A collaboration between Almeida & Dale (São Paulo) and François Ghebaly (Los Angeles | New York), our 2026 Frieze New York presentation brings together artists from both galleries, tracing affinities across distinct cultural contexts and generations. The exhibition features Alex Červený, Amadeo Luciano Lorenzato, Beatrice Arraes, Jaider Esbell, Maxwell Alexandre, Rubem Valentim, and Vivian Caccuri from Almeida & Dale, alongside Ann Leda Shapiro, Brooklin A. Soumahoro, Christine Sun Kim, Farah Al Qasimi, Joeun Kim Aatchim, Maia Ruth Lee, Patricia Iglesias Peco, and Victoria Gitman from François Ghebaly, as well as Emily Kam Kngwarray, Kahlil Robert Irving, Melike Kara, and Tony Matelli. The selection spans diverse media, scales, and techniques, juxtaposing gestural and symbolic abstraction with figuration. Core concerns include language, identity, and the poetic and symbolic dimensions of nature. The works also explore intersections between abstraction and spirituality, investigations into sound and perception, and intimate modes of portraiture, drawing, and diaristic narrative.

The images of Alex Červený (b. 1963, Brazil) are a result of great technical rigor and meticulous drawing, associated with a restless interest in imagery sourced from autobiographical notes as well as maps, encyclopedias, almanacs of knowledge, music of all kinds, pop culture, cosmogonies, and many journeys looking toward otherness.

Amadeo Luciano Lorenzato (1900–1995, Brazil) was a painter and sculptor who attentively observed his surroundings to create landscapes, urban views, portraits, and everyday scenes. His unique style, often bordering on abstraction, thrives on material and formal experimentation.

In an artistic practice of nearly six decades, Ann Leda Shapiro (b. 1946, USA) entwines themes of life, death, gender, and body with sensitive meditations on the natural world. Ideas around interconnectivity are at the heart of Shapiro’s work, where she draws on frameworks from science, psychology, and spirituality to investigate layers of meaning.

Beatrice Arraes’s (b. 1989, Brazil) oil paintings depict natural and urban landscapes connected to the interior realm. Fragments of places and practices resistant to technological advancement create a nostalgic temporal mismatch, in an attempt to preserve a world through painting.

Paris-born, Los Angeles-based painter and visual artist Brooklin A. Soumahoro (b. 1990, France) combines an intuitive sense of color and line with extraordinary technical precision and personal discipline. Seamlessly fusing precise geometric patterns with vibrant, energetic color fields, Soumahoro creates layered, transportive surfaces that act as visual thresholds.

Christine Sun Kim (b. 1980, USA) has crafted a renowned practice that considers how sound operates in society, deconstructing the politics of sound and exploring how oral languages operate as social currency. Musical notation, written language, infographics, American Sign Language (ASL), the use of the body, and strategically deployed humor are all recurring elements in her practice.

The elder and ancestral custodian of the Anmatyerr people Emily Kam Kngwarray (c. 1914-1996, Australia), in the prolific eight years of professional painting in her late life, produced canvases in which vital traceries both conform to, and seem to expand beyond, her clan codes, in abstractions of ceremonial markings and imagery of her country’s flora and fauna.

Photographer, performer, musician, and video artist Farah Al Qasimi (b. 1981, United Arab Emirates) has built a practice that captures the dizzying relationship between material culture, globalized media, and contemporary society. Examining structures of power, gender, (post)coloniality, and consumer aesthetics in an interconnected world; her work often conveys an uncanny geography, both specific and placeless.

Jaider Esbell (1979–2021, Brazil) was a pioneering Macuxi artist, educator, and activist. Through transversal dialogues with Indigenous artists and cosmologies, his work marks a pivotal moment for Contemporary Indigenous Art and the Brazilian contemporary scene.

Across an ever-growing breadth of media, including painting, printmaking, book arts, and multimedia installation, Joeun Kim Aatchim (b. South Korea) centers in her work an inquisitive, unabashedly idiosyncratic study of memory, language, and the labors of self-reflection.

Kahlil Robert Irving (b. 1992, USA) creates assemblages made up of layered images and sculptures composed of replicas of everyday objects. Mainly working in ceramics, Irving critically engages with the history of the medium and often explores how systems of control, oppression, and histories of anti-Blackness operate.

Maia Ruth Lee (b. 1983, South Korea) has crafted an elegant visual lexicon that takes on the complexities of the self in times of dissonance and globalization. Migration lies at the core of her experience, with an underlying interest in language, translation, symbols, and signs running throughout her work.

Through citation, appropriation, and association of images and symbols, as well as the use of materials of emblematic and biographical value, Maxwell Alexandre (b. 1990, Brazil) builds a pictorial mythology that confronts social structures, the limits of aesthetic experience, institutional categories, and hierarchies of contemporary art.

Melike Kara’s (b. 1985, Germany) paintings in oil, ink, and coffee trace a state of fluid transformation — where form and emptiness intertwine, and distinctions between self and world fade. Using coffee as both medium and metaphor, she allows pigment and water to flow and merge, creating surfaces where traces emerge without intention or control.

Patricia Iglesias Peco’s (b. 1974, Argentina) practice is tuned into the vibrancy of the natural world, imagining exuberant gardens of flora and fauna rendered in oil paint—vegetal bodies caught in whirling gestures of bloom and decay, a choreography of endless beginnings.

Rubem Valentim (1922–1991, Brazil) meticulously arranged colors and geometric shapes associated with the Orishas in his paintings, prints, reliefs, and sculptures, transcending a formalist approach to religious imagery, while maintaining a strong connection to its origins and meanings.

Tony Matelli (b. 1971, USA) is known for his provocative and confounding hyperrealistic sculptures. Working with a keen sense of his materials and an exacting dedication to fidelity, Matelli’s works faithfully render the quotidian details of everyday objects in order to reorient attention to their vulnerability and precarity.

Victoria Gitman (b. 1972, Argentina) creates diminutive, jewel-like oil paintings that mine ideas of illusionism, the sensorium, and histories of high abstraction. Drawing from found and vintage objects like accessories and intricate textiles, she crafts painstakingy realistic images that interlink physical and visual senses.

Through objects, installations, and performances, Vivian Caccuri (b. 1986, Brazil) investigates sound and music while defying perceptions embedded in culture and cognitive structures. Mixing scientific data and fiction, she has also delved into the study and reframing of mythologies involving human aversion to mosquitoes and other insects.