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Ian Pedigo’s 2025 show, “Mystagogue” is reviewed in the Texas Visual Art journal Glasstire by Valeria Or
Read the review here

Headlights, Glen Baldridge‘s solo show at the gallery was deemed Highbrow and Brilliant in the New York Magazine Approval Matrix.

Aperture.org has published an edited transcript of Mark Armijo McKnight’s conversation with author Garth Greenwell, moderated by Drew Sawyer at the Whitney Museum during Armijo McKnight’s solo exhibition “Decreation” in 2024.

Jennifer J. Lee’s work is featured in an article, “The Art World’s Next Big Thing: Tiny Paintings,” by Julia Halperin, published this week in the New York Times T Magazine.

Evan Moffitt considers the work of David Gilbert in a new piece for Aperture Magazine.

David Behringer reviews Jennifer J. Lee’s 2025 show, The Falls, in Design Milk.

Kemar Keanu Wynter is featured in Galerie as one of the publication’s emerging artists. From the article: “Galerie’s list of emerging artists shines a spotlight on the rising stars who are making waves around the world with their unique visions, mastery of materials, fascinating processes, and powerful messages.” Read the article online here.

Geoffrey Hendricks: land / sky / dreams is listed as one of Artforum’s “Must-See Shows,” the editors’ selection of essential exhibitions worldwide. The exhibition is on view October 25 – December 14, 2024.

David Scanavino’s solo show 232 Drawings is listed as an Artforum’s “Must-See Shows,” the editors’ selection of essential exhibitions worldwide. The exhibition is on view September 6 – October 19, 2024.

The New York Times Style Magazine published a feature on Geoffrey Hendricks’ early 19th century SoHo house. Nick Haramis interviewed Sur Rodney (Sur), Hendricks’ spouse, about the plethora of archival material throughout the 3 story house, two artists’ relationship, as well as Sur’s own history as an artist/archivist.

Erika Ranee’s solo show, Feelings, and curatorial effort, All the Things, at the Arts Center at Duck Creek were reviewed by Mark Segal for The East Hampton Star. Segal not only covers the current exhibitions but also explores Ranee’s practice as a whole and her initial entry into art. Read the full article here.

Mark Armijo McKnight and Sam Contis are featured in a podcast published by The Carnegie Museum of Art in conjunction with Widening the Lens: Photography, Ecology, and the Contemporary Landscape. Hosted by Venus Williams, episode four of the ongoing series deals with the “connections between myth-making and human cognition.” Listen here.

Barry Stone’s solo show Porch Swing Orchestra is listed as part of Artforum’s “Must-See Shows,” the editors’ selection of essential exhibitions worldwide. The exhibition is on view May 17 – June 22, 2024.

Nancy Brooks Brody’s 2024 solo show Ode was featured on The T List, a supplement of The New York Times. Read the article here.

Nancy Brooks Brody’s solo show Ode is listed as part of Artforum’s “Must-See Shows,” the editors’ selection of essential exhibitions worldwide. The exhibition is on view April 5 – May 11, 2024.

Tamara Gonzales’ 2024 solo show, Amplifiers, was reviewed by Charles Schultz for The Brooklyn Rail. Schultz highlights the uplifting nature of Gonzales’s paintings and the diverse array of painting techniques showcased throughout the exhibition. Read the review here.

Klaus Gallery’s Geoffrey Hendricks solo booth at Art Basel Miami Beach was highlighted in artnet’s review of the fair. Read the article here.

Sam Contis’ 2022 book and 2023 solo show Overpass were reviewed by Josh Lustig for the Financial Times Magazine. Lustig explores the concept of walking in relation to the photographs, among other things. Read the interview here.

Glen Baldridge talks to Kelly Beall for Design Milk about his artistic process, influences, and parenthood. Read the full article here.

Graham Anderson’s 2023 solo show The Mirror Grove, was reviewed by Will Heinrich for The New York Times. Heinrich considers Anderson’s use of oranges as suitable subject matter for the artist’s ongoing project on perception.

Kemar Keanu Wynter’s solo show Heralds was reviewed by Isabella Rafky for Hyperallergic. Rafky considers the harmony Wynter has found mixing technique and heritage. Heralds is on view through Saturday June 17.

The Klaus von Nichtssagend Gallery presentation at the Independent 2023 featuring Tamara Gonzales and Kemar Keanu Wynter was mentioned in the New York Times’ review of the art fair.

Erika Ranee’s 2023 solo exhibition, All Natural, was reviewed in Artforum by Greg Lindquist. Lindquist discusses Ranee’s studio techniques as well as the larger tenor of her oeuvre. All Natural is on view at Klaus von Nichtssagend Gallery through March 25, 2023.

Erika Ranee’s 2023 solo show All Natural is listed as part of Artforum’s “Must-See Shows,” the editors’ selection of essential exhibitions worldwide. The exhibition is on view February 17 – March 25, 2023.

Glen Baldridge was interviewed by David Graver for Cool Hunting, an online arts and culture publication. Baldridge discusses his use of the owl, a frequent motif in his more recent paintings, as well as the hidden phrases he includes in many works.

Wigwag, Glen Baldridge’s ninth show at Klaus von Nichtssagend Gallery, was reviewed in The New Yorker by Johanna Fateman. Read the review here.

Joy Curtis has several of her sculptures from her Skeleton Woman series reproduced in december, volume 33.2. A concise overview of the series written by december art editor Buzz Spector is included in the introduction to the current issue.

Lost Pines, Barry Stone’s recent solo show at Lora Reynolds Gallery in Austin, TX., was reviewed in Glasstire, a Texas-based arts publication. Barbara Purcell explores the dual nature of this body of work; along with images of the burnt wreckage of the Lost Pines Forest, Stone includes images from a fire that took the life of his grandfather in 2002, thus weaving together the narratives of personal and communal wounds.

An extensive interview with Erika Ranee by artist Cordy Ryman was recently published in Bomb Magazine.

Duet, Sam Contis’ 2022 solo show, was reviewed in Musée Magazine by Lia Jung. Jung finds similarities between vocalist Inbal Hever’s body movements and the camera itself.