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167 East 64th Street
New York, NY 10065
By Appointment
212 452 4646
Luxembourg + Co. has developed a unique program focused predominantly on exhibitions of significant but under-appreciated postwar European artists. Operating on the fringe of European Pop, Arte Povera, and Nouveau Réalisme, idiosyncratic artists like Enrico Baj, César, Domenico Gnoli, Martial Raysse, Mario Schifano, Salvatore Scarpitta and Rodolfo Aricò were marginalized from dominant discourse for decades. In revisiting these artists’ practices and their legacies, the gallery has generated renewed critical interest in their oeuvres. 

Two additional pillars of Luxembourg + Co.’s program complement these solo exhibitions. The gallery introduces exhibitions with living artists. These are essential to the gallery's vision, as they recast the legacy of its historical program through a contemporary lens. These artists typically create new bodies of work that stand in dialogue with historical precedents: a survey of Richard Prince’s figurative oeuvre was rooted in Pop's regurgitation of mass-media imagery, and Alex Da Corte’s immersive installation evoked the readymades and display tactics characteristic of Nouveau Réalisme. Further projects include exhibitions of Derrick Adams, Mark Flood, Bjarne Melgaard, and Anna Betbeze.

The presentation of museum-quality thematic or solo exhibitions forms the second complementary pillar of the program. Transgenerational shows such as The Ends of Collage, Unpainted Paintings, and Grisaille examined the evolution of artistic vocabularies in twentieth century art; René Magritte (Or: The Rule of Metaphor), Reconstructing Cezanne, and Alberto Giacometti – Intimate Immensity, explored periods or bodies of work that still today require further analysis and critical attention. These shows locate correspondence and disjuncture between past and present artistic methodologies.

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 Fiorini
Urs Fischer
Mark FLood
Lucio FOntana
Günther Forg
Alberto Giacometti
Domenico Gnoli
Raymond Hains
Yves Klein
Jeff Koons
Joan Miró
Guilo Paolini
Pino Pascali
Francis Picabia
Pablo Picasso
Michaelangelo Pistoletto
Sigmar Polke
Richard Prince
Rob Pruitt
Paolo Scheggi
Mario Schifano
Frank Stella
Cy Twombly
Piotr Uklański
Rebecca Ward
Fischli & Weiss
Franz West
Jerzy "Jurry" Zieliński

Past Exhibitions

Marcel Duchamp, Alexander Calder, John Cage, Joseph Beuys, Irma Blank, Vito Acconci, David Hammons, Marina Abramović, Gino De Dominicis, Jennie C. Jones, and Derrick Adams

Sounds Lasting and Leaving

January 22, 2020 - March 14, 2020
The exhibition considers how the elusive medium of sound has carried through art since the early 1900s, when figures of Dadaism, Futurism, and Surrealism first began to experiment with audio. Sounds Lasting and Leaving will flood the gallery's Manhattan townhouse with audible expressions by Marcel Duchamp, Alexander Calder, John Cage, Joseph Beuys, Irma Blank, Vito Acconci, David Hammons, Marina Abramović, Gino De Dominicis, Jennie C. Jones, and Derrick Adams. The exhibition juxtaposes aural and visual works by these artists, many of whom are central to Luxembourg & Dayan's program, while Duchamp was the subject of the gallery's inaugural exhibition in 2009.

Irma Blank

Irma Blank: Painting Between the Lines

May 2, 2019 - July 3, 2019
The exhibition was comprised of selections from key bodies of work representing the long, prolific, and deeply poetic career of this German-born and Italy-based conceptualist: the Eigenschriften (1968-1973), Trascrizioni (1973-1979), Radical Writings (1983-1995), Avant-testo (1990s-early 2000s), and Gehen (begun in 2017 and ongoing).

Alberto Giacometti

Alberto Giacometti: Intimate Immensity, Sculptures 1935-1945

November 11, 2018 - January 12, 2019
Alberto Giacometti: Intimate Immensity Sculptures, 1935– 1945 was the first exhibition in the United States dedicated exclusively to the artist’s cycle of very small human figures created in France and Switzerland during the Second World War. Evolving against a backdrop of unprecedented socio-political upheaval, this unique body of work represents a profoundly transformative phase of Giacometti’s career: at no more than three inches tall and as thin as nails, these works reveal the path that led the artist to the elongated figures for which he became famous in the final two decades of his life.

Domenico Gnoli

Domenico Gnoli: Detail of a Detail

May 3, 2018 - July 13, 2019
Luxembourg & Dayan mounted its second solo exhibition of work by the Italian artist Domenico Gnoli (1933-1970) in May 2018. The gallery's critically acclaimed 2012 exhibition was the first showing of Gnoli's paintings in the United States since his 1969 debut at Sidney Janis Gallery in New York City. In the 2018 exhibition, Luxembourg & Dayan presented rarely seen masterpieces from the 1960s and extended its ongoing research into the late artist's remarkable career with a fully illustrated catalogue and a new text by Italian curator and writer Cecilia Alemani.

Giovanni Anselmo, Pier Paolo Calzolari, Luciano Fabro, Jannis Kounellis, Pino Pascali, Michelangelo Pistoletto, Olga Balema, Elaine Cameron-Weir, Nina Canell, Jason Loebs, and Carlos Reyes

Contingencies: Arte Povera and After

October 23, 2017 - December 16, 2017
Luxembourg & Dayan celebrated the semi-centennial of the Arte Povera movement with Contingencies: Arte Povera and After, an exhibition placing select works by contemporary artists in dialogue with significant Arte Povera works from the 1960s and 1970s. Amid the sociopolitical upheavals of the day, Arte Povera artists questioned the established languages of government, industry, and culture by proclaiming the porosity of the artwork, and exalting in its contingency: suddenly, a potential chemical reaction or simple transfer of energy could comprise the work itself. Contingencies: Arte Povera and After considered the ways in which artists today similarly react to a world in turmoil by rejecting the autonomy of the art object in order to harness, engage, or interrupt systemic flows-whether those are organic, social, or technological-on a distinctly material level. The exhibition was the latest in Luxembourg & Dayan's ongoing, critically acclaimed program devoted to the relationship between postwar Italian art and contemporary culture. The exhibition featured historical works by Giovanni Anselmo, Pier Paolo Calzolari, Luciano Fabro, Jannis Kounellis, Pino Pascali, and Michelangelo Pistoletto. These were placed in conversation with contemporary works by Olga Balema, Elaine Cameron-Weir, Nina Canell, Jason Loebs, and Carlos Reyes. The exhibition was be accompanied by an illustrated catalogue featuring essays by art historian Alex Bacon and Josephine Graf.

César Baldaccini

César in Context

May 5, 2016 - July 1, 2016
César in Context was organized to celebrate the radically inventive and mutable practice of renowned French artist César (1921-1998). By placing a group of his key works in juxtaposition with contemporaneous masterpieces by American and European peers, the show drew attention to the most powerful tool of the artist’s practice: a lifelong penchant for experimentation with an ever-expanding arsenal of materials and techniques. Works on view traced the development of César’s oeuvre through his accumulated language of breakthroughs, which placed him not only within Nouveau Réalisme with which he is most often associated, but also in league with such postwar art movements as Arte Povera, Neo-Dada, and Pop Art.

Alex Da Corte

Alex Da Corte: Die Hexe

February 26, 2015 - April 11, 2015
In the winter of 2015, Luxembourg & Dayan presented Die Hexe, a solo exhibition by Alex Da Corte. For Die Hexe (“The Witch” in German), Da Corte created a site-specific installation that consumed the gallery’s East 77th Street townhouse, turning it into an implausible cross between a dollhouse and a haunted house. Here visitors took a journey through familiar imagery and obscure biographical references that would mingle, repeat, trade places, and morph into new provocations that invite reflections upon memory, impulse, the stability of knowledge, and what constitutes value in a work of art. Disruptions of authorship and interrogations of an artwork’s unique aura have long been facets of Da Corte’s artistic practice. In Die Hexe, these fascinations were also linked to the unique attributes of the gallery’s wider program. Thinking about Luxembourg & Dayan’s role as a platform for the re-evaluation of historical works of art (particularly under-recognized but pivotal postwar European painting and sculpture), Da Corte was prompted to adopt a similar conceptual framework, studying the very notion of re-evaluating something considered “valuable”. Consequently, Die Hexe suggested a series of Duchampian questions about art’s ability to maintain its life force when removed from an originally intended context. Die Hexe was accompanied by a fully illustrated catalogue featuring a text by Da Corte and a new essay by William Pym.

Mario Schifano

Mario Schifano: The '60s

November 6, 2014 - January 10, 2015
On November 6, 2014, Luxembourg & Dayan initiated a new assessment of the contributions of Mario Schifano with Mario Schifano: The ‘60s. By focusing upon the years when his artistic output was at its most intense, the exhibition captures Schifano’s extraordinary range and his ability to encapsulate the charged history and aesthetic contradictions of a nation trying to break free of the recent grip of Fascism and the terrible weight of centuries-old artistic traditions amid rapidly changing socio-economic tides. On view through January 10, 2015, Mario Schifano: The ‘60s was an adapted version of the exhibition Mario Schifano: 1960-1967, recently presented to critical acclaim at Luxembourg & Dayan London. The New York City show was organized in collaboration with Giorgio Marconi, Schifano’s gallerist during the late 1960s, and was accompanied by the catalogue produced for the London show. The book features a new text by Claire Gilman (PhD Columbia University), curator at The Drawing Center, New York.

Martial Raysse

Martial Raysse: 1960-1974

May 11, 2013 - July 13, 2013
In spite of his vital contributions to the European Neo-Avant-Garde, French artist Martial Raysse has been conspicuously under-represented in American art critical discourse. He is perhaps best known for early vivid paintings that appropriate images from advertisements, fashion magazines and familiar art masterpieces. With his signature palette of hyper-saturated colors and his unconventional incorporation of found objects and neon tubing on the surface of canvases, Raysse has been viewed until now through the lens of American Pop art – an altogether inadequate perspective on a seminal postwar artist who departed from Pop’s optimism and fascination with celebrity culture to introduce fresh, albeit disturbing, suggestions of real human confusion and growth behind the shiny surface of all things new. Beginning May 11th 2013, Luxembourg & Dayan presented Martial Raysse: 1960 – 1974, the first U.S. exhibition in four decades devoted to this compelling figure. On view were rare early works by Raysse, including assemblages, paintings, sculptures and experimental films made during the first fifteen years of his career. The gallery presented an example of Raysse’s first Nouveau Réaliste assemblage objects from 1960; a selection of painterly depictions of iconic female beauty; and several poetic works from his much-mythologized ‘Coco Mato’ exhibition of 1974. Through these objects, Luxembourg & Dayan looked beyond the old characterizations of Raysse to investigate more thoroughly the aesthetic and conceptual ruptures that typify the artist’s practice.