bitforms gallery nyc

bitforms gallery nyc Founded in 2001, bitforms gallery represents established, mid-career, and emerging artists critically

Danny Rozin will be speaking Thursday, Jan 25 for the closing of “Glow” at Exploratorium in San Francisco. Check the bio...
01/23/2024

Danny Rozin will be speaking Thursday, Jan 25 for the closing of “Glow” at Exploratorium in San Francisco. Check the bio link for tickets.

“I think interactive art flips over the paradigm of art viewing. When you look at traditional noninteractive art—say a masterpiece in a museum, the “Mona Lisa” in the Louvre—you see hundreds of people crowding to see a small protected artifact, and the overall feeling is that this artifact is very important and they are not. In a well-designed interactive art piece, the artifact is not that important—it is the viewer and this fleeting moment of interaction that are important. I find this healthier and more rewarding. My pieces are static and somewhat boring until a viewer stands in front of them—and then they fill up with motion, beauty and meaning.” -

All works by Danny Rozin.
Photos 1-4: One Candle Mirror, 2023.
Photos 5, 6: CMYK Shadows Mirror, 2021
Photos 7, 8: RGB Lights Mirror, 2023
Photos courtesy of .

LAST WEEKS: Casey Reas’ “It Doesn’t Exist (In Any Other Form)” is on view through Jan 20 in NYC.The artist’s “RGB-3” ser...
01/04/2024

LAST WEEKS: Casey Reas’ “It Doesn’t Exist (In Any Other Form)” is on view through Jan 20 in NYC.

The artist’s “RGB-3” series of six drawings was rendered with a plotter using Koh-I-Noor Rapidoplot red, blue, and green archival ink on white 250 gsm Stonehenge paper. The numbers in the titles are the angles of the lines for each color. For instance, the drawing “RGB-3-71°-13°-68°” orients the red lines at 71°, the green lines at 13°, and the blue at 68°. The lines run to the edges of the torn paper. Unlike the RGB-2 series of drawings, the system used to generate this series has a small probability of skipping a set of lines.

Casey
“RGB-3-170°-166°-130°,” 2020
and
“RGB-3-6°-52°-7°,” 2020
each: Plotter drawing, ink on paper. 18 x 18 in / 45.7 x 45.7 cm

bitforms gallery celebrates the end of 2023 with Auriea Harvey’s “Ox” and “Ox v1-dv2”, which were acquired by The Whitne...
12/27/2023

bitforms gallery celebrates the end of 2023 with Auriea Harvey’s “Ox” and “Ox v1-dv2”, which were acquired by The Whitney Museum of American Art earlier this year.

Together, these works represent an “origin story” of the artist’s online identity. It consists of “Ox,” a physical sculpture, and “Ox v1-dv2 (apotheosis),” a 3D model in an HTML environment with an augmented reality (AR) component that is also shown here on a tablet. Harvey has worked online from the inception of Internet art and has combined her experience in video game and software development with a sculptural practice in mixed reality. She sees the digital models as the core of the work and the physical sculptures as their extension.

The sculpture depicts a trio of characters: its “crown” is Fauna, which is based on a scan of Harvey’s head and functions as the ancestor character from which the other two forms originate; Ox, the central body of the work, in turn derives from a scan of Fauna; and Ox embraces Minoriea, a figure that has been the artist’s avatar in virtual worlds since 2017. The sculpture embodies both the history of the artist’s virtual self representation and her work process, which combines scans from physical objects and people with 3D models based on her own clay sculptures or digitally sculpted works of imagination, resulting in characters with distinct narratives.
harvey
Ox, 2020
3D sculpture: printed resin and composite polymer with wax, pigment, bronze, aluminum powder pigment, and acrylic modeling paste
harvey.studio
Ox v1-dv2 (apotheosis), 2021
GLB model in HTML environment with augmented reality (AR), sound
Edition 1 of 1, 1 AP

As pictured in “Refigured” , NYC March 3- July 3, 2023. Exhibition organized by .

On view in NYC through Jan. 20 with “It Doesn’t Exist (In Any Other Form)”: Casey Reas, “HSB-119-006-090-1366-618/HSB-13...
12/22/2023

On view in NYC through Jan. 20 with “It Doesn’t Exist (In Any Other Form)”: Casey Reas, “HSB-119-006-090-1366-618/HSB-135-006-090-1232-687” (2015). This diptych serves as the origin point for Reas’ “Still Life,” a series of software works that each depict a Platonic solid.

Platonic solids bear polygonal faces that are the very same in form, height, angles, and edges,. They are termed: tetrahedron, cube, octahedron, dodecahedron, icosahedron. In the print, dimensional space is flattened so that multiple planes of the same solid occupy the visual field simultaneously. There is no reference to the natural world within this work, as the subject matter derives from pure geometry. The series continues the artist’s practice of creating a system that performs the work. It specifically engages Reas’ interest in the space between the subjective experience of being in the world versus the objective, analytical way the world is measured, divided, and defined.

Casey
“HSB-119-006-090-1366-618 / HSB-135-006-090-1232-687,” 2015
Relief print on paper
25.5 x 33 x 1.8 in / 64.8 x 83.8 x 4.6 cm, each, framed
Edition of 6, 1AP, 1 PP

previously on view in Miami

Congrats to collectors of Casey Reas’ “There’s No Distance,” which sold out yesterday on fxhash. The generative artwork ...
12/16/2023

Congrats to collectors of Casey Reas’ “There’s No Distance,” which sold out yesterday on fxhash. The generative artwork will remain on view through Jan 20 in NYC as part of the artist’s solo exhibition “It Doesn’t Exist (In Any Other Form)”.

Presented in collaboration with fxhash as a series of generative NFTs for the platform’s 2.0 launch, the project takes its title from Reas’ 2016 exhibition that debuted his “Still Life” series. “There’s No Distance” engages Reas’ interest in the space between the subjective experience of being in the world versus the objective, analytical way the world is measured, divided, and defined. On view in the gallery as two channels, visitors can view the progression of the work through its unending iterations.

Casey
“There’s No Distance,” 2023
Custom software (black and white, silent), NFT registration
Dimensions variable, portrait or landscape orientation

Minting starts at Noon for “There’s No Distance,” a new long-form generative art release bookending Casey Reas’ “Still L...
12/14/2023

Minting starts at Noon for “There’s No Distance,” a new long-form generative art release bookending Casey Reas’ “Still Life” series, created for 2.0 launch. The work is on view through Jan 20, 2024 in “It Doesn’t Exist (In Any Other Form),” a solo exhibition of new work by Casey at bitforms gallery in NYC. Check bio link for minting!

Each “still life” is a composition of cubes, one of the five Platonic solids, composed of and presented as simulation and information. There’s no reference to the natural world — the subject is conceptual geometry. This work engages my interest in the space between the subjective experience of being in the world versus the objective, analytical way the world is measured, divided, and defined. The title of the work comes from a stream-of-consciousness statement made by David Hockney about digital art, “There’s no distance between you and the image being made.”

Casey Reas
“There’s No Distance,” 2023
Custom software (black and white, silent), NFT registration
Dimensions variable, portrait or landscape orientation

bitforms gallery is pleased to announce that Beryl Korot’s “Dachau 1974” was jointly acquired by the , and the . “Dachau...
12/13/2023

bitforms gallery is pleased to announce that Beryl Korot’s “Dachau 1974” was jointly acquired by the , and the . “Dachau 1974” is highly regarded in the canon of video art for its powerful framing of place and time and its technical and structural rigor. The artwork is the first piece to explore the relationship between the ancient technology of the handloom and the programming of multiple channels of video. Other editions of the artwork are held by  and the .

Read more about the artwork from our bio link.

Photos 1 - 3:
Installation view of “Dachau 1974” at in 1975. Courtesy of the artist.


“Dachau 1974,” 1974
Four-channel video (black and white, sound), structural diagram
Dimensions variable
24 min, loop
Edition of 3, 1 AP
Courtesy of the artist. Installation view of Dachau 1974 installed in 2016. Photo: Katherine Du Tiel

Beryl Korot at Broward College, Florida in 1976, Dachau 1974 on four monitors. Korot lead a workshop as part of the college’s Guest Artist Residency Series. Courtesy of the artist.

So grateful to have had   at his special project this week. So many people were excited to meet him.
12/10/2023

So grateful to have had at his special project this week. So many people were excited to meet him.

"The point is that the history of painting speaks into the future, while standing on the shoulders of the past-- regardl...
12/06/2023

"The point is that the history of painting speaks into the future, while standing on the shoulders of the past-- regardless of whether the [contemporary] object is a file, image, movie, or a thing-on-the-wall.

There's a lot of talk about materiality, but the idea of outputting files into a material is not the point. When I started painting, I was using a variety of processes: by hand, spray paint, 3-D. No media precludes a work from being "Art"-- it's an attitude, it's in the head.

Some artists make art in opposition to history, some in continuity. I use media expressively in my work. These mediums are used to express myself and build a conversation with the history of art: I am an expressive, romantic artist." —

Beginning Tues. Dec 5, bitforms gallery will present two booths at . Complementing the art fair's theme, Curating in the...
12/03/2023

Beginning Tues. Dec 5, bitforms gallery will present two booths at . Complementing the art fair's theme, Curating in the Digital Age, the gallery will present a selection of Manfred Mohr's early plotter drawings. In booth B52, we will offer an interdisciplinary survey of multigenerational artists collaborating with technology.

While artistic practice inherently invokes innovation, each presented artist's works—which range from painted layers of resin and traditional woodblock prints to algorithms and 3D scans—create a conversation with past, present, and future technologies.

Casey Reas' "There's No Distance" drops on Dec 1 as part of the fxhash 2.0 launch. Iterations of the artwork are install...
11/27/2023

Casey Reas' "There's No Distance" drops on Dec 1 as part of the fxhash 2.0 launch. Iterations of the artwork are installed at bitforms gallery in "It Doesn't Exist (In Any Other Form)," on view through Jan 13.

"There's No Distance" takes its title from the 2016 exhibition that debuted ’ "Still Life" series, a body of work that broadly considers how three-dimensional forms are depicted in flat images. The series, created between 2016–2023, has inspired a number of diverse projects, most recently ’s 2023 presentation of "An Empty Room" (pictured here).

LACMA's Art + Technology Lab debuted "An Empty Room" as an homage to Victor Vasarely's unrealized proposal for LACMA's Art and Technology Program (1967–1971), which defined a machine composed of lights arranged in a grid that would generate millions of different visual patterns related to his paintings. "An Empty Room" consists of a software art homage to Vasarely, beginning with his ideas of a "binary plastic language" and continuing into unknown territory.

Casey : “It Doesn't Exist (In Any Other Form)” is on view in NYC through Jan 13. Open this Sat. 11am-6pm.Each work in Re...
11/21/2023

Casey : “It Doesn't Exist (In Any Other Form)” is on view in NYC through Jan 13. Open this Sat. 11am-6pm.

Each work in Reas's “Still Life” series is a simulated "still life": a composition deconstructing a Platonic solid, composed of and presented as information. There is no reference to the natural world, as the subject matter derives from pure geometry. Dimensional space is flattened so that multiple planes of the same solid occupy the visual field simultaneously.

These new works continue Reas's practice of creating a system that performs the work. The "Still Life" series specifically engages the artist's interest in the space between the subjective experience of being in the world versus the objective, analytical way the world is measured, divided, and defined.

Pictured here:
Casey Reas
"Still Life (RGB E)," 2023
Custom software (color, silent), computer, screen
Dimensions variable, portrait or landscape orientation

Throughout "Delusions of A Time-Traveling Cactus", Alexander Reben's wall labels adhere to general conventions for descr...
10/20/2023

Throughout "Delusions of A Time-Traveling Cactus", Alexander Reben's wall labels adhere to general conventions for describing objects while snarkily adapting to the exhibit's absurd aesthetics. In an essay for the show, describes how "the outputs of popular AI generators were first criticized for error producing shadows, amusingly ignoring why they might be desired within a virtual situation. Reben’s playful turning around of art history and technology’s visual devices doesn’t judge but offers audiences the opportunity to reconsider the foundations of our critique."

“Delusions of a Time-Traveling Cactus” is on view through Oct 28.


"The Absence of Presence: A Commentary on Non-Space," 2023
Pigment ink on cotton rag paper print
8 1/2 x 6 x 3/8 in \ 21.6 x 15.2 x 1 cm

lOn view through Oct 28, Alexander Reben’s "Delusions of a Time-Traveling Cactus" investigates human connections with al...
10/06/2023

lOn view through Oct 28, Alexander Reben’s "Delusions of a Time-Traveling Cactus" investigates human connections with algorithms and automation. In tandem with his experience as a mathematician and robotics engineer, uses mischief, absurdity, and humor to explore the evolving relationship between humans and technology. "Delusions of a Time-Traveling Cactus" positions Reben’s role as translator of this feedback loop—a circuit he probes through art making.

Heritage Post:  "Progress in architecture has given us total control over interior environments; climate controlled spac...
09/01/2023

Heritage Post: "Progress in architecture has given us total control over interior environments; climate controlled spaces smoothly connected by escalators in shopping malls, airports, hotels and casinos. Progress in the Universal Texture promises to give us a smooth and continuous 24-hour, cloudless, daylit world, increasingly free of jarring anomalies, outliers and statistical inconsistency." – Clement Valla 🍃 🌳

Clement Valla's series "The Universal Texture" and "Postcards from Google Earth" are based on images he captured from the screen while traveling through the Google Earth interface. This collection of emphasizes edge conditions, the result of an automated process that fuses aerial photographs and cartographic data. As the source imagery is culled from different periods and vantage points, anomalies in wrapping the 3-D projection model appear. Constraints of the algorithms are revealed, forging a hybrid geography.

Valla's "Universal Texture" sculptures are playful in their questioning of photographic representation, as Valla returns the flat picture plane to three-dimensional reality.

Clement Valla,
"The Universal Texture", 2013
"The Universal Texture (22°21’59.21”N, 114° 7’0.84”E)", 2013
"The Universal Texture (33°31’18.23”N, 86°39’57.58”W)", 2013

Each:
inkjet on canvas mounted on foamcore
90 x 44" / 228.6 x 111.8 cm (approx)

Alexander Reben's "Delusions of a Time-Traveling Cactus" opens Wed. Sept 6, 6 - 8pm in NYC. Invite linked in bio 😎"Delus...
08/29/2023

Alexander Reben's "Delusions of a Time-Traveling Cactus" opens Wed. Sept 6, 6 - 8pm in NYC. Invite linked in bio 😎

"Delusions of a Time-Traveling Cactus" presents ’s role as translator of this feedback loop—a circuit he probes through art making. In his "AI Am I?" series, Reben reverses the traditional feedback loop between humans and machines by privileging AI as a creative entity. Within the series, each artwork is described by AI and then realized by the artist. A wall label accompanies each work, explaining aesthetic decisions as well as artistic intentions. However, this text, in addition to the artist name, birth location, and date are fabricated by a neural network. Reben installs this information next to the work, elevating it to the status of art historical text found on a museum label.

Alexander Reben
"I", 2020
Zippers, thread on canvas
30 x 24 in / 76.2 61 cm

Heritage post: Installed in 2005, Jeff Talman's "Sound Mass" creates a new auditory experience from the sonic resonance ...
08/24/2023

Heritage post: Installed in 2005, Jeff Talman's "Sound Mass" creates a new auditory experience from the sonic resonance of the cathedral with an eight-channel sound field. This installation is based on the premise that every space has a unique sonic “presence” when at rest, which can be captured by waveform data. Even when a room sounds silent to the naked ear, small circulating wind currents that scrape against walls and other surfaces produce minute sounds, similar to those yielded by blowing air across the mouth of a bottle – this “room tone” is Talman’s raw material. After recording the cathedral’s room tone, Talman analyzed it and extracted the resonant frequencies. The sound field represents his nuanced choreography of the resonance of the cathedral’s unique “negative sound.”

Jeff Talman
"Sound Mass", 2005
8-channel sound installation
Dimensions variable

Ellie Pritts “In The Screen I Am Everything” is on view in NYC through August 5.“I created these portraits that are thes...
07/14/2023

Ellie Pritts “In The Screen I Am Everything” is on view in NYC through August 5.

“I created these portraits that are these fantastical versions of myself… These are both previous versions of work I did for “Divine Recursions,” which is a project I started a year and a half ago. Before I had access to Stable Diffusion, I trained an AI model off of my own self portraits. These are 50% output from my model trained on me, plus 50% text-to-image input. I’m taking text from hundreds and hundreds of pages of journals that I’ve kept on Google Docs for like ten million years— since Google Docs was a thing— so I have a huge library to pull from… I took those outputs and painted over them. The texture along the edges aren’t from AI, they’re from me.” -

Ellie Pritts Oracular Recursion II, 2023 Giclée print on hahnemühle
30 x 40 in / 76.2 x 101.6 cm

Ellie Pritts “In The Screen I Am Everything” is on view in NYC through August 5.“I created these portraits that are thes...
07/14/2023

Ellie Pritts “In The Screen I Am Everything” is on view in NYC through August 5.

“I created these portraits that are these fantastical versions of myself… These are both previous versions of work I did for “Divine Recursions,” which is a project I started a year and a half ago. Before I had access to Stable Diffusion, I trained an AI model off of my own self portraits. These are 50% output from my model trained on me, plus 50% text-to-image input. I’m taking text from hundreds and hundreds of pages of journals that I’ve kept on Google Docs for like ten million years— since Google Docs was a thing— so I have a huge library to pull from… I took those outputs and painted over them. The texture along the edges aren’t from AI, they’re from me.” -

Ellie Pritts Oracular Recursion II, 2023 Giclée print on hahnemühle
30 x 40 in / 76.2 x 101.6 cm

 “In The Screen I Am Everything” is on view through August 5."In the Screen I am Everything" is the title video from whe...
07/06/2023

“In The Screen I Am Everything” is on view through August 5.

"In the Screen I am Everything" is the title video from where the exhibition gets its name. As a metaphor and attitude for much of Pritts’ work, the video celebrates the screen as a playground without the boundaries of physical reality.

In creating this video, Pritts first filmed herself in front of a green screen. Text prompts from her journals were combined with AI and used to generate the environments of each scene. In these varied states of being, the artist embodies different characters. While the title of this artwork alludes to the possibility and potential of digital space, "In the Screen I am Everything" is presented as a possibility, a call for presentness and potential.

Ellie Pritts
“In The Screen I Am Everything” 2023
Video (color, silent)
57 sec, loop

Sarah Rothberg’s SUPERPROMPT is on view through July 22 at bitforms SF. Shout out to  for manifesting these natively dig...
06/27/2023

Sarah Rothberg’s SUPERPROMPT is on view through July 22 at bitforms SF. Shout out to for manifesting these natively digital portraits!

"Portraits of Sophie" are unique, photographic captures of non-repeating moments with Sophie, a conversational AI avatar created by Sarah Rothberg. Approaching the subject like a photographer in a studio, Rothberg interviewed Sophie and captured the resulting recital. Visual rendering techniques, ranging from slit scanning, edge-detection, and feedback, are implemented by the artist to reveal the seams and computational nature of Sophie’s interiority. This portrait session, as well as "New New Meetings", exemplify the artist’s thought experiment of treating Sophie as a person. Through this process, Rothberg muses on her own extension of respect and sensitivity to a non-sentient being.

Sarah Rothberg
"Portrait of Sophie: Unique Answers", 2023
"Portrait of Sophie: Original and Insightful", 2023
"Portrait of Sophie: Certainly!", 2023
Each:
Digital print on archival rag paper
23.75 x 18 in / 60.3 x 45.7 cm, unframed
Edition of 3, 1 AP

Beryl Korot and Steve Reich will stage "Three Tales" (2002) at Wuppertal Opera House June 8, 9 and 18. Check the link in...
06/06/2023

Beryl Korot and Steve Reich will stage "Three Tales" (2002) at Wuppertal Opera House June 8, 9 and 18. Check the link in stories for tickets and more information.

"Three Tales" tracks technological advances through three disquieting moments in modern history: the Hindenburg zeppelin disaster over Lakehurst, New Jersey in 1937; the hydrogen bomb testing on Bikini Atoll in 1947; and the 1996 cloning of Dolly, a Scottish sheep.

"From the very beginning we also decided to use the two stories of the creation of human beings from Genesis. Those two creation stories are absolutely inherent to the work. The first being that man was created, along with woman, to control and have dominion over all the animals and plants on earth. The second, that man was created from the dust of the earth, woman from his rib, and both were placed in a garden to serve it and to keep it.

These two creation stories represent two very different types of human reality present in all of us to varying degrees… There is very little said from a religious point of view except in the words of Adin Steinsaltz: “Are you responsible or not responsible for anything?” and “The sin of Adam in eating—he was too hasty.” Three Tales is really about human beings and how we deal with the powers that are given to us." - Beryl Korot to Julia Wolfe🎵🎶 in

Beryl Korot
"Three Tales", 2002
Act I: Hindenburg Act II: Bikini Act III: Dolly Three-channel video (black and white, color, sound), live opera
Dimensions variable
64 min

Glad to see  in the gallery today! Stop by "Pixelweaver" on your way to see "Night Shift", Aliza's new show ! An opening...
05/24/2023

Glad to see in the gallery today! Stop by "Pixelweaver" on your way to see "Night Shift", Aliza's new show ! An opening reception will be June 3.

"Abacus" reformulates the ticker tape, the earliest means of financial communication, developed at the end of the nineteenth century. The prices from each index fund appear as intersecting stripes and turn into the warp and weft of a fabric that never ceases to change. displays and re-formats real-time financial information from main stock market indexes, such as Dow Jones, Nasdaq, FTSE, and DAX, as well as data from cryptocurrency and foreign exchange markets.

Daniel Canogar
"Abacus", 2022
From the series "Pixelweaver"
Custom software (color, sound), computer, screen
Dimensions variable, portrait or landscape orientation
Edition of 7, 2 AP

EXCUSE YOU! closes next weekend, May 20. "Remote Pulse" is an interactive installation consisting of two identical pulse...
05/13/2023

EXCUSE YOU! closes next weekend, May 20.

"Remote Pulse" is an interactive installation consisting of two identical pulse-sensing stations that are interconnected over the internet. When a person places their hands on one station automatically the person on the other station feels their pulse, as the plates vibrate in sync with the heartbeat of the remote person, and vice versa. The piece was originally presented as part of Lozano-Hemmer’s "Border Tuner" installation across the US-Mexico border, with one station in Ciudad Juárez, Chihuahua and the other in El Paso, Texas.

The piece exists in two formats: outdoor plinth version and indoor wall-mounted version.

Image 1:

Image 1: Rafael Lozano-Hemmer: Border Tuner / Sintonizador Fronterizo, Bowie High-School / Parque Chamizal, El Paso / Ciudad Juárez, Texas / Chihuahua, United States / México, 2019. Photo by: Monica Lozano.

Image 2: Rafael Lozano-Hemmer "Remote Pulse", 2019. In "EXCUSE YOU" at bitforms gallery sf. Photo by , with a visitor to the space

Image 3: Rafael Lozaon-Hemmer, "Remote Pulse", 2019. In "Techs-Mechs" at .


“Remote Pulse”, 2019
Corian slab, aluminum mount, heart rate sensor, plates, circuits, transducers, lightbulbs
Two stands: 23 x 13 x 9 in / 59 x 32 x 23 cm
Edition of 6, 1 AP

See EXCUSE YOU!, a show of recent work from Rafael , before it closes May 20 at bitforms SF.Likening the show to an asso...
05/12/2023

See EXCUSE YOU!, a show of recent work from Rafael , before it closes May 20 at bitforms SF.

Likening the show to an assortment of breaches, stammers, or obstacles, the artist uses play as an apparatus to question some of the most pressing issues of the contemporary moment, such as surveillance, climate change, and the manner in which digital life can collide with lived experience.

All works by Rafael Lozano-Hemmer. Left to right:
"Remote Pulse (indoor)", 2019
Corian slab, aluminum mount, heart rate sensor plates, circuits, transducers, lightbulbs
Two stands, each 23 x 13 x 9 in / 59 x 32 x 23 cm
Edition of 6,1 AP

"Recurrent Llull", 2019
Custom software (black and white, silent), screen, computer
Dimensions variable
Edition of 6, 2 AP

"Bilateral Time Slicer", 2016
Custom software (color, silent), biometric tracking system, computer, camera with digitizer, screen
Dimensions variable, portrait orientation
Edition of 6, 1 AP

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Friday 11am - 6pm
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