The artist’s solo exhibition Citizen evolves the ideas explored in Imhof’s recent projects DOOM: House of Hope at Park Avenue Armory’s Drill Hall, New York and Fun ist ein Stahlbad at Museu de Serralves, Porto (both 2025). The show is anchored by new large-scale wave paintings, joined by a four-channel film, site-specific crowd barrier sculptures, oil pastel drawings on canvas, and her latest bronze reliefs.

You Are Queen so I Will Bow to You (2026) is executed in a midnight blue that recalls the depths of the sea, its breaking crest dissolving into “white horses”, the froth tinged pink in places. Here too, Imhof has made incisions on the lower part of the canvas. Frozen mid-break, both waves hold an uncanny stillness that nonetheless emanates an unmistakable sense of force.

Imhof’s new film Citizen (2025), the title itself a political proposition, shown on the floor above, similarly spills into public view through the window. Drawn from footage shot on an iPhone by one of the performers during four evenings of DOOM, the work captures other cast members both on the main stage and in the locker rooms and corridors behind it. One sequence presents flexn performer Xavier Days across all four channels. At first, the material seems to stage spatial simultaneity, as if we were seeing multiple camera angles at once. Only gradually does it reveal itself as temporal instead: four distinct evenings of the same solo presented side by side. The near-exact replication across nights, held entirely within motor and somatic memory, positions the body as an archive.

In the lower-level gallery, a crowd barrier sculpture—a recurring element in Imhof’s œuvre—forms an inaccessible passage through the centre of the room, determining how the viewer moves through the space and blocking direct access to the diptych portraying a head. Navigation becomes conscious and deliberate, shifting what begins as a visual encounter into a physical one. Imhof’s urgent linework on the canvas stands in contrast to the obstruction of the sculpture; the mark of a physical gesture set against a structure that refuses entry.