What are the opening hours?

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

Below Grand Gallery, 53 Orchard Street, New York, NY (2025)

04/29/2025

On view now: ‘If Sand Were Stone’ curated by Davis Arney and Bradley Milligan

Katarina Burin works in museum, gallery, public space, and the space of existing and imagined architecture, often
reconsidering narratives both historical and personal. Using archival material and invented forms, true stories, and imperfect memories—Burin blends fact and fiction sometimes in equal measure—to produce installations, images and objects that are at times functional, at times fantastical, occasionally commemorative, and often mysterious, playing with levels of subtlety and immersiveness. Katarina Burin received her BFA from University of Georgia and MFA from Yale University and is currently associate senior lecturer at Harvard University’s department of Art, Film, and Visual Studies. She is the recipient of a 2025 Guggenheim Award.

Katarina Burin, For the Benefit of Tourism, 2025, Polystyrene, hydrocal, acrylic, concrete, spider plant, ambrosia wood, 34 x 22 x 59 inches
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Thurs - Sat, 12-6pm @ 53 Orchard thru May 17

04/26/2025

On view now: ‘War Goes Straight to Their Tummies’ curated by wei

Mariana Ramos Ortiz, breezeblock, 2025, sand, 12 x 12 x 2.5 in

Mariana Ramos Ortiz, sobre permanecer erosionando (on remaining while eroding) Variable dimensions, 2025, sand, Dimensions Variable

Expanding across the gallery, Ortiz uses breeze blocks and sand — materials tied to modernist colonial architecture in the Caribbean — to quietly restage moments of colonial presence, not to monumentalize, but to examine. For Ortiz, fragility is not the opposite of resistance, but its mode of operation. She treats the gallery as a site of both rupture and repair, patching cracks in the floor with the same sand used elsewhere in the space. This gesture of maintenance resists erasure, creating a quiet continuity between works. Sand recurs as a central motif: granular, shifting, and unstable, yet foundational — evoking both protection and inevitable erosion.
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Thurs - Sat, 12-6pm @ 52 Allen thru May 17

04/24/2025

On view now: ‘If Sand Were Stone’ curated by Davis Arney and Bradley Milligan

Gonzalo Fonseca (1922-1997) understood sculpture as a microcosmic way to engage civilization and weave together past and future. Integrating the forms that he encountered in his extensive travel, Fonseca resisted the narrower tracks of mid-twentieth century Modernist sculpture, instead dedicating himself to expanding its landscape. He carved his stones himself, without the aid of assistants, and often worked with found stone. The Uruguayan-born Fonseca divided the majority of his life between Manhattan and a hilltop studio among the quarries and stone-working communities in Northern Tuscany. Fonseca produced hundreds of paintings and drawings, and executed a number of monumental public works.

Fonseca borrows, collides, and reimagines a wide range of historical structures and forms into fantastical,
ahistorical, and playful sculptures. Abstracting references to monuments both mythic and extant, his work collapses and reconstructs time with a tender yearning for universality and connectedness.

Boat #1 Montevideo, 1985, Red Travertine, 5 ½ x 7 ⅞ x 4 ⅜ in
Boat #2 Panama, 1985, Red Travertine, 7 ⅛ x 7 ⅞ x 4 ⅜ in
Boat #3 Christina, 1985, Red Travertine, 4 x 7 ⅞ x 4 ⅜ in
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Thurs - Sat, 12-6pm @ 53 Orchard thru May 17

04/22/2025

On view now: ‘War Goes Straight to Their Tummies’ curated by wei

Sadnoise (Femi Shonuga-Flemingi)’s performance is often embedded in the ritual practice of performance in existing and impossible spaces, generating a conversation between the source of sound and its environment, the performer and the audience. These sonic entanglements in live environments are nonlinear moments in time, for no one. It is an abstract representation of the esotericism of the Internet and binary code bed within dying grass and mossy floors.

Femi Shonuga-Flemingi is currently studying architecture at RISD, installs work that discusses the conversation between our ears and the ground above and beneath our feet, performs rituals as sadnoise, makes sounds using digital/analog synthesis, DIY electronics and code, uploads tutorials, music videos, patches, live shows, and updates log occasionally.
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Thurs - Sat, 12-6pm @ 52 Allen thru May 17

04/19/2025

Opening today 5-7pm across both spaces

52 Allen – ‘War Goes Straight to Their Tummies’ curated by wei
Featuring work by Peggy Chiang, Jun Woo Lee, Mariana Ramos Ortiz, & Helen Ip
w/ Performance @ 6 PM by Femi Shonuga-Fleming.

Rather than offering a definitive interpretation of Kristeva’s text, War Goes Straight to Their Tummies opens up a space of speculative translation — where trauma, gender, displacement, and decay intersect with sonic, movement, form, and space. The exhibition becomes a porous body itself, hosting practices that probe what is cast out, pushed down, or lost in the shuffle between tongues, bodies, cracks and systems.

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53 Orchard – ‘If Sand Were Stone’ curated by Davis Arney and Bradley Milligan
Featuring work by Ron Baker, Katarina Burin, Caio Fonseca, Gonzalo Fonseca, Michael Lachman, Dana Lok, and Midge Wattles.

Spanning generations, materials, and attitudes; whispers across the room and between walls reveal harmonies previously unheard. An empty liquor shooter, a cast pewter coin, a carved stone. A painting, a pew. A father, a son. A teacher and a disciple. A dream flickering into daylight. A reality becoming porous.

04/05/2025

Today is the last day to visit ‘When one language licks another’ curated by Aparna Sarkar at 52 Allen. Stop by the gallery today from 12 to 6 PM!

Golnar Adili:

1. ‘Bestizand (To quarrel),’ 2022, Laser engraving over cyanotype print, 18 x 24 inches

2. ‘To Ey Pari Kojayee,’ 2014, Beeswax, print on multiple layers of lens paper, 19 x 16 inches

3. ‘Persian Alphabet Comparative From Archive,’ 2020, Graphite on paper, 24 x 36 inches

In “Bestizand (To quarrel)”, Golnar Adili reprints a single word, in fades and cuts, until we experience it as shape and mark. Then, in “To Ey Pari Kojayee”, you can feel the tender, watery dissolve from Adili copying and embalming the lyrics of a classical song as she found it in her father’s handwriting. Adili’s work often takes Persian script as form as she sifts through personal and collective Iranian diasporic history.

04/04/2025

On view now: ‘Archie Rand: Oz’ curated by Max Werner at 53 Orchard. Last week to catch both exhibitions up at the gallery! Stop by today and Saturday from 12-6.

Archie Rand, ‘Untitled (Oz #18),’ 2024, acrylic on canvas, 22 by 18 inches

04/02/2025

Below Grand is excited to welcome our newest team member, Eric Geithner! Please join us in celebrating Eric, we’re so thrilled to have him on board.

Eric Geithner (b. 1990, Philadelphia, PA) is a painter based in Manhattan. He holds a BA in math with a minor in visual arts from Duke University (2013) and completed a post-baccalaureate in painting at the San Francisco Art Institute (2015). He is currently an MFA candidate in painting at Pratt Institute where he was awarded the Calrow Memorial Scholarship. In between SF and NY, Geithner completed the McGuffey Artist Residency in Charlottesville, VA and worked in Burlington, VT. Geithner’s current paintings translate the act of crying, examine the poetic qualities of abstraction, and adapt visual cues from his son’s children’s books.

This past summer he participated in the group exhibition No Reason for Such Moments to End at SARAHCROWN curated by William Kim. Geithner is part of the curation project Zero View, along with classmates Aidan McLellan, Cléo Sương Mai Richez, and Kim, that recently curated a three-part group exhibition exploring childhood across Pratt galleries. He joined Below Grand last fall as a duo with classmate and fellow painter Zakariya Abdul-Qadir. His first review, of Molly Zuckerman-Hartung’s Menopause Recalls Puberty (M.R.P) at Below Grand, appeared in the new magazine With Friends Like These.

Geithner’s Thesis Exhibition Access Denied, curated by Dejá Aaliyah Belardo, is up until April 11th, and Abdul-Qadir’s Inside/Out opens Monday, April 28th!

Portrait by Aidan McLellan

03/29/2025

On view now: ‘When one language licks another’ curated by Aparna Sarkar at 52 Allen. Stop by the gallery today from 12-6!

Lara Karadogan, ‘Lentil Soup,’ 2025, Oil on clay, 17 x 20 inches

Lara Karadogan’s clay paintings evoke code and circuitry: the systematic diagramming of language in relation to ancient clay tablature. Karadogan generates the forms in each painting through a specific triangulation of words in Spanish, English, and Turkish–for example, in Lentil Soup, she began with the base pair “me” to link the words “game,” “mercimek çorba,” and “medio,” which in turn produce their own images and symbols for the painting. Karadogan plays with the associative nature of polyglot experience through this dialogic process, which remains abstracted from the viewer.

03/27/2025

On view now: ‘Archie Rand: Oz’ curated by Max Werner at 53 Orchard. Stop by the gallery tomorrow and Saturday from 12-6.

Archie Rand, ‘Untitled (Oz #1),’ 2024, acrylic on canvas, 22 by 18 inches

03/25/2025

On view now: ‘When one language licks another’ curated by Aparna Sarkar at 52 Allen.

Manal Abu-Shaheen

1. Kate Winslet. Beirut, Lebanon, 2016
Archival fiber inkjet print in artist frame
Edition 1 of 3 + AP
16 x 21 in

2. Conference Room Interior at its. Communications. Beirut, Lebanon, 2019
Archival fiber inkjet print in artist frame
Edition 1 of 3 + AP
16 x 24 in

3. Install view of Stars. Beirut, Lebanon, 2020
Archival fiber inkjet print mounted on aluminum
Edition 1 of 3 + AP
16 x 12.7 in

“Between 2014-2020, I photographed Beirut, a city dominated by billboards. During those years Beirut was reshaped by a massive construction boom followed by national economic collapse in 2019. Driven by a lack of images of the everyday landscape in Lebanon, I was motivated to produce a photographic archive examining the use of soft power to purport a mythologized western ideal that is incongruous in the post-conflict city. I was interested in the impact of advertisements and pervasive neo-liberal capital as a colonial tactic. What is new and fascinating about this system is that it employs images as its most powerful tool.” - Manal Abu-Shaheen

03/22/2025

On view now: ‘Archie Rand: Oz’ curated by Max Werner at 53 Orchard. Stop by the gallery today from 12-6 and say hi!

Archie Rand, ‘Untitled (Oz #15),’ 2024, acrylic on canvas, 22 by 18 inches

03/20/2025

On view now: ‘When one language licks another’ curated by Aparna Sarkar at 52 Allen.

Tinyi Sun, ‘Past Tense,’ 2025, Epoxy resin, ink, wax, lotus seeds, Euryale ferox, Chinese white bean, lotus root powder, digital print transfer, acrylic polymer, 16 × 8 × 3 inches

Tianyi Sun embeds the impossibilities and losses of her shifting relationship to speaking Mandarin into dreamy resin casts that restage familiar interior forms–lightswitch cover becomes “Ink Stone [an]”, weekly pill box becomes “Future Tense”. Five of these small gems constellate the gallery at all heights. Inside, suspended sweets, lotus root powder, bits of text from a Chinese dictionary, and more recall taste and smells of a personal archive. In her practice, Sun works with language structures, architecture, archives, and digital interfaces as concurrent networks of power.

03/15/2025

On view now: ‘Archie Rand: Oz’ curated by Max Werner at 53 Orchard. Stop by the gallery today from 12-6!

Below Grand Gallery

04/29/2025

04/26/2025

04/24/2025

04/22/2025

04/19/2025

04/05/2025

04/04/2025

04/02/2025

03/29/2025

03/27/2025

03/25/2025

03/22/2025

03/20/2025

03/15/2025

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