Skip to main content
521 West 26th Street
New York, NY 10001
212 759 7555
Artists Represented:
Sophie Bouvier Auslander
Nicky Broekhuysen
Nathan Ng Catlin
Carlos Cruz-Diez 
Pedro S. De Movellan 
Heather Hart
Angela Heisch
Sam Messenger 
Kevin Osmond
Jean-Pierre Roy
Joe Rudko
Boo Saville
The Estate of Mary Ann Unger
Thomas Witte
Sanford Wurmfeld
Works Available By:
Harry Bertoia
Alexander Calder
George Rickey
Jesús Rafael Soto
Victor Vasarely
Tom Wesselmann


Entrance, Maxwell Davidson Gallery

Past Exhibitions

Thomas Witte


September 9, 2021 - October 9, 2021
Davidson Gallery is pleased to present Centerpiece, a solo exhibition of new work by Thomas Witte. Thomas Witte is an American contemporary artist who currently lives and works in New Jersey. Witte works almost exclusively with cut paper as his primary medium and a scalpel as his main tool. Though perhaps best known for using a dichromatic pallet of pristine white paper and a contrasting color, Witte has created six paintings – this time in full color – for his third solo exhibition at Davidson Gallery. Each painting was made between 2020–2021, a time that will be remembered for the many permanent changes society has undergone in light of the ongoing global pandemic. Nostalgia is fundamental to Witte’s work and, at a time when free movement, travel, and human interaction became legally limited, the subjects of his recent paintings become even more pertinent during newly imposed restrictions. Not only are the images Witte depicts evocative of past memories, but their very creation is borne from them. The starting point is always based upon 35mm slide photographs, which Witte collects in the thousands. The source material and process of making the paintings are not necessarily important to the reading of the finished works, but as the paintings themselves are so deliberate, scrupulous, and time intensive, it is impossible to ignore; the opposite of the snapshot on which they’re based. The arrangement and subject matter of the works are formed as Witte draws the details in, then removes the images as paper-cut collages, or adds them as decoupage. Each constituent component is an abstract which, when orchestrated together, forms far more than the sum of its parts. The delicate and fragile paintings as objects were entirely made by hand. The artist carefully tinted sheets of lightweight gossamer like paper – acid free tissue paper that is chosen for its delicate and translucent quality – with watercolor washes of solid, single blocked, permanent color. Witte then hand cuts these sheets with his preferred Japanese scalpel and builds them up as layers of color. With the most modest and basic of medium – paper and color wash – Witte assembles a highly varied texture of detail, contrast, and tone. The colors and character evoke an atmosphere and impression of a particular time and place, along with the unchanging presence of the camera's cropping lens and the artist’s editorial eye. Centerpiece includes scenes of arranged, cut flowers as a recurring device, with the hint of activity going on, always just or partially out of frame. They leave the subject matter open to interpretation by the viewer in any context, Meanwhile the still-life motif resonates through art history, having been used to imply all forms of basic human emotions. The use of the familiar trope with the intimation of life going on around it, recontextualizes the use of artistic subjects. The Centerpiece is both the silent focus and the rebus, rife with meaning The new body of work presented in this exhibition clearly demonstrates a commitment to concept, form, and process by Witte, taking into account the long traditions of paper and painting, and is an important milestone in the artist’s oeuvre.

Glendalys Medina


May 13, 2021 - July 10, 2021
In 2020, as the pandemic gripped the world and our lives went on pause, I found myself in a hopeless state. After about a week in bed, I asked my mother to borrow her dog to motivate me to get up and care for something outside of myself. I gave myself a drawing exercise on our 15-minute walks; to find something to be grateful for, to appreciate the ability to see and cultivate an attitude of gratitude. After taking minutes to observe an item or experience, I would come up to my studio and put the color down as a document of that moment. Those moments created this series of color studies. To this day, when I am feeling down, I go out and enact the same exercise. Glendalys Medina, 2021

Nicky Broekhuysen, Pedro S. de Movellán, Angela Heisch, Sam Messenger, Boo Saville, Thomas Witte

Hope Springs Eternal

April 8, 2021 - May 1, 2021
Davidson Gallery presents a group exhibition curated by Natasha Schlesinger. As the English poet Alexander Pope wrote in the 18 th century, “Hope springs eternal in the human breast”. When turmoil rages on multiple levels all around us, it is hope that gives us the strength to go on and look forward to the future. Spring brings regeneration and renewal, so we turn to the future and see the light at the end of the proverbial tunnel. The human need to create and the human ability to appreciate art connect us to boundless possibilities and potential for something better, for something more. The artists in this exhibition use their preferred mediums to express abstract concepts such as hope, longing, spiritual renewal, and human potential for love in their works. We, as viewers, connect to these concepts through their works and experience a re-awakening of our senses and a renewal of hope for the future.

Joe Rudko


September 17, 2020 - November 21, 2020
Davidson Gallery is pleased to present Processing, an exhibition of new works by Joe Rudko. Rudko’s photographic sensibilities extend past his training in the medium into the realms of sculpture, collage, and painting. The title of the exhibition is an obvious nod to the procedure of creating traditional photography, but has a manifold meaning - virtually all of the works in the show were created in 2020, a year of social and economic upheaval, and a worldwide pandemic. As such, Processing also refers to the ways and means by which human beings navigate and contend with our current situation, and current events. It is also a term that addresses how we, as viewers, perceive art and digest what we see. This is especially true with Rudko’s work - his disassembly and reassembly of vintage and found photographs reimagines what it means to capture and create images, much as photography in its earliest days upended how people perceived painting and other traditional representative art. Many of the works in the exhibition are made up of vintage photographic duplicates, repurposed, reconfigured, and reimagined to produce works that are not quite figurative nor abstract. In many cases, they clearly depict people or body parts, but have been rearranged to appear as if in mid-transformation, metamorphosing into a wholly discrete new form. Still others use the color or shape of the original photographs to construct some new, previously unforeseen shape, reconsidering (and at times subverting) the original photographer’s intent. For example, the work Square Knot creates counterposed gradients of colors intertwining in reference to the undeniable link between a collective past, the not-so-distant past, and the present moment. Joe Rudko is a graduate of Western Washington University and has shown in both solo and group exhibitions throughout the Northwest including PDX Contemporary Art (Portland, OR), Roq La Rue (Seattle, WA), LxWxH (Seattle, WA), Photo Center Northwest (Seattle, WA), Whatcom Museum of Art (Bellingham, WA), and Greg Kucera Gallery (Seattle, WA), as well as Von Lintel Gallery (Los Angeles, CA). He has been the recipient of the Future List Award and two Art Walk Awards from City Arts Magazine as well as the Vermont Studio Center Fellowship Award. His work was featured on the cover of indie rock band Death Cab for Cutie’s 2015 album Kintsugi and is included in the collections of the Museum of Fine Arts Houston, Portland Art Museum, Fidelity Investments, and the private collections of Dorothy Lemelson, James and Susan Winkler, and Driek Zirinsky. Rudko lives and works in Seattle, WA. This is his second solo exhibition with Davidson Gallery.

Group Exhibition

#WFH - Online Exclusive

March 16, 2020 - May 2, 2020
As we all grapple with the reality of COVID-19,​ Davidson Gallery will be self-isolating like many of you; as such, we want to bring the best art to you. Follow us for #wfh art exhibitions updating on a daily basis, including new works, exclusive behind-the-scenes content, artists' studio visits, and interviews.

Purvis Young

Under a Concrete Sky

February 6, 2020 - March 21, 2020
Davidson Gallery presents Under a Concrete Sky, an exhibition of work from acclaimed painter Purvis Young. The show title references the Miami neighborhood of Overtown, a predominantly black, low-income neighborhood where Young lived, worked, and was a community fixture until his death in 2010. So named for the interstate that was constructed over the area in the 1960s, Overtown was as important to Young as he was to his neighborhood. It is impossible to separate the artist from the district – despite creating work that referenced national and even global issues, Young was decidedly of and for Overtown, befriending its denizens and becoming its de facto artist-in-residence. This show – the first for Young at Davidson Gallery – represents a wide range of such subjects, including pregnant women, cities and cars, horses, boats, and slave imagery. The works were all acquired directly from the artist in the 1990s and 2000s. Young was an extraordinarily prolific painter who was entirely self-taught. Despite never even attending high school, his references to canonical art history are undeniable, and his lack of formal education was hardly a limiting factor. Young devoted himself entirely and obsessively to painting, using whatever materials were at hand, including plywood, vinyl siding, furniture, and signs. Despite a tumultuous professional career which left him virtually destitute at the time of his death, his work has been recognized and collected by many of the country’s most respected institutions including the Metropolitan Museum of Art, the Smithsonian, the Philadelphia Museum of Art, and LACMA, to name but a few.

Tom Wesselmann

September 12, 2019 - October 26, 2019

Impossible Objects: Jenna Krypell, Ricardo Paniagua, Richard Roth

June 6, 2019 - August 3, 2019

Thomas Witte

If These Memories Were Mine

April 11, 2019 - May 24, 2019

Mary Ann Unger

Fluid Line: 1968-83

January 10, 2019 - February 16, 2019


September 13, 2018 - October 27, 2018

Darren Lago

Who's Afraid of Red, White and Green

May 10, 2018 - June 16, 2018

Torkwase Dyson

March 15, 2018 - May 5, 2018

Sophie Bouvier Ausländer


January 18, 2018 - March 10, 2018