Salon 94

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Salon 94 is an art gallery with three spaces in Manhattan, NYC A satellite exhibition space debuted in September 2007 with sculptural work by Huma Bhabha.

Since its creation in 2002, the mission of Salon 94 has grown from exhibiting special projects by emerging and renowned artists alike in the home of Jeanne Greenberg Rohatyn to representing artists such as Marilyn Minter, Lorna Simpson, Jon Kessler and Takeshi Murata. In 2010, a third exhibition space opened on the Bowery with a show of Richard Prince's T-Shirt paintings. Located steps from The New Museum in New York’s Lower East Side, both galleries strive to provide more accessibility to visitors to the developing downtown art scene. Salon 94 is a member of the ADAA (Art Dealer’s Association of America).

10/14/2026

One of Anthea Hamilton’s earliest encounters with Gaetano Pesce’s work was a model for his unrealized “Vertical Loft,” which she mistook for a real building. That play between model and monument, function and fantasy, has drawn her back to Pesce ever since.

For “Comfort Zones,” Hamilton returns to her “Leg Chair,” modeled on her own leg and reworked since 2010, and takes up Pesce’s shifting sense of scale through the architecture and materials of New York.

“Yellow Brick Leg Chair” is covered in hand-dyed wooden bricks, with a small flower at the seat like an offering and a pillar of lentils below. “Aluminium Window Brick Leg Chair” is Hamilton’s New York: tough, industrial, skyscrapers punctured with windows. Its brick column is a remnant of her 2015 SculptureCenter show, where she covered the building in brick wallpaper.

Each chair is built from about 9,000 individually cut, sanded, and placed bricks, every one treated with the precision of a piece of jewelry. The body becomes architecture, asking what it might mean “to turn a body into a building.”

On view through October 24.

10/07/2026

From Léger’s hair to “a waveform, a frequency, the speed of an object, how long it would take for a hand to run up and down it,” says Anthea Hamilton, the “Wavy Boot” folds together art history, the body, fashion and Hamilton’s ongoing fascination with material culture.

First shown in 2015 in Hamilton’s SculptureCenter exhibition “Lichen! Libido! Chastity!,” the boot returns in “Comfort Zones” in brilliant red rankaku, still scaled to Hamilton’s own body.

“Wavy Red Rankaku Boot” and “Wavy Red Rankaku Boot (Check)” are surfaced in tiny fragments of quail eggshell, set into lacquer and sanded back by hand. Traditionally used on small objects, rankaku is blown up here to the scale of the body—turning an intricate decorative technique into something physical, architectural and strange.

On view through October 24.

10/02/2026

First the truss, then the light, then the burlesque, and the dancer. Salon 94 opens three shows this November on the architecture of performance.

“TRUSS LIGHT SCULPTURES 01”—Alexandre de Betak turns the machinery of spectacle into sculpture.

“Wishful Thinking”—Karon Davis brings the figure into new focus through sculpture, theatre, and art history.

“Between Lines”—Ludovic Nkoth captures bodies in motion, from the language of dance to the memory of migration.

Opens November 5, 6–8pm. 3 E 89th St.

09/30/2026

Water keeps secrets. Deborah Roberts’s girls aren’t telling.

"What the water kept : Ce que l’eau a gardé” inaugurates our new gallery at the Palais-Royal in Paris. Roberts’s figures stand beneath umbrellas, at the water’s edge, among fish, holding their own against the Atlantic. Seven new mixed-media collages, five on canvas and two on paper, circle one question: what remains, what’s carried forward, what might return transformed. From Austin to Paris, a geography still being drawn.

An essay by Emmanuel Olunkwa asks: “What does water know? What does it keep, conceal, or carry?”

Opening Sunday, October 18, 5–8pm. 30 Galerie de Montpensier, Jardin du Palais-Royal.

09/24/2026

On view now in “Comfort Zones”—Anthea Hamilton’s first commercial gallery show in New York—is “Airport Lamp Leg Chair,” a piece brought to life through a true meeting of artistic practices in New York. The work was hand-poured at Gaetano Pesce’s studio, co-created through the living artistic lineage of Alessandro Byther, who spent years working alongside the Maestro as a creative peer and inheritor of his techniques.

The lighting nods to Pesce’s “Square Lamp”—also on view at the gallery in “Gaetano Pesce Studio: Continued”—a form he returned to throughout his career. Hamilton’s leg chair, its silhouette based on her own legs, is a series she’s been reworking since 2010 across different materials—with the count now at 18.

“It kind of came to me as things just do,” Anthea says. “To collide our practices through a collaborative work—taking the construction of the airport lamps he made throughout his career, and applying that to the leg chair format I have within my own work.”

09/23/2026

EARTH. BRONZE. SUN. MOON.

Raven Halfmoon goes monumental. “The Guardians” (2024)—her first large-scale bronze—moves from studio to sculpture park, landing at Yorkshire Sculpture Park in “Hold to This Earth: Works by Contemporary Indigenous North American Artists from Tia Collection.”

Ancestral earthworks meet the moai of Rapa Nui. Each figure is split down the middle, dark patina and light: Neesh and Soku, sun and moon. The Caddo origin story is of a people rising out of the earth itself.

A new generation, built to last. Swipe for the making of.

09/17/2026

Congratulations to Magdalene Odundo on being named an Icon in TIME100 Art 2026!

For decades she’s hand-built and burnished vessels so precisely that, as Naomi Rea writes for TIME, they “look as if they are lit from within.”

09/15/2026

“Black SoHo”—the story of artists who didn’t join a scene, but built their own—by Salon 94 and RYAN LEE Gallery comes to Independent 20th Century.

Between the 1960s and 1980s, more than twenty-five Black artists converted SoHo lofts into studios, stages, salons—Emma Amos, Jean-Michel Basquiat, Camille Billops, Frederick J. Brown, Vivian Browne, Ed Clark, David Hammons, and Norman Lewis among them. A few blocks over, musician Ornette Coleman ran Artist House out of his own loft, where Billops and Browne both had their first solo shows. As Billops said, “Put all your friends in it, everybody you loved, so one day they will find you and know you were all here together.”

The booth unites exceptional and museum-quality paintings, sculptures, ceramics, works on paper, and rare ephemera—including pages from the “Artist and Influence” journal—giving little windows into New York’s cultural history.

More soon...

09/14/2026

Anthea Hamilton’s first solo gallery exhibition in the US—titled “Comfort Zones”—brings back her “Giant Leather Pumpkin” series. Like everything she touches, they are bespoke: here stitched, dyed and hand-painted in leather.

First featured in Hamilton’s survey “Mash Up” at M HKA in Antwerp, her pumpkins went on to be seen in Loewe’s FW22 runway and add campaign. For “Comfort Zones,” Hamilton returns to the series in deep green, and yellow specifically for their New York debut!

“Comfort Zones” opens on September 16, 6–8pm. On view through October 24, 2026.

Address

3 E 89th Street
New York, NY
10128

Website

http://salon94.com/gallery/salon-94-bowery

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