Thea Djordjadze creates sculptures and installations of singular, idiosyncratic poetry. Her works are suffused with multiple art-historical references and are characterized by tensions between material and form. Untitled (2010) elliptically refers to an architectural element—a plinth, a pedestal or the corner of a room—an open wooden structure that lets the viewer experience the work via a physical approach.

Lucy Dodd’s practice explores the possibilities of painting as mythical language and radical symbolic theater. Her use of raw materials like unmixed pigments and organic compounds imbues Dodd’s paintings with spiritual energy and effulgence. Shield 6 (2015) presents both an unconventional shape and positioning of the canvas, which is hemmed with a bright, green-tinted band of canvas framing the work. Dodd understands painting as an organic entity that is echoed in her choice of materials, wholly embracing the phenomenal possibility of transformation. Following the same metaphorical thread, Shield 6 holds both pigments and phosphorescents within itself, providing time as a counterpart for the painting to transform between two ends of light and darkness—under light, resonating a lush green evocative of plant life; in the dark, radiating a luminescent glow.

Louise Lawler, who ranks among the trailblazing female artists associated with the Pictures Generation, explores the presentation of artwork and the circumstances in which it is viewed. Her practice of photographing works of art, usually in situ at museums, auction houses or private homes, moves beyond documentation. Rather, it functions as a conceptual tool and way of directing attention to tacit and unspoken things—the constraints, rules, and economies of the loose system that governs the art world. In Lawler’s aptly named series Three Sizes in Twelve Colors (1994/2019), the artist revisits one of her earlier images, It Could Be Elvis (1994), by transferring it to different formats and colors. Each size (S/M/L) has twelve variants that each, in turn, shifts in hue, thereby covering the full spectrum of the color wheel. A vital aspect of Lawler’s process, the continuous re-presentation and recontextualization of existing images, demonstrates the discerning and relational character of her art.

Analia Saban has worked for nearly two decades examining the ways in which we understand works of art, and particularly how content and value are conveyed via artistic media. Pressed Paint (Titanium White) (2017) illustrates the artist’s continual questioning of what constitutes a painting, sculpture or, in this case, a print. Produced as a multiple, but each unique, Saban’s Pressed Paint works comprise linen “sacks” whose interiors are filled with acrylic paint, which is then run through a printing press so that the pigment seeps downward, permeating the linen canvas. The object thus both confuses and transcends its existence as a print.

Rosemarie Trockel is widely regarded as one of Germany's most important and influential conceptual artists. Central to Trockel's work is a feminist viewpoint that has proven singular and sustained, flexible and pithy, when employed as a tool for cultural analysis. Through her varied practice, Trockel explores social convention and stereotyping as vehicles for disguise. In Some Know Better (2023), Trockel returns to one of her iconic wool works of the same title: a colorful striped composition with contrasting vertical and horizontal stripes. Pattern is a Teacher (2019) is a photo of another earlier wool picture, Day Release (2017), taken in the artist’s studio. Commenting upon established artistic hierarchies and outdated gender roles, her wool thread pictures make use of wool as a material for ‘painting’. The wool works exemplify Trockel’s contribution to the discourse around painting, and with references in composition and palette to the male-dominated world of twentieth-century abstraction and Minimalism, she at once evokes and subverts the medium.