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THE
ANNEX
GALLERY
Beginning May 22, 2026, the exhibition presents a recent body of work by Julia O. Bianco, an Argentine-born artist based in the United States whose practice has emerged as one of the most distinctive voices working at the intersection of migration, plant medicine, and material inquiry. Drawing from extended periods of dieta with the Shipibo community of the Peruvian Amazon, Julia has developed a visual language grounded in cyanotype, self-taught embroidery, and the iconography of power animals, shaped by an inherited textile tradition and a sustained engagement with the land. Amazonia gathers watercolor paintings, illuminated cyanotypes, embroidered textiles, and a textile-and-light installation produced between 2024 and 2026, in which personal memory, ancestral inheritance, and devotional practice converge.
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.
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...
Cuba, Spirit and resiliencia in the Work of Ivonne Ferrer and Ciro Quintana
Held on the 27th as part of the Pendleton Art Center’s widely attended Final Friday, the gallery welcomed close to one hundred visitors between 5:00 and 9:00 p.m. The public showed particular interest in the political dimension underlying Ciro Quintana’s works and in the reflections on identity and gender presented through Ivonne Ferrer’s ceramic selection.
