Flux Factory

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

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>

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 landsca

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)

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>

Li-Ming Hu: Composition

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