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Hutchinson Modern & Contemporary

Art of the Americas: Latin American and Latin Diasporic Art
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08/02/2026

Reposted from Marcela Guerrero (), the DeMartini Family Curator at the Whitney Museum of American Art, New York.

THRILLED to announce “Juan Sánchez: States of Liberation.” Thank you, , for making this exhibition a reality, and thank you to and for completing this curatorial trifecta. I’m also deeply grateful to everyone who has championed Juan’s work throughout the past five decades of his remarkable career. This exhibition is a testament to that enduring support.

Opens in June 2027, Fall 2027, and in 2028.

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HM&C has held two solo exhibitions for Sánchez: “RICANSTRUCTIONS: condiciones que existen” (2022) and “SACRED TRACES” (2024). HM&C’s Juan Sánchez Monograph is available for download via our website.

For inquiries regarding artworks including paintings, prints and videos by Juan Sánchez please contact us at [email protected]

Photo Credit: Juan Sánchez, Para Don Pedro, 1992. Color photolithograph, lithograph, and laser print with oil stick additions and collage, 23 3/16 × 30 in. (58.9 × 76.2 cm). Edition 11/22. Whitney Museum of American Art, New York; purchase with funds from the Print Committee 94.47. © Juan Sánchez

08/01/2026

Repost from

"Carolina A. Miranda writes on the friendship between artists Juan Sánchez and Melvin Edwards, who died in March at the age of 88. The two first met at Rutgers in the late 1970s, where they often discussed what it meant to navigate the art world as Black men. Their friendship bloomed through decades of conversation and creative exchange. Across years of visits to Sánchez’s studio, Miranda is struck by the frequency with which one of Edwards’s sculptures, gifted to Sánchez at some point in the 1980s, appears in her photographs—”as if he’d been watching over us throughout.”

Miranda reflects: “To me, Edwards’s small but weighty work has always been a marker of the ways artists—especially Black artists, whose ideas and aesthetics have historically been marginalized—support each other: in joy, in grief, in accomplishment, but also in the fallow times in between. They are the lineages that perhaps don’t register formally, but that nonetheless give shape to a worldview. I knew Edwards only through his work and the words of others. But through my encounters with Sánchez, he remains ever present.”"

Read the full text at momus.ca (link in bio).

Images:
1. Melvin Edwards with “Fragment Dimension” (1962–63), Los Angeles, ca. 1963. Photo by Melvin Edwards. Photo courtesy the artist. © Melvin Edwards / ADAGP, Paris, 2026.
2. Melvin Edwards, “Tayali Ever Ready (Homage to Henry Tayali),” 1981/1986/1988. Collection of National Gallery of Art. Courtesy Alexander Gray Associates, New York; Galerie Buchholz, Berlin © 2026 Melvin Edwards / Artist Rights Society (ARS).
3. A sculpture from Melvin Edwards’s “Lynch Fragments” series hanging in Juan Sánchez’s studio next to Sánchez’s 2002 painting “The Unknown Soldier.” Photo by Carolina A. Miranda.

For inquiries regarding artworks including paintings, prints and videos by Juan Sánchez please contact us at [email protected]

07/29/2026

"Emilio Rodríguez-Larraín's artisitic career is exceptional in the context of Peruvian art of the second half of the twentieth century. Trained as an architect in a period of intense debates unleashed by the onset of modernity in the late 1940s, Rodríguez-Larraín quickly switched over to painting, a field that he would continue to explore - although not exclusively - for the rest of his life. Like several other artists of his generation, including Jorge Piqueras Sánchez-Concha and Jorge Eduardo Eilson, Rodríguez Larraín sought early on to transcend the locally oriented outlook that dominated the local art scene in the early twentieth century - through the rise of Indigenismo and its aspiration to define national models in art - and set out on a quest for universal forms aligned with the principles of international Modernism."

-Sharon Lerner, "Claves de Lectura. Sobre la obra de Emilio Rodríguez Larraín," Emilio Rodríguez Larraín, 2016.

Image:
Emilio Rodríguez-Larraín
Senza titolo, c. 1960
Oil on panel with incisions
Diameter: 17 3/4 in
Diameter: 45 cm

For inquiries regarding this artwork and others by Emilio Rodríguez-Larraín please contact us at [email protected]

07/27/2026

Watch this inspiring short clip, about Priscilla Monge's "Canchas desiguales," reposted from

"Roberto Jesús Hernández Rosales, a player on our amputee team, participated in the inauguration of Unequal Fields, kicking the first ball on a project that encourages reflection on inequality through soccer. ⚽

We are filled with pride to see how our Eagles inspire and make an impact both on and off the field. 💛💙" (caption )

HM&C artist Priscilla Monge's "Canchas desiguales: El terreno de juego no es igual para todos" (Unequal Fields: The Playing Field Is Not the Same for Everyone) presented in collaboration with Fundación Televisa, celebrating the Mexican host cities of the FIFA World Cup 2026, is on view at three venues: MAZ (Museo de Arte de Zapopan), Guadalajara, Mexico; Museo Tamayo Arte Contemporáneo, Mexico City, Mexico, and MARCO (Museo de Arte Contemporáneo de Monterrey), Monterrey Mexico.

For inquiries regarding artwork by Priscilla Monge, please contact us at [email protected]

Learn more about the artist by viewing her virtual Study Room on Hutchinsonmodern.com

07/26/2026

Raquel Rabinovich (1929-2025)
River Library 373, 2010
Rio de la Plata mud and glue on Essindia paper
11 x 14 1/2 in (27.9 x 36.8 cm)

Read Raquel Rabinovich's "River Library" artist statement:
"Rivers flow freely across the countries of the world, and know no boundaries. In the beds of these rivers mud accumulates in layers, capturing the history of the earth and humankind. River Library is a series of drawings in which I use mud from rivers around the world as my drawing medium. Like the alphabet of a language yet to be deciphered, like a yet unwritten history of nature and culture, mud functions like a text, providing a memory of our existence. These drawings are for me like manuscripts, like pages of unwritten texts, both literal and metaphorical. They transcend the physicality of mud: the drawing is the text and the text is the drawing. They are like pages of books of an infinite library."

“Raquel Rabinovich: Gateless” was recently on view at HM&C. For inquiries regarding this artwork and others by Rabinovich, please contact us at [email protected]

07/24/2026

"[T]he work engages not only with the physical form of a sloping or uneven court, but also with the social structures that determine who can enter, who can play, who can watch from afar, and who is left out. The court becomes a concrete image of a broader reality: the land is never equally distributed.

"Canchas desiguales" speaks of geography, the body, the invisible rules that determine how we move in the world, and the possibility of meeting each other, even for an instant, within a shared terrain." - Priscilla Monge

HM&C artist Priscilla Monge's "Canchas desiguales: El terreno de juego no es igual para todos" (Unequal Fields: The Playing Field Is Not the Same for Everyone) presented in collaboration with Fundación Televisa, celebrating the Mexican host cities of the FIFA World Cup 2026, is on view at three venues: MAZ (Museo de Arte de Zapopan), Guadalajara, Mexico; Museo Tamayo Arte Contemporáneo, Mexico City, Mexico, and MARCO (Museo de Arte Contemporáneo de Monterrey), Monterrey Mexico.

For inquiries regarding artwork by Priscilla Monge, please contact us at [email protected]

Learn more about the artist by viewing her virtual Study Room on Hutchinsonmodern.com

Image 1 & 2:
"Canchas desiguales: El terreno de juego no es igual para todos" at MAZ (Museo de Arte de Zapopan)

07/22/2026

Take a Close Look at Freddy Rodríguez's "Juan Marichal Hall of Fame (from The Sky's the Limit Series), 2004

In this short clip, Freddy Rodríguez (1945-2022) discusses his series " The Sky's the Limit Series" in an interview conducted by E. Carmen Ramos in 2005.

Visit us at 47 East 64th Street, Tuesday-Saturday, 11am-5pm to view "Juan Marichal Hall of Fame" and other artworks by Freddy Rodríguez, on view in "Freddy Rodríguez: Béisbol Hall of Fame" through September 12th.

For inquiries regarding this artwork and others by Freddy Rodríguez please contact us at [email protected]

Artwork
Freddy Rodríguez
Juan Marichal Hall of Fame (from the Heroes/The Sky's the Limit/The Bottom-Line Series, 2004
Acrylic on canvas
50 x 50 in
127 x 127 cm

07/21/2026

HM&C Artist Spotlight: Alejandro Corujeira

We look forward to Alejandro Corujeira's upcoming exhibition at HM&C, opening Wednesday, September 23.
Learn more about the artist by exploring his online Study Room at HutchinsonModern.com

Image 1: Corujeira in his studio, Madrid, Spain
Image 2: Detail. Alejandro Corujeira, "Sonidos," 2021. Colored pencil and acrylic on linen, 15 3/4 x 11 3/4 in (40 x 30 cm)
Image 3: Alejandro Corujeira, "Sonidos," 2021. Colored pencil and acrylic on linen, 15 3/4 x 11 3/4 in (40 x 30 cm)
Image 4: Detail: "El sonido de la alegría," 2020. Colored pencil and acrylic on linen, 66 7/8 x 55 1/8 in (170 x 140cm)
Image 5: Photograph of Alejandro Corujeira by César Segarra
Image 6: Installation view of Alejandro Corujeira
"El sonido de lo cercano," 2021 at HM&C, 2022. Private Collection, NY.

Texts featured throughout the slides are excerpted from Iciar Sagarminaga.

07/17/2026

Take a Close Look at Esteban Lisa's "Composición" (double-sided composition), 1941-45

Compositions featuring cylinders and spheres marked Lisa ́s first foray into abstract art, between 1935 and 1940. In other works he added dynamism to the pictorial surface with twofold interplay of textures, such as long brushstrokes, which breathed life into flat geometric forms, and scattered patches of color that both dispersed and radiated light. These paintings were framed by an outline brushstroke that separated the image from the unpainted support.

Between 1941 and 1945, Lisa abandoned every vestige of his earlier constructivist approach. Planes were disturbed by dots, lines and stars that were painted with broad, generous brushstrokes. This synthesis of the geometric and the organic, of reason and emotion, foreshadowed the European informalist movement and American abstract expressionism.

Image 1:
Esteban Lisa
"Composición" (double-sided composition), 1941-45
Oil on thin board
11 3/4 x 9 1/8 in (30 x 23 cm)

Image 2: Verso

07/16/2026

Watch this short clip in which HM&C artist Priscilla Monge discusses her installation "Canchas desiguales: El terreno de juego no es igual para todos," (Unequal Fields: The Playing Field Is Not the Same for Everyone), presented in collaboration with Fundación Televisa to celebrate the Mexican host cities of the FIFA World Cup 2026. The installation is on view at MAZ (Museo de Arte de Zapopan), Guadalajara, through July 31.

"Canchas desiguales" is presented across three venues: MAZ (Museo de Arte de Zapopan), Guadalajara; Museo Tamayo Arte Contemporáneo, Mexico City; and MARCO (Museo de Arte Contemporáneo de Monterrey), Monterrey.

For inquiries regarding artwork by Priscilla Monge, please contact us at [email protected]

Learn more about the artist by viewing her virtual Study Room on Hutchinsonmodern.com

Video: .mx for MAZ (Museo de Arte de Zapopan).

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Saturday	11am - 5pm

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