Art Basel Paris

In his luminous and emotionally complex paintings, Kyle Dunn (b. 1990) depicts scenes of isolation and romantic connection in a modern world that challenges the balance between private and public life. To be presented as part of Oh La La!, Dunn’s Bread and Butter, 2026, is heightened by pervasive eroticism and theatrical lighting, undercut with moments of careful observation and quiet humor. Dunn received his BFA in Interdisciplinary Sculpture from the Maryland Institute College of Art. Dunn presented his first institutional solo exhibition, Kyle Dunn / MATRIX 194, at the Wadsworth Atheneum Museum of Art in 2024. In his curatorial statement for the exhibition, Jared Quinton writes, “Dunn’s work feels at once familiar and disquieting, timeless and unavoidably of the moment.” His work has been exhibited at P·P·O·W, New York, NY; Corridor Foundation, Shenzhen, China; Institute of Contemporary Art, Miami, FL; Plains Art Museum, Fargo, ND; Marlborough Gallery, London, UK; Dallas Museum of Art, Dallas, TX; and Vielmetter, Los Angeles, CA; among others. His work is in the collections of Fondazione Sandretto Re Rebaudengo, Turin, Italy; Dallas Museum of Art, Dallas, TX; Rennie Collection, Vancouver, CA; Pond Society, Shanghai; Wadsworth Atheneum Museum of Art, Hartford, CT; Institute of Contemporary Art, Miami, FL; North Dakota Museum of Art, Grand Forks, ND; and X Museum, Shanghai, China; among others. Dunn is featured in Phaidon’s recently released publication, Vitamin P4: New Perspectives in Painting, an extensive survey of contemporary painters around the world. His first comprehensive monograph will be published by Phaidon in 2027. He will present his third solo exhibition with the gallery in the spring.  

Phoebe Helander (b. 1988) crafts deftly made oil on wood paintings in single sessions lasting anywhere from four to ten hours. She finds her subject within familiar elements of daily life, using subtle yet highly impactful technical strategies to convey moments of intense contemplation. Often returning to the same subject matter, Helander’s paintings emerge from an expressive and durational form of perceptual painting. She received her MFA from Yale University in 2019. Her work has been featured in group exhibitions at Karma, Thomaston, ME; Pamela Salisbury Gallery, Hudson, NY; Palo Gallery, New York, NY; and New Release, New York, NY; among others. In 2024, she presented her third solo exhibition with Pamela Salisbury Gallery, Hudson, NY, which was accompanied by a catalog essay by curator and critic Robert Storr. In his Hyperallergic review of the show, critic John Yau, wrote, “Helander gives us more than a painting to look at; she gives us something to meditate upon as we live our daily lives.” Her first exhibition with P·P·O·W, Paintings from the Orange Room, was on view in Fall 2025. The gallery presented new paintings by Helander at Post-Fair in Santa Monica, CA, in February 2026. Her work is currently on view in the group exhibition Everyone you’re looking at is also you: Artists for the Ali Forney Center, David Zwirner, New York, NY.

Over the past three decades, innovative painter Katharine Kuharic (b. 1962) has pioneered a genre of distinctly queer image-making that is both pastoral and pop. Eschewing various gendered historical tropes, Kuharic’s paintings conjures open-ended narratives, unmasking truths through multi-layered symbolism, hyper-realistic style, and a highly keyed pallet. Kuharic’s labor intensive process forms a dizzying yet incisive picture of America. She completed her BFA in Painting & Drawing at Carnegie Mellon University in 1984. Her work has been the subject of solo exhibitions at the Contemporary Art Museum, St. Louis, MO; Delaware Center for Contemporary Art, Wilmington, DE; South Bend Regional Art Museum, South Bend, IN; and Contemporary Art Museum, St. Louis, MO; among others. Her work has been included in group exhibitions at Portsmouth Museum of Fine Art, Portsmouth, NH; Pennsylvania Academy of Fine Arts, Philadelphia, PA; Ford Foundation, New York, NY; and Contemporary Art Museum of Houston, TX; among others. She has been represented by P·P·O·W since 1994. Her fifth solo exhibition with the gallery, The Foliated Room, was on view in 2023. In his Widewalls review of the exhibition, Hesper Cane wrote, “Meticulous in approach, Katharine Kuharic fuses multilayered representational elements and vibrant colors in her socially charged paintings, transforming them into compelling, dream-like narratives about the contemporary condition.” Her work was recently on view in the group exhibition For Which It Stands at the Fairfield University Art Museum, Fairfield, CT.

Erin M. Riley (b. 1985) crafts meticulous, large-scale tapestries depicting intimate, erotic, and psychologically raw imagery that reflects upon relationships, memories, fantasies, 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 2025 solo exhibition with P·P·O·W, Life Looks Like a House for a Few Hours, Annabel Keenan wrote in Frieze Magazine, “There’s an element of triumph in Riley’s work: even if her images reveal moments when she had no control over her life, she has persevered and regained agency through every stitch.” 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, NY; Brooklyn Museum, Brooklyn, NY; kaufmann repetto, New York, NY, and Milan, Italy; Aldrich Contemporary Art Museum, Ridgefield, CT; Hashimoto Contemporary, San Francisco, CA; Michael Kohn Gallery, Los Angeles, CA; Gana Art Gallery, Seoul, South Korea; Museion, Bolzano, Italy; Henie Onstad Kunstsenter, Høvikodden, Norway; and Timothy Taylor, London, UK; among others. Riley's works belong to the public collections of the Brooklyn Museum, New York, NY and the Frances Young Tang Teaching Museum of Art at Skidmore College, Saratoga Springs, NY; among others. She received a United States Artists Fellowship Grant in 2021, an American Academy of Arts & Letters Art Purchase Prize in 2021, and has completed residencies at MacDowell Colony, Peterborough, NH, and the Museum of Art and Design, New York, NY. In 2022, Riley’s work was featured in the 16th Lyon Biennale of Contemporary Art, manifesto of fragility. Recent solo exhibitions include The Invisible Third, UTA Artist Space, Los Angeles, CA; watering false flowers, cadet capela, Paris, France; and Look Back at It, mother's tankstation, London, UK. Her third exhibition with the gallery, Life Looks Like a House for a Few Hours, was on view in Fall 2025. 

Martha Wilson (b. 1947) is a pioneering feminist artist and gallery director, who over the past five decades created innovative photographic and video works that explore her female subjectivity through role-playing, costume transformations, and “invasions” of other people’s personae. She began making these videos and photo-text works in the early 1970s while in Halifax in Nova Scotia and further developed her performative and video-based practice after moving in 1974 to New York City, embarking on a long career that would see her gain attention across the U.S. for her provocative appearances as political personae. Her work Beauty + Beastly, 1974 and 2009, is an intimate double portrait that positions a bare-shouldered Wilson face to face with her younger self, exploring the process of aging through her continued analysis of appearances. In 1976 she founded, and as Founding Director Emerita, continues to help guide Franklin Furnace, an artist-run space that champions the exploration, promotion and preservation of artists’ books, installation art, video, online and performance art, further challenging institutional norms, the roles artists play within society, and expectations about what constitutes acceptable art mediums. For four decades, Wilson has performed nationally and internationally in the guises of Alexander Haig, Nancy Reagan, Barbara Bush, and Tipper Gore, among others. In the Fall of 2021, the Centre Pompidou in Paris presented Martha Wilson in Halifax, 1972-1974, the first institutional presentation of Wilson’s groundbreaking early photo-text works. In 2023, Wilson's work was the subject of Invisible—Works on Aging 1972–2022 at Frac Sud in Marseille, France. Her work was recently on view in Strip, a group exhibition with Jimmy DeSana and Carolee Schneemann, at P·P·O·W.

Chronicling the rich textures and chance encounters of everyday life, Martin Wong (1946–1999) cultivated innovative approaches to both technique and form, producing intricately painted surfaces with details culled from astrological constellations, the built environment, linguistic systems, and a wide-ranging art historical and pop cultural canon. Flexing at more than four meters across, La Iglesia de Dios, 1986, is the largest of Wong’s pivotal series of storefront paintings. Observing the aggressive change of gentrified neighborhoods in the Lower East Side, the paintings became hand-made conduits for changing social fabric and the passage of time. Wong was born in Portland, OR and raised in San Francisco, CA. He studied ceramics at Humboldt State University, graduating in 1968. Wong was active in the performance art groups The Cockettes and Angels of Light before moving to New York City in 1978. He exhibited for two decades at notable downtown New York galleries including EXIT ART, Semaphore, and P·P·O·W, among others, before his passing in San Francisco from an AIDS-related illness. His work is represented in the collections of the Metropolitan Museum of Art, New York, NY; M+, Hong Kong; Hartwig Art Foundation, Amsterdam, The Netherlands; Museum of Modern Art, New York, NY; Sunpride Foundation, Hong Kong; Bronx Museum of the Arts, New York, NY; Whitney Museum of American Art, New York, NY; Art Institute of Chicago, IL; San Francisco Museum of Modern Art, San Francisco, CA; and Tate, London, UK; among others. Human Instamatic, a comprehensive retrospective, opened at the Bronx Museum in 2015, before traveling to the Wexner Center for the Arts in 2016 and the UC Berkeley Art Museum and Pacific Film Archive in 2017. The first extensive, touring exhibition of Wong’s work in Europe, Martin Wong: Malicious Mischief, curated by Krist Gruijthuijsen and Agustín Pérez-Rubio, debuted in 2022 at the Centro de Arte Dos de Mayo in Madrid, Spain. The exhibition traveled to the KW Institute for Contemporary Art, Berlin, Germany, and the Camden Art Centre, London, UK, in 2023 before concluding at the Stedelijk Museum, Amsterdam, The Netherlands, in 2024. In Spring 2026, he was the subject of the major solo exhibition Martin Wong: Chinatown USA at Wrightwood 659, Chicago, IL, featuring over 100 works from Wong’s multimedia practice, accompanied by a fully illustrated catalogue published by Halsted A&A Foundation and Gregory R. Miller & Co. P·P·O·W’s solo presentation Martin Wong: Popeye recently debuted a body of kinetic paintings from the last decade of the artist’s life. The exhibition was reviewed in Artforum, The New York Times, T Magazine, and Sculpture Magazine, among others.