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THE
ANNEX
GALLERY
Beginning June 3, 2026, Recent Works presents a new selection of paintings by Leticia Sánchez Toledo, a Cuban artist based in Miami who returns to Annex Gallery four years after her first exhibition in the space. Born in Cabaiguán in 1985 and trained as a designer at ISDI in Havana, Sánchez Toledo has built a body of work centered on the female figure within domestic and cinematic interiors, where light, stillness, and atmosphere take precedence over narrative. The exhibition arrives at a moment of consolidation in her career, recently marked by her selection as a grantee of the Pollock-Krasner Foundation, and reaffirms a pictorial language defined by spatial awareness, restraint, and an unwavering coherence between ethical life and visual form.
A few months ago I wondered in these pages what Macron was getting out of lending the Bayeux Tapestry to the English. Forty thousand French citizens signed a petition to block it, citing textile fragility and, I suspect, a touch of cross-Channel rancour as well. The other question remained: what would the British Museum get out of it.
Now and again, chance weaves a concurrence of circumstances that places us before a window opening onto the past. The opportunity to converse, undistracted, with the Austrian artist Stylianos Schicho was a privilege, since what most interests me in art are the sinews that bind it to whoever produces it.
As a worthy walk-on, more than once I have stood inside a still life: the living scene of a dead nature staged with everyday objects. Between Morandi and Chirico — take your pick of Giorgios — lit by the fierce Miami sun or beneath the drizzle of a summer afternoon, I have slipped into the heart of the anomaly, into the "temple of otherness."
A month ago, during Arte Desobediente Exhibition, I encountered for the first time an artwork by Kerstin Imhoff that has remained with me ever since. It was a visceral piece from her ongoing Bloodline series: a hyperrealistic red vulva rendered in wax-like texture through 3D printing, encircled by a Catholic rosary terminating in a bronze cross...
I suppose that waking up to find the night has birthed a new Banksy is, by now, almost routine. This time, however, something is different. He has literally moved up a step. He has planted a life-size sculpture in one of the most heavily guarded spaces in London. No witnesses. The piece appeared in the early hours of Wednesday at Waterloo Place, an avenue in central London halfway between Trafalgar Square and Buckingham Palace.
Shipibo 'dieta' and the cyanotype
Amazonia, the solo exhibition by Julia O. Bianco, brought together a body of work developed through the artist’s sustained engagement with the Shipibo Indigenous community of the Peruvian Amazon. The exhibition combined watercolor and ink on paper, embroidered textile works, illuminated cyanotypes, and installation, articulating a visual meditation on medicinal plants, the Amazonian dieta —or samá in Shipibo— migration, family inheritance, and the ethics of reciprocity.
A District Showcase of Young Artists
The Congressional Art Competition, scheduled for April 24, 2026, will be presented at Annex Gallery as a platform of visibility for emerging artists from the district within a nationally recognized program in which participation is neither automatic nor universal among congressional offices. Its staging in this context situates the initiative within a professional exhibition environment, reinforcing the relationship between artistic education and the institutional frameworks that shape contemporary cultural production.
Prints, Canvas and Ceramics
Beginning April 8, 2026, the exhibition brings together a recent body of work that reaffirms his position as one of the most compelling living voices of Cuban abstraction. Born in Artemisa in 1961 and currently based in North Carolina, Mena has developed a visual language grounded in gesture, color, and structural tension, drawing from both urban experience and an internalized emotional memory...
