For nearly six decades, Dotty Attie (b. 1938) has rigorously engaged the grid as a formal and conceptual tool, masterfully rendering small-scale drawings and canvases in cadenced arrangements that disrupt the accepted art historical canon. Attie’s lifelong dedication to recontextualizing sourced images with unique text has resulted in a profoundly original body of work that reveals to the viewer “the parts of ourselves that we don’t really share with anybody else.” An active presence in the New York art scene since the late 1960s, Attie co-founded A.I.R. Gallery, the first all-female cooperative artists’ gallery, and presented seven solo exhibitions there between 1972 and 1986. Attie was born in Pennsauken, NJ, and lives and works in New York, NY. She received a BFA from the Philadelphia College of Art, Philadelphia, PA, in 1959 and attended the Art Students League, New York, NY in 1967. She was awarded a National Endowment for the Arts grants in 1976 and 1983 and was inducted into the National Academy of Design in 2013. Her work is in the collections of the Yale University Art Gallery, New Haven, CT; Walker Art Center, Minneapolis, MN; Wadsworth Athenaeum, Hartford, CT; Museum of Modern Art, New York, NY; Whitney Museum of American Art, New York, NY; and Brooklyn Museum, New York, NY; among others. Attie’s work has been the subject of solo exhibitions at Cantor Arts Center, Stanford University, Stanford, CA; New Museum, New York, NY; Wadsworth Atheneum Museum of Art, Hartford, CT; Contemporary Arts Museum, Houston, TX; and A.I.R. Gallery, New York, NY; among others. Her work has been featured in numerous group exhibitions including This Will Have Been: Art, Love & Politics in the 1980s, Museum of Contemporary Art, Chicago, IL; Institute of Contemporary Art, Boston, MA; and Walker Art Center, Minneapolis, MN; and Burning Down the House: Building a Feminist Art Collection, Brooklyn Museum of Art, New York, NY. She has presented ten solo exhibitions with P·P·O·W. Her first solo exhibition in the UK, 40 Years, was on view at Public Gallery, London in Summer 2025.

In her meticulously rendered small-scale paintings, Hilary Harkness (b. 1971) fuses traditional techniques with a distinctly contemporary sensibility to explore power struggles inherent in sex, race, and class systems. Working in episodic series that take years to complete, Harkness wields unparalleled skill and imagination to elevate the stories and intersectional experiences of women, people of color, and LGBTQIA+ people. In her series At Home with Gertrude and Alice, created between 2007 and 2016, Harkness crafts intimate scenes in the life of iconic lesbian couple Alice B. Toklas and Gertrude Stein, examining their abundant lifestyles and tumultuous affairs at the start of World War II. Harkness earned her BA from UC Berkeley and her MFA from Yale University. Her work has been featured in exhibitions at the FLAG Art Foundation, New York, NY; Museo Thyssen-Bornemisza, Madrid, Spain; American Academy of Arts and Letters, New York, NY; Portland Institute of Contemporary Art, Portland, OR; and Aldrich Museum of Contemporary Art, Ridgefield, CT; among others. Her work is in the permanent collection of the Whitney Museum of American Art, New York, NY; Yuz Museum, Shanghai, China; Mead Art Museum, Amherst, MA; and Seavest Collection, New York, NY; among others. In 2017, she received the Henry Clews Award and participated in the inaugural Master Residency Program at the Château de La Napoule, France. In 2014, she co-curated Roy Lichtenstein: Nudes and Interiors at FLAG Art Foundation, New York, NY. Harkness’s first solo exhibition with P·P·O·W, Prisoners from the Front, was on display in Fall 2023. In 2024, Black Dog Press and P·P·O·W co-published Hilary Harkness: Everything for You, the first comprehensive monograph on the artist’s work. This October, her work will be featured in the group exhibition HARD ART: Unruly Selections from the Beth Rudin DeWoody Collection at Museum of Sex, Miami, FL.

Fusing the corporeal, decorative, historical, and functional, Clementine Keith-Roach (b. 1984) creates detailed, uncanny sculptures that blur boundaries between object and figure. Her work is inspired by clay’s inherent tactility and sensuality, as well as the immediate physical affinity one feels with antique ceramic containers and their readiness to be anthropomorphized. In her work Mouth of the World, 2025, the artist references the Omphalos of Delphi, an ancient religious monument from Greek mythology. Fusing the corporeal, decorative, historical, and functional, Clementine Keith-Roach (b. 1984) creates detailed, uncanny sculptures that blur boundaries between object and figure. Her work is inspired by clay’s inherent tactility and sensuality, as well as the immediate physical affinity one feels with antique ceramic containers and their readiness to be anthropomorphized. In her work Mouth of the World, 2025, the artist references the Omphalos of Delphi, an ancient religious monument from Greek mythology. The terracotta urn at the work’s center takes the place of the sculpture’s face or mouth, opening itself up to the viewer as if to speak, and allowing them to peer inside as one would a wishing well or a prophetic pool. Roach’s practice simultaneously celebrates the female form and breathes life into the storied histories of domestic objects. Keith-Roach received a BA in Art History from University of Bristol, UK and now lives and works in Dorset, UK. She has exhibited at Ben Hunter Gallery, London, UK; MOCA, Los Angeles, CA; Blue Projects, London, UK; Centre Regional D’art Contemporain (CRAC), Sète, France; Villa Lontana, Rome, Italy; Open Space Contemporary, London, UK; Pervilion, Palermo, Italy and London, UK; Herbert F. Johnson Museum of Art, Cornell University, Ithaca, NY; Wellcome Collection, London, UK; and Kasmin, New York, NY; among others. She is also an editor of Effects, a journal of art, poetry and essays. Keith-Roach’s work was featured on the cover of Art in America’s September 2022 issue. Her first solo exhibition with P·P·O·W, New statue, was on view in Fall 2024. In Spring 2025, she held her fourth exhibition with Ben Hunter Gallery, London, UK, Nothing that has ever happened is lost.

Working in photography, film, and installation, Dinh Q. Lê (1968-2024) amplified little-known narratives of war and migration from the perspective of the global Vietnamese diaspora. Synthesizing his own memory and perception with popular depictions in entertainment and journalism from Western and Eastern cultures, Lê’s singular voice reframed global histories of Southern Vietnam, challenging censorship, exploitation, and propaganda from all sides. Reflecting on the lasting effects of chemical warfare’s severe birth defects, Lê’s work Lotusland, c. 2010, presents a set of small resin sculptures depicting conjoined twins and lotus flowers. Through the figurines’ intimate scale and approachable aesthetic, Lê’s work fosters dialogues about the complex truths of America’s involvement in Vietnam and its enduring ramifications. Lê was born in Ha Tien, a Vietnamese town near the Cambodian border. Soon after the Vietnamese invasion of Cambodia in 1978, the Lê family immigrated to Los Angeles. Lê received a BFA from UC Santa Barbara and an MFA from School of Visual Arts, NY. His work has been exhibited at major institutions including the Museum of Modern Art, New York, NY; San Jose Museum of Art, San Jose, CA; MoMA PS1, New York, NY; Museum of Contemporary Art, Chicago, IL; Museum of Fine Arts, Houston, TX; Tufts University Art Gallery, MA; and Asia Society, NY; among many others. In 2010, he was awarded the Prince Claus Award for his outstanding contribution to cultural exchange. P·P·O·W has represented Lê since 1998, presenting seven solo exhibitions before his sudden passing in April 2024. In 2007, Lê co-founded the nonprofit contemporary art space Sàn Art which supported local and international artists and curators while fostering critical dialogue. In 2022, Lê’s work was shown in the solo exhibition Photographing the thread of memory, musée du quai Branly-Jacques Chirac, Paris, France, and the group exhibition Living Pictures: Photography in Southeast Asia, National Gallery, Singapore. His work is currently on view in the group exhibition Spirit House at Henry Art Gallery, University of Washington, Seattle, WA.

Multidisciplinary artist Pepón Osorio (b. 1955) has pioneered a type of artmaking prioritizing social engagement. His richly textured sculptures and installations examine political and cultural injustices affecting Latinx and working-class communities in the United States. Developed through long-term conversations and collaborations, Osorio’s work is further distinguished by creating and displaying his installations with and in a community before ever entering an art institution. In Purifier, 2011, Osorio references the Puerto Rican belief that holding water close to the ceiling can dispel evil, reminding viewers of the weight a ready-made object can hold. He lives and works between Philadelphia, PA and San Juan, Puerto Rico. He has presented solo exhibitions at Williams College Art Museum, Williamstown, MA; Institute of Contemporary Art, Philadelphia, PA; Museo de San Juan, Puerto Rico; Museo del Barrio, New York, NY; and Museo Reina Sofía, Madrid, Spain; among others. His work has been featured in group exhibitions at the Museum of Modern Art, New York, NY; Whitney Museum of American Art, New York, NY; Los Angeles Museum of Modern Art, Los Angeles, CA; Setagaya Art Museum, Tokyo, Japan; Cleveland Institute of Art, Cleveland, OH; and more. Osorio is the recipient of numerous awards, including the Philadelphia’s Cultural Treasure Artist Fellowship, Guggenheim Fellowship, United States Artists Fellowship, and Distinguished Artist Award for Lifetime Achievement from the College Art Association. Pepón Osorio: My Beating Heart/Mi corazón latiente, the most comprehensive exhibition of Osorio’s work to date, was on view at the New Museum, New York, NY, in 2023. In Fall 2024, Philadelphia Contemporary and Thomas Jefferson University presented Pepón Osorio: Convalescence, a large-scale multimedia installation at Jefferson’s medical campus in Philadelphia, PA. 

For over 30 years, Hunter Reynolds (1959-2022) explored issues of gender, sexuality, HIV/AIDS, politics, mortality, and rebirth through performance, photography, installations, and his alter ego, Patina du Prey. As part of Art Basel Paris’s Oh La La! initiative, the gallery will present Reynolds' Make Up Make Down, 1990. In this work, Reynolds utilizes his signature “photo-weaving” technique to depict the emotional agency required to live between different, often contradictory, selves. Profound, beautiful, and ferociously honest, Reynolds’ work was directly influenced by his lived experiences as an HIV-positive gay man living in the age of AIDS. As a member of ACT UP (Aids Coalition to Unleash Power) and a co-founder of Art Positive, an affinity group fighting homophobia and censorship in the arts, Reynolds used his visual and performance art practice to spread a message of survival, hope, and healing, and to reify queer histories so often marginalized, sterilized, and forgotten. He has presented solo exhibitions at P·P·O·W, New York, NY; Hales, Gallery, London, UK; Participant Inc., New York, NY; Artists Space, New York, NY; White Columns, New York, NY; Creative Time, New York, NY; and Yerba Buena Center for the Arts, San Francisco, CA; among others. His work has been included in group exhibitions at institutions such as the Museum of Arts and Design, New York, NY; Henie Onstad Kunstsenter, Høvikodden, Norway; Hayward Gallery, London, UK; FLAG Art Foundation, New York, NY; Institute of Contemporary Art, Boston, MA; Museum of the City of New York, New York, NY; Aldrich Museum of Art, Ridgefield, CT; and DOCUMENTA, Kassel, Germany; among others. His work is in numerous public and private collections including the Art Institute of Chicago, Chicago, IL; Yale University Art Gallery, New Haven, CT; Shelly & Donald Rubin Foundation, New York, NY; and Addison Gallery of American Art, Phillips Academy, Andover, MA. New York University’s Fales Library and Special Collections acquired the archives of Hunter Reynolds for its Downtown Collection. Hunter Reynolds / Dean Sameshima: Promiscuous Rage, the first posthumous exhibition of Reynolds’s work, opened Winter 2024, showing the artist’s photo-weavings and sculptural activations alongside the work of Dean Sameshima.

Known for their large-scale paintings of stylized, sentient, yet ambiguously generated female figures, Robin F. Williams (b. 1984) meticulously deploys oil, airbrush, poured paint, marbling, and staining to construct deeply textured and complex compositions that transcend an identifiable medium. With a masterful technical understanding and an innate sense of curiosity, Williams fuses imagery from social media channels with references to early modernism, pop culture, advertising, and cinema, to challenge the systemic conventions around representations of women. In Siri Serving, 2025, Williams gives form to the figureless yet increasingly sophisticated voice of AI, juxtaposing the glamour of pop stardom with the melancholy wrought by the precarity of our current cultural moment. They received their BFA from the Rhode Island School of Design. They have presented solo exhibitions at P·P·O·W, New York, NY; Morán Morán, Mexico City, Mexico; Perrotin, Tokyo, Japan; and Various Small Fires, Los Angeles, CA; among others. Robin F. Williams: We’ve Been Expecting You, Williams’s first solo institutional exhibition, was on view at the Columbus Museum of Art in 2024. Their work has been featured in group exhibitions including Pictures Girls Make: Portraitures, curated by Alison Gingeras, Blum & Poe, Los Angeles, CA; In New York, Thinking of You (Part I), Flag Art Foundation, New York, NY; I’m Not Your Mother, P·P·O·W, New York, NY; Fire Figure Fantasy, Institute of Contemporary Art, Miami, FL; Present Generations, Columbus Museum of Art, Columbus, OH;  XENIA: Crossroads in Portrait Painting, Marianne Boesky Gallery, New York, NY; Nicolas Party: Pastel, Flag Art Foundation, New York, NY; and SEED, curated by Yvonne Force, Paul Kasmin Gallery, New York, NY; among others. Their work is in the permanent collections of the Brooklyn Museum, Brooklyn, NY; Montreal Museum of Fine Arts, Montreal, Canada; Columbus Museum of Art, Columbus, OH; Institute of Contemporary Art, Miami, FL; and X Museum, Beijing, China; among others. Williams presented their fifth solo exhibition with P·P·O·W, Good Mourning, in Fall 2024.

A “documenter of the constellation of social life,” Martin Wong (1946-1999) developed innovative approaches to technique and form, creating rich surfaces and intricate details from astrology, architectural space, and various modes of language. Observing the tenement structures of New York’s Lower East Side, Wong’s Virtigo, 1984, references Renaissance circular paintings as a means to canonize his neighborhood and its inhabitants, firmly placing his singular style in the history of European painting. Wong was born in Portland, OR and raised in San Francisco, CA. He studied ceramics at Humboldt State University, Arcata, CA, graduating in 1968. Wong was active in the performance art groups The Cockettes and Angels of Light before moving to New York in 1978. He exhibited for two decades at notable downtown 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; Museum of Modern Art, New York, NY; Bronx Museum of the Arts, New York, NY; Whitney Museum of American Art, New York, NY; Cleveland Museum of Art, Cleveland, OH; 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 of The Arts in November 2015, before traveling to the Wexner Center for the Arts in 2016 and UC Berkeley Art Museum and Pacific Film Archive in 2017. From 2022 to 2024, the first extensive, touring exhibition of Wong’s work in Europe, Martin Wong: Malicious Mischief, curated by Krist Gruijthuijsen and Agustín Pérez-Rubio, debuted at the Centro de Arte Dos de Mayo in Madrid, traveling to the KW Institute for Contemporary Art in Berlin and the Camden Art Centre in London, before concluding at the Stedelijk Museum in Amsterdam. The artist’s work has most recently been included in prominent group presentations at the Whitney Museum of American Art, New York, NY; Sharjah Biennial 16, United Arab Emirates; and Museum of Modern Art, New York, NY. In Spring 2026, a major retrospective focusing on Wong’s Chinatown series will open at Wrightwood 659 in Chicago, IL.