http://superpositiongallery.com/

Superposition Gallery, New York, NY (2026)

10/08/2026

Zoë Pulley
Elegance No. 4, 2026
Acrylic plexi, enamel, water-based ink, parcord, PVC, steel, zipties, bungee
40 x 30 x 5 inches
101.60 x 76.20 x 12.70 cm

10/07/2026

Zoë Pulley
A conversation had on February 27th (Tetraptych), 2026

Lightboxes, enamel, water-based ink and milk crates

milk crates: 12 x 12 inches, lightboxes: 20 x 22 x 3 inches, 20 x 18 x 3 inches, 12 x 10 x 3 inches, 12 x 5 x 3 inches

📸 LUIS CORZO

09/29/2026

For The Armory Show Zoë Pulley was selected to collaborate with Vote.org on creating wearables (totes & scarves) to help get the public registered for the upcoming midterm elections while perusing art at the Javits Center

This project draws typographic elements from the personal archive of Herbert L. Bruce, the first Black Tammany Hall district leader in Harlem, active from the 1930s through the 1950s. Working from campaign flyers, invitations, periodicals, and personal correspondence, isolated letterforms, mastheads, and hand-set type that carried the visual language of Black political organizing in that era. This object carries Bruce’s history forward as wearable, functional artifacts, connecting the infrastructure of his political labor to the ongoing work of showing up and voting today.

09/25/2026

The Armory Show is now open! Superposition Gallery proudly introduces a new exhibition by Zoë Pulley at The Armory Show 2026. A Conversation had on February 27th is a presentation that positions lineage as both material and method. It marks Pulley’s first ever fair presentation at The Armory Show and her first gallery presentation in New York. The project extends research and material experimentation developed during Pulley’s recent residencies at The Studio Museum in Harlem, Smack Mellon, and the International Studio & Curatorial Program (ISCP).

Drawing from the archive of her grandmother, Sandra Olivia Moon Hightower, a prolific fashion designer and educator who staged independent fashion shows in Philadelphia in the early 1980s, Zoë Pulley reconsiders how histories of Black making circulate, disappear, and are reassembled across generations. Hightower’s shows were self-organized and self-financed, held outside the institutional fashion calendar and largely outside its record. What survives of them is partial: clippings, programs, photographs, patterns, the paper infrastructure of a practice that was never archived by anyone but the family. Pulley takes that partiality as her working condition rather than a problem to be solved.

Zoë Pulley (b. Chicago, Illinois) is a maker and educator based in Brooklyn, NY. She works with artists, writers, and institutions alongside her personal self-initiated projects. Her work utilizes textiles, writing, and digital media to examine American heritage and the seemingly ordinary stories of Black folks. Pulley received her MFA in graphic design from Rhode Island School of Design in 2023 and her BFA from Virginia Commonwealth University in 2015. Most recently, Pulley was an Artist-in-Residence at The Studio Museum in Harlem and Smack Mellon. She has exhibited work at MoMA PS1, The Studio Museum in Harlem, The Newport Art Museum, and The RISD Museum. Pulley is currently in residence at the International Studio & Curatorial Program (ISCP) in New York.

📸 LUIS CORZO

09/14/2026

Superposition Gallery proudly introduces a new exhibition by Zoë Pulley at The Armory Show 2026. A Conversation had on February 27th is a presentation that positions lineage as both material and method. It marks Pulley’s first ever fair presentation at The Armory Show and her first gallery presentation in New York. The project extends research and material experimentation developed during Pulley’s recent residencies at The Studio Museum in Harlem, Smack Mellon, and the International Studio & Curatorial Program (ISCP).

Drawing from the archive of her grandmother, Sandra Olivia Moon Hightower, a prolific fashion designer and educator who staged independent fashion shows in Philadelphia in the early 1980s, Zoë Pulley reconsiders how histories of Black making circulate, disappear, and are reassembled across generations. Hightower’s shows were self-organized and self-financed, held outside the institutional fashion calendar and largely outside its record. What survives of them is partial: clippings, programs, photographs, patterns, the paper infrastructure of a practice that was never archived by anyone but the family. Pulley takes that partiality as her working condition rather than a problem to be solved.

Zoë Pulley
Look No. 22, 2026
UV ink on readymade, enamel, waterbased ink.
16 x 20 x 3 inches
40.64 x 50.80 x 7.62 cm

Zoë Pulley (b. Chicago, Illinois) is a maker and educator based in Brooklyn, NY. She works with artists, writers, and institutions alongside her personal self-initiated projects. Her work utilizes textiles, writing, and digital media to examine American heritage and the seemingly ordinary stories of Black folks. Pulley received her MFA in graphic design from Rhode Island School of Design in 2023 and her BFA from Virginia Commonwealth University in 2015. Most recently, Pulley was an Artist-in-Residence at The Studio Museum in Harlem and Smack Mellon. She has exhibited work at MoMA PS1, The Studio Museum in Harlem, The Newport Art Museum, and The RISD Museum. Pulley is currently in residence at the International Studio & Curatorial Program (ISCP) in New York.

Portrait by Alice Plati
Object Photography by Jazz Wong

Zoë Pulley in her studio
by Alic

09/09/2026

Superposition Gallery is pleased to present new artwork by Diana Eusebio at Textile Arts Center. Born and raised in Miami, Eusebio has worked with the gallery in Miami and in the Dominican Republic. These works were made in a new environment: an encounter with cold, snow, and a palette drained of tropical warmth, through the natural dye process for which she is known.

Field of Dreams is an ongoing body of textile and photographic works, first presented as a solo museum exhibition of the same name at MOCA North Miami. The project asks: how can natural dyes become a way of mapping migration, tracing the movement of plants, people, knowledge, and memory across the Americas?

A first-generation American born to Peruvian and Dominican parents, Eusebio explores migration and belonging through the material histories of natural dyes. Her grandmother immigrated from the Dominican Republic to New York in the 1970s. During her 2025–26 residency at Textile Arts Center in Brooklyn, Eusebio returned to the city where her family’s American migration story began, retracing those movements through color, family photographs, landscape, and plants.

For Field of Dreams, Eusebio worked exclusively with plants she could grow or harvest in the Northeast. In collaboration with the New York Restoration Project, she grew indigo in a Brooklyn community garden and harvested goldenrod in Vermont, transforming them into blue and yellow dyes. Original photographs of a harsh New York winter and a lush Vermont summer are digitally printed onto fabric, then dyed, wax resisted, quilted, and embroidered into layered works.

Indigo is both material and metaphor: a plant that has traveled across continents, carrying Indigenous and African diasporic knowledge while becoming cultivated and commodified. Tracing her own roots through unfamiliar soil, Eusebio imagines her grandmother doing the same decades before, finding home in a new place.

superpositiongallery.com Textile Arts Center

OPENING RECEPTION
SEPTEMBER 10, 2026
6:30–9:30PM
505 Carroll St, Brooklyn NY

On view through September 24 💫

09/04/2026

Superposition Gallery proudly introduces a new exhibition by Zoë Pulley ( Zoë Pulley ) at 2026! ‘A Conversation had on February 27th’ is a presentation that positions lineage as both material and method. The project extends research and material experimentation developed during Pulley’s recent residencies at The Studio Museum in Harlem, Smack Mellon, and the International Studio & Curatorial Program (ISCP).

Drawing from the archive of her grandmother, Sandra Olivia Moon Hightower, a prolific fashion designer and educator who staged independent fashion shows in Philadelphia in the early 1980s, Zoë Pulley reconsiders how histories of Black making circulate, disappear, and are reassembled across generations. Hightower’s shows were self-organized and self-financed, held outside the institutional fashion calendar and largely outside its record. What survives of them is partial: clippings, programs, photographs, patterns, the paper infrastructure of a practice that was never archived by anyone but the family. Pulley takes that partiality as her working condition rather than a problem to be solved. It marks Pulley’s first ever fair presentation at The Armory Show and her first gallery presentation in New York.

Zoë Pulley (b. Chicago, Illinois) is a maker and educator based in Brooklyn, NY. She works with artists, writers, and institutions alongside her personal self-initiated projects. Her work utilizes textiles, writing, and digital media to examine American heritage and the seemingly ordinary stories of Black folks. Pulley received her MFA in graphic design from Rhode Island School of Design in 2023 and her BFA from Virginia Commonwealth University in 2015. Most recently, Pulley was an Artist-in-Residence at The Studio Museum in Harlem and Smack Mellon. She has exhibited work at MoMA PS1, The Studio Museum in Harlem, The Newport Art Museum, and The RISD Museum. Pulley is currently in residence at the International Studio & Curatorial Program (ISCP) in New York.

Fair Information
The Armory Show 2026
Jacob K. Javits Center
429 11th Avenue, New York, NY
Presents Section,
Booth P10
Public days: September 24–27, 2026

Zoë Pulley
Sa

08/17/2026

🖤

‘Clippers tightened fades. Oils nourished tresses. And conversations about life, liberty and justice filled the air. Barbershops and hair salons have always been spaces where Black entrepreneurship boomed, offering services that cultivated looks and fostered community. Barbershops and beauty parlors became a natural gathering place to stay connected to culture and ideas. The Southampton African American Museum, housed in the building of Southampton’s first African American historic landmark, was one such space. And now, it revisits those entrepreneurial roots with its latest exhibit, artist Damien Davis’ “Hedges and Edges: Barbershops, Community Gardens, and the Architectures of Care.”

Presented by Hamptons Black Arts Council, which was founded by artist, curator and writer Storm Ascher, Davis’ exhibition explores the social histories of Black barbershops, salons and community gardens as spaces of care, maintenance, ritual and collective gathering through sculpture and live activations.

“Growing up, there was a barbershop adjacent to the church I grew up in. So, we would almost always get our hair cut there“ Davis shared with EBONY. “What I loved about that space, which is also similar to the museum, is that it was a barbershop/beauty parlor. So, it was Black men and Black women caring for themselves.”’

✍🏽 Delaina Dixon 🙏🏽

07/29/2026

Alex Anderson
River, 2026
Earthenware, Glaze
48 x 48 inches
121.92 x 121.92 cm

07/23/2026

Thank you Elephant Magazine Vittoria Benzine for speaking with us about our debut of Alex Anderson in his hometown of Seattle 🫶🏽

Superposition Gallery

10/08/2026

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09/29/2026

09/25/2026

09/14/2026

09/09/2026

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07/29/2026

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