Ann Agee’s (b. 1959) practice is focused on replicating objects by hand to simulate mass production and engage ambiguous delineations between fine art, design, and craft; histories of cultural appropriation and exchange; and the range of women’s lived experiences. Inspired by late-17th and early-18th century Italian salt cellars, Agee’s Madonnas of the Girl Child depict women and girls. Made from a variety of clays and glazes, formed with different techniques, and fired in multiple kilns, Agee’s Madonnas realistically or abstractly engage motifs of the divine mother. Unlike the ubiquitous invocations of the Christ Child, all the offspring in this motley series are female. Whether being breastfed, cradled, or corralled, these girls are held up by their mothers and endowed with aptitude and virtue. Agee earned her BFA from The Cooper Union School of Art in 1981 and her MFA from the Yale School of Art in 1986. She has received a John Simon Guggenheim Fellowship, 2011; The Louis Comfort Tiffany Foundation Award, 1997; and a National Endowment for the Arts Fellowship, 1992; among others. Her works are included in the permanent collection of notable institutions including The Brooklyn Museum of Art, New York, NY; The Philadelphia Museum of Art, Philadelphia, PA; The RISD Art Museum, Providence, RI; The Los Angeles County Museum of Art, Los Angeles, CA; The Henry Art Museum in Seattle, WA; The Kohler Art Center in Sheboygan, WI; and The Museum of Contemporary Art, Miami, FL.

Elizabeth Glaessner (b. 1984) conjures a saturated, densely layered world of transformation and multiplicity. Inviting amorphousness in her subjects and environments, Glaessner’s surreal universe is populated by evocative forms in various states of becoming or undoing. Rich with art historical and cultural allusions, her work offers no narratives or fables, but rather evokes nebulous atmospheres unmoored by virtue and vice. Working in oil, acrylic and pure pigments dispersed with water and various binders, Glaessner’s technique shifts between formal articulation and non-representational gesture. Enraptured by suns, moons, seasons and tides, the resulting transfigurations are unequivocally products of their environment. Glaessner holds a BA from Trinity University, TX and an MFA from New York Academy of Art, NY. She was awarded a postgraduate fellowship at the New York Academy of Art in 2013, a residency at GlogauAIR, Berlin in 2013, and a residency at the Leipzig International Art Programme in 2012. She has presented two solo exhibitions with P·P·O·W, in 2014 and 2018, and has contributed to group exhibitions internationally. Glaessner was recently included in the group exhibition Les Yeux Clos at Perrotin, Paris and Go Figure!?, an online exhibition at Sprüth Magers, curated by Ed Tang and Jonathan Cheung. Glaessner’s third solo exhibition at P·P·O·W will open in February 2022.

Hortensia Mi Kafchin (b. 1986) works in painting and sculpture to depict emotional and subconscious landscapes. Her studio practice is a process of better understanding themself and exploring the interwoven effects of personal transitions concerning spirituality, nationality, and gender. Kafchin’s highly detailed, dreamlike paintings operate as subliminal history paintings, depicting pasts, presents, and futures and shifting physical territories to illustrate complex narratives. Technological evolutions and mechanized anatomy depicted in their work illustrates her search for symbolism that is unencumbered by that which is presently known and experienced. Hortensia Mi Kafchin was born in Galati, Romania and lives and works in Cluj, Romania and Berlin, Germany. She graduated from University of Art and Design in Cluj in 2010. She has had solo and group exhibitions at the National Museum of Contemporary Art, Bucharest, Romania; the Espace Cultural Louis Vuitton, Paris, France; the Palais de Tokyo, Paris, France; the Centre for Contemporary Art, Warsaw, Poland; the MuMoK Museum Moderner Kunst, Vienna, Austria; and the New Museum, New York. Kafchin has participated in the Prague Biennale, Czech Republic in 2013 and La Triennale in Paris, France in 2012. Her work is in international private and public collections including the Art Collection Telekom Centre, Germany and Centre Nation d’Art et de Culture Georges-Pompidou in Paris, France, among others.

Rooted in the California Bay Area counterculture of the 60s and 70s, Judith Linhares (b. 1940) composes folkloric, figurative paintings from confident, abstract brushwork, utilizing broad strokes and brilliant fields of color to gradually develop her subjects. Harnessing portentous yet quotidian symbols, her uniquely irradiant paintings celebrate the female body and communal experience. In his review of Hearts on Fire, Linhares’ first exhibition at P·P·O·W in 2019, critic John Yau writes, “Linhares has become a pioneer who paved the way for a generation of women artists to develop their own alternative worlds.” Linhares earned her BFA and MFA degrees from California College of Arts and Crafts in Oakland, CA. Her work is in the permanent collections of the de Young Museum, San Francisco, CA; the Pennsylvania Academy of Fine Art, Philadelphia, PA; the San Francisco Museum of Modern Art, CA; and the Whitney Museum of American Art, New York, NY. Judith Linhares: The Artist as Curator, a survey exhibition featuring five-decades of paintings and works on paper, will be on view at the Sarasota Art Museum, FL, from November 27, 2021 – April 3, 2022. The exhibition will include a curated presentation of works by Bill Adams, Ellen Berkenblit, Karin Davie, Dona Nelson, and Mary Jo Vath, highlighting the longstanding influence of dialogue between artists. Linhares’ second solo exhibition at P·P·O·W will open in April 2022.

Combining sculpture, painting, performative acts, and installation, Guadalupe Maravilla (b. 1976) grounds his transdisciplinary practice in activism and healing. Engaging a wide variety of visual cultures, Maravilla’s work is deeply autobiographical, referencing his unaccompanied, undocumented migration to the United States due to the Salvadoran Civil War. Maravilla’s ongoing series of Retablos engages the Mexican and Central American tradition of devotional paintings which celebrate miracles of everyday life. For these works, Maravilla sends detailed digital sketches to a fourth-generation retablo painter he met in Mexico while retracing his migration route. He then places these votive paintings in frames composed with a signature fibrous material used throughout his sculptural works, most notably in his large-scale Disease Throwers. Maravilla received his BFA from the School of Visual Arts and his MFA from Hunter College in New York. His work is in the permanent collections of the Museum of Modern Art, New York; the Whitney Museum of American Art, New York; Museo Nacional Centro de Arte Reina Sofía, Madrid; the Institute of Contemporary Art, Miami; the Henie Onstad Kunstsenter, Olso; and the Blanton Museum of Art, Austin. He has received numerous awards and fellowships including a Joan Mitchell Foundation Inaugural Fellowship, 2021; an Andrew W. Mellon Foundation & Ford Foundation Latinx Artist Fellowship, 2021; a Guggenheim Foundation Fellowship, 2019; Soros Fellowship: Art Migration and Public Space, 2019; Joan Mitchell Emerging Artist Grant, 2016; and The Robert Mapplethorpe Foundation Award, 2003. Seven Ancestral Stomachs, Maravilla’s first exhibition at PˑPˑOˑW, was reviewed in the New Yorker, The New York Times, and Forbes. He recently received the Lise Wilhelmsen Art Award and will present a solo exhibition at the Henie Onstad Kunstsenter, Olso, Norway in January 2022. Maravilla’s work is currently on view in Crip Time, a group exhibition at Museum für Moderne Kunst, Frankfurt, Germany, and in Luz y fuerza, a solo exhibition at the Museum of Modern Art, New York.

Erin M. Riley’s (b. 1985) meticulously crafted, large-scale tapestries depict intimate, erotic, and psychologically raw imagery that reflects upon relationships, memories, fantasies, sexual violence, and trauma. Collaging personal photographs, images sourced from the internet, newspaper clippings, and other ephemera to create her compositions, the Brooklyn-based weaver exposes the range of women’s lived experiences and how trauma weighs on the search for self-identity. In her review of Riley’s most recent solo exhibition, The Consensual Reality of Healing Fantasies at P·P·O·W, Roberta Smith of the New York Times declared Riley “a major pictorial artist.” She went on to write, “Her richly variegated colors and complex, arresting scenes take full advantage of tapestry’s stitch-by-stitch autonomy.” Riley received her BFA from the Massachusetts College of Art and Design and an MFA from the Tyler School of Art. Her work has been included in solo and group exhibitions at P·P·O·W, New York; Jonathan Hopson Gallery, Houston; Galerie Julien Cadet, Paris; Kohn Gallery, Los Angeles; Henie Onstad Kunstsenter, Høvikodden; The Frances Young Tang Teaching Museum and Art Gallery at Skidmore College, Saratoga Springs; Gana Art Gallery, Seoul; among others. Riley is the recipient of a United States Artists Fellowship Grant, 2021 and an American Academy of Arts & Letters Art Purchase Prize, 2021 and has completed residencies at MacDowell Colony, New Hampshire and the Museum of Art and Design, New York. Her work will be featured in 52 Artists: A Feminist Milestone opening at The Aldrich Contemporary Art Museum in June 2022. Riley’s work will also be on view in Miami Beach in Skin in the Game, a group exhibition organized by Zoe Lukov, opening November 29, 2021.