James Rosenquist (1933-2017) was born in North Dakota and moved to New York in the 1950s. He studied at the Art Students League of New York and worked as a billboard painter on a monumental scale before quitting to pursue painting full time in 1960. During that period, he also met fellow artists including Willem de Kooning, Robert Rauschenberg, and Ellsworth Kelly. He gained recognition in the early 1960s for his groundbreaking painting style, developed by combining images culled from advertising and other materials to surreal and innovative effect, a technique which differentiated Rosenquist from his peers and which he would later call ‘painting below zero’. Described by the late American curator Walter Hopps as ‘visual poetry’, his work has plumbed questions ranging from the economic, romantic, and ecological to the scientific, cosmic, and existential.
Unstoppably active throughout his six-decade career, Rosenquist pushed the boundaries of painting, collage, drawing, and printmaking. He demonstrated his mastery of those mediums from his earliest work and first solo exhibition at Richard Bellamy’s Green Gallery in 1962, which sold out before it opened, through innumerable exhibitions, multiple retrospectives, collaborative projects, and colossal paintings created in his lifetime. Rosenquist’s work is included in major institutions including the Solomon R. Guggenheim Museum, Museum of Modern Art, Walker Art Center, Whitney Museum of American Art, Guggenheim Museum Bilbao, The Menil Collection, The Museum of Fine Arts Houston, Tretyakov Gallery, Museum Ludwig, Wallraf-Richartz Museum, among others. More recently, Rosenquist’s first large-scale retrospective in Korea, titled “James Rosenquist: Universe,” was held at the Sehwa Museum of Art in Seoul in 2024. This year, “James Rosenquist: Waiting for an Idea” was exhibited at Off Paradise, New York.

Jane Reynolds is a California artist who lives and work in Los Angeles. She attended U.C. Irvine in the Fine Arts department in the 1970s, studied statistics, and is a good inductive thinker.

Maximilian Schubert (b. 1983, Rockford, Illinois) received his BFA from The School of the Art Institute of Chicago in 2007. Schubert’s work often straddles the boundaries between painting and sculpture. His luminous “canvases” are cast urethane objects—hybrids of painting and sculpture that cohere these distinct genres into a whole Employing the Old Master technique of glazing where thin layers of paint impart color, depth and luminosity to a surface, Schubert creates works composed entirely of layer upon layer of poured, translucent polyurethane. Schubert has exhibited in the US and abroad, including three solo exhibitions at Off Paradise, New York, “Doubles” in 2020, “Nocturnes” in 2023, and “Dissolves” in 2025; Saint Laurent, Paris; And Now, Dallas; Lisson Gallery, London; the Power Station, Dallas, Texas; Bjorn/Gundorf, Aarhus, Denmark; Van Doren Waxter, New York; Kinman, London; Eli Ping/Frances Perkins, New York; Stephane Simoens, Knokke, Belgium; Bureau, New York; The Warehouse, Dallas; Chart, New York, and CCA, Andratx, Mallorca. Schubert’s work is in private and corporate collections in the U.S. and Europe, including the JPMorgan Chase Art Collection. Schubert lives and works in Brooklyn, New York, and is represented by Off Paradise, New York.

Kristin Walsh (b. 1989 Emerald Isle, North Carolina) lives and works in New York, NY. She earned a BFA from the University of North Carolina at Charlotte in 2013 and an MFA from Columbia University in 2017. Walsh’s practice investigates the ways in which hidden and visible systems guide our thoughts and actions. Adopting the visual languages of machinery and public infrastructure, Walsh crafts flawless aluminum sculptures that conceal the artist’s hand. By removing familiar referents from their daily context and altering them, Walsh imbues her works with a dual nature: they are at once otherworldly and expository. Engineered, welded, and polished from stock metal, many of Walsh’s sculptures contain unseen mechanical elements that animate their surfaces, likening them to horological devices. In her work, ancient and modern technologies operate in tandem, examining the dynamics between industrial production, environmental crisis, and individual agency. Walsh’s work has been included in exhibitions at Petzel, New York; MoMA PS1, Long Island City, Queens; the New Museum, New York; Helena Anrather, New York; Lisson Gallery, New York; CAPC Museum of Modern Art, Bordeaux; Downs and Ross, New York; Signal, New York; International Objects, New York; Foreign & Domestic, New York; Deitch Gallery, New York and others. Her work is included in the collection of the University of North Carolina at Charlotte.

Greg Bogin (b. 1965, New York, New York) received his BFA from Cooper Union in New York in 1987. His canvases are big expanses of color, gradient, luminous, cheerful, and at times, confounding. They seem inspired by radiance and air, they also read like sculpture, outlining, cutting through and confining space. The eye follows the intensities of the colors, subtle shifts in the gradients, while the surfaces hearken back to memories of surfboards or custom cars of the quintessential Southern California pop movement. But Greg Bogin is a New Yorker. Conceived in grit, the works begin evincing little flaws in the surfaces that at first appear pristine. These flaws are fully embraced, a reminder of the humanity behind the object. There are forms, that may conjure weightlessness, drifting and evanescence, but are in fact determinate. And there are “holes” within the paintings that expose the blank wall underneath. Their presence brings one back to a certain reality. It is as if the appearance of weightlessness requires an underpinning of structure and heft. He has had numerous international exhibitions, including at Marlborough Contemporary, in New York and London, at the Staatsgalerie Stuttgart, at Leo Koenig in New York, at the Museum für konkrete Kunst in Ingolstadt, at the Mary Boone Gallery in New York, at the Aldrich Museum for Contemporary Art, Ridgefield, Galerie Bruno Bischofberger in Zurich, Stadtgalerie Saarbrücken, Paolo Curti/Annamaria Gambuzzi & Co in Milan, Neues Museum Nuremberg, Galerie Jablonka in Cologne and the Daimler Art Collection in Stuttgart; and Buchmann Galerie, Berlin. Bogin lives and works in Brooklyn with his dog Monkey.