Sikkema Malloy Jenkins

Sikkema Malloy Jenkins is pleased to present Brushstrokes, a solo exhibition of new work by Vik Muniz, on view from May 14 through June 20, 2026. Vik Muniz is globally renowned for his series recreating popular and art historical imagery using unorthodox source materials—chocolate, sugar, scraps of paper, and junk, among a range of unexpected media. His practice engages the act of looking as a site of physical and symbolic experience, where the presumed nature of an artwork can be thrillingly destabilized. In Brushstrokes, Muniz presents a vibrant homage to the pictorial language of Impressionist and Post-Impressionist painters. The works in this series are created from distinct strokes of paint that are photographed, cut out, and arranged into compositions after artists such as Paul Cézanne, Joaquín Sorolla, Vincent van Gogh, and Edouard Vuillard. These artists proposed new ways of seeing the world, realized through sensorial expressions of color, medium, and light. Drawing on this history, Muniz embraces the ambiguities of material (re)creation as a source of visual experimentation and discovery. The process of creating the works in Brushstrokes involved a complex negotiation of physical gesture and digital mediation. To ensure the faithfulness of the recreation, each brush stroke had to be lit, photographed, and positioned in relation to the original painting’s directional light. The result is a rich syntax of color that conveys an illusion of dimensionality while cohering into images of landscapes, still lifes, and figurative subjects. By deconstructing the material identity of painting and reproducing its most fundamental unit, Muniz foregrounds the potential of each brushstroke to exist both as an autonomous gesture and as part of a larger whole. For viewers, this fidelity of construction and fabrication of presence work in tandem—capturing attention, triggering associations, and shaping how each individual understands an image in relation to their own self. Brushstrokes invites consideration of the function of painting in history and memory, and within our increasingly mediated visual world. For Muniz, ideas of “image” and “medium” are neither inextricable nor bound to a singular truth; rather, they offer empirical entry points into an ever-expanding process of perception and interpretation. With deep reverence for past and future artistic revolutions, Brushstrokes playfully meditates on the slipperiness of reality and the enduring valence of representation. Vik Muniz was born in 1961 in Sao Paulo, Brazil. His work is currently featured in the major retrospective Vik Muniz: A Olho Nu, on view at Centro Cultural Banco do Brasil, Rio de Janeiro, and previously exhibited at Museu de Arte Contemporânea Bahia, Salvador (2025-26) and Instituto Ricardo Brennand, Recife (2025). Other notable solo exhibitions include Vik Muniz: Extra-Ordinary at the New Britain Museum of American Art, New Britain, Connecticut (2024-25); Flora Industrialis at Museo Universidad de Navarra, Spain (2023-24); and Vik Muniz at Museo Universidad Navarra, Pamplona, Spain (2020-21). In 2016, his public art installation Perfect Strangers, commissioned by MTA Arts & Design, opened at the 72nd Street Station in New York City. Muniz’s work is included in the public collections of Museu de Arte Moderna de São Paulo, Brazil; Museum of Contemporary Art, Tokyo; The Museum of Modern Art, New York; The Solomon R. Guggenheim Museum, New York; Victoria and Albert Museum, London; and the Tate Modern, London. Muniz is involved in social projects that use art-making as a force for change. Muniz’s work with a group of catadores— pickers of recyclable materials—in Brazil was the subject of the Academy Award-nominated documentary film Waste Land (2010). In recognition of his contributions to education and social development, Muniz was named a UNESCO Goodwill Ambassador in 2011. Muniz is the founder of Escola Vidigal, a school of art and technology serving children 4 to 8 years old at the favela Vidigal in Rio de Janeiro.

Sikkema Malloy Jenkins is pleased to present Score for Coming Storms, a solo exhibition by Raven Chacon, on view in the back galleries from May 14 through June 20, 2026. Raven Chacon is a Pulitzer-Prize winning composer, performer, and artist from Fort Defiance, Navajo Nation. Through musical and visual compositions, Chacon explores the complex interactions between people, space, and sound. His works are often site-specific, engaging the material and sonic qualities of a given place to make perceptible what has been historically silenced or left out of the frame: legacies of colonial conquest and extraction, but also Indigenous memory, cultural narratives, and acts of resistance. Score for Coming Storms includes a large-scale visual score for a performance, a sound installation and accompanying textile, and ink drawings. The first work viewers encounter is American Ledger No. 1 (2018), which recounts the creation story of the United States through graphic notation and accompanying musical instructions. The work takes form as a flag, a wall, a blanket, billboard, or door; here, it is drawn in graphite directly onto the wall by Chacon, existing in this iteration solely for the duration of the show. The score’s symbology adapts traditional Western musical notation—repeat signs, whole notes, quarter rests—into a pictographic record of the land now known as the United States of America. In descending chronological order, American Ledger No. 1 moves from the blank vastness of pre-history and the subsequent evolution of Indigenous thought, through the arrival of European ships, the violence of colonial encounters, and the enactment of Western laws, religion, and industries. The final “note” of the score is an extended black band, signaling the erasure of land and Indigenous worldviews. The score of American Ledger No. 1 is typically realized through a performance with sustained and percussive instruments, coins, axe and wood, a police whistle, and a match; the performance of these acoustic objects is left largely to the individual and collective interpretation of the players and their expression of the score’s accompanying text. In this exhibition, the score is not performed but displayed alongside a selection of ink drawings on paper. Three of the drawings were created for Chacon’s large-scale musical composition Tiguex, originally performed in twenty movements across the city of Albuquerque, New Mexico, on September 27, 2025. The drawings serve as visual and temporal maps of the performances, tracing the interaction of sound and landscape around the Rio Grande Valley. The second exhibition room is centered around Storm Pattern (2021/2024), a textile score and multi-channel sound installation composed of field recordings of flying drones at the Standing Rock Oceti Sakowin camp on Thanksgiving weekend in 2016. Capturing the flight tone of drones controlled by police, DAPL security, and the water protectors themselves, Storm Pattern relays an intertwined soundtrack of surveillance and counter-surveillance. Both the title of the installation and composition of the score reference the symbolic Navajo weaving design of the same name. Like the traditional Storm Pattern rugs, Chacon’s textile features stepped, diagonal lines radiating outward from a central rectangular element. Along the score’s perimeter are bounded channels of overlapping zigzags, transmitting iterations of sound from one corner to the next. Presented together, the soundscape and visual score of Storm Pattern respond to encroachments upon Indigenous life with a sonic vision of collective resistance and solidarity. Raven Chacon was born in 1977 in Fort Defiance, Navajo Nation. As a solo artist, Chacon has exhibited, performed, or had works presented at The American Academy of Arts and Letters, New York; Borealis Festival, Bergen, Norway; Chaco Canyon, New Mexico; Ende Tymes Festival of Noise and Sonic Liberation, Brooklyn, New York; Haus der Kulturen der Welt, Berlin, Germany; The Los Angeles County Museum of Art, California; The Renaissance Society, Chicago, Illinois; SITE SANTA FE, New Mexico; and The Swiss Institute, New York. As a member of Postcommodity from 2009-2018, he co-created artworks presented at the Carnegie International 57, documenta 14, and The Whitney Biennial, as well as the 2-mile-long land art installation Repellent Fence. A recording artist over the span of 24 years, Chacon has appeared on more than eighty releases on various national and international labels. In 2022, he was awarded the Pulitzer Prize in Music for his composition Voiceless Mass. Since 2004, he has mentored over 300 high school Native composers in the writing of new string quartets for the Native American Composer Apprenticeship Project (NACAP). Chacon is the recipient of a 2023 MacArthur Fellowship; a Pew Fellow Artists Residency (2022); The Foundation for Contemporary Arts Grants to Artists Award (2022); The Bemis Center for Contemporary Arts’ Ree Kaneko Award (2021); The American Academy’s Berlin Prize for Music Composition (2018); United States Artists Fellowship in Music (2016); The Native Arts and Cultures Foundation Fellowship (2014); and The Creative Capital award in Visual Arts (2012).

Sikkema Malloy Jenkins is pleased to present Heathens, a solo exhibition by KING COBRA, on view in the back galleries from March 27 through May 2, 2026. Heathens is COBRA’s first exhibition at the gallery. A public reception with the artist will be held on Friday, March 27, from 6–8pm. KING COBRA’s visceral sculptural and performance works confront the dimensions of consumption and perversion that underscore histories of colonial violence and racial subjugation. Utilizing synthetic and organic materials, COBRA produces corporeal forms that bear the condition of whiteness as a festering wound—one often sugarcoated or concealed but ultimately sustained through the spiritual and physical cannibalism of bodies deemed “other,” and the Black body in particular. Melding medical pathologies and abject imagery with BDSM and kink cultures, COBRA’s work interrogates not just how power is constructed, but also how it may be dissected, subdued, and debased. Heathens features an installation of sculptural objects and a kink film screened on a reclaimed vintage television set. COBRA’s new series of bondage hoods developed from an interest in kink, BDSM, and the role of masks within contexts of pleasure and pain. The anonymizing power of masks is, and historically has been, central to the condition of whiteness in America: a cloak for its perverse psychologies and a license to enact violence and destruction with impunity. It is the same hegemonic veil donned by white Christian institutions that enable systems of empire and abuse while simultaneously condemning kink practitioners and non-normative bodies as heathens. In contrast to the opaque black leather of conventional bondage gear, COBRA’s masks are cast in a light Caucasian pink. By making the hoods with white “skin,” COBRA displaces the assumption of Blackness as the target of punishment and submits white flesh in its place. The bondage hoods are composed of cast silicone fabric stuffed with raffia palm. Each hood is designed to embody a specific white American persona, signified by an accessory or distinguishing feature: a lace bonnet atop the head of a genteel lady; a necktie around the white collar of an American Psycho; and a red-lipped gag puckering the mouth of a platinum-blonde bimbo, mounted on an undulating hobby-horse pole. The surfaces of the hoods ripple with discoloration and disease, including tattooed pustules and smallpox blisters in varying stages of infection. They are no longer protective shields of white skin, but self-contained objects of degeneracy, stimulated by sexual greed and consumptive desire. In COBRA’s hands, the impulse of white Christian America to publicly condemn and privately indulge is laid bare in its hypocrisy, inverted and exposed as vessels of perversion. The bondage hoods are displayed with a red gingham picnic blanket mounted on the wall—a place setting for an impending ritual of consumption. The kink film compiles scenes from a Femdom session utilizing the hoods on view in Heathens. Clad in red leather latex, the Domme punishes, degrades, and tenderizes her white pig sub, whose flesh-toned body melds with the pale pink of COBRA’s hoods. Playing alongside the sculptural works, the film activates the perversion they hold, bringing it to life and to its knees.   KING COBRA (born 1986, Philadelphia, Pennsylvania) holds a BFA from the Tyler School of Art at Temple University and an MFA from the Rhode Island School of Design. COBRA’s monumental sculpture When You Are Between the Devil and the Deep Blue Sea is currently installed at MOCA Cleveland, Ohio, on view through August 2026. Selected solo exhibitions include White Meat at JTT, New York (2023); Revolted at the New Museum, New York (2022); Pale in Comparison at the SCAD Museum of Art, Savannah, Georgia (2022); Doreen Lynette Garner at the Perlman Teaching Museum, Carleton College, Northfield, Minnesota (2022); and Steal, Kill and Destroy: A Thief Who Intended Them Maximum Harm at Halle für Kunst Steiermark, Graz, Austria (2021). COBRA was most recently an Artist-in-Residence at the Joan Mitchell Center in New Orleans (2025). Other awards and fellowships include a Joan Mitchell Foundation Grant (2018); the Socrates Sculpture Park Emerging Artist Fellowship (2017); Pioneer Works Artist-in-Residence (2016); and a Franklin Furnace Fund Grant (2016). COBRA’s work is included in the public collections of the Baltimore Museum of Art, Maryland; the Hessel Museum of Art, Annandale-on-Hudson, New York; and the Studio Museum in Harlem, New York.

Sikkema Malloy Jenkins is pleased to present More Action! More Excitement! More Everything! AMERIKA!, a solo exhibition of new work by Wardell Milan. On view from March 27 through May 2, 2026, More Action!... marks Milan’s second solo presentation at the gallery. A public opening reception with the artist will be held on Friday, March 27, from 6–8pm. Building upon a conceptual foundation in photography, Wardell Milan’s multimedia practice explores the inherent dualisms of desire and violence, fantasy and history, and marginalization and freedom. Recombining photographic elements with paint, graphite, and oil pastel, Milan’s subjects position the human form as a site of vulnerability and transformation. More Action!... presents an ongoing body of work that addresses the dynamic and increasingly disorienting landscape of contemporary American society. Oscillating between personal examination and universal experience, Milan captures the present moment as a constant negotiation of emotional and societal extremes. The works on view in More Action!... range from intimately scaled paintings to large-scale mixed-media compositions. Milan experiments with new materials, including the incorporation of sculptural elements and mosaic-like layering, to create distinct fields of texture and space. The highly saturated color palette—featuring blaring golds, hot pinks, and fluorescent teals—lends Milan’s works a hallucinatory intensity characterized by material and psychological indulgence. Milan’s Amerika series takes inspiration, in both title and thematic concerns, from Erykah Badu’s 2008 album New Amerykah Part One (4th World War). Echoing the sociopolitical commentary and scenic narratives in Badu’s songwriting, Milan’s Amerika comes to life as a collection of surreal, frenetic vignettes—an exaggerated vision of Americana that posits action as both a violent and connective force. National symbols and pastimes appear within acts of depravity or cataclysmic decline, such as the potentially futile effort in Amerika 23 to rescue the Statue of Liberty from a gaping sinkhole. Amerika 16 depicts a nude, two-headed Trump onstage, riding an inflated penis draped in the American flag. The stage floor is marked with pieces of air-dry clay painted black and wrapped in gold leaf, a visual reference to Gilded Age excess and what truly lies beneath a surface of glitz and glamour. In Amerika 15, the garish casino setting recalls the simulacra of the Las Vegas Strip, insulating its guests from the perceptible passage of time within a theater of losses and potential wins. These bold, satirical images are interspersed with moments of intimacy and figurative portraits, preserving the possibility of interconnection and self-possession amidst the chaos. Placed above the large-scale works are a series of portraits, gazing out upon the surrounding pandemonium and the gallery visitors themselves. Set against vivid yellow backdrops, each of Milan’s “witnesses” comprehend the state of the world with an expression of pure emotion inscribed upon their face: a gasp of shock, a furrow of confusion, a beam of joy.   Wardell Milan (born 1977, Knoxville, Tennessee) received his BFA from the University of Tennessee, Knoxville (2001), and his MFA from Yale University (2004), both in photography. Selected solo exhibitions include Modern Utopia at Fraenkel Gallery, San Francisco, California (2024); Bluets & 2 Years of Magical Thinking, Sikkema Malloy Jenkins, New York (2023); Wardell Milan: Recent Work at the Benton Museum of Art at Pomona College, Claremont, California (2023); and Amerika. God Bless You If It’s Good to You at the Bronx Museum of the Arts, Bronx, New York (2021). Milan is the recipient of numerous awards, including Artist in Residence, Civitella Ranieri Foundation, Umbertide, Italy (2024); Joan Mitchell Painters & Sculptors Grant (2019); Artist in Residence, Robert Rauschenberg Foundation (2017); and the Louis Comfort Tiffany Award, New York (2007). His work is included in the public collections of the Brooklyn Museum, Brooklyn, New York; the Hammer Museum, Los Angeles, California; Moderna Museet, Stockholm, Sweden; the Museum of Modern Art, New York; the Studio Museum in Harlem, New York; and the Whitney Museum of American Art, New York.

Sikkema Malloy Jenkins is pleased to present A View, a group exhibition of gallery artists working across painting, photography, textile, and editions.

Sikkema Malloy Jenkins is pleased to present Baseline, a solo exhibition of new paintings and collages by Cameron Martin, on view from September 2 through October 11, 2025. The exhibition’s official public reception will be held on Thursday, September 4, from 6–8pm. How do we read a line? An inexhaustive list of answers could include: 〰️ As the outline of a figure 〰️ As a figure in and of itself 〰️ As a pathway; a trail; a route 〰️ As a glyphic mark 〰️ As writing or signature 〰️ As a stand-in for another gesture More precisely, we could then ask, how does one locate the significance of a line between—or perhaps beyond—our preconceived understandings of representation and abstraction? These questions animate Cameron Martin’s recent body of acrylic paintings and collages, which embrace the disjunctive gap between what one sees and what one assumes to know about an image. As viewers’ perceptions overlap and adjoin, paradoxical notions of handmade mechanization, dimensional flatness, and illustrative abstraction offer a space to mediate these seemingly contradictory forms and processes. The exhibition’s title, Baseline, foregrounds this openness to interpretation with its own multitude of definitions—including, but not limited to, a starting point for comparison, or a basis for defining change. Martin’s recent works can be viewed within several broad categories of visual information, all concerning linear elements and their compositional relationships. Works such as Hallmark (2025) introduce the playful enigma of a calligraphic shape, perched above a horizontal line and floating within a field of overlapping stripes and spheres. The twisted, flourishing figure recalls a familiar lexicon of scripts and signatures, while remaining independent of any definitive symbolic or indexical function. In Graphic (2025), a glowing disk in the upper right of the canvas is intercut with slants of negative space, while below it, a solid black line extends from one side of the painting’s grid backdrop to the other, tipping downwards into a loop before continuing its path. The dynamic scrawl of the line is counterbalanced by the fixedness of the disk, but the exact nature of their pictorial reciprocity is unresolved. The perpetual grid reappears in the monumental triptych, Addendum (2025), which features richly colored, ribbonlike lines floating over an undulating weave pattern. The spatial relationship between these elements is purposefully ambiguous, straddling planes of indeterminate proximity and depth. Unconstrained by boundary or edge, the ribbons and grid travel across the equidistant gaps separating the panels from one another, casting the connective imagery between each canvas into an unseen presence. The large-scale paintings Imprint (2025) and Departure (2024) continue to complicate the figure/ground relationship while drawing upon additional associations of line and form. The twisted, crisscrossing pathways seen in these works are situated amongst other pictorial material including cutout frames, circular apertures, geometric shards, and offset borders. Close looking reveals shadows behind certain forms, but there remains a sense that representational ground doesn’t fully add up; the constituent parts are intrinsic to the composition of the painting, but not necessarily interdependent. As one spends more time with Martin’s work, the initial impact of legibility dissipates into an exploratory terrain of visual phenomena. Alongside Martin’s acrylic canvases, Baseline presents a collection of new collage works on paper. These intimately scaled compositions layer preexisting patterns, textures, and color blocks from a variety of found media with geometric shapes and linework. In contrast to his paintings, which seem to appear upon the canvas without a trace of material production, the collages inherently evince a record of their own assembly. This opens further tensions of perception, as the tangibility of Martin’s hands-on process shifts, reveals, and conceals itself.

Sikkema Malloy Jenkins is pleased to present Cunhó, a solo exhibition of sculptural works by Maria Nepomuceno, on view from September 2 until October 11, 2025. The title of exhibition is an invented word used as a nickname for Nepomuceno by her mother. A public opening reception with the artist will be held on Thursday, September 4, from 6–8pm. Maria Nepomuceno’s chimerical sculptures and wall installations meld the organic with the inorganic, in both shape and substance. Her practice integrates both traditional Brazilian craftsmanship and contemporary materials into her own personal techniques of sewing, weaving, beading, and ceramics. The spiral is essential to her work, reflecting the form’s ubiquity in nature and signifying the perpetual flow of time and energy. Sewn into whorled discs and soft pockets, the spiraling coils enmesh with luminous orbs, bottle gourds, rows of beadwork, and woven straw. The resulting works evoke a vast biological spectrum ranging from microscopic cells to macrocosmic landscapes, all vibrantly inhabiting the gallery space. The theme of abundance is vital to Nepomuceno’s work and its propensity towards the infinite, expressed through thousands of colored beads, unceasing spirals, and endless permutations of form and material. Abundance, for Nepomuceno, is not simply a matter of physical volume but a state of plenitude and continuous expansion. Blending diverse morphologies with traditional craft and contemporary installation, the works in Cunhó each sustain their own unique sculptural makeup while simultaneously embodying the boundless potential for reproduction and recombination.

Sikkema Malloy Jenkins is pleased to present Tracing the threads, I find you, a solo exhibition of work by Spanish artist Teresa Lanceta, on view from April 12 through May 17, 2025. The exhibition marks Lanceta’s inaugural exhibition at the gallery, her first gallery show in the United States, and her first solo exhibition in New York.

Sikkema Malloy Jenkins is pleased to announce Hobby Horse, a solo show of paintings by Merlin James, on view from February 21 through April 5, 2025.

Sikkema Jenkins & Co. is pleased to present THE (grand) GESTURE, a group exhibition of works by Trisha Brown, Keltie Ferris, and Arturo Herrera. THE (grand) GESTURE is on view from January 10 through February 15, 2025. THE (grand) GESTURE considers how ideas of movement and action may be formally expressed and conceptually embodied. Trisha Brown, Keltie Ferris, and Arturo Herrera each offer unique interpretations of physicality and performance, often working through the lens of Abstract Expressionism or in response to its legacies. Trisha Brown created works on paper in parallel with her well-known dance career. Brown’s drawings meld the ephemeral gestures of performance, central to her groundbreaking choreography, with a postminimal visual quality that suggests the condition of an action in process. Her large-scale works trace the motions of Brown’s body as she turns, twists, stands, and glides across the paper’s surface with charcoal grasped between her hands and feet. The resulting field of lines and marks evokes the continuous, all-over nature of Brown’s movements and the ghost of a dynamic presence. Keltie Ferris’s abstractions thrum with a vibrant sense of color and tactility. In his paintings, layers of medium are built up and removed with a variety of tools, including hand-held spray guns, palette knives, and occasionally three-dimensional forms. Gesture is invoked as something both immediate and calculated, fomenting a tension between the initiation of an action and its potential outcome. In this way, Ferris’s works can be seen as both a source of energy and an image of its transformation, released as a kinetic interplay of looping swirls, drags of paint, and geometric fragments. Arturo Herrera’s diverse body of work draws upon Modernist strategies of fragmentation and repetition to explore the mutability of images and how they are perceived. Working largely through collage, his abstractions often play with the ambiguity between what is revealed and what is concealed, and how such visual information or associations are transmitted to the viewer. Dance and choreography have been a significant influence on Herrera’s practice: he describes choreography as “unifying,” defined by certain steps and interactions with space in a way that parallels the composite elements of a collage. His earlier works often feature stylized drips, swishes, and other gestural flourishes, while his more recent compositions continue to use gesture as structure in a more open and painterly way.

This solo exhibition features a new body of colored-watercolor and ink collages and works on paper, alongside a series of bronze busts.