Jordan Wolfson

The red hair, freckles, and boyish features of Colored Sculpture evoke American archetypes such as Huckleberry Finn, Howdy Doody, and Alfred E. Neuman. Suspended from a mechanized gantry by heavy chains, the highly polished figure is repeatedly lifted and slammed to the floor, producing a visceral collision of figuration and abstraction. Its eyes employ facial‑recognition technology to track viewers, while fiber‑optic displays cycle through animations, video clips, and found imagery that tap into the cultural subconscious. An incongruous soundtrack intensifies the work’s tension between reality and artifice, subject and object, meaning and sensory overload. David Zwirner Gallery, 527 West 20th Street, New York

Jordan Wolfson, Colored sculpture video, 2017

David Zwirner Gallery David Zwirner operates one of the leading blue‑chip galleries in the contemporary art world, with galleries in New York, London, Paris, and Hong Kong. Representing more than sixty artists and numerous estates, the gallery has shaped contemporary art’s evolution for decades. I’ve been visiting since Zwirner opened in 1993 in Chelsea, where I’ve lived for more than thirty‑six years, and from the beginning the gallery stood out for David Zwirner’s eclectic sensibility to pick the best. Over time, he has supported and advanced the careers of many of today’s most influential artists, maintaining long‑term relationships with a diverse, international roster spanning generations and disciplines. In 2017, Zwirner became the first commercial gallery to introduce an online viewing room, transforming how audiences encounter art digitally. Since then, he has led the field in online exhibitions, presenting more than seventy digital‑only shows. David Zwirner (Main Gallery), 533 West 19th Street, New York City

David Zwirner Gallery, 537 West 20th Street, New York, N.Y. 10011

Franz West, Pleonasme (Pleonasm), 1999, Papier-mâché, plastic, plaster, glue, paint, and tape with painted wood and MDF artist's pedestal, Overall: 91 x 34 x 41 1/2 inches (231.1 x 86.4 x 105.4 cm)

Jeff Koons, Bluebird Planter (2010–2016), mirror-polished stainless steel sculpture with a transparent color coating, designed to hold live flowering plants. The sculpture is part of Koons' Antiquity series.

Marcel Dzama, Die Verwandlung, 2017, Watercolor, ink, and graphite on paper, Framed: 94 3/4 x 66 inches (240.7 x 167.6 cm)

Franz West (1947–2012), Conceptual sculpture, Title: BI 11, Medium: Plaster, paint, and papier-mâché,

Philip-Lorca diCorcia, Buddy, 2017, Inkjet print, Framed: 45 1/4 x 64 1/2 inches (114.9 x 163.8 cm)

Amadeo Luciano Lorenzato, Sem título (Untitled), 1989, Oil on board

This work is a significant example of Minimalist art, a movement Donald Judd / Dan Flavin helped define.

Wolfgang Tillmans, Vapeur, 2017, Inkjet print on paper, clips, 161 3/4 x 108 1/8 inches (410.8 x 274.6 cm)

Sculpture by Andra Ursuţa, titled Half-Drunk Mummy, made in 2020, made of lead crystal

video: A Runaway World, Diana Thater, The installation features manipulated footage of animals, such as an elephant and a giraffe, often displayed in saturated, non-natural colors across multiple screens.

Ruth Asawa, Continuous (S.340, Hanging, Miniature Single-Lobed, Three Layered Continuous Form within a Form), c. 1981-1982

Anni Albers, Black-White-Gold I, Anni Albers (1899–1994) was a pioneering textile artist and designer considered one of the most important of the 20th century.

Ruth Asawa, Untitled (S.535, Hanging Five Lobed Continuous Form within a Form and Two Interior Spheres and One Teardrop Form), 1951, Hanging sculpture—iron and brass wire, 87 x 12 1/2 x 12 1/2 inches (221 x 31.8 x 31.8 cm)

Burnt Umber & Ultramarine by the Korean artist Yun Hyong-keun (1928–2007), was a leading figure in the Korean art movement known as Dansaekhwa, or the Monochrome Movement.

Carol Bove's "Chimes at Midnight" series. The work emphasizes verticality and is made from rusted hot-rolled steel and a crumpled, cadmium-red element.

On Kawara, Golden Home (1954), The painting depicts a view looking up from the ground towards the underside of a table and a stool.

Huma Bhabha, The Interlocutor, created in 2021, made from cork, acrylic, oil stick, and lipstick

Josh Smith, Title: Friend, Subject: The Grim Reaper, Material: Highly textured, patinated bronze,

Josh Smith, Land of the Living, 2019, part of his ongoing "Reaper" series, oil on linen painting, measuring 72 x 60 inches (182.9 x 152.4 cm),

Josh Smith, Little Friend, 2023, Material: Patinated bronze, Description: Depicts the figure of the Grim Reaper, cast in a highly textured, red finish, Dimensions: It measures 49 x 51 x 22 1/2 inches (124.5 x 129.5 x 57.1 cm).

Huma Bhabha, Maker of Magnificent Monsters, Joins David Zwirner, Untitled (2021), Ink, acrylic, pastel, and collage on paper. 127 x 127 cm.

Huma Bhabha, Prime Traveler, forms from found materials, made of painted and patinated bronze and stands on a concrete pedestal.

Huma Bhabha, assemblage-based sculptures frequently incorporate found objects and cast-off materials like wood scraps, Styrofoam, and wire.

Josef Albers, "Study for Homage to the Square: Slate and Sky", he began in 1949 and produced over a thousand variations of until his death in 1976.

Josef Albers, "Study for Homage to the Square: Slate and Sky",

Carol Bove, Lemon, 2017, Stainless steel, found steel, and urethane paint, 62 3/4 x 113 3/4 x 55 1/2 inches (159.4 x 288.9 x 141 cm)

Homage to the Square, Josef Albers, the series spanned from 1949 to 1976, to explore the illusionistic effects of color perception.

Jeff Koons, Balloon Venus Lespugue (Red), interpretation of the Paleolithic statuette, the Venus of Lespugue,

Oscar Murillo, (untitled) anterior chamber, 2024, Oil over intaglio on paper

Franz West (1947–2012), 2003, papier-mâché, plaster, and acrylic paint on a metal base,

Huma Bhabha’s Distant Star: Where the Grotesque Becomes a Beacon

Huma Bhabha, Untamed, 2024, Cast iron and concrete pedestal

Huma Bhabha, 2025, Title: Untitled, Medium: Ink, acrylic, pastel, and collage on paper,

To define a feeling, Joan Mitchell, 1960 - 1965, Oil paint on canvas,

Collection Joan Mitchell Foundation, Joan Mitchell (1925-1992),

Photos, 2009, by the conceptual artist Christopher Williams

Every Which Way, Richard Serra, 2024, Weathering steel, Sixteen vertical steel slabs

Five slabs, each: 11’ x 6’ x 11¾” (3.4 m x 1.8 m x 29.9 cm), Six slabs, each: 9’ x 6’ x 11¾” (2.7 m x 1.8 m x 29.9 cm),

Five slabs, each: 7’ x 6’ x 11¾” (2.1 m x 1.8 m x 29.9 cm), Overall: 11’ x 52’ 6” x 21’ (3.4 x 16.3 x 6.4 m)

"Twelve Grieving Jackies", 1964, Andy Warhol, silkscreen ink on primed linen

Francis Alÿs, Camguns, 2008, painted wood, metal, plastic, film reels, film and pencil on tracing paper

Jeff Koons, Balloon Venus (Yellow), 06/20/12, mirror-polished stainless steel with transparent color coating, 102 x 48 x 50 in. (259.1 x 121.92 x 127 cm)

Donald Judd, Cor-ten steel, Boxes, 2015

Isa Genzken, Nefertiti, 2018,

Plaster bust on wooden base, MDF plinth, postcard,

sticker, and felt pen, 74 3/4 x 12 5/8 x 14 5/8 inches

Marcel Dzama, Who loves the sun, 2020-2021, Ink, gouache, and graphite on paper, 19 1/4 x 50 inches (48.9 x 127 cm)

Yayoi Kusama, Aspiring to Pumpkin’s Love, the Love in My Heart, 2023, Bronze and urethane paint

Huma Bhabha: Distant Star, David Zwirner, Paris, 2025

Karla Black In her second solo exhibition with David Zwirner, Scottish sculptor Karla Black continues her exploration of material as thought. Her abstract, three‑dimensional works use physical substance—chalk, paper, paint, plaster—alongside everyday cosmetics and domestic materials such as eye shadow, earth, ribbon, toilet paper, and cotton wool. Through these unlikely combinations, Black produces objects that are simultaneously lush and austere, improvisational yet disciplined. Each piece interrogates what sculpture can be, and how matter itself can carry meaning.

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