Petzel Gallery

01/31/2026

Spanning almost fifty years of his career, Troy Brauntuch current exhibition at Petzel aims to underline a central tenet of his deconstructive approach to art-making. In various ways, these works challenge the belief that images can provide a stable, direct, or unproblematic link to reality, objective meaning, or a fixed historical event.

There will be a walkthrough of the exhibition at 3:00 p.m. on Saturday, January 31, 2026, with Director Kat Parker, open to the public. Visitors will have the opportunity to learn more about Troy Brauntuch’s work, artistic process, and the ideas informing the exhibition.

Troy Brauntuch
📍520 W 25th Street
🗓️ Walkthrough of the show with Director Kat Parker: Saturday, January 31, 2026 at 3:00 p.m.
🗓️ On view until February 28, 2026

Artwork: Troy Brauntuch, ‘Untitled (Cowboy with cow and horse),’ 2025, Oil on linen, 21 x 45 in, 53.3 x 114.3 cm.

01/29/2026

Petzel will be closed this Friday, January 30, 2026, in solidarity with the National Shutdown.⁠

We will reopen Saturday, January 31, 2026, from 10am – 6pm.

01/28/2026

This is the gallery’s first-ever presentation of the artist’s ‘Plaster Surrogates’ series, bringing together seven works ranging from collections of five to forty. In an age of ever-increasing proliferation of reproductions, Allan McCollum’s meticulously crafted, unique ‘Plaster Surrogates,’ which destabilize the traditional hierarchies between originals and copies, remain more relevant than ever.

Allan McCollum: A Moment in Time: Plaster Surrogates, 1991–1993
📍520 W 25th Street
🗓️ On view until February 28, 2026

Artwork: Allan McCollum, ‘Collection of Five Plaster Surrogates,’ 1993, Signed and dated verso, Enamel on cast hydrostone, Installation dimensions variable.

01/27/2026

Petzel is pleased to debut ‘Isabella Ducrot: Profusione’ (Le Consortium and Les Presses du Réel, 2025) at the Petzel Bookstore beginning on Saturday, January 31, 2026.

Conceived on the occasion of the artist’s 2024 exhibition at Le Consortium, Dijon, ‘Isabella Ducrot: Profusione’ offers a comprehensive overview of the unique practice of the Italian artist. The catalogue documents seventy artworks—works on paper, fabric assemblages, and collages—produced between 2016 and 2024 and presented in the Dijon exhibition. Through essays and contributions by Franck Gautherot and Seungduk Kim, Verena Lueken, Tobias Pils, Tschabalala Self, Andrea Viliani, and Miranda Fengyuan Zhang, the publication situates Ducrot’s recent work within a broader reflection on materiality, memory, and duration.

Throughout her long career, Ducrot has developed a singular visual language rooted in her lifelong engagement with fabrics, pattern, and material histories. Born in Naples and long based in Rome, she has drawn inspiration from travels in Turkey, India, Central Asia, and beyond, where she immersed herself in textile traditions as living repositories of memory, devotion, and everyday ritual. In ‘Profusione,’ this sensibility unfolds with extraordinary grace. Across nearly 200 pages, the artist’s unique practice is translated to the page through reproductions of her work, installation imagery, and photographs from her studio and life.

Isabella Ducrot: Profusione
🗓️ January 31, 2026

Photo: Cover & internal pages from ‘Isabella Ducrot: Profusione.’

01/25/2026

Museums and the vitrines of art they house have become a topic of intense art historical scrutiny, moving beyond their functional role for protection and security to their ability to construct meaning, knowledge, and value. In his ‘Untitled (Display Case)’ paintings, Troy Brauntuch utilizes photographs taken by Heinrich Hoffmann of a series of exhibitions the ‘Große Deutsche Kunstausstellung’ (Great German Art Exhibition - GDK) held at the House of German Art (Haus der Kunst) in Munich between 1937 and 1944. Brauntuch’s interest in these highly constructed images stems from a belief that the vitrine itself is an agent, crucial to museological processes as a vital interlocutor between object and viewer.

Troy Brauntuch
📍520 W 25th Street
🗓️ On view until February 28, 2026

Artwork: Troy Brauntuch, ‘Untitled (Display case with horse and panther),’ 2025, Oil on linen, 31 x 36 in, 78.7 x 91.4 cm.

01/24/2026

With the first ‘Plaster Surrogates’ created from molds in 1982, Allan McCollum began producing the works in larger quantities with black centers. By stripping the objects of any representational context, he subtly shifts attention to the frameworks that typically go unnoticed: the conventions of display and, ultimately, the systems through which culture assigns value to objects.

Allan McCollum: A Moment in Time: Plaster Surrogates, 1991–1993
📍520 W 25th Street
🗓️ On view until February 28, 2026

Artwork: Allan McCollum, ‘Collection of Twenty Plaster Surrogates,’ 1992, Signed and dated verso, Enamel on cast hydrostone, Installation dimensions variable.

01/21/2026

Over the last few years Troy Brauntuch has transitioned his studio practice to the use of oil paint, a medium that permits the seamless blending of forms, the attainment of a refined somberness, and an extended working time conducive to precise adjustments. This new body of work will be presented alongside early experiments with photographic processes together with several large-format canvases that demonstrate his celebrated use of ink, pastel, conté stick, and raw pigment to create ghostly images that teeter between legibility and abstract gesture. Spanning almost fifty years of his career, the exhibition aims to underline a central tenet of Brauntuch’s deconstructive approach to art-making. In various ways, these works challenge the belief that images can provide a stable, direct, or unproblematic link to reality, objective meaning, or a fixed historical event.

Troy Brauntuch
📍520 W 25th Street
🗓️ On view until February 28, 2026

Photos: Troy Brauntuch working in his studio in preparation for his upcoming exhibition at Petzel. Courtesy of the artist.

01/20/2026

Over the past fifty-five years, Allan McCollum has developed a rigorously sustained practice through distinct yet interrelated series, including the ‘Constructed Paintings,’ ‘Surrogate Paintings’, ‘Lost Objects,’ ‘Perfect Vehicles’, ‘Natural Copies’, and ‘Shapes Project,’ to name a few, each examining how artworks circulate, signify, and accrue value within cultural systems. Working serially, he has consistently explored the tension between uniqueness and mass production across media and scale.

The 'Plaster Surrogates' mark a decisive turn in McCollum’s investigation into how an artwork can serve as a sign for itself. Cast from molds yet unmistakably shaped by the artist’s hand, each object is carefully painted, center and frame alike, in enamel, allowing subtle shifts in brushwork, surface, and tone to register across the works. What might initially appear as a mechanically generated array reveals, upon closer examination, a distinctly spatial presence through edges, depths, and painted planes that bear the physical trace of McCollum’s labor. No combination of size, frame color, or mat hue is ever repeated, and each Surrogate asserts its own material specificity, even as it participates in the logic of seriality.

This approach grew out of McCollum’s earlier ‘Surrogate Paintings’ from 1978, constructed from wood, museum board, and many coats of paint, which reduced painting to its most conventional outer markers—frame, mat, and a central void—thereby proposing an object that functions as a signifier of a painting and setting the stage for the cast forms that would follow.

Allan McCollum: A Moment in Time: Plaster Surrogates, 1991–1993
📍520 W 25th Street
🗓️ On view until February 28, 2026

Photos: Installation view, Allan McCollum, ‘A Moment in Time: Plaster Surrogates, 1991–1993,’ Petzel, 2026. Photos by Meg Symanow.

01/19/2026

On Friday, January 23, 2026, artist Nicola Tyson will be part of ‘Locating Downtown,’ hosted by New York University Special Collections and the Whitney Museum of American Art. ‘Locating Downtown’ aims to create opportunities to reconsider the nature of downtown cultural production through cross-disciplinary exploration and cultural exchange. Central to this initiative is a commitment to bringing together diverse methodological approaches to the study of downtown New York—its artists, archives, institutions, and histories.

Friday’s full day of presentations will include a screening of archival footage from Trial BALLOON, followed by a panel discussion with Ksenia M. Soboleva, Nicole Eisenman, Svetlana Kitto, and Nicola Tyson from 4:30–6:00 p.m.

View the full event schedule here:
https://nyu.manifoldapp.org/read/friday/section/25cda072-ad10-4258-a253-663a386fd551

Petzel will also present a new body of large-scale works on paper by Nicola Tyson, opening March 12, 2026.

Transforming scholarly publications into living digital works

01/17/2026

Troy Brauntuch’s ‘Untitled (Rodeo)’ paintings act as something of a foil to the types of historically loaded imagery that he has carefully studied and decoded for decades. Taken from a private archive of thousands of photographs of his dog, they are deeply personal, poetic, and tender. While the idealized animals displayed in vitrines at the House of German Art were meant to provoke national pride and strength, Rodeo is often captured in vulnerable positions, such as casually sleeping enveloped in a warm blanket or nuzzling a soft toy. The sculptural animals of the vitrines are cast in bronze, while Rodeo is living and breathing, highlighting the close, entwined relationship between companion species.

Troy Brauntuch
📍520 W 25th Street
🗓️ On view until February 28, 2026

Photos: Troy Brauntuch working in his studio in preparation for his upcoming exhibition at Petzel. Courtesy of the artist.

01/16/2026

The Research Center for Material Culture, in collaboration with Professors Willem de Rooij, Karwan Fatah-Black, and Centraal Museum Utrecht, will host a symposium on January 19, 2026, at Wereldmuseum Leiden exploring the themes of the exhibition “Valkenburg — Willem de Rooij.” Bringing together artists, scholars, and museum professionals, the symposium examines how Dutch art and visual culture have been entangled with colonialism and slavery, and what this legacy demands of contemporary museums, art history, and restitution practices.

See the full event schedule here:
https://www.materialculture.nl/en/events/after-valkenburg

PUBLIC SYMPOSIUM | 19 January, 2026 | 10.00 - 17.30 | Grote Zaal, Wereldmuseum LeidenThe Research Center for Material Culture in collaboration with Professors Willem de Rooij, Karwan Fatah-Black, and the Centraal Museum Utrecht will be hosting a symposium on January 19 in Wereldmuseum Leiden. The ev...

01/15/2026

OPENING TODAY

Petzel is pleased to present “A Moment in Time: Plaster Surrogates, 1991–1993,” an exhibition of historical works by American artist Allan McCollum opening today, Thursday, January 15, 2026. This is the gallery’s first-ever presentation of the artist’s “Plaster Surrogates” series, bringing together seven works ranging from collections of five to forty. In an age of ever-increasing proliferation of reproductions, McCollum’s meticulously crafted, unique “Plaster Surrogates,” which destabilize the traditional hierarchies between originals and copies, remain more relevant than ever.

The “Plaster Surrogates” mark a decisive turn in McCollum’s investigation into how an artwork can serve as a sign for itself. Cast from molds yet unmistakably shaped by the artist’s hand, each object is carefully painted, center and frame alike, in enamel, allowing subtle shifts in brushwork, surface, and tone to register across the works. What might initially appear as a mechanically generated array reveals, upon closer examination, a distinctly spatial presence through edges, depths, and painted planes that bear the physical trace of McCollum’s labor. No combination of size, frame color, or mat hue is ever repeated, and each Surrogate asserts its own material specificity, even as it participates in the logic of seriality.

Allan McCollum: A Moment in Time: Plaster Surrogates, 1991–1993
📍520 W 25th Street
🗓️ Opening reception January 15, 2026, 6-8 pm

Artwork: Allan McCollum, “Collection of Twenty Plaster Surrogates,” 1993, Each signed, artist reference numbered, and dated on verso, Enamel on cast Hydrostone, Installation dimensions variable.