel="noopener noreferrer nofollow" href="https://withfriends.events/event/8G1IGCy5/flux-factory-2025-art-auction-gala/">Gala</a> on October 23, from 6:30 to 9:30 PM at 55 Suffolk. Join us to see the artworks in person, enjoy a catered open bar, and take in the lovely view of downtown Manhattan.Bidding will remain open throughout the evening and officially closes at 9:00 PM, so make sure to get your final bids in on time!This annual Auction &amp; Gala supports Flux’s free public programs and affordable artist residencies.<a target="_blank" rel="noopener noreferrer nofollow" href="https://withfriends.events/event/8G1IGCy5/flux-factory-2025-art-auction-gala/">Buy Gala Tickets Here</a>

Jean Shin: Intervals #21, 2020,&nbsp;Audio tape collage on paper, 14 x 20 inches, Unique, signedCreated with found audiotape strips, explores chance and repetition through magnetic tape collage. Previously shown at the Korean Cultural Center, Los Angeles, CA and Qualia Contemporary Art, CABio:&nbsp;Jean Shin is best known for her public sculptures, transforming accumulations of discarded objects into powerful monuments that interrogate our complex relationship between material consumption, collective identity, and community engagement. Often working cooperatively within a community, Shin amasses vast collections of everyday objects—Mountain Dew bottles, mobile phones, 35mm slides—while researching their history of use, circulation, and environmental impact. Distinguished by this labor-intensive and participatory process, Shin’s creations become catalysts for communities to confront social and ecological challenges.Born in Seoul, South Korea, and raised in the U.S., Shin works in Brooklyn and Hudson Valley, New York. Her work has been widely exhibited and collected in over 150 major museums and cultural institutions, including solo exhibitions at The Museum of Modern Art in New York, the Philadelphia Museum of Art, the Smithsonian American Art Museum in Washington DC, and the Asian Art Museum in San Francisco. Shin has received numerous awards, including the Frederic Church Award for her contributions to American art and culture. Her works have been highlighted in The New York Times and Sculpture Magazine, among others.Her body of work includes several permanent public artworks commissioned by major agencies and municipalities, most recently a landmark commission for the MTA’s Second Ave Subway in NYC. She is a tenured Adjunct Professor at Pratt Institute and holds an honorary doctorate from the New York Academy of Art.

Jean Shin: Intervals #21

Mark Dion: Mosquito – An Authoritarian Checklist, 2025,one-color screenprint, 16 x 25 in. limited edition of 10, AP II/IV, Signed and numbered frontMosquito – An Authoritarian Checklist are one-color screenprints measuring 16 x 25 in. (40.64 x 63.4 cm) and 15 3⁄4 x 24 in. (40 x 60.9 cm), printed each in an edition of 10 on Arches 88 paperMark Dion was born in New Bedford, Massachusetts in 1961. He received a BFA (1986) and an honorary doctorate (2003) from the University of Hartford, Hartford Art School, and attended the Whitney Museum of American Art's Independent Study Program. He also has an Honorary Doctor of Humane Letters (Ph.D.) from The Wagner Free Institute of Science in Philadelphia (2015) and University of Massachusetts (2023).Dion’s work examines the ways in which dominant ideologies and public institutions shape our understanding of history, knowledge, and the natural world. Appropriating archaeological, field ecology and other scientific methods of collecting, ordering, and exhibiting objects, Dion creates works that question the distinctions between ‘objective’ (‘rational’) scientific methods and ‘subjective’ (‘irrational’) influences, charting how ideology and pseudoscience infiltrate scientific discourse.

Mark Dion: Mosquito – An Authoritarian Checklist

Melissa Joseph: A Pair of Sisters, 2022, UV print on industrial felt, hand-finished with needle felted wool, 12 x 9 x .75 inches, Limited Edition of 8, Signed on versoLimited edition print with hand-embellished felting, printed by Exhibition A. Part of a small edition with needle-felted wool enhancements.Melissa Joseph is a New York based artist. Her work considers themes of memory, family history, and the politics of how we occupy spaces. She intentionally alludes to the labors of women as well as experiences as a second generation American and the unique juxtapositions of diasporic life. Her work has been shown at the Brooklyn Museum, Delaware Contemporary, Utah Museum of Contemporary Art, MOCA Arlington, ICA San Francisco, and List Gallery at Swarthmore College. She has been featured in Hyperallergic, Art Forum, Artnet, Artnews, New American Paintings, WNYC, Le Monde, Vogue, CNN, Whitewall, Family Style, and participated in residencies including Artpace, Dieu Donné Workspace Residency, The Textile Arts Center, BRIC, Fountainhead, the Archie Bray Foundation for Ceramic Arts, the Museum of Arts and Design, and at Greenwich House Pottery. She is the recipient of the 2025 UOVO Prize by the Brooklyn Museum, the 2025 Eden Art Foundation Artists Now Award, and a regular contributor to BOMB Magazine.

Melissa Joseph: A Pair of Sisters

Alexa Kumiko Hatanaka: new horizon, 2024linocut print on handmade paper, 6 x 4 inches, uniqueBio: Alexa Kumiko Hatanaka (b. 1988 Toronto, Canada) is a&nbsp;Japanese-Canadian, queer artist that lives with&nbsp;bipolar condition, all of which sculpts her practice. She works primarily with paper, and uses printmaking,&nbsp;ink drawing and natural dying combined with sewing.&nbsp;She engages with historical paper processes and&nbsp;materials that both require and contribute to a clean environment. &nbsp;Her adaptations of traditions, in the form of sculpture, large-scale print installations and wearable sculptures, address contemporary questions of climate change, mental health, and survival. Recurring motifs related to landscape, fish, and bodies of water together speak about personal and collective experiences of struggle, resilience, connection and radical joy. Hatanaka’s practice includes a decade of community-engaged projects based in the high Arctic,&nbsp;and collaborative performances that integrate and reinterpret kamiko, garments sewn out of washi.Hatanaka’s work has been exhibited at Kotaro&nbsp;Nukaga (Tokyo, JP), Harper’s Gallery (New York, USA),&nbsp;Art Gallery of Ontario (Toronto, CA), Toronto Biennial&nbsp;of Art (Toronto, CA), Ino-chō Paper Museum (Kōchi,&nbsp;Japan), and NADA (Miami, New York City). Recent&nbsp;acquisitions include the The British Museum (London, UK), Dallas Art Museum (Dallas, USA), Material Art and Design Museum (New York City, USA), Shiga Prefecture&nbsp;Museum (Otsu, JP), National Gallery of Canada (Ottawa,&nbsp;CA) and Wellin Museum (Clinton, USA). Hatanaka is a 2025 artist in residence at Black Rock Senegal.

Alexa Kumiko Hatanaka: new horizon

Alex Nathanson: Solar Power Art Making Workshop, 2026.1.5 hour solar power art making workshop for up to 3 people.During the workshop, participants will learn the basics of solar power art making. Depending on what the buyer prefers, we can explore either solar powered sound art or solar powered drawing machines. The workshop will occur sometime in 2026 at the artist's studio, in Long Island City, Queens.Alex Nathanson is a designer, technologist, artist, and educator. His work is primarily focused on exploring both the experimental and practical applications of sustainable energy technologies. He is the founder and lead designer of the education and art platform Solar Power for Artists and its partner studio, Energy Transition Design LLC. The mission of both organizations is to make sustainable energy accessible, tactile, and understandable. As a solar power designer, he has created interactive and educational projects for the Climate Museum, Solar One, and the NYC Department of Education. In collaboration with Tega Brain and Benedetta Piantella, he co-created the Solar Protocol project. Solar Protocol has been awarded fellowships from Eyebeam and Mozilla, and been nominated for an Ars Electronica S+T+ARTS prize. His book A History of Solar Power Art and Design was published by Routledge in 2021. His next book, Solar Circuits will be published by Make in 2026.<a target="_blank" rel="noopener noreferrer nofollow" href="http://www.alexnathanson.com">www.alexnathanson.com</a>

Alex Nathanson: Solar Power Art Making Workshop

Allen Frame: Chimney Sweep, Budapest, 1993, selenium-toned silver gelatin print, fiber analog vintage print 11”h x 14”w, signed on versoopen addition: unique in this size; (editioned as 30"x40" ed of 3; at 20" x 24" ed of 9), framedAllen Frame’s photographs evoke the psychological subtext of quotidian experience and suggest the ambiguous relationship between situation, place, and time.He is an artist, writer, curator, and educator based in New York, and Rome Prize winner in 2017/18.Frame’s work is represented by Gitterman Gallery and will be included in the exhibition A Naked Chair with Dieter Hall and a video with Alvin Baltrop by Joseph Lovett at Kupper Modern in Zurich this fall. He teaches photography at Pratt Institute, School of Visual Arts, the International Center of Photography and <a target="_blank" rel="noopener noreferrer nofollow" href="http://strudelmedialive.com">strudelmedialive.com</a>

Allen Frame: Chimney Sweep, Budapest 

Amelia Marzec: Apothecary, 2020,&nbsp;Photograph, 9 x 9 x 1 inches, Unique, signed versoMedicinal plants collected on a cold war nuclear missile site across from the New York harbor.&nbsp;Amelia Marzec is a New York based artist engaging with communications infrastructure to inform a speculative future. Her work has been exhibited at SIGGRAPH, MIT, ISEA (Canada), University of the Arts Helsinki (Finland), ONCE Foundation Contemporary Art Biennial (Spain), NODE Forum for Digital Arts Biennial (Germany), and is part of the Rhizome ArtBase at the New Museum. She was a resident at Eyebeam, Ox-Bow, and Harvestworks; a fellow at NYSCA/NYFA, A.I.R. Gallery, and Columbia University; a visiting artist at CalArts; and nominated for the World Technology Awards for Art. She holds an MFA in Design and Technology from Parsons, and a BFA from Mason Gross School of the Arts.

Amelia Marzec: Apothecary

Amir Badawi: Sirius, 2021,Ink on Paper, 24 x 18 inches, Unique, Signed VersoThis work on paper is produced using special masking techniques developed by the artist to produce unique, ghostly marks. Titled “Sirius”, the artwork references the brightest star in the northern skies sometimes known as the Dog Star. It’s associated with canines in various cultures around the world and has been used by many for navigation.&nbsp;“Sirius” was shown in Absence of Evidence 2024 Ny, NyBio: Amir Badawi is a visual artist that lives and works in New York City. He earned his BFA from the University of Houston in 2013. Badawi and his partner Asya Yaschenko run 334Broome, a studio and exhibition space located in the Bowery. His practice consists of ink and watercolor works on paper as well as textile sculpture. Through these media Badawi makes images using representations of nature, mythology, religion, science, and philosophy to evoke a dilated perspective of our existential position, prompting viewers to face the unknown with gratitude and humility. Badawi asserts that we should be united by an honest appraisal of our ignorance rather than divided by our beliefs.

Amir Badawi: Sirius

Angela Washko: Heroines with Baggage:&nbsp;Sacrifice for the Boys, 2022Cyanotype and drawing on watercolor paper, 24 x 16 inches (framed: 30 x 20 inches), Unique, signed verso"Heroines with Baggage" is a series of videos and prints that Angela Washko initially created in 2011. Through the project, Washko replayed the 1990s role-playing video games which were formative to her as a child. Upon replaying these games, it became clear to the artist that the women represented were frequently portrayed as collapsing, running scared, afraid of being alone, and always in need of rescue by a male protagonist. By constructing videos and print installations featuring only scenes focused on female characters from these games, Washko makes the presence of these stereotypes and oversimplified gender binaries visible and woefully obvious.This 2022 installation version of the project at Northeastern University's "At Play" exhibition featured a new wallpaper piece, three 16 x 20" cyanotype prints, and a video work. This is one of the three cyanotype prints entitled "Heroines with Baggage:&nbsp;Sacrifice for the Boys"Bio:Angela Washko is an artist, filmmaker, and experimental game developer who creates new forums for discussions about feminism in spaces frequently hostile towards it. Her practice spans interventions in virtual environments, performance art, media installation, documentary film, video games, and tabletop roleplaying experiences. A recipient of the United States Artists Fellowship, Creative Capital Award, National Endowment for the Arts award, Franklin Furnace Performance Fund, and the Impact Award at Indiecade, Washko's practice has been highlighted in The New Yorker, Frieze Magazine, Time Magazine, The Guardian, ArtForum, The Los Angeles Times, Art in America, The New York Times and more. Her projects have been presented internationally at venues including Museum of the Moving Image in New York, Centre Pompidou-Metz, Los Angeles Museum of Contemporary Art, the Milan Design Triennale, the Shenzhen Animation Biennial, and the Korean Film Archive. Angela Washko is the Catherine B. Heller Professor of Art and the MFA Program Director at University of Michigan.

Angela Washko: Heroines with Baggage: Don't Forget Me

Bahareh Khoshooee: Chocolate Turns Me On (Hysteria), 2019,Inkjet on paper, 8.5 x 11 inches, Third Edition of 3 (+ 2 AP), signed versoChocolate Turns Me On (Hysteria) reflects on the long history of policing women's desires, pleasures, and expressions, where femininity itself has often been pathologized. Referencing the legacy of “hysteria” as a diagnosis used to silence and control women, the work embraces provocation and excess as forms of resistance. At once intimate and declarative, this print reclaims agency through humor, sensuality, and unapologetic visibility.Bio:Bahareh Khoshooee is a multidisciplinary artist, feminist activist, educator, and the co-founder of two collectives –Blockbusters (an international group of New Media artists), and [Redacted] (a network of feminist artists, activists, and technologists). Born in Tehran, Iran, Khoshooee uses time-based strategies in presenting work that fuses 3D environments, video projection mapping, sculpture, performance, and sound. Her practice explores the complex dualities of technology: its oppressive role in surveilling, documenting, and criminalizing BIPOC bodies, and its radical potential for futurity and alternative solidarities. Her work unearths how technology mediates the intimate and collective experiences of grief, violence, and memory, reclaiming these spaces as arenas for liberation, and reimagined futures.Khoshooee is the recipient of Eyebeam’s Democracy Machine Fellowship and a Skowhegan alumna. She has presented her solo installations at the Dorothy Center for The Arts, Baxter St CCNY, The Elizabeth Foundation for The Arts,The Orlando Museum of Art,and NADA MIAMI 2018 among others. Khoshooee has been included in various group exhibitions including the Honor Fraser Gallery, Latinx Project, Southern Exposure, Museum of Photography Stockholm, and the Museum of Fine Arts St. Petersburg. Her work has been featured in The Huffington Post, The Guardian, Artnet News, The Metro, and The Creators Project.<a target="_blank" rel="noopener noreferrer nofollow" href="http://www.baharehkhoshooee.com">www.baharehkhoshooee.com</a>

Bahareh Khoshooee: Chocolate Turns Me On (Hysteria)

Ben Galaday: MILK BONE, 2021,&nbsp;fabric, foam, batting, plywood, 9 x 7 x 1.5 inches, unique, signed on versoA vestigial remnant of time spent, time put in, a job well done. A passenger seated and strapped in with no choice but to serve, now a medal of honor retired to the realm of signifiers, soft and worn.Bio: Living in a dog-lick-frog world, Ben Galaday handcrafts bespoke Twiddle Muffs and other therapeutic objects in the Dreamcore aesthetic for adults living with undiagnosed dementia in NYC.<a target="_blank" rel="noopener noreferrer nofollow" href="http://bengaladay.com">bengaladay.com</a>

Ben Galaday: MILK BONE

Bhasha Chakrabarti: Meditations on Mending, 2019Cyanotype on handmade paper, 6 X 4.75 inches (framed: 11.75 x 10.625)This work is an exposed cyanotype of a carefully darned cloth, leaving an impression of the repairs done and exposing the detailed structures within the mend. When one looks closely at things which have been mended, you notice that each instance of darning is different from the next and thus instead of a mundane and purely utilitarian act which seeks to simply restore, one can see mending as a creative gesture that confronts fragility, vulnerability, and impermanence, is reminiscent of the particularities of context, embodies hope and continuity in spite of rifts, and foregrounds the feminine and the intimate.

Bhasha Chakrabarti: Meditations on Mending 

Cameron Granger: Texture Map #1 - "I lend you my sword", 2025,Silkscreen on paper, 11 x 8.5 inches, AP 1, signed versoBio: Cameron A. Granger is Sandra’s son &amp; came up in the Euclid, Ohio.He likes pigeons, video games, &amp; memes. Lately he's been thinking about how myth making and narrative have been used as a means to police the imagination, and making movies with his friends. He’s a lifetime member of MINT Collective, long may it live, and an alumni of Euclid Public Schools and the Studio Museum in Harlem AIR program.

Cameron Granger: Texture Map #1 - "I lend you my sword"

Cameron Granger: Texture Map #3 - "...&amp; I lend you my body", 2025,Silkscreen on paper, 11 x 8.5 inches, AP 1, signed versoBio: Cameron A. Granger is Sandra’s son &amp; came up in the Euclid, Ohio.He likes pigeons, video games, &amp; memes. Lately he's been thinking about how myth making and narrative have been used as a means to police the imagination, and making movies with his friends. He’s a lifetime member of MINT Collective, long may it live, and an alumni of Euclid Public Schools and the Studio Museum in Harlem AIR program.

Cameron Granger: Texture Map #3 - "...& I lend you my body"

Candace Jensen: Catalog of Ligatures, 2023,&nbsp;Letterpress from Hand-Set Woodtype on Somerset paper, 15&nbsp; x&nbsp; 22.5 inches (Framed: 16.25 x 23.75) ,Edition Variee: 15 of 16, Signed&nbsp;Candace Jensen is a collapse-aware utopian committed to culture informed by deep ecology. Her work is grounded in explorations of language and story, animism, deep ecology, and building creative community. Her creative media include calligraphy &amp; manuscript illumination, poetry &amp; essay, printmaking, painting, and curating. She is cofounder and Creative Director of In Situ Polyculture Commons, an arts residency and eco-cultural catalyst on unceded Abenaki land, in Vermont.Jensen earned her BFA at Tyler School of Art, and her MFA at the Pennsylvania Academy of the Fine Arts, both in Philadelphia, PA. She has exhibited in NYC &amp; Brooklyn, San Francisco, Oakland, Antwerp, Belgium, Southern Vermont and Hillsborough, NC. Reviews and interviews have appeared in White Hot Magazine, Art New England, the Adroit Journal, Ante Mag and Studio Visit Magazine. Her art and writing have been published by the Dark Mountain Project, the Index Press Quarterly, Eratio Postmodern, and collections published by ecoartspace, and a forthcoming Cambridge Writers’ Workshop publication, Disobedient Futures, via the University Press of Kentucky. A special issue of Regeneration Journal, On the Cold Edge: Creative Meditations on Svalbard, is imminently forthcoming. Co-edited by Jensen and two incredible colleagues, it is set to be published by the Open Library of the Humanities online in 2025. Jensen’s curatorial projects have focused primarily on ecological and social justice frameworks, and been exhibited in Brooklyn, Philadelphia and now Southern Vermont. She also serves as Art Editor for Ruth Stone House’s independent poetry journal, Iterant Magazine.<a target="_blank" rel="noopener noreferrer nofollow" href="http://www.candacejensen.com">www.candacejensen.com</a> / <a target="_blank" rel="noopener noreferrer nofollow" href="http://www.insitupolyculture.org">www.insitupolyculture.org</a> / <a target="_blank" rel="noopener noreferrer nofollow" href="http://iterant.org">iterant.org</a>

Candace Jensen: Catalog of Ligatures

Caroline Woolard: Artists Need the Solidarity Economy Needs ArtistsRiso print, 11 x 17 inches. This is a statement that came from Nati Linares and circulates&nbsp;via <a target="_blank" rel="noopener noreferrer nofollow" href="http://Art.coop">Art.coop</a> in the Solidarity Economy movement. It was printed by Secret Riso Club.Bio: Caroline Woolard is a founding co-organizer of <a target="_blank" rel="noopener noreferrer nofollow" href="http://Art.coop">Art.coop</a> and Head of Strategy at <a target="_blank" rel="noopener noreferrer nofollow" href="http://Pollinator.coop">Pollinator.coop</a>. She is the co-author of two major reports: <a target="_blank" rel="noopener noreferrer nofollow" href="https://www.giarts.org/solidarity-not-charity">Solidarity Not Charity</a> (Grantmakers in the Arts, 2021) and&nbsp;<a target="_blank" rel="noopener noreferrer nofollow" href="https://www.cciarts.org/_Library/docs/SpiritsandLogistics_CCI_final06122021.pdf">Spirits and Logistics</a>&nbsp;(Center for Cultural Innovation, 2022) and&nbsp;three books: <a target="_blank" rel="noopener noreferrer nofollow" href="https://makingandbeing.com/">Making and Being</a> (Pioneer Works, 2019), a book for educators about interdisciplinary collaboration, co-authored with Susan Jahoda; <a target="_blank" rel="noopener noreferrer nofollow" href="https://www.onomatopee.net/exhibition/caroline-woolard/#publication_13011">Art, Engagement, Economy</a> (onomatopee, 2020) a book about managing socially-engaged and public art projects; and <a target="_blank" rel="noopener noreferrer nofollow" href="https://tradeschool.coop/">TRADE SCHOOL</a>: 2009-2019, a book about peer learning that Woolard catalyzed in thirty cities internationally over a decade. Woolard’s artwork has been featured twice on <a target="_blank" rel="noopener noreferrer nofollow" href="https://art21.org/artist/caroline-woolard/">New York Close Up</a> (2014, 2016), a digital film series produced by Art21 and broadcast on PBS. <a target="_blank" rel="noopener noreferrer nofollow" href="https://carolinewoolard.com/">https://carolinewoolard.com/</a>&nbsp;IG: <a target="_blank" rel="noopener noreferrer nofollow" href="https://www.instagram.com/carolinewoolard/">https://www.instagram.com/carolinewoolard/</a>Astrology: Capricorn sun, Cancer moon, Sagittarius ascendant&nbsp;&nbsp;

Caroline Woolard: Artists Need the Solidarity Economy Needs Artists

Catalina Alvarez, Vagaries, 2025,Signed Book: Risograph print on paper,&nbsp;from edition of 150 published July 2025)The risograph-printed limited edition book is bilingual (English /Portuguese) and has a Spanish-language insert. It is a collection of "screen plays" which feature parenthood and the artistic process prominently in its narratives.The Portuguese half of the book is a "re-writing" of my stories by Fluxer Catarina Real (<a target="_blank" rel="noopener noreferrer nofollow" href="https://catarinareal.xyz/">https://catarinareal.xyz/</a>)A limited number of additional copies are available for purchase by contacting info@fluxfactory.orgBio:Catalina makes choreographed films and experimental musicals.Her feature film, SOUND SPRING, premiered Unorthodocs and CIFF and is distributed in North America by Grasshopper Film. Her book, Vagaries, was published by Edições da Ruína (Lisbon) in a bilingual edition. She's currently an Associate Professor and head of Art &amp; Engagement at Fordham University and lives in Queens, NY with her husband and son.<a target="_blank" rel="noopener noreferrer nofollow" href="https://www.catalinaalvarez.com/">https://www.catalinaalvarez.com/</a>

Catalina Alvarez, Vagaries

Cayla Lockwood, Luxury Magazine, 2024Magazine, 10.5 x 8 inches, Open EditionCayla Lockwood is an artist and graphic designer based in the Hudson Valley, NY. She has an MFA in Printmaking from Syracuse University. Her practice includes collage, bookmaking, and video. From 2017–2021 she was an artist in residence at Flux Factory in New York City, where she worked on a number of collaborative projects in NYC, Denmark, Finland and Ukraine.&nbsp;

Cayla Lockwood, Luxury Magazine

Dana Sherwood: Inside the Belly of the Horse, 2020,&nbsp;silkscreen on paper, 15 x 18 inches, limited edition: 21 of 22,&nbsp; signed on frontThis silkscreen is part of a larger series of work begun in 2019 which depicts various nude reclining women inside the bellies of different animals surrounded by confectionaries, cakes and sweets.Bio: Dana Sherwood is an American artist whose diverse practice explores the relationship between humans and the natural world in order to understand culture and behavior in a changing environment. Employing video, painting and sculpture in her work, nature, often in the form of non-human animals, plays a complex role as both subject and collaborator, asserting its presence and subverting the artists’ perceived control. Sherwood relies upon her own style of magical-realism to portray contact between human and non-human animals as a tool to expand our concept of communication and knowledge, and more importantly to recognize the interconnectedness of our ecosystem. What we can learn from plants and animals when we shift our perception to be more inclusive and open to other intelligences. Her paintings, videos, and sculptures depict ritualized feedings created for animals who live on the frontiers of human civilization such as raccoons, possums, and foxes as well as for our close companion species like horses and dogs. The animals assert their presence and desires as the work reflects on the Anthropocene, and our place in the natural world. Set in a magical, wonderland-esque universe, the work weaves together visually beautiful and occasionally humorous imagery while conveying important messages related to ecology, mythology and eco-feminism.Sherwood's projects investigate alternate ways of communicating with the more than human world around us, with the goal of re-connecting with and learning from the intelligence of the earth. Her paintings, videos and sculptures, are informed by intuitive, magical and ancestral practices in order to create conversation and connection with the wider, more than human world.Since graduating from the University of Maine in 2004 Sherwood has exhibited throughout The Americas, Europe and Australia including solo exhibitions at Nagle-Draxler Reiseburogalerie (Cologne), Denny Gallery (New York) and Kepler Art-Conseil (Paris). Her work has also been shown at Storm King (New York), James Cohan Gallery, The Jack Shainman School, The Fellbach Sculpture Triennial (Germany), Pink Summer Gallery (Italy), Kunsthal Aarhus, The Palais des Beaux Arts Paris, Marian Boesky Gallery, Socrates Sculpture Park, Flux Factory, The Biennial of Western New York, Prospect 2: New Orleans, Scotia Bank Nuit Blanche (Toronto), dOCUMENTA 13, and many other venues worldwide. Her solo exhibition, "Dana Sherwood: Animal Appetites and Other Encounters in Wildness" opened at the Florence Griswold Museum in 2022 with accompanying monograph. In 2025 a new body of work was presented in a solo exhibition, “Garden of the Sphinx” at Geary Contemporary in NY as well as two prominent group exhibitions, one at James Cohan Gallery and The Campus Upstate.She is currently working on a new body of work to be presented in 2026 at The Fondazione Morra Greco in Naples, Italy .<a target="_blank" rel="noopener noreferrer nofollow" href="https://danasherwoodstudio.com/">https://danasherwoodstudio.com/</a>

Dana Sherwood: Inside the Belly of the Horse

Danny Crump: Trivial Pursuits Pie Plates, 2025,&nbsp;Porcelain, 1.5 x 6 x 4 inches, Limited Edition: 1-6 of 48, signed on verso These pie plates are part of a series of dishes created for Trivial Pursuits Dinner Party.Bio: Danny Crump is a visual artist working in sculpture, video and ceramics. He co-directs Springboard Collective, holds an MFA from Ohio University and has completed residencies in China, New Zealand, Hungary and the US. He is the Associate Director of Facilities and Operations at SculptureCenter and has worked for a number of NYC non-profits.2025, Sculpture, Porcelain, 1.5”h x 6”w x 4”l Limited Edition: 1-6 of 48, signed on versoThese dishes were created for the Trivial Pursuits Dinner Party: The Musical!Bio: Danny Crump is a visual artist working in sculpture, video and ceramics. He co-directs Springboard Collective, holds an MFA from Ohio University and has completed residencies in China, New Zealand, Hungary and the US. He is the Associate Director of Facilities and Operations at SculptureCenter and has worked for a number of NYC non-profit

Danny Crump: Trivial Pursuits Pie Plates 

Douglas Paulson: Dinner Sonata: Sonic Supper With Eaters Choir LP, 2024,Vinyl record, 12.375 x 12.375 x .125 inches, Limited edition 1 of 3, signed versoVinyl record with a recording of a Sonata recorded at the Flux Factory dinner table during a potluck.Bio: Douglas Paulson is an artist and educator who has been developing an expansive, socially engaged and collaborative practice for over 15 years. This work takes many forms: from sprawling social projects in public space, to intimate drawings, and sonic experiments.Collaboration is at the heart of this practice.&nbsp; Doug’s work has manifested across NYC and abroad, bringing together people from disparate backgrounds into conversation with each other, and intentionally confusing boundaries between artist and participant.&nbsp;Doug has had many roles at Flux Factory since 2005, most notably he was the Residency Director from 2009 - 2014.

Douglas Paulson: Dinner Sonata: Sonic Supper With Eaters Choir LP

Eboni Olivia Louigarde: The Silent Viewer, 2025,Cotton and Abaca Fiber embossed paper, 5 x 4 inches, UniqueEboni Louigarde (they/she) is a 20 year old Haitian-Jamaican multidisciplinary artist Brooklyn born North Carolina raised. They currently reside in Brooklyn, New York and attend the Cooper Union for fine art. Working across sculpture, performance, and writing she examines the relationship between labor, the body, and the performativity of objecthood.

Eboni Olivia Louigarde: The Silent Viewer

Ellen Harvey: Instructions for Supporting Flux Factory, 2025,Acrylic, watercolor on painting, 12 x 9 inches (framed: 15.5 x 12.5 x 1 inches), signed, UniqueBio: "I want to seduce people into thinking" – Ellen HarveyEllen Harvey is a British-born conceptual artist whose work ranges from guerrilla street interventions like her iconic New York Beautification Project for which she painted miniature landscapes over New York’s graffiti sites to immersive institutional installations and large-scale public artworks. Her work is painting-based but utilizes a wide variety of media and participatory strategies to explore several reoccurring themes such as the social and ecological implications of the picturesque, the revolutionary potential of nostalgia, the conflict between advertising and ornament in public space, the relationship between art and tourism and the role of art and the artist in our society.Harvey has exhibited extensively in the U.S. and internationally. Her work was included in the 2008 Whitney Biennial. She has had solo museum exhibitions at Turner Contemporary (UK), Museum der Moderne Salzburg (Austria), Laznia Contemporary Art Center (Poland), Butler Gallery (Ireland), Rowan University Art Museum (NJ), the Barnes Foundation (Philadelphia), the Groeninge Museum (Belgium), the Corcoran Gallery of Art (Washington DC), The Bass (Miami Beach), the Center for Contemporary Art (Warsaw, Poland), the Pennsylvania Academy (Philadelphia) and the Whitney Museum at Altria (New York). She has completed large-scale public artworks for the Miami Beach Convention Center, Metro-North’s Yankee Stadium station, New York’s Queens Plaza subway station, Boston’s South Station, the San Francisco Airport, the Philadelphia International Airport, the Andover Internal Revenue Service Offices and the Flemish National Architect, as well as for other venues. She is the author of the recently reissued New York Beautification Project, and her work has been the subject of three monographs to date. She is a graduate of the Whitney Independent Study Program, Yale Law School and Harvard College and attended the Berlin Hochschule der Kunste in Germany. She is the recipient of numerous awards including a NYSCA grant, a Smithsonian Artists Research Fellowship, the Wivina Demeester Prize for Commissioned Public Art and a John Simon Guggenheim Foundation Fellowship. Her work is represented in numerous institutional collections including the Whitney Museum of American Art, Bass Museum of Art (Miami Beach), SMAK (Ghent, Belgium), Berkeley Museum of Art, Bunker Art Space (Palm Beach), Clay Center for the Arts &amp; Sciences (West Virginia), Art Omi, Museum der Moderne Salzburg, Princeton Art Museum, Pennsylvania Academy of Fine Art, Gwangju Art Museum (Korea), Centro Galego de Arte Contemporanea (Santiago de Compostela, Spain) and the National Gallery of Art (Washington DC), among others. She is represented by Locks Gallery (Philadelphia) and Meessen Gallery (Brussels, Belgium).

Ellen Harvey: Instructions for Supporting Flux Factory

Farrah Karapetian: Load, 2024,&nbsp;Cyanotype on cotton rag, 35 x 19 inches, Unique, signed and dated in ink verso &nbsp;Project focuses on personal narratives of cotton laborers, using cyanotype on cotton rag, supported by residencies and exhibition cycle.Bio:&nbsp;Farrah Karapetian is an artist, writer, and professor based in southern California. With artwork in the collections of the J. Paul Getty Museum, the Los Angeles County Museum, the San Francisco Museum of Modern Art, among others, and fellowships such as the Fulbright, the Pollock Krasner, the Warhol Writers Grant, and the Investing in Artists grant from the Center for Cultural Innovation, Karapetian works globally to unpack default constructs in photography and representation at large. She has exhibited as far afield as the Garage Center for Contemporary Art, Moscow, Russia; the Bienalsur in Cúcuta, Colombia; and the Border Art Biennial in El Paso, Texas, and Juarez, Mexico. Her artwork has been discussed in Artforum, Art in America, and textbooks such as Global Photography: A Critical History (Routledge, 2020.) Her writing has been published broadly, from The Brooklyn Rail to The Los Angeles Review of Books. She holds a BA from Yale University and an MFA from UCLA and is an associate professor at the University of San Diego, leading the photography area in the Department of Art, Architecture + Art History, and affiliate faculty in Africana Studies. In her writing and artwork, she dwells on materiality, public space, and the agency of people in situations seemingly beyond their control.2024, Photography, cyanotype on cotton rag, 35”h x 19”w Unique, signed and dated in ink verso &nbsp;Other info: Project focuses on personal narratives of cotton laborers, using cyanotype on cotton rag, supported by residencies and exhibition cycle.Bio: Farrah Karapetian is an artist, writer, and professor based in southern California. With artwork in the collections of the J. Paul Getty Museum, the Los Angeles County Museum, the San Francisco Museum of Modern Art, among others, and fellowships such as the Fulbright, the Pollock Krasner, the Warhol Writers Grant, and the Investing in Artists grant from the Center for Cultural Innovation, Karapetian works globally to unpack default constructs in photography and representation at large. She has exhibited as far afield as the Garage Center for Contemporary Art, Moscow, Russia; the Bienalsur in Cúcuta, Colombia; and the Border Art Biennial in El Paso, Texas, and Juarez, Mexico. Her artwork has been discussed in Artforum, Art in America, and textbooks such as Global Photography: A Critical History (Routledge, 2020.) Her writing has been published broadly, from The Brooklyn Rail to The Los Angeles Review of Books. She holds a BA from Yale University and an MFA from UCLA and is an associate professor at the University of San Diego, leading the photography area in the Department of Art, Architecture + Art History, and affiliate faculty in Africana Studies. In her writing and artwork, she dwells on materiality, public space, and the agency of people in situations seemingly beyond their control.

Farrah Karapetian: Load

Flux Iron Chefs: Iron Chef Dinner Party, 2012-ongoingPerformance: contents of your kitchen, 5 of your friends, yourself, UniqueOur renowned Flux Iron Chefs are up for the ultimate test of Fluxiness: preparing an incredible dinner party for you and 5 of your favorite people in the comfort of your own home, utilizing whatever ingredients and tools are available there. Flux Iron Chefs have been trained in the Flux Kitchen to cook under sever time pressures, without any fancy ingredients, and without the proper culinary tools. L Magazine agrees that Flux Iron Chefs have “the creative cojones required to make do with what you have.“ (<a target="_blank" rel="noopener noreferrer nofollow" href="http://www.thelmagazine.com/newyork/cooking-with-cajones">http://www.thelmagazine.com/newyork/cooking-with-cajones</a>)Our Flux Iron Chefs cannot wait to create culinary art within your kitchen canvas, while you enjoy a glass of wine with your guests, acting as our muse for the evening.

Flux Iron Chefs: Iron Chef Dinner Party

Gino Romero: draft_final_1, 2025,&nbsp;Color Pencil on Bolívar, 6 x 2.75 inches, Unique, Signed on versoPart of a previously displayed series, this unique work was made for the Flux Factory 2025 Auction.Bio:&nbsp;Gino Romero (b. 1997, Miami) holds an MFA from Parsons School of Design and BA from Florida State University. An ordained minister, archivist, and educator, currently based in Queens, NY. Exhibited internationally and part of major collections.<a target="_blank" rel="noopener noreferrer nofollow" href="https://www.ginoromero.com/">https://www.ginoromero.com/</a>

Gino Romero: draft_final_1

Greg Stewart: Seedle Seedle Seedle Sweet Sweet Sweet, 2024,&nbsp;Pencil and Oil Stick on Vellum, 11 x 8.5 inches (Framed: 14.5 x 11 x 1.5 inches), Unique, signed on verso, framed Previously appeared in Jen de los Reyes's exhibition "Disappearing Birds of North America".Bio:&nbsp;Greg Stewart is an artist and educator living in Virginia for the past 22 years. Alongside his individual arts practice, he is a primary collaborator in the collective Kosmologym. Kosmologym is an art and game design collective combining art, science, and sports. Greg’s individual practice is inspired by the proliferation of citizen artists and scientists within local communities. It recognizes our backyards as places to study global diversity, embracing the role of the imperfect interpreter, or amateur, in all of us.Exhibitions include Tiger Strikes Asteroid: GVL; CEPA Gallery; MOCA, Arlington; Swale/Urban Soils Institute Governor's Island; Franconia Sculpture Park and Taft Nicholson Center for Environmental Humanities.

Greg Stewart: Seedle Seedle Seedle Sweet Sweet Sweet

Jevijoe Vitug: “A Life Imagined”, 2015Oil on Canvas, 24 x 24 x 1.5 inches, Unique"A Life Imagined" is part of a series exploring the experiences of immigrants of color who came to the United States as nurses in the 1960s. The painting is rendered in textured brushstrokes that echo indigenous Southeast Asian patterns, while AI-aided tools create a portrait that feels simultaneously digitalized and deeply “indigenized.” The work reflects on the often-overlooked history of Asian American labor and examines the identity, intimacy, and resilience inherent in acts of care, connecting these narratives to the American Dream—the hope and imagination of a better life, and the pursuit of opportunity and belonging in a new land.Bio: Jevijoe Vitug is a Philippine-born painter based in New York City whose work bridges labor, migration, and identity within contemporary and digital culture. Using AI-aided painting and drawing from indigenous traditions, he reimagines everyday labor as a creative and transformative act. He is also part of the artist duo Abang-guard with Maureen Catbagan, exploring collaboration, community, and the politics of visibility through performance and social practice.Vitug has exhibited in the United States, the Philippines, Japan, Denmark, Singapore and Germany, including venues such as the Metropolitan Museum of Art, Queens Museum, Socrates Sculpture Park, ARoS Aarhus Art Museum and Cultural Center of the Philippines. He is a Flux Factory artist-in-residence and member since 2017, contributing to its collaborative and experimental art community. Vitug holds an MFA from the San Francisco Art Institute, and his practice engages with digital technology, cultural heritage, and creative experimentation.Instagram: @jevijoe

Jevijoe Vitug: “A Life Imagined”

Jodie Lyn-Kee-Chow: Moon Garden, 2021,&nbsp;Ink on Paper, 10 x 8 inches (framed: 15 x 12.25 x 1.25 inches), Unique, signed&nbsp;Line drawing of bamboo inserted in a brick. Previously shown at Five Myles "Daughters of Lamb".Bio:&nbsp;Jodie Lyn-Kee-Chow is a Jamaican-American interdisciplinary artist based in NYC who draws from nostalgia for her homeland, Caribbean folklore, fantasy, feminism, globalism, spirituality, environmentalism, and colonial narratives in works ranging from drawing, installation, and performance. She holds a BFA with honors from the University of Florida and an MFA from Hunter College.Lyn-Kee-Chow’s work has been exhibited in the Queens Museum, Who Takes Care of New York? Queens, NY (2019); The Wing Luke Museum of the Asian Pacific Experience, Guilty Party, Seattle, WA (2020) as well as The James Gallery CUNY Graduate Center, Textures of Feminist Perseverance, New York, NY (2024). Solo exhibitions include Picnic Parade at the Chinese Historical Society of America, San Francisco, CA (2022) and Junkanooacome at Five Myles, Brooklyn, NY (2022). Lyn-Kee-Chow co-authored Living Histories of Sugar in the Caribbean and Scotland: Transnationalisms, Performance and Co-creation, a project funded by the Arts and Humanities Research Council and presented in Kingston, JA, and Greenock and Edinburgh in Scotland (2022). She is the recipient of awards including the New York Foundation for the Arts Fellowship (2012), Rema Hort Mann Artist in Community Engagement (2017), Franklin Furnace Fund (2017-18), Culture Push Fellowship for Utopian Practice (2018), and Queens Art Fund (2019, 2024). Lyn-Kee-Chow has also received the Bronx Museum AIM Fellowship (2024), KODA Residency on Governors Island, NY (2023), Residency Unlimited, Brooklyn, NY (2023), Wave Hill Winter Workspace (2022) and is an inaugural artist fellow of Triangle Arts, Brooklyn, NY (2022). Recent recognition includes being shortlisted for Creative Capital (2022) and nominated for Anonymous Was a Woman (2024). Publications include The New York Times, Hyperallergic, White Hot Magazine, and Artsy. Lyn-Kee-Chow’s work is in private and public collections including the Museum of Chinese in America, Wing Luke Museum, and the National Gallery of Jamaica.

Jodie Lyn-Kee-Chow: Moon Garden

Joshua Goode: The Death Eater, 2023,&nbsp;Sculpture, bronze, 6 x 3 x 3 inches, Unique, signed on bottomBio: Joshua Goode is an interdisciplinary artist whose work reimagines pop culture relics from his youth as ancient artifacts, using alternate history and mythology to explore the construction and distortion of historical narratives. With a background in archaeology and an MFA from Boston University, Goode stages performative excavations around the world, collaborating with local communities to create site-specific interventions. These fictional digs blur the boundaries between fact and fiction, inviting viewers to question the authenticity of cultural memory and the mechanisms through which history is shaped.Goode’s work has been exhibited internationally at institutions such as the Razliv Museum (Russia), Capellades Museum (Spain), Himalayas Museum (China), Monchskirchein Museum (Germany), and The Modern Art Museum of Fort Worth (USA). His artifacts are held in public collections including Colección SOLO (Spain), Alfardan Collection (Qatar), and the U.S. Naval Academy Museum (USA). He has participated in artist residencies across Europe and the U.S. and contributed to archaeological research at the prehistoric Vogelherd Cave in Germany.Weight: 2lbs

Joshua Goode: The Death Eater

Kendal Henry: Exclusive Public Art Tour&nbsp;Exclusive Public Art Tour with Kendal HenryLOT 1 OF 2 (up to 5 of 10 slots)<a target="_blank" rel="noopener noreferrer nofollow" href="https://www.basta.app/fluxauction/2025/kendal-henry-exclusive-public-art-tour">LOT 2 here</a>Join renowned curator and public art leader Kendal Henry for a one-of-a-kind, behind-the-scenes tour exploring some of New York City’s most compelling public artworks.This intimate experience is limited to just 10 participants and will last approximately 3 hours. Along the way, Kendal will share insider stories, curatorial insights, and the hidden histories behind iconic projects as well as unexpected gems scattered throughout the city.Don’t miss this chance to see the city’s art in a whole new light—through the eyes of someone who has spent decades shaping New York’s public art landscape.

Kendal Henry: Exclusive Public Art Tour LOT 1 OF 2 (up to 5 of 10 slots)

Exclusive Public Art Tour with Kendal HenryLOT 2 OF 2 (5 of 10 slots)<a target="_blank" rel="noopener noreferrer nofollow" href="https://www.basta.app/fluxauction/2025/kendal-henry-exclusive-public-art-tour-lot-1-of-2-up-to-5-of-10-slots">LOT 1 here</a>Join renowned curator and public art leader Kendal Henry for a one-of-a-kind, behind-the-scenes tour exploring some of New York City’s most compelling public artworks.This intimate experience is limited to just 10 participants and will last approximately 3 hours. Along the way, Kendal will share insider stories, curatorial insights, and the hidden histories behind iconic projects as well as unexpected gems scattered throughout the city.Don’t miss this chance to see the city’s art in a whole new light—through the eyes of someone who has spent decades shaping New York’s public art landscape.

Kendal Henry: Exclusive Public Art Tour LOT 2 OF 2 (5 of 10 slots)

Li-Ming Hu: Composition, 2025,&nbsp;Faux fur on canvas, 16 x 12 x .75 inches, Limited Edition: 1 of 3, signed on VersoPreviously exhibited at Theater for the New City.Bio: Li-Ming Hu is an interdisciplinary artist, occasional writer and recovering actor from Aotearoa/New Zealand who is currently based in New York City. Often employing a carnivalesque sensibility, her work engages with the imperatives of our high performance culture, and draws on her experiences in the entertainment industry to explore the relationships between cultural production and the performance of subjectivities. She has an MFA from the School of the Art Institute of Chicago and held residencies at the Skowhegan School of Painting and Sculpture, Flux Factory and the International Studio and Curatorial Program, NYC. Her exhibition Likenesses, with Charmaine Poh, is up at the Goethe Institute NYC until December 4.

Li-Ming Hu: Composition

Maureen Catbagan: Light Tunnels: Chelsea Gallery Elevator, NY, 2014-15,&nbsp;Digital C-print, 8.5 x 11 inches, Open Edition, Signed on versoThe series is a meditation on visibility, invisibility, and meanings of access. Overlooked windows, shafts, elevators, and lobbies of museums and famous architectural buildings transform into sublime openings.&nbsp;Bio: Maureen Catbagan is a multi-media artist based in New York whose work engages social collectivity and explores the intersections of immigration, labor, and visibility. Collaborative projects include Abang-guard with artist Jevijoe Vitug, and the Yams Collective. Catbagan has exhibited in venues such as the Queens Museum, 601Artspace, PS 122 Gallery, The Center for Book Arts, Governors Island in New York, and The Contemporary Museum of Honolulu. They have performed in venues such as The Metropolitan Museum of Art, Abrons Art Center, DUMBO Art in New York, and Art Quarter Budapest. Fellowships and grants include the 2025 NYSCA-Support for Artists Grant, the 2025 NYFA-Queens Art Fund, and the 2024-25 Queens Museum-Jerome Foundation Fellowship for Emerging Artists amongst others.

Maureen Catbagan: Light Tunnels: Chelsea Gallery Elevator, NY

Melanie Delach: Pulled One Way or the Other, 2024,&nbsp;Acrylic, Colored Pencil, Crayon, and marker on paper, 15 x 11 inches (framed: 16 x 20 x 1 in), Unique, Signed on versoMelanie Delach (b. 1995, New York) is a mixed media artist based in Queens, New York. Delach’s work spans from textured mixed media paintings to intimate drawings that are an introspection about spiritual connection, self-discovery, transformation, and placeless-space. Delach received a BFA in Studio Art from Adelphi University in 2017 and an MFA at the Pennsylvania Academy of the Fine Arts in 2019. Recent exhibitions include: RegularNormal NYC, Anna Zorina Gallery, Marinaro Gallery, Dinner Gallery, The Hole NYC, Loft Projects NYC, The Museum at the Pennsylvania Academy of the Fine Arts, Gross McCleaf Gallery, and NEWCHILD Gallery (Belgium). She received the Fine Arts Venture Fund and The Judith McGregor Caldwell Purchase Prize, and was nominated for the Colene Brown Art Prize. Delach’s work is a part of numerous private collections and notably in the Museum of the Pennsylvania Academy of the Fine Arts permanent collection.<a target="_blank" rel="noopener noreferrer nofollow" href="http://www.melaniedelach.com">www.melaniedelach.com</a>

Melanie Delach: Pulled One Way or the Other

Naeem Mohaiemen: When Worlds Collide (1), 2020,Polyamide 12 nylon 3D print, spray paint. 5 x 14 x 15 inches, Limited edition 1 of 5,&nbsp;When Worlds Collide was commissioned by The Power Plant, Toronto, Ontario, in conjunction with solo exhibition What We Found After You Left (2020). When Worlds Collide 1 and 2 imagine hybrid architectures conjured of fragments of six buildings featured in Two Meetings and a Funeral (2017). Revealing the various styles of ostentatious, masculinist architecture that served as vehicles for divergent ideologies in this period, the sculptures equally visualize a collision and intersection of these ideologies. In their form, the objects turn inside out the idea of a “pivot” moment of 1973-1974 that was central to Two Meetings positioning within its premiere at documenta 14 in Kassel.1a: Luigi Moretti, Palais de Nation, Algiers, 1961.1b: Beijing Institute of Architectural Design, Bangabandhu International Conference Center, Dhaka, 2001.1c: Bazel M. Salune, Provincial Assembly of the Punjab, Lahore, 1938.2a: Oscar Niemeyer, La Coupole, Algiers, 1975.2b: Oscar Niemeyer &amp; Le Corbusier, UN General Assembly, New York City, 1952.2c: Oscar Niemeyer, Houari Boumediene University of Science &amp; Technology, Algiers, 1969.Bio: Naeem Mohaiemen combines films, photography, drawings, and essays to explore forms of utopia-dystopia within families, borders, architecture, and uprisings– beginning from South Asia and then radiating outward to transnational collisions in the Islamicate world after 1945. Several conversations around “nonalignment” as a concept container in contemporary art pivoted after the premiere of his film Two Meetings and a Funeral (2017) at Documenta 14, which was a finalist for Britain’s Turner Prize (2018). His artwork is represented by Experimenter, Kolkata and film screenings by LUX, London. Projects are in the collections of the Museum of Modern Art (New York), Tate Modern (London), MACBA (Barcelona), Van Abbemuseum (Eindhoven), Kiran Nadar Museum (Delhi), Samdani Art Foundation (Dhaka), British Museum, National Gallery of Singapore, and Art Institute of Chicago. Art Review magazine’s recent cover story about his work brackets the work within the phrase "left wing melancholy" (after Walter Benjamin). He is Director of Undergraduate Studies, Visual Arts Department, Columbia University.<a target="_blank" rel="noopener noreferrer nofollow" href="http://shobak.org">http://shobak.org</a>Weight: 5 lbs

Naeem Mohaiemen: When Worlds Collide (1)

Natalia Nakazawa: The Grass Beneath, 2023,&nbsp;mixed stoneware and underglaze, 8.5 x 6 x 4, UniqueBio: Natalia Nakazawa is a Queens-based interdisciplinary artist and educator working in painting, textiles and social practice. A child of Latin American (Uruguayan) and Asian (Japanese American, yonsei, 4th generation) diasporas, her work is deeply in touch with multi-generational cultural legacies. Natalia’s community-driven projects explore ideas of transnationality, cultural identities, storytelling, archives, and patterns of migration. Blurring the boundaries between education, activism, and art making, each of her projects is based in collaborative processes, inviting participation and collective imagining. In her jacquard textiles series, the artist pulls images from the online open access collections with a focus on objects that embody historical moments of cultural exchange. Nakazawa’s work encourages critical engagement with personal histories, utilizing the familiar, warm format of the tapestry as a means of creating objects that can be simultaneously comforting and disruptive.Natalia received her MFA in studio practice from California College of the Arts, a MSEd from Queens College, and a BFA in painting from the Rhode Island School of Design. Her work has recently been exhibited at Wave Hill (Bronx, NY), Arlington Arts Center (Washington, DC), Transmitter Gallery (Brooklyn, NY), The Metropolitan Museum of Art (New York, NY), The Cleveland Institute of Art (Cleveland, OH), Wassaic Project (Wassaic, NY), Lafayette College Galleries (Easton, PA), and The Old Stone House in Brooklyn (NY). Natalia has been an artist in residence at The Children’s Museum of Manhattan, MASS MoCA, SPACE on Ryder, Wassaic Project, Facebook AIR, Interlude Artist Residency, CAMPO Garzon, Triangle Arts Association, and Wave Hill Winter Workspace.<a target="_blank" rel="noopener noreferrer nofollow" href="https://www.natalianakazawa.com/">https://www.natalianakazawa.com/</a>

Natalia Nakazawa: The Grass Beneath

N.D. Austin: Bottle-aged cocktail from Threesome Tollbooth, Vintage 2024,&nbsp;Booze, Graffiti Stencil, Sealing Wax, 12 x 3 x 3 inches, Limited Edition 3 of 12, signed on versoThis limited edition bottle-aged cocktail from New York's most intimate bar can be consumed now or cellared up to 30 years.

N.D. Austin: Bottle-aged cocktail from Threesome Tollbooth

Patrick Costello: Earthly Delights: Blue Vervain, 2022Risograph print, 10 x 12 inches, 32/50, signed on versoBio: Patrick Costello is an interdisciplinary artist exploring the impacts of history on present ecologies – giving specific attention to the intricate relationships of care and control that define gardens and other cultivated landscapes. Steeped in over ten years of experience as a gardener in New York City, his work takes cues from the humble yet transformative processes of compost heaps, where decay becomes a catalyst for new possibility.Patrick has received a MacDowell Fellowship and was the Performing Artist-in-Residence at Brooklyn Botanic Garden. He has exhibited work at the Museum of Contemporary Art Detroit, Socrates Sculpture Park, Queens, NY; and Stone Quarry Hill Art Park, Cazenovia, NY. He has performed in venues including Ars Nova, New York, NY; The Philadelphia Museum of Art; and The Public Theater, New York, NY. He holds an MFA from Hunter College and a BA from the University of Virginia.<a target="_blank" rel="noopener noreferrer nofollow" href="http://patrickjcostello.net">patrickjcostello.net</a>

Patrick Costello: Earthly Delights: Blue Vervain

Patrick Costello: Earthly Delights: Goldenrod, 2022Risograph print, 12 x 10 inches, 32/50, signed on versoBio: Patrick Costello is an interdisciplinary artist exploring the impacts of history on present ecologies – giving specific attention to the intricate relationships of care and control that define gardens and other cultivated landscapes. Steeped in over ten years of experience as a gardener in New York City, his work takes cues from the humble yet transformative processes of compost heaps, where decay becomes a catalyst for new possibility.Patrick has received a MacDowell Fellowship and was the Performing Artist-in-Residence at Brooklyn Botanic Garden. He has exhibited work at the Museum of Contemporary Art Detroit, Socrates Sculpture Park, Queens, NY; and Stone Quarry Hill Art Park, Cazenovia, NY. He has performed in venues including Ars Nova, New York, NY; The Philadelphia Museum of Art; and The Public Theater, New York, NY. He holds an MFA from Hunter College and a BA from the University of Virginia.<a target="_blank" rel="noopener noreferrer nofollow" href="http://patrickjcostello.net">patrickjcostello.net</a>

Patrick Costello: Earthly Delights: Goldenrod

Petr Shvetsov: untitled, 2018,Canvas, Oil, 9 x 12 x 1.75 inches, Unique, signed on versoPetr Shvetsov is a notable Russian contemporary artist born in Leningrad (now St. Petersburg) in 1970. He is recognized for his expressive and often provocative works that span painting, graphics, installation, and sculpture. Shvetsov's art frequently explores themes of beauty, cultural identity, and the interplay between tradition and modernity.Petr Shvetsov divides his time between St. Petersburg, Russia and South Royalton, Vermont, and works in different media, including, painting, sculpture, and large scale installations. He has participated in numerous solo and group exhibitions in Russia, the U.S., and Europe and his work can be found in the collections of the State Russian Museum, New York Public Library, British Library, Saxon State Library (Dresden), Institute of Contemporary Russian Culture (Los Angeles), University of CA Library( Santa Barbara). <a target="_blank" rel="noopener noreferrer nofollow" href="http://www.shvetsov.info">www.shvetsov.info</a>Educated at the Leningrad Secondary Art School (now the St. Petersburg State Academic Art Lyceum), Shvetsov has been a member of the St. Petersburg Union of Artists since 1992. His career includes international residencies and exhibitions across Europe and the United States. Notably, he spent time working in England, Denmark, Finland, and the USA in the early 1990s, experiences that have influenced his artistic development.

Petr Shvetsov: untitled

Rebecca Forstater: All the Winners, Artifact #4, 2021polylactic acid, silicone, pigment, hydrographic print, 1.625 x 1.25 x 2.625 inches, UniqueAll the Winners is a series of works that use machine learning to create mashups of viral memes featuring reality television cast members,probing the temporal gap that fuses past and present into a singular, complex narrative. These works reveal tangible markers of both societal progress and recurring shortcomings. This work invites reflection on what it means to engage with such imagery across vastly different contexts, exploring the complexities embedded in digital culture’s layered relationship with memory, empathy, and humor.

Rebecca Forstater: All the Winners, Artifact #4

Roopa Vasudevan, Artificial Abundance #22, 2025,&nbsp;Dye sublimation on Chromaluxe aluminum photo panel, 16 x 24 x .45 inches, unique, signed on verso, unframed with floating mount on backExhibited in "Artificial Abundance", solo exhibition at SPACE Gallery (Portland, ME), September-October 2025. “Artificial Abundance” is a series of computationally generated prints created by manipulating personal landscape or nature photos taken by the artist. Using none of the AI image making software that has garnered exponential hype and criticism alike in recent years, the work is instead generated using machine learning tools that have been available within standard consumer design software for over a decade. The series points to the perpetual mythic and omniscient nature that we continue to assign to the idea of artificial intelligence—always existing at the periphery of our vision instead of being slowly and deeply integrated into everyday life—alongside the detrimental effects that its growth will continue to have on the world if its developers remain unchecked and unregulated.Bio:Roopa Vasudevan is a South Asian-American media artist, computer programmer, and researcher based between New York City and Western Massachusetts. Her research and creative practice investigate default technical practices and protocols, and how they intersect with larger social and economic power structures. She has exhibited her work internationally, and been featured by the New York Times, WHYY, Reuters, Slate, Hyperallergic, Jezebel, PBS NewsHour, Public Radio International, and more. She has demonstrated a steadfast commitment to artist-led and DIY initiatives, working with such spaces as ABC No Rio (New York, NY); SPACE Gallery (Portland, ME); SOHO20 Gallery (Brooklyn, NY); SPACES (Cleveland, OH); AUTOMAT (Philadelphia, PA); Public Works Administration (New York); Unrequited Leisure (Nashville, TN); Space 1026 (Philadelphia); Icebox Project Space (Philadelphia); Dunkunsthalle (New York); Vox Populi (Philadelphia), where she was a member of the artist collective between 2019 and 2023; and Flux Factory (Queens, NY), where she continues to be an active member of the artist community.Vasudevan has additionally been supported by NEW INC (New Museum), the Processing Foundation, Eyebeam, and the Emerson Collective Culture Council, among others. Between 2022 and 2025, she was a co-investigator on the Data Fluencies Project, an international research initiative based out of the Digital Democracies Institute at Simon Fraser University (Vancouver). She received a PhD in Communication from the University of Pennsylvania in 2023, and an MPS from the Interactive Telecommunications Program (ITP) at NYU in 2013. She is currently an Assistant Professor in the Department of Art at the University of Massachusetts Amherst, where she is a proud member of the Massachusetts Society of Professors (MSP), the labor union representing faculty and librarians.EMV: 750Weight: 3 lbs

Roopa Vasudevan, Artificial Abundance #22

Sally Beauti Twin: Kite in Drag, 2024,Mylar, Acrylic Paint, Wire, Bamboo, 34 x 34 inches, Unique, unsignedPreviously exhibited at Art Crawl Harlem Gallery and Stephen Street Gallery.Bio: Sally Beauty Twin is a trans woman artist living in New York City. Her practice includes creation and curation of visual art, music, and theater. Sally's work has recenlty been shown at Spring/Break Art Fair, Tomato Mouse Gallery, and Mizuma and Kips Gallery.

Sally Beauti Twin: Kite in Drag

Sara Jimenez: Schism (7), 2015,&nbsp;Paper, inkjet print, metal paint, patina, rust, 9 x 12 inches, Unique, signed on versoThis collage is made from reprinted American colonial photos about the Philippines, combined with steel and copper paint with patinas.Bio: My work materializes invisible histories and a kaleidoscopic connectedness I have to my ancestors and their land. I work in installation, sculpture, collage, and performance to create visual metaphors through fantastical environments and otherworldly, biomorphic objects. Most of my research and inspiration comes from learning about the landscape and narratives from my genealogical roots in Southeast Asia, the Pacific, and the UK. My practice uses poetic abstraction and color to disorient and trouble dominant ideas about people, places and time. Each project or series of works is sited in a specific set of historical narrative threads. Alongside my practice of researching ancestral intersectional histories, I also create site specific installations that grapple with the legacies and landscapes of their particular locations.Jimenez received her BA from the University of Toronto and her MFA from Parsons the New School for Design in Fine Art. Selected solo exhibitions include Rachel Uffner Gallery (NYC), Smack Mellon(NYC), and Morgan Lehman Gallery (NYC). Selected commissions include Cornell University (Ithaca, NY), Wave Hill (NYC), and MadArt Studio (Seattle). Jimenez has also exhibited in exhibitions at museums including El Museo del Barrio, The Brooklyn Museum, and The Bronx Museum. Her work is part of the permanent collection of the Ford Foundation Center for Social Justice. Selected awards and grants include NYFA’s Canadian Women's Artist Award, Canada Council for the Arts’ Explore and Create and Travel Grants, and BRIC’s Colene Brown Art Prize.

Sara Jimenez: Schism (7)

Sarah Dahlinger: Halloween,&nbsp;2023, 4 color lithograph on Zerkall paper, 20 x 16 inches, Limited Edition 2 of 5, signedPreviously exhibited on Governors Island in 2023 and at Cooper Union in 2024.Bio: Sarah Dahlinger is a multimedia artist originally from Wyoming, based in Queens. Her project-based practice involves printmaking, video, performance, food, installation, mask making, costume and prop design. In addition to her individual practice, Sarah co-directs Springboard Collective, a collaboration that creates interactive installations and events.She received her MFA in Printmaking from Ohio University and works as a printmaking technician at the Cooper Union. Her work has shown at 334Broome (NYC), Flux Factory (Queens, NY), Governors Island (NYC), London Biennale (Las Vegas, NV, Berlin, Germany, &amp; Manila, Philippines), Gallery 5 (Richmond, VA), ARoS Museum (Aarhus, Denmark), Practice Gallery (Philadelphia, PA), Knockdown Center (Queens, NY), Greenwood Cemetery (Brooklyn, NY), Little Berlin (Philadelphia, PA), Danube Video Art Festival (Grein, Austria), International Film and Video Festival (Athens, OH). She has an upcoming residency at Ucross (Wyoming) and has completed residencies at Governors Island, ARoS Museum (Aarhus, Denmark), Flux Factory, and International Ceramic Studio (Kecskemét, Hungary). Recent awards include the Queens Art Fund: New Work Grant and the Flushing Town Hall Grant for Artists in Queens.<a target="_blank" rel="noopener noreferrer nofollow" href="http://www.sarahdahlinger.net">www.sarahdahlinger.net</a>

Sarah Dahlinger: Halloween

Space Invader: Invasion of New York City, Print on Paper, 16.5 × 23.75 inches, unknown, unsignedIn the late 1990s, anonymous French artist Invader began cementing and gluing ceramic mosaic Space Invaders—pixelated characters from the eponymous 1978 video game—across the streets of Paris. He expanded his roster to include Pac-Man ghosts and other popular 8-bit characters, and his works now adorn cities around the world, from Los Angeles to Kathmandu. Along with these clandestine works of <a target="_blank" rel="noopener noreferrer nofollow" href="https://www.artsy.net/gene/street-art">street art</a>, Invader has produced mosaics on Perspex panel, plywood, and book covers. He has also created paintings, drawings, and screen prints in his signature pixelated style. These works regularly sell for six figures on the secondary market. In 2019, astronaut Samantha Cristoforetti brought one of Invader’s works to the International Space Station, about 248 miles above Earth. Invader has exhibited internationally, with shows in Los Angeles, Paris, Brussels, and Hong Kong, among other cities.

Space Invader: Invasion of New York City

sTo Len: Queens Supports (Clean Streets Clean Beaches), 2023,&nbsp;water, oil paint, and screenprint ink on paper, 29 3/4 x 22 inches, Unique, signed on versoWhile Public Artist in Residence at the NY Department of Sanitation, sTo Len revitalized a screen printing sign shop in a sanitation garage in Woodside, Queens. Reusing the old equipment and leftover designs, Len created a series of mono prints on paper that remix old campaigns and symbols with his own marbling techniques.Each print is unique in an edition of one and has been hand silkscreened and printed with sTo Len’s personal marbling techniques that use various oil paints and inks with debris.Bio: sTo Len is an interdisciplinary artist whose work has centered on ecological place-based collaborations with diverse landscapes and co-creations with communities and municipal agencies. The cross-disciplinary nature of Len’s practice spans printmaking, video, sound, performance, installation, drawing, and social practice work, threaded together by a site-responsive process of making. Recent projects have included a Trash Museum in Kyrgyzstan, a community pirate radio show in New Mexico, and a series of plant-based printmaking while in residence at the Queens Botanical Garden in NY. Len was the first Artist in Residence at AlexRenew Wastewater Treatment facility in Virginia and the Public Artist in Residence at the NY Department of Sanitation from 2021-2023. Len has done extensive work with waterways including printmaking from surface pollution, underwater field recordings, and turning coastal clean ups into collaborative art events. sTo Len was most recently the Artist in Residence at the Grand Canyon where he was working with themes of embedded memory, deep time, and our relationship to visiting a site with an interactive video installation in the park’s main visitor center that hosts millions of people a year.Len has exhibited internationally, including exhibitions in New York, Pennsylvania, Rhode Island, Connecticut, Los Angeles, San Francisco, Texas, Vietnam, Japan, Germany, Australia, Denmark, and Canada. In 2004, sTo Len co-founded the Brooklyn-based artist-run space Cinders Gallery and curated hundreds of exhibitions and performances until 2019. Len is currently based in Queens, NY, with over two decades of residence in NY and familial roots in Vietnam and Virginia, often incorporating these bonds by connecting issues of their history, environment, and traditions.&nbsp;

sTo Len: Queens Supports (Clean Streets Clean Beaches)

Swoon, Klank House 8/20, 2024Archival inkjet print on Hahnemuhle Albrecht Durer Fine Art 210 gsm paper, 17 x 11 in, signed

Swoon: Klank House 8/20

Tod Seelie: Bicycle Madonna, 2004,&nbsp;Archival Inkjet Print, 6 x 6 inches, unknown edition AP 1, Signed on Verso6" image on 8.25" paperBio: Tod Seelie is a photographer and photojournalist whose work often focuses on the fringe: artists and musicians, subcultures, and a strikingly different view of America. By turns somber and playful, striking, and densely layered with connections, Seelie shoots with a keen attention to light and a wry, sometimes melancholic visual language all his own. At times, Seelie has documented communities and projects that he’s also a part of, as with his astonishing photos of the Swimming Cities junk raft armada, pioneered by the artist Swoon. Seelie has photographed in 25 countries on five different continents and is currently loosely based in Los Angeles.He has exhibited work in many solo and group shows around the world, including at Mass MoCA and the Philadelphia Art Alliance, and presented his work at the Aperture Foundation and MUSUKU in Berlin. His work has also appeared in photography and art books, including The Vice Photo Book, Hijacked, Art &amp; Agenda: Political Art &amp; Activism, The Sense of Movement: When Artists Travel, Rock the Boat, Street World and Backyard Shakedown.In 2013, Seelie published his first book of photography, BRIGHT NIGHTS: Photographs of Another New York, with Prestel Publishing. The book chronicles 15 years of living and shooting in NYC, with accompanying essays by fellow collaborators and cultural observers

Flux Factory 2025 Art Auction