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55 Delancey Street
New York, NY 10002
212 577 1201

Also at:
5015 Melrose Avenue
Los Angeles, CA 90038
Located on the Lower East Side of Manhattan since 2007, James Fuentes has championed a gallery program that is led first by exceptional contemporary artists who are atypical from the conventions of their field. The gallery has become known for its focus on humanity, history, and society with a non-exclusionary approach, positioning itself as a leader in the field as our contemporary institutions seek to do the same.

Artists Represented:
Alison Knowles
Amalia Ulman
Benjamin Senior
Berta Fischer
Brian Degraw
Didier William
Ed Baynard
Geoffrey Holder
Izzy Barber
Jessica Dickinson
John McAllister
Juanita McNeely
Keegan Monaghan
Kikuo Saito
Lizzi Bougatsos
Oscar yi Hou
Stipan Tadić


Kikuo Saito at The ADAA Art Show

Online Programming

Amelia Saddington

Aerogram Sonogram

Juanita McNeely

Juanita McNeely: I see the change

Rhys Ziemba

Rhys Ziemba: The music plays the band

Cameron Spratley

Caged Bird Songs

Various artists

Colab No More Store!

Roy Ferdinand

Roy Ferdinand

Various artists

Abstract With Figure

Past Exhibitions

Areena Ang, Amanda Ba, Dominique Fung, Sasha Gordon, Ara Hao, Michael Ho, Kane Huynh, Min Jia, Catalina Ouyang, Oscar yi Hou, Tommy Xie Xin

Re: Representation

January 17, 2024 - February 10, 2024
Organized by Amanda Ba Diasporic experience is determined as much by where you end up as where you are from. The local expression of colonial powers inherently shapes the processes by which an artwork is made and received. In response to this tension, the eleven young, queer, and Asian artists in Re: Representation create work nearby—rather than about—the notions of Diaspora and Representation that orbit their work in the discourses of contemporary art history. A term taken from filmmaker and scholar Trinh T. Minh-Ha, nearby respects the opacity of its addressee(s) and reflects critically upon the speaker’s own proximities. For the artists in this exhibition, shared circumstances of urban transplantation, queer sociality, and ancestral migration grant room to facilitate dialogue and interrogate their own geopolitical histories and conceptions of self. By bringing these voices together, this exhibition seeks not to produce a clear universal image of Asian diasporic identity, but rather to obfuscate, expand, and particularize such an image. Working across California, New York, London, and Berlin—Western states and cities that became hotspots for East and Southeast Asian immigration—these artists create work amid sites of global power where differences in curatorial and conceptual approaches can reveal just how affective the sociopolitical climate of a nation—and city—can be. In their trompe l'oeil Karmatic Cycle, using oil and charcoal on canvas AREENA ANG (b. 1999, Kuala Lumpur, Malaysia; lives and works in London) enters the sensations of loneliness, affect, precarity, and loss through the process of reconfiguring and recomposing the aesthetics of abandoned ephemera and upholstery in paint. The result is a surrealist image that foregrounds the hybrid surfaces and material interactions that accompany one’s emotional spaces. Ang received a BA in Fine Art from the Slade School of Fine Art at the University College London in 2022. Their work has been included in recent exhibitions at Arcadia Missa, London; 243 Luz, Margate; The Slade School of Fine Art, London; and Baba Gallery, London. Ang’s films have been presented in screenings at the Aesthetica Short Film Festival, York; Girls in Film Festival, London; and Whitechapel Gallery, London. AMANDA BA (b. 1998, Columbus, OH; lives and works in New York City) is a painter who spent the first five years of her life living with her grandparents in Hefei, China. Diasporic memory is central to her work—vivid paintings combine personal memory with psychosexual fantasy, featuring figures that challenge a predominantly white Western canon of figural painting. Deeply engaged with queer and post-colonial theory, her images do not aim to solely celebrate her cultural identity and its inclusion, but to interrogate its formation. In Rubble we find a near-literal vision of this act—the nude figure foregrounds a backdrop in demolition; a place both potentially preceding and following construction. Ba received a BA in Visual Art and Art History from Columbia University in 2020. She has presented recent solo exhibitions at No Place Gallery, Columbus, OH; PM/AM Gallery, London; and the Lai Shaoqi Art Museum, Hefei. She has staged performances at Anthology Film Archives, New York and The Spectrum, Brooklyn. In her paintings, DOMINIQUE FUNG (b. 1987, Ottawa, Canada; lives and works in New York) charts her family’s ancestry in Hong Kong and Shanghai, seeking to express the nuanced narratives and histories that comprise personal, generational, and collective memory. With palettes and references intertwined with Asian artifacts, Fung’s uncanny scenes infuse the ancestral with the fantastical. In Cake we encounter horizontal layers stacked and pierced vertically by candles clasped by body-less arms. Filled with shadows and taking place in dim light, this image is like a dream: vividly clear and cryptic, right here and no-where. Fung received a BAA from Sheridan College Institute of Technology in 2009. Recent solo exhibitions include MASSIMODECARLO, London; Rockefeller Center, New York; Nicodim, Los Angeles; Pond Society, Shanghai; Jeffrey Deitch, New York; Taymour Grahne, London; and Ross + Kramer, New York. Fung’s work is in the collections of the Hammer Museum, ICA Miami, LA MOCA, High Museum of Art, M+ Museum, X Museum, and K11 Art Foundation. SASHA GORDON (b. 1998, Somers, New York; lives and works in New York) creates personal avatars that metamorphose into surreal forms and situations. Gordon’s paintings address notions of selfhood, hybridity, and contradiction using a hyperrealistic style that augments the absurd. Inside this visual universe, themes of identity, sexuality, gender, race, and the human body are depicted with simultaneous hyperbole and depth. Gordon received a BFA in Painting from the Rhode Island School of Design in 2020 and has presented solo exhibitions at Jeffrey Deitch, New York and Matthew Brown, Los Angeles. She has been featured in recent group exhibitions at the Rudolph Tegners Museum, Dronningmølle, Denmark; Jeffrey Deitch, New York and Los Angeles; Indeed Gallery, San Francisco; Public Gallery, London; and Matthew Brown Gallery, Los Angeles. Her work is in the public collections of the Hammer Museum, ICA Miami, LACMA, and MFA Houston. ARA HAO (b. 1997, Mountain View, CA; lives and works in the Bay Area of Northern California) is concerned with expressions of color, perception, identity, in relation to the solace of being immersed in the natural world. From there, her works synthesize the feelings experienced from engaging with plant life, machine systems, and the passage of time in our material world. Two works engage different facets of these qualities: Red with Green meditates on the vivid folds of nature as it meets in the thrum of opposite colors and changing seasons. Entering the terrain of hue alone, Skin Series presents a study in personal experience by getting so close to parts of the human body as to abstract them—suggesting touch or smell sooner than image. Hao attended the Cooper Union School of Art from 2016-17 and received a BA in Visual Arts from Columbia University in 2020. She held solo exhibitions at LeRoy Neiman Gallery, New York in 2019 and 2020, and has participated in group exhibitions at the Marin Society of Artists, San Rafael; Colnaghi Gallery, New York; and MC Gallery, New York. As an artist, MICHAEL HO (b. 1991, Arnhem, Netherlands; lives and works in London) is informed simultaneously by his background in architecture, bilingual upbringing, adopted Western aesthetics, and rooted Chinese heritage. As a second-generation immigrant, Ho’s works explore the Chinese diasporic experience as a cultural rediscovery, often imbuing his paintings with the erotic, traces of artifacts, and textures of the natural world. He employs a specific technique of painting from back to front, pushing the paint through the grain of the canvas and superimposing these diluted images with resolved brush strokes on the front of the canvas, as in the shimmering vertical More Than Skin Can Hold. Ho graduated from the Architectural Association in 2019 and has presented solo exhibitions at High Art, Paris; Gallery Vacancy, Shanghai; and V.O Curations, London. He has been featured in group exhibitions at White Cube, Hong Kong; Blum & Poe, Tokyo; Royal Albert Memorial Museum, Exeter; GRIMM, New York; and Hayward Gallery Touring, Nottingham. His work is in the collections of the Asymmetry Art Foundation, London; Domus Collection, New York; Labora Collection, Dallas; Li Lin’s Collection, Hangzhou; Longlati Foundation, Hong Kong; M Art Foundation, Hong Kong; Tanoto Family Collection, Singapore; and X Museum Beijing. OSCAR YI HOU (b. 1998, Liverpool, England; lives and works in New York) is an artist and writer whose work is anchored in personhood, pulling together a syncretic field of iconography that depicts the complex layers of identity and relation. In two new works, yi Hou forgoes fixed representation to instead take up portraiture as a space that reflects the relationship shared between artist and sitter. Yi Hou received a BA in Visual Arts from Columbia University in 2021 and presented his first solo exhibition at James Fuentes, New York that same year. In 2022 he received the third annual UOVO Prize and presented his solo exhibition East of sun, west of moon at the Brooklyn Museum. His work has been featured in exhibitions at the Royal Academy, London; Asia Society, New York; T293 Gallery, Rome; Kohn Gallery, Los Angeles; and Sprüth Magers Online. His work is in permanent collections of the Brooklyn Museum, New York; Columbus Museum of Art; Grinnell College Museum of Art; ICA Miami; M+ Museum, Hong Kong; and the New York Historical Society. KANE HUYNH (b. 1998, New Orleans, Louisiana; lives and works in New York) is a painter and fashion stylist whose works interweave her ancestral history and life in the present, often including self portraiture, Vietnamese folklore, and depictions of her experience as a trans woman. Huynh’s work, The Tailor’s Office, references her longing for home and memories of her grandmother’s black Áo dài—the Vietnamese national garment. The painting depicts a scene between two women: a tailor at work and a woman arched like a cat on her desk. Huynh imagines this narrative scene as taking place in 1960s Vietnam during the American-Vietnam war, in secret and at night. She studied a BFA at The Cooper Union in New York and her work is currently on view in her hometown in Pop Gun. MIN JIA (b. 2001, Ürümqi, China; lives between Berlin and Toronto) is an artist and writer whose work explores themes of migration and adaptation through a surreal lens. Like their short stories, the artist’s paintings offer a glimpse into metamorphic narratives. Chastity Game tangles together hair, scales, and spinal columns into a tightly wound knot bursting at the canvas’ edge. Min Jia is currently on hiatus in China studying the art of traditional Chinese shadow puppet theater under a trained master. They received a BFA in Interdisciplinary Sculpture from the Maryland Institute College of Art in 2021 and have been featured in exhibitions at X Museum, Beijing; A.I. Gallery with Linseed Projects, London; Universität der Künste Berlin; MKG127, Toronto; Hunt Gallery, Toronto; Beaver Hall Gallery, Toronto; Student Space Gallery, MICA; and Daesan Gallery, Ewha Womans University, Seoul. CATALINA OUYANG (b. 1993, Chicago, IL; lives and works in New York) is a multimedia artist whose work presents counter-narratives around representation and self-definition. Through expansion, fragmentation, and abstraction, they portray the body as a politicized landscape that is subject to partition. As in cargo, Ouyang uses diverse materials such as hand-carved wood, beeswax, papier-mâché, stone, appropriated literature, garmentry, animal bladder, and historic artifacts. In this critical reimagining, monstrosity, animality, and toxicity become symbolic elements representing the psycho-affective alienation of the minor subject. Ouyang received their MFA from Yale University in 2019 and has presented solo shows at Lyles & King, New York; Night Gallery, Los Angeles; and No Place Gallery, Columbus. Their work is in the collections of the Brooklyn Museum, High Museum, Pérez Art Museum, Cantor Arts Center, Kadist Foundation, Nasher Sculpture Center, Columbus Museum of Art, and Faurschou Foundation. Ouyang is represented by Lyles & King in New York and Night Gallery in Los Angeles. In his paintings, TOMMY XIE XIN (b. 1998, Chaozhou, China; lives and works in London) navigates queer desire and family dynamics under today’s politics and culture. Xie Xin describes each work as a “fictional presentation based on an emotional reality.” A warning against a longing depicts figures with unclear relations in shadowy tones, exuding both vulnerability and isolation in a doubled interior. This is intimacy as negative space and transgression as catharsis. Xie Xin has had recent exhibitions at Ginny on Frederick, PANG! Projects, Ridley Road Project Space, Harlesden High Street, and Baba Gallery in London, and YouAllDroveMeCrazy Collective in Czech Republic.

Cynthia Lahti

Little Storms

December 1, 2023 - January 13, 2024

Anna Calleja, Jorge K. Cruz, Onur Gökmen, Igor Moritz, Grace Rosario Perkins, Elsa Rensaa


October 21, 2023 - November 22, 2023

Andrea Carlson, Sonya Kelliher-Combs, Tyrrell Tapaha, Nico Williams Curated by Natalie Ball and Zach Feuer

Young Elder

September 8, 2023 - October 14, 2023

Juanita McNeely

Moving Through

September 8, 2023 - October 28, 2023

Stipan Tadić

Metropolis: 36 Views of New York

August 2, 2023 - September 5, 2023

Julia Jo

Point of No Return

June 24, 2023 - July 29, 2023

Juan Pablo Echeverri

Identidad Perdida

June 7, 2023 - July 28, 2023

Didier William

Things Like This Don't Happen Here

May 6, 2023 - June 17, 2023

Group show

A Study in Form (Chapter One)

May 3, 2023 - June 3, 2023

ektor garcia


March 22, 2023 - April 23, 2023

Si On

I Am An Outcast From The World

February 16, 2023 - March 19, 2023

Jakub Julian Ziółkowski

Dented, Round, Sky

January 13, 2023 - February 12, 2023

Geoffrey Holder

Pleasures of the Flesh

November 1, 2022 - December 18, 2022

Keegan Monaghan


September 21, 2022 - October 22, 2022

Brian DeGraw


August 15, 2022 - September 17, 2022

Cosmo Whyte, Raelis Vasquez, Alex Jackson, Abigail Lucien, Widline Cadet, Paul Anthony Smith, Destiny Belgrave, Leslie Smith III, Marianna Olague


July 19, 2022 - August 12, 2022
Curated by Didier William

Daisy Parris

The Warm Glow

June 15, 2022 - July 15, 2022

Izzy Barber

Crude Futures

May 11, 2022 - June 11, 2022

Jane Dickson

99¢ Dreams

April 8, 2022 - May 7, 2022

Rick Prol

Rick Prol: Empty City

February 19, 2022 - March 26, 2022

Benjamin Senior

Benjamin Senior: Boundary Lane

January 18, 2022 - February 17, 2022
Over the past decade, Benjamin Senior has developed a classicizing and disquieting painted vision of everyday life. Emerging from his earlier depictions of highly formalized figures engaged in regimented exercise, his most recent works contain flaneur-like fragments of urban life. Across this visual vocabulary, the subject provides a visual springboard for an obsessive game of composition and construction. Set in the artist’s local boroughs of South London, Boundary Lane presents a new body of paintings made using egg tempera, a technique analogous with ancient frescoes and panel paintings. Senior finds the same supremely choreographed yet frozen qualities of those earlier images, conveying dynamism using pictorial structure rather than expressionistic gesture—rendering their scenes with an otherworldly beauty. Herein, rhythm, pattern, and texture activate the works’ surfaces, aiming for stillness on the verge of movement; structure with the potential for collapse. These could be glanced moments, but each are precisely determined. A girl on a scooter has paused, one foot is on the ground, the other on the scooter ready for movement—and indeed, she can be found again in another scene. In Sweeper, action is more literally suspended as leaves crowd together in mid-air, in the process of tumbling down and being swept back upward. Across his image, Senior’s preoccupation with simulacra becomes reflexive to the work itself, nodding at painting’s own status as a simulacrum, as well as its promise to bring life to matter. A repetition of artificial heads juxtaposes against real heads in Hair Shop and North End; in Fishmongers, fish laid out on ice follow an arc that evokes live leaping salmon, while the rhythms of real fish and pictorial fish crossover inside the image. Figures lose their individual integrity as they are visually fragmented or interrupted to become part of the rhythm of the painting on the whole. In Mangoes, two figures initially appear as one, receding then advancing into one another, connecting through flourishes of lace. Senior’s playfulness with figure-ground relationships is again pronounced in Bullmastiff, as two young men stand on the threshold of light and dark so that their own bodies divide into advancing and receding blocks. This sense of the threshold, of finding ourselves in an ambient interlude, lies at the center of Senior’s visual language. In this regard, the exhibition’s title—Boundary Lane—refers not only to the locale in question but moreover to the location that is this affective pause. And while the narratives found in his works are undoubtedly situated in the here and now, the formalism of their treatment renders their subjects uncanny and unknowable, as if visualizing Plato’s ideal realm of Forms. All this serves to make the image less straight-forward to look at, delighting in the seen world while hinting at the instabilities within any quotidian scene. Benjamin Senior (b. 1982, Southampton, UK; lives and works in London) received an MA from the Royal College of Art, London and BA from the Wimbeldon School of Art. He has presented solo exhibition at James Fuentes, New York; BolteLang, Zurich; Monica de Cardenas, Milan; and Studio Voltaire, London. His work has been included in group exhibitions at venues including South Bank Centre, London; Leeds City Art Gallery, UK; Carl Freedman Gallery, Margate, UK; and FLAG Art Foundation, New York, among others. For further inquiries, please contact James Fuentes at or Katrin Lewinsky at

Jim Jarmusch

Newsprint Collages

September 29, 2021 - October 31, 2021

Oscar yi Hou

A sky-licker relation

August 26, 2021 - September 26, 2021

Cameron Spratley

In the Air Tonight

July 22, 2021 - August 20, 2021

Lui Shtini


May 12, 2021 - June 13, 2021

Izzy Barber

Maspeth Moon

April 8, 2021 - May 9, 2021

Kikuo Saito

March 3, 2021 - April 3, 2021

Jessica Dickinson


January 20, 2021 - February 28, 2021

Jamaal Peterman

Grunch in Bed

December 10, 2020 - January 17, 2021

Purvis Young

Purvis Young 2020 at James Fuentes LLC

November 11, 2020 - December 6, 2020

Didier William


October 30, 2020 - November 7, 2020

Keegan Monaghan


August 3, 2020 - September 26, 2020

Reginald Sylvester

March 3, 2020 - March 29, 2020

Juanita McNeely

January 22, 2020 - March 1, 2020

Lee Quiñones

Language Barriers

November 6, 2019 - December 20, 2019

John McAllister

silence sounding sumptuous

September 18, 2019 - November 3, 2019

Berta Fischer

July 24, 2019 - September 15, 2019

They Gaze

June 7, 2019 - July 19, 2019

Peter Nadin

The Mark Series: The Speaker…Off The Rack

April 30, 2019 - May 26, 2019

Joe Minter

Sculpture 1995-2012

March 28, 2019 - April 28, 2019

Purvis Young

February 26, 2019 - March 31, 2019

Jane Dickson

All That Is Solid Melts Into Air

January 16, 2019 - February 17, 2019

Cameron Martin

New Congress

November 28, 2018 - January 13, 2019

Didier William

Curtains, Stages, and Shadows

October 11, 2018 - November 24, 2018

Devon Dikeou


September 8, 2018 - October 7, 2018

The Unseen

May 11, 2018 - June 3, 2018