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595 Madison Avenue, 6th Floor
New York, NY 10022
212 452 4646

Luxembourg + Co. presents curated, museum-quality exhibitions of works by modern masters and contemporary artists in its spaces in New York and London. Previously as Luxembourg & Dayan, the gallery has presented a number of critically acclaimed exhibitions that range in scope from focused considerations of historical and contemporary artists such as Paul Cezanne, René Magritte, Alberto Burri, Richard Prince and Derrick Adams to thematic and investigative surveys, which since 2011 have included Grisaille, Unpainted Paintings, The Shaped Canvas, Revisited, and The Ends of Collage.

Artists Represented:
Derrick Adams
Rodolfo Aricò
Jean Arp
Enrico Baj
Anna Betbeze
Irma Blank
Alighiero Boetti
Alberto Burri
Pol Bury
Paul Cezanne
Alex da Corte
Gino de Dominicis
Jean Dubuffet
Marcel Duchamp
Max Ernst
Jean Fautrier
Giosetta Fioroni
Urs Fischer
Mark Flood
Lucio Fontana
Günther Förg
Sue Fuller
Alberto Giacometti
Domenico Gnoli
Raymond Hains
Yves Klein
Jeff Koons
Jannis Kounellis
Liz Magic Laser
René Magritte
Piero Manzoni
Henri Matisse
Bjarne Melgaard
Joan Miró
Giulio Paolini
Pino Pascali
Francis Picabia
Pablo Picasso
Michelangelo Pistoletto
Sigmar Polke
Richard Prince
Rob Pruitt
Man Ray
Martial Raysse
Gerhard Richter
Ed Ruscha
Robert Ryman
Salvatore Scarpitta
Paolo Scheggi
Mario Schifano
Frank Stella
Jean Tinguely
Cy Twombly
Piotr Uklański
Rebecca Ward
Fischli & Weiss
Franz West
Jerzy "Jurry" Zieliński

Current Exhibition

Liz Magic Laser

Art Handling: An Installation Play

May 11, 2024 - June 28, 2024
The exhibition Art Handling: An Installation Play by Liz Magic Laser is conceived as a theater piece, revolving around a group of 20th century artworks that rely on unconventional installation protocols or links to performative enactments. With works by Robert Rauschenberg, Claes Oldenburg, Gino De Dominicis, Esperanza Mayobre and Liz Magic Laser.

Past Exhibitions

Carla Accardi, Sue Fuller, Alain Resnais

Plastic Revolution

February 6, 2024 - March 29, 2024
Luxembourg + Co., New York, is pleased to present Plastic Revolution, an exhibition dedicated to material and technological innovation in the work of Carla Accardi (1924-2014) and Sue Fuller (1914-2006), with a short film by Alain Resnais (1922-2014). Installation view of Plastic Revolution, Luxembourg + Co., New York, February – March 2024. Photo: Alexa Hoyer.

Man Ray

Man Ray: Other Objects

September 6, 2023 - December 2, 2023
The first of its kind, Man Ray: Other Objects invites visitors to experience in person the premise of an artist’s practice that relied on and relished in the absence of originals. The exhibition focuses primarily on the narrative of five key objects: Obstruction, Cadeau, Object to be Destroyed, Vénus Restaurée, and a series of works Man Ray referred to as his “monuments”. Loans to the exhibition include objects from The Museum of Modern Art, New York, the Galleria Nazionale d’Arte Moderna e Contemporanea, Rome, and the Roland Penrose Collection, England. Image: Man Ray, Indestructible Object, 1959. The Roland Penrose Collection, England © Man Ray 2015 Trust / Artists Rights Society (ARS), NY / ADAGP, Paris 2023

Jean Arp, Marcel Duchamp, Kurt Schwitters, Lee Krasner, Jasper Johns, Raymond Hains, Ellsworth Kelly, Christian Marclay, Piotr Uklanski, Daniel Buren


May 12, 2023 - July 1, 2023
"Torn" explores the radical uses of torn paper within the context of art since the turn of the twentieth century. The exhibition features works from the 1930s to the present day, from Jean Arp’s first experiments with torn paper collages, to Raymond Hain’s large-scale tearing of billboard ads in the 1950s; from Marcel Duchamp’s hand-torn self-portraits in silhouette to Daniel Buren’s film of torn sheets. Other artists on view will include Lee Krasner and Ellsworth Kelly as well as contemporary explorations of the torn edge by Christian Marclay and Piotr Uklanski.

Joan Miró

Joan Miró: Feet on the Ground, Eyes on the Stars

September 7, 2022 - November 26, 2022
In September 2022 Luxembourg + Co. will officially open its new gallery space in New York City at the Fuller Building (on the corner of 57th Street and Madison Avenue) with an exhibition of paintings and drawings by Joan Miró from the years 1924–36. Held on the site of the historical Pierre Matisse Gallery (1931–89), where Miró made his North American debut in 1932, the exhibition will dive into the most formative and experimental decade in the artist’s career. Miró’s unique exploration of painting, drawing, collage and writing during this moment in time would define his unique visual vocabulary and his ground-breaking regard to painting and poetry alike. The exhibition is held on the occasion of the fiftieth anniversary of Miró’s seminal retrospective Joan Miró: Magnetic Fields, which was organised by Rosalind Krauss and Margit Rowell at the Solomon R. Guggenheim Museum, New York, in 1972. In an attempt to rethink Miró’s legacy in art of the last century, the show at Luxembourg + Co. follows a new scholarly proposition outlined by expert Eric Robertson, who suggests that the key to Miró’s work of the 1920s begins with his fascination with ground – both as a subject that connects to his Catalan roots (the brown soil represented so often in his paintings from this period) and as a technical interest in constructing the background of his pictorial universe. The exhibition, alongside Robertson’s argument, then continues to explore the formal language developed by Miró during the 1920s and early 1930s and the emergence of his unique symbolic vocabulary, encompassing numbers, letters and a whole range of idiosyncratic signs. The exhibition Joan Miró: Feet on the Ground, Eyes on the Stars will include loans from several collections in Europe and the United States, including the Pierre and Tana Matisse Foundation in New York and a prominent private collection in Germany that gathers a rare suite of drawings from the period. The project will be accompanied by a new book co-published with Ridinghouse, London, including a preface by Miró expert Jean-Louis Prat and an essay by Eric Robertson, Professor of Modern French Literary and Visual Culture at Royal Holloway, University of London.