Bienvenu Steinberg & J

08/14/2026

Bienvenu Steinberg & C | Booth MP9 Frieze Seoul 2026 -

07/23/2026

Bienvenu Steinberg & C | Room 128 Aspen Art Fair at Hotel Jerome 2026 -

Johanna Calle Arquitecturas, 2026 Nail polish on chromogenic print, framed in Optium Museum acrylic 3.5 x 3.5 in (image) 8.9 x 8.9 cm 16 x 18 in (framed)

05/12/2026

Bienvenu Steinberg & C is pleased to present Jane Yang-D’Haene’s second solo exhibition in New York. Love Letter includes a new body of wall ceramics and vessels. Yang’s first monograph will be published in the Fall by Pointed Leaf Press. Love letter will be on show from May 7th to June 6th, 2026. Jane Yang-D’Haene, born in South Korea, is a ceramic artist renowned for her combination of cultural heritage and bold experimentation. After relocating to New York City in 1984, she attended the Cooper Union School of Architecture from 1988 to 1992, later refining her design expertise at a leading architectural firm. Since 2017, D’Haene has established herself as a significant force in the medium of ceramics. Her work intricately engages with traditional Korean ceramic forms, using them as a foundation for bold experimentation. Since 2020, D’Haene has participated in over 50 exhibitions, marking an expansion of her artistic reach. The acquisition of her Moon Jar reinterpretations by the Harvard Art Museums, along with pieces acquired by the Brooklyn Museum, Sarmaya Arts Foundation, Mumbai, highlights her role in redefining this classic form. D’Haene’s accolades affirm her ability to bridge historical and modern narratives, inviting reflection on the evolving dialogue between tradition and innovation in contemporary art. In February 2026, D’Haene was announced as the finalist for the Loewe Foundation Craft Prize.

04/03/2026

Bienvenu Steinberg & C | Booth F30 Dallas Art Fair 2026 -

04/02/2026

Bienvenu Steinberg & C is pleased to present Arquitecturas, an exhibition by Colombian artist Johanna Calle and her second solo show in New York. Curated by Alexis Fabry, the exhibition centers on two recent bodies of work, Arquitecturas and Abstractas, in which the artist intervenes small
format chromogenic prints drawn from anonymous photographic archives, by applying nail polish or by removing parts of the surface emulsion, furthering her ongoing conceptual exploration of drawing,
photography, and archival material.
Arquitecturas reflects a shift in Calle’s practice toward additive intervention. Through the precise chromatic application of nail polish layers, she reconfigures the visual structures embedded in these
images, isolating architectural elements and spatial rhythms. Calle has described her works as
“photographic drawings” concerned with defining characteristic color ensembles, particularly those
associated with vernacular architecture. Rather than reconstructing or embellishing the image, the
interventions frame color as a historically situated system—shaped by specific social, architectural,
and material contexts, and increasingly subject to erosion and loss. The use of nail polish is essential
to the process. The brilliance of the colors used, and the surface effects of the lacquer evoke the
BIENVENU STEINBERG & C 35 WALKER STREET NEW YORK NY 10013
visual codes of advertising and popular culture associated with gendered routines of self-
presentation.
In Abstractas, Calle reaffirms her longstanding engagement with absence, erasure, an

04/02/2026

Steinberg & C is pleased to present Arquitecturas, an exhibition by Colombian artist
Johanna Calle and her second solo show in New York. Curated by Alexis Fabry, the exhibition centers
on two recent bodies of work, Arquitecturas and Abstractas, in which the artist intervenes
smallformat chromogenic prints drawn from anonymous photographic archives, by applying nail
polish or by removing parts of the surface emulsion, furthering her ongoing conceptual exploration
of drawing, photography, and archival material.
Arquitecturas reflects a shift in Calle’s practice toward additive intervention. Through the precise
chromatic application of nail polish layers, she reconfigures the visual structures embedded in these
images, isolating architectural elements and spatial rhythms. Calle has described her works as
“photographic drawings” concerned with defining characteristic color ensembles, particularly those
associated with vernacular architecture. Rather than reconstructing or embellishing the image, the
interventions frame color as a historically situated system—shaped by specific social, architectural,
and material contexts, and increasingly subject to erosion and loss. The use of nail polish is essential
to the process. The brilliance of the colors used and the surface effects of the lacquer evoke the visual
codes of advertising and popular culture associated with gendered routines of self-presentat