Jill Mintz Fine Art

05/06/2026

Kayla Witt is a Czech-Canadian painter recognized for her spiritually reflective and symbolically vivid oil paintings. She engages the viewer on a quest to find purpose, physical and spiritual well-being, and self-actualization. Windows, storefronts, and symbols of wellness culture are frequent motifs for the artist, who transforms them into surreal meditations on the marketing of pain and healing. With an interest in Jungian psychology, folk tales, and mythology, Witt transforms the genre of still-life into one that is full of movement, theatricality, and narrative.

Kayla Witt’s work is on view now in Twilight Zone a group exhibition at Arsenal Contemporary Art NY in collaboration with Night Gallery LA
On view from April 24th-June 6th, 2026
21 Cortlandt Alley 2nd Floor
New York, NY 10013

Group exhibition including:
Nicolas Baier, Michel DeBroin, Max Hooper Schneider, Rose Marcus, Scott McFarland, Sterling Wells, Kayla Witt ❤️

02/20/2026

BRAIDED RIVER
February 6th - April 11th, 2026

Arsenal Contemporary Art, New York and Night Gallery, Los Angeles are pleased to present Braided River, a group exhibition marking the galleries’ newest collaboration in Tribeca, New York.

A braided river is a living system in motion: a network of channels that split, rejoin, and shift over time. Shaped by sediment, current, and seasonal change, it refuses a single route forward. Instead, it moves sideways, building strength through many paths at once. From above, a braided river can look almost woven—restless, adaptive, and bright with complexity.

Braided River takes this phenomenon as both metaphor and method. Bringing together Canadian artists David Armstrong Six, Elaine Stocki, and Nadia Myre with American artists Claire Colette, Catherine Fairbanks, and Melanie Schiff from Night Gallery’s program, the exhibition asks how distinct practices can meet without flattening into one voice. Each artist remains unmistakably themselves, yet together they form a larger system—linked through shared attention to material, perception, memory, and the body. Here, beauty doesn’t come from perfect unity, but from difference held in relation.

01/02/2026

Arsenal Contemporary Art in collaboration with Night Gallery and Pangée reopen with Darby Milbrath, The Raving Ones on view through January 17, 2026

1. Two Dancers (after Honore Daumier), 2025

2. And Drunk the Milk of Paradise, 2025

3. Study for N**e with Sunflowers (Auguries) (After Paula Modersohn-Becker), 2025

4. Like Black Leaves Wheeling in the Wind We Watched the Ghostly Dancers Spin, 2025

12/15/2025

Sailor…lately

12/11/2025

DARBY MILBRATH
The Raving Ones
On view through Jan 17th, 2026
NY
21 Cortlandt Alley, 2nd Floor
New York, NY 10013

In collaboration with
& .pangee

12/03/2025

N**e with Sunflowers (Auguries), 2025
Oil on canvas
86h x 43w in

To see a world in a grain of sand
And a heaven in a wild flower,
Hold infinity in the palm of your hand
And eternity in an hour.

A robin redbreast in a cage
Puts all Heaven in a rage.
A dove house fill’d with doves and pigeons
Shudders Hell thro’ all its regions.
A dog starv’d at his master’s gate
Predicts the ruin of the state.
A horse misus’d upon the road
Calls to Heaven for human blood.
Each outcry of the hunted hare
A fibre from the brain does tear.
A skylark wounded in the wing,
A Cherubim does cease to sing.
The game c**k clipp’d and arm’d for fight
Does the rising Sun affright.
Every wolf’s and lion’s howl
Raises from Hell a human soul…

- Auguries of Innocence
William Blake

11/01/2025

LAST DAY TO SEE….WANDA KOOP - Magnetic Field!!!

10/10/2025

Gazing out of her Manitoba studio window one morning, Wanda Koop observed three barren trees, leaning together in such a way they seemed to form the letters “A.I.” A vivid invocation of apophenia: the human tendency to see meaningful patterns or messages in random, uncontrolled appearances in the world. The trees, aligned just so, became the seed for a body of paintings Koop has described as “AI Ghost Trees.”

Barren trees, forming the suggestive letters “AI” as if nature itself were warning us of a conspiracy. The pattern arises naturally, but becomes charged—carrying associations with artificial intelligence, technology and human hubris. Koop embraces double edged humor and a broader, longer view. It’s unsettling to see a signifier for artificial intelligence in tree trunks. Yet, as technology increasingly consumes our daily lives, it’s become impossible to escape its shadow in even the most remote locales.

Much as people who see hidden messages or codes in news, speeches, or social media may create elaborate conspiracy narratives from coincidences, Koop’s work becomes a mirror to internet-era conspiratorial thinking: when we expect to see signs—of threat, manipulation, meaning—we often do, even if the “signs” are simply dead trees, reeds in a pond, or stars in the sky. Koop’s paintings make visible the threshold where pattern meets paranoia, showing how art and the psyche both negotiate what is given and what we fill in.

Ultimately, Koop’s AI Ghost Trees depict nature as both vulnerable and enduring: a warning, certainly, but also a gesture toward resilience and hope.

WANDA KOOP
Magnetic Field

On view now at ARSENAL CONTEMPORARY ART through November 1st, 2025
21 Cortlandt Alley, 2nd Fl
New York, NY 10013

In collaboration with NIGHT Gallery, LA

09/17/2025

WANDA KOOP
Reed, XO
Acrylic on canvas
60 x 48”

Wanda Koop
Magnetic Field
In collaboration with Night Gallery LA
September 5th - November 1, 2025
Arsenal Contemporary NY
21 Cortlandt Alley 2nd Fl

09/03/2025