Sean Kelly Gallery

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Sean Kelly Gallery A contemporary art gallery founded in 1991 with locations in New York City and Los Angeles. Contemporary Art Gallery in New York and Los Angeles.

Since its inception in 1991, Sean Kelly Gallery has been internationally regarded for its diverse, intellectually driven program and a highly regarded roster of artists. The gallery has garnered international attention for its high caliber exhibition program and collaboration with many of the most significant cultural institutions around the world. The gallery opened its first public space at 43 Mercer Street. During these formative years, it established a reputation for diverse, intellectually driven, unconventional exhibitions. The original list of artists represented; Marina Abramović, James Casebere, Callum Innes, Joseph Kosuth and Julião Sarmento (1948-2021), all of whom are still represented by the gallery today, exemplified the Gallery’s commitment to presenting important and challenging contemporary art. In 2001, Sean Kelly moved to a converted 7,000 square-foot industrial space on 29th Street in the Chelsea gallery district. The spacious location enabled the Gallery to mount increasingly ambitious, museum-quality exhibitions to great critical acclaim. The Gallery’s roster of artists expanded to include Rebecca Horn, Frank Thiel, Laurent Grasso, Peter Liversidge, Anthony McCall, Alec Soth, and Kehinde Wiley. In October 2012, Sean Kelly opened its current 22,000 square foot space at 475 Tenth Avenue in a historic 1914 building. With the gallery’s expansion into the new space, Sean Kelly added internationally acclaimed artists to its roster; David Claerbout, José Dávila, Candida Höfer, Ilse D’Hollander, Idris Khan, Hugo McCloud, Mariko Mori, Liu Wei, and Sun Xun. Sean Kelly has continued to expand its program to include a new generation of exceptional contemporary artists such as Dawoud Bey, Julian Charrière, Landon Metz, Sam Moyer, Shahzia Sikander, Janaina Tschäpe and Wu Chi-Tsung. Over the course of more than thirty years, the Gallery has become a symbol for high quality, thought-provoking contemporary art and conversation, most recently with the launch of Collect Wisely in May 2018. Collect Wisely is a provocative media campaign designed to encourage lively conversation around topics of collecting and connoisseurship. At the heart of this initiative is the Collect Wisely podcast, a series of interviews in which Sean Kelly discusses with collectors their passion for art, artists, and a passion for collecting and connoisseurship. On September 17, 2022, the Gallery opened a major new space in Los Angeles.

Sean Kelly is delighted to announce the Marina Abramović’s Balkan Erotic Epic. The Stage Version, the second edition of ...
10/13/2026

Sean Kelly is delighted to announce the Marina Abramović’s Balkan Erotic Epic. The Stage Version, the second edition of the the artist’s presentation for the Berliner Festspiele from October 13 to 17, 2026. Abramovíc’s immersive stage performance explores feminine energy, shame, desire, and the relationship between the body and history through rituals and folk mythology of the Balkans reigion.

Balkan Erotic Epic: The Stage Version presents a large-scale performance featuring more than thirty singers, dancers, and musicians. Structured in ten scenes, it moves through states of celebration, prayer, and liberation, drawing on the spiritual and political prowess of Marina Abramović’s oeuvre while employing a distinctly communal, sensuous, and ritualistic form.

Rooted in the myths, customs, and tensions of Abramović’s homeland, the work examines the relationship between eroticism, pain, and belief. It approaches the body as a site of vulnerability and expression, and presents erotic energy as a potential source of insight, healing, and collective power.

Images: Marina Abramović: Balkan Erotic Epic. The Stage Version © VG Bild-Kunst, Bonn 2026; photo: Marco Anelli, Instagram Marco Anelli

Marina Abramović Institute Berliner Festspiele

Swarm, 2026, Anthony McCall’s most recent work, premieres in Solid Light, 1973, 2020, 2026, draws on the rising signific...
10/12/2026

Swarm, 2026, Anthony McCall’s most recent work, premieres in Solid Light, 1973, 2020, 2026, draws on the rising significance of drones as an increasing presence in daily life. The installation is composed of two conical-light volumes that rotate slowly in opposite directions, one clockwise and the other counterclockwise, over a duration of fifteen minutes.

Accompanying the mesmerizing visuals is a rich soundscape that gradually intensifies as a powerful auditory experience. The dramatic, progressive soundtrack serves as a continuation of the ongoing collaboration between McCall and Grubbs.

Images: Installation View of Anthony McCall: Solid Light, 1973, 2020, 2026 at Sean Kelly, New York, September 11 – October 31, 2026, Photography: Adam Reich, New York, Courtesy: Sean Kelly, New York © Anthony McCall Courtesy: the artist and Sean Kelly, New York

Anthony McCall

Wishing Lindsay Adams a very Happy Birthday! 🥳🎂🎊Lindsay Adams’ work interrogates the boundaries of abstraction and repre...
10/11/2026

Wishing Lindsay Adams a very Happy Birthday! 🥳🎂🎊

Lindsay Adams’ work interrogates the boundaries of abstraction and representation, seamlessly weaving together the materiality of paint with the intangibility of memory and cultural identity.

Her layered approach—where pigments are built up, washed away, or otherwise manipulated—imbues each canvas with a sense of flux, reflecting her assertion that painting is as much alchemical as it is artistic. Her process leaves behind not only a complex surface, but also an ambiguity that invites sustained contemplation.

“I’m very interested in moving and exploring the paint because there is a level of freedom, I’ve been thinking a lot of about liberation and engaging in dialogue in that way and using the canvas as a way to negotiate.” - Lindsay Adams

Images: Lindsay Adams, No Hiding in the Fire, 2025, oil on canvas, 72 x 60 inches Photo: Ian Vecchiotti © Lindsay Adams Courtesy: the artist and Sean Kelly, New York

Lindsay Adams

Ilse D’Hollander’s subtly evocative canvases have drawn comparisons to work as various as that of early Piet Mondrian, N...
10/10/2026

Ilse D’Hollander’s subtly evocative canvases have drawn comparisons to work as various as that of early Piet Mondrian, Nicolas de Staël and Raoul De Keyser – whom she regarded as a friend – her work is distinguished by its contemplative tranquility, ethereal quality and brilliant, deceptive simplicity. The intimate scale of her canvases invites the viewer to embrace a highly personal relationship with the work, where multiple layers of paint, visible brushstrokes and trembling lines of color reveal D’Hollander’s tangible and sensual exploration of the act of painting.

In the only text she penned about her work, D’Hollander wrote that, “A painting comes into being when ideas and the act of painting coincide. When referring to ideas, it implies that as a painter, I am not facing my canvas as a neutral being but as an acting being who is investing into the act of painting. My being is present in my action on the canvas.”

Images: Ilse D’Hollander, Untitled, 1996, oil on paper, paper: 12 x 9 inches © The Estate of Ilse D’Hollander Courtesy: Sean Kelly, New York

In Callum Innes’s work, layers of paint are laid down on meticulously gessoed canvas and ultimately covered in black. In...
10/09/2026

In Callum Innes’s work, layers of paint are laid down on meticulously gessoed canvas and ultimately covered in black. Innes then uses turpentine to remove the layers from sections of the painting, revealing the luminous color that lies underneath. The process is repeated several times, alternating between application and removal.

In the Untitled Lamp Black Paintings, the picture plane is split in half vertically; the colors are painted and left to dry before the black paint is applied and subsequently taken off on one side. The candescence of these works comes from the initial color itself, altered by the removal of the black.

Innes explained “I make a painting and work with the surface, then dissolve it, taking it off with turpentine. In many ways, I am dissolving an image that is in my head…With the paintings, [I] make a black made of many colors…until I dissolve it. Then the colors separate so that color will be revealed.”

Images: Callum Innes, Untitled Lamp Black / Magenta, 2024, oil on linen, 47 1/4 x 46 7/16 inches © Callum Innes Courtesy: the artist and Sean Kelly, New York

Hugo McCloud’s major solo exhibition, to everything there is a season, is now on view at the Memorial Art Gallery of the...
10/08/2026

Hugo McCloud’s major solo exhibition, to everything there is a season, is now on view at the Memorial Art Gallery of the University of Rochester. Bringing together more than twenty-five paintings, including several new works, the exhibition traces the evolution of McClouds’s oeuvre and his evolving artistic practice.

McCloud’s work illuminates the beauty and strength inherent in everyday life, transcending cultural and geographical boundaries. Moving between figuration and abstraction, his paintings address themes of labor, geopolitics, and environmental impact. Employing unconventional industrial materials including aluminum foil, tar paper, and single-use plastic, McCloud transforms the quotidian into arresting works of art.

Central to the exhibition is McCloud’s ongoing Burdened Man series, which depicts individuals engaged in acts of physical labor. Drawing upon imagery encountered during his travels globally in Los Angeles, Spain, India, Mexico, the Philippines, South Africa, the UAE and elsewhere, McCloud turns his attention to subjects whose work often goes unseen. Each painting serves as a reminder that amidst daily challenges there exists beauty and unity in our shared human experiences. Hugo McCloud: to everything there is a season invites viewers to draw inspiration from the rich tapestry of daily life and acknowledge the profound connections that unite us all.

Images: Installation view of Hugo McCloud: to everything there is a season at Memorial Art Gallery, September 26, 2026 – January 3, 2027 Photo: Elizabeth Lamark © Hugo McCloud Courtesy of Memorial Art Gallery, University of Rochester

Hugo Mccloud Memorial Art Gallery

Sean Kelly is delighted to invite children and their families to a special story time and art activity inspired by Antho...
10/08/2026

Sean Kelly is delighted to invite children and their families to a special story time and art activity inspired by Anthony McCall’s exhibition, Solid Light, 1973, 2020, 2026.

The morning will begin with a reading of Hervé Tullet’s The Game of Shadows, an interactive book that uses light and shadow to transform simple shapes into playful images. Following the reading, children will explore McCall’s exhibition and discover how the artist similarly uses light, shape, and movement to create artworks that exist between drawing, film, and sculpture.

Beginning with a single line projected through space, McCall’s works evolve over time to create three-dimensional forms made entirely of light. Children will be encouraged to move around and through the projections, exploring how a line can become a shape, how a moving image can become a sculpture, and how their own bodies can interact with the artwork.

This event is free and open to children ages 3 - 10 and their families. RSVP is kindly requested, please email [email protected]

Please note the exhibition features haze machines and flashing lights.

Image: Installation view of Anthony McCall: Solid Light exhibition at Tate Modern, June 27, 2024–June 29, 2025. © Anthony McCall Courtesy: the artist and Sean Kelly, New York

Anthony McCall Hervé Tullet

Rebecca Horn is featured in the exhibition Labouring Bodies, on view at Museum TInguely through November 8, 2026. The ex...
10/07/2026

Rebecca Horn is featured in the exhibition Labouring Bodies, on view at Museum TInguely through November 8, 2026. The exhibition presents how the human body has been shaped and controlled by machines since the dawn of the modern age and how the body is a site of resistance.

Presented in the exhibition is Rebecca Horn’s kinetic work Erika, 1992, a mechanical typewriter types tirelessly, not with human fingers, but with four delicate metal rods dancing across the keys. Horn explores mechanization and traditional gender roles, as typewriting was often associated with so-called “women’s work.” The work also reflects on the widespread unemployment that followed the fall of the Berlin Wall, as modernization left millions of people in the former East Germany without jobs.

Image: Rebecca Horn, Erika (1992). Typewriter, metal rods, wall bracket, electric motor, timer, 211 × 30.5 × 30.5 cm. © 2026 ProLitteris, Zurich. Photo: Daniel Spehr (Museum Tinguely).

Museum Tinguely

“[It’s] understanding that what we’re seeing right now [nature] has so little time left. It was about being able to brin...
10/06/2026

“[It’s] understanding that what we’re seeing right now [nature] has so little time left. It was about being able to bring the beauty of these landscapes, these nature reserves, this nature into art and to raise awareness about the fact that it’s disappearing.” - Ana González

Ana González’s artistic practice celebrates the landscapes of her native Colombia and her partnerships with the indigenous communities dedicated to their preservation. Her work serves as a vibrant tribute to the sensory richness and cultural significance of these environments whilst highlighting their crucial role in historic ecosystems.

González’s paintings, drawings, and watercolors hover between presence and disappearance, dissolving into mist and drizzle like fleeting recollections of paradise. They chart a geography where interior and exterior worlds converge, transforming painting into an act of resistance and a provocation, to preserve what is sacred before it vanishes.

Images: Ana González, CHAGRA, 2026, mixed media on canvas, 47 1/4 x 63 x 1 9/16 inches © Ana González Courtesy: the artist and Sean Kelly, New York

Ana Gonzalez Rojas

The exhibition Solid Light, 1973, 2020, 2026 features the gallery’s first presentation of Anthony McCall’s iconic work L...
10/05/2026

The exhibition Solid Light, 1973, 2020, 2026 features the gallery’s first presentation of Anthony McCall’s iconic work Line Describing a Cone, which is represented in numerous important museum collections. Over the course of thirty minutes, a single projected line slowly traces the outline of a circle, forming a luminous cone that gradually materializes within a haze-filled room.

Rather than watching a projected image on a screen, viewers enter the beam itself, walking through, around, and inside a volume of light that appears at once immaterial and tangible. Dissolving the boundaries between film, sculpture, performance, and conceptual art, Line Describing a Cone reimagined the cinematic experience as a shared spatial encounter and remains one of the defining works of twentieth-century installation art.

“What a spectator has to do is to understand that this is best looked at as a piece of sculpture that changes over time and in order to view in a sculptural manner, you have to move your own body to find different points of view.” - Anthony McCall

Images: Anthony McCall, Line Describing a Cone, 1973, 16mm projected installation, duration: 30 minutes (looped) © Anthony McCall Courtesy: the artist and Sean Kelly, New York

Anthony McCall

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