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Monday 10am - 6pm Tuesday 10am - 6pm Wednesday 10am - 6pm Thursday 10am - 6pm Friday 10am - 6pm Saturday 10am - 6pm

Below Grand Gallery

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Below Grand Gallery

Contemporary art gallery in the Lower East Side of NY.

53 Orchard St., NY

09/02/2026

On view: ‘Borderline: Spirituality in Translation’ curated by Severin Delfs

Sofia Love (b. 1999, Boston, MA) is a le***an Tejana artist living in Brooklyn, NY. Love received her BFA in Integrated Design from Parsons School of Design (New York, NY). Love had her debut solo exhibition ‘VAQUERA’ in 2023 at Shelter Gallery (New York, NY). She has been in group shows at Below Grand (New York, NY), Shelter Gallery (New York, NY), smoke the moon (Santa Fe, NM), Heartfelt Gallery (New York, NY), and the Brooklyn LGBT Center (Brooklyn, NY). She curated ‘Woman on a Balcony’ and ‘Summer Camp’ at Sargent’s Daughters (New York, NY). Love was an Artist-in-Residence at Casa Na Ilha Artist Residency (Ilhabela, Brazil) in 2024 and an Artist-in-Residence at Buinho Residency (Messejana, Portugal) in 2025. She was Artist-in-Residence at Allende Arts Space (San Miguel de Allende, Mexico) and Apapacho PROArtes Residency (Mexico City, Mexico) in 2026. Love is currently doing Research + Community Development for art_works, a mission-based art advisory. She is a current History of Art & Design MA candidate at Pratt Institute (Brooklyn, NY).

Sofia Love, I’ve lost m y head, 2022, Acrylic on canvas paper, wood panel, craft plywood, hinges, skull bead, 17 2/5 x 11 1/2 x 2 in

Sat 12-6pm // by appt thru Sept 26 @ 52 Allen

✮ SOFIA LOVE ✮
Severin Delfs

Images by Alex Cassetti

08/29/2026

On view: ‘Borderline: Spirituality in Translation’ curated by Severin Delfs

The artists in Borderline inherit structures but rarely leave them intact. A frame begins to resemble a cross; a sculptural container suggests an absent relic; a fragment assumes the significance of a body. Elsewhere, an entire room takes on the intimacy and concentration of a private ritual. In this sense, the exhibition proposes the sacred image as a technology of attention—something produced not simply by what an image depicts, but by the structures, behaviors, and expectations surrounding it.
—

Damjanski is an artist mostly living in a browser. He is a co-founder and member of the incubation collective, Do Something Good, and also the co-founder of the MoMAR gallery within New York’s Museum of Modern Art. His work has been featured in major art, tech, and culture publications including Wired, Hyperallergic, Artnet, The Verge, the Huffington Post, the L.A. Times, the New York Times, and others.

Damjanski, eli eli lema sabachtani, 2026, Aluminum, powder coated, 23 5/8 x 13 3/4 in

Sat 12-6pm // by appt thru Sept 26 @ 52 Allen

Damjanski
Severin Delfs

Images by Alex Cassetti

08/26/2026

On view: ‘Borderline: Spirituality in Translation’ curated by Severin Delfs

Blake O’Brien is an artist and educator living and working in Ridgewood, Queens. His painting practice engages with the disparity between individual collected objects and the cultural institutions that house them. It uses literary strategies of relation to reidentify with cultural objects and grant them new potentials and purposes, both inside and outside of the hegemonic environment of the museum.

O’Brien’s work has been exhibited nationally and internationally in solo and group exhibitions, including those at Below Grand, New York, NY; Essex Flowers, New York, NY; Greene House Gallery, Brooklyn, NY; Dodomu Gallery, Brooklyn, NY; St. Kate Arts, Milwaukee, WI; Kent Place School, Summit, NJ; O’Flaherty’s, New York, NY; Saladino Gallery, Covington, LA; and Delphian Gallery, London, UK, among others. O’Brien has been included in New American Paintings, Artmaze Magazine, and Greene House Magazine. He received his BFA from The University of Southern Mississippi and MFA from Indiana University. He currently teaches at the New York Studio School.

Blake O’Brien, New Testament, 2021, Oil collage on canvas, 34 x 30 in

Sat 12-6pm // by appt thru Sept 26 @ 52 Allen

Blake O'Brien
Severin Delfs

08/22/2026

Urgent news divas and divettes

Opening Tonight 6 – 8 PM: ‘Borderline: Spirituality in Translation’ curated by Severin Delfs

At the center of the exhibition is the idea of the border as both a visual device and a spiritual condition. A border can protect, isolate, sanctify, or contain; it can also operate as a threshold between different orders of meaning. Historically, such structures did more than surround sacred images: they shaped how those images were approached and understood.
—

Audrey Bialke (b.1991) paints representational oil paintings that meld historical imagery, mythic iconography, and ecological storytelling. Bialke’s intimate paintings feature historical renderings of animals and fantastical creatures in conversation with everyday objects and the pastoral landscapes of her upbringing to explore the link between magical worlds and mundane realities. She surrounds her scenes with elaborate borders that echo folk art and domestic patterning, bringing intellectual reverence to decoration. Bialke’s work has been featured in The Wall Street Journal, Hyperallergic, New Visionary Collective, Artnet News and Two Coats of Paint. She lives and works near Ithaca, NY.

Audrey Bialke, Untitled, Oil on panel, 12 x 9 in

Sat 12-6pm // by appt thru Sept 26 @ 52 Allen

Audrey Bialke
Severin Delfs

08/19/2026

‘Borderline: Spirituality in Translation’ curated by Severin Delfs
Opening This Saturday, Aug 22, 6 – 8 PM

Rather than asking whether the works in ‘Borderline’ are themselves religious, the exhibition looks at the structures through which objects and images become devotional. Frames, relics, niches, shrines, fragments, and thresholds recur throughout the exhibition. Some works invoke familiar religious imagery, from sacred hearts and saints to the architecture of the altarpiece; elsewhere, religious meaning emerges by implication, as ordinary materials and spaces become charged or transformed.
—

Ben Cowan, Fragment of Mary (Niched), 2026, Oil and acrylic, Mixed media on cast aqua resin, 8 x 10 in

Ben Cowan was born and raised in Ann Arbor, Michigan. He received a BFA from the School of the Art Institute of Chicago and an MFA from Indiana University. The artist can be spotted examining plants and architecture as he walks to and from his studio in Brooklyn, New York. Occupationally, Cowan has worked in the studio of Jeff Koons and presently as a Scenic Artist for motion pictures, both roles have increased Cowan’s resolve for refined painting techniques, experimentation with process, and a keen eye for illusions. In his work, Cowan draws inspiration from urban landscapes and gothic architecture, blending observed places, personal objects, and religious abstractions to create paintings that bridge reality and illusion, personifying the interpersonal and the supernatural.

Images courtesy of the Artist and Deanna Evans Projects

Sat 12-6pm // by appt thru Sept 26 @ 52 Allen

Ben Cowan
Severin Delfs

08/13/2026

Opening next Saturday, 8/22: ‘Borderline: Spirituality in Translation’ curated by Severin Delfs
Reception: 6-8pm @ 52 Allen St

Below Grand is pleased to present ‘Borderline: Spirituality in Translation’, a group exhibition examining how the visual language of religion persists, mutates, and takes on new meaning within contemporary art. Bringing together eleven artists across generations and practices, the exhibition considers the sacred not as a fixed system of symbols, but as a visual and material language continually being borrowed, fragmented, secularized, and remade.

ft.
Audrey Bialke (Audrey Bialke)
Audrey Flack (Audrey Flack)
Ben Cowan (Ben Cowan)
Billy Jacobs (Billy Jacobs)
Blake O’Brien (Blake O'Brien)
Damjanski (Damjanski)
Mack Sikora (Mack Sikora)
Melanie Berardicelli (Melanie)
Petra Szilagyi (Petra Szilagyi)
Sophia Love (✮ SOFIA LOVE ✮)
Wes Winters (Wes Winters)

08/02/2026

Final day: ‘Low Hanging Fruit’ solo ft. Ashley Markle, curated by Austin Johnson

Two Languages, 2020, Archival Giclée Print mounted on black sintra, 20” x 16”

“I was involved in a fairly toxic relationship that began in December 2019 and continued into the pandemic. He shared a lot of qualities with my father which I didn’t realize until after the relationship ended and I began photographing my father. The relationship was extremely sexually charged and when we weren’t fu***ng, I found myself completely uncomfortable in his presence. This is someone I wouldn’t even want to be friends with but who I was constantly seeking validation from. I often have my camera’s cable release visible in images but this is the only time I’m not the one holding it. Every move we made was on his terms. I was only allowed to see him on weekends and during the week I would pace back and forth trying to fill my time while counting the seconds til he pulled up in his Jeep Wrangler. I tell myself now that I only entertained him for so long because it was the pandemic and I didn’t want to let go of the consistent intimacy. But most of the images I made with him are like giant red flags I was waving to myself and it still took me 9 months to shake him.” – Ashley Markle
—
Us, 2021, Inkjet Print on Notebook Paper, 5” x 5 4/5”

Untitled, 2021, Inkjet Print on Notebook Paper, 5” x 5 4/5”

Today thru 6pm @ 52 Allen

Ashley Markle
aj

08/01/2026

Final day: ‘Low Hanging Fruit’ solo ft. Ashley Markle, curated by Austin Johnson
What nectar can be squeezed, extracted from those foundational family relationships and leaves a residue on the connections thereafter?
—
Untitled, 2020, Inkjet Print on Notebook Paper, 5” x 5 4/5”

Untitled, 2022, Inkjet Print on Notebook Paper, 5” x 5 4/5”

Sat 12-6pm @ 52 Allen

Ashley Markle
aj

07/30/2026

On view now: ‘Low Hanging Fruit’ solo ft. Ashley Markle, curated by Austin Johnson

Only Child, 2020, Archival Giclée Print mounted on black sintra, 30” x 24”

“There are so many stereotypes about only children that honestly do not resonate with me. One of the biggest struggles of being an only child is that there is no buffer. There are always eyes on you because you’re the only thing in the house people are responsible for. And when you have a very open and close relationship with a parent, everything you do is scrutinized. When I was four years old, my dad was watching me while my mom was at work. While my mom was the one who couldn’t keep her eyes off me, my dad couldn’t be bothered to look. My dad was sitting in his lounger with his eyes glued to the TV, most likely in one of his depressive moods. I grabbed a stuffed animal, looked behind me at a pretend studio audience, laughing under my breath to them, and threw the stuffed animal at him. He didn’t even look at me. All he did was point his finger to the ceiling letting me know I was now banished to my room. I made this image while visualizing a loop of memories of loneliness, suffocation, desperation, and toxic self-analysis.” – Ashley Markle

—
Delicates, 2022, Archival Giclée Print mounted on black sintra, 24” x 30

Glimpse of Intimacy, 2020, Archival Giclée Print mounted on black sintra, 14” x 11”

Sat 12-6pm // by appt thru Aug 2 @ 52 Allen

Ashley Markle
aj

07/27/2026

Please join Ashley Markle and Res Julian on Saturday, August 1 from 3 - 6pm for a walk and talk about their respective exhibitions; Ashley Markle’s “Low Hanging Fruit” at Below Grand Gallery and Res Julian’s “True Hole” at BAXTER ST.

This event will start at 3PM at Below Grand Gallery at 52 Allen St and together we will walk to BAXTER ST. where a final conversation and Q&A will take place.

Collaborators: Ashley Markle, Res Julian, BAXTER ST at the Camera Club of NY

Address

53 Orchard Street
New York, NY
10002

Opening Hours

Monday	10am - 6pm
Tuesday	10am - 6pm
Wednesday	10am - 6pm
Thursday	10am - 6pm
Friday	10am - 6pm
Saturday	10am - 6pm

Website

https://www.belowgrandnyc.com/

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