Martin Wong
P·P·O·W is pleased to present Martin Wong: Popeye, the gallery’s sixth solo exhibition of the artist’s work, and the first solo show of Martin Wong in New York in over a decade. Co-curated by Mark Dean Johnson and Anneliis Beadnell, Popeye examines Wong’s lifelong preoccupation with artistic subcultures—namely comic book illustration and early tattoo imagery—as reoccurring motifs in the artist’s lexicon of images and symbols. In so doing, this presentation brings together disparate bodies of work created over three decades of Wong’s career, highlighting an under explored throughline in Wong’s output that is equally indebted to lowbrow comix as it is to the highbrow associations of Asian and European art histories.
Martin Wong
Pop-eye (small I), c. 1989-97
acrylic on plywood
48 x 48 ins.
121.9 x 121.9
Anchoring the exhibition is a suite of larger-than-life Popeye cutouts. Created between 1989-97 in the last decade of Wong’s life, and intended to be motorized, a single Popeye cutout was exhibited once during the artist’s time. The presentation at P·P·O·W brings together, and activates, for the first time all nine of Wong’s Popeye painted sculptures, a significant body of work revealing the artist’s hand for composition, patterning, repetition, and incisive cultural commentary. Toggling between references as distinct as Op Art, Tibetan Citipati, Saturday morning cartoons, The Terracotta Army, and Cubism, these kinetic paintings eliminate hierarchies between visual gestures. In the process, Wong’s Popeyes not only call into question these distinctions a priori, but simultaneously highlight the artist’s singular style, in which centuries of art history coalesce into works where East meets West, low supplants high, and comics becomes canon.
Martin Wong
Untitled (Pop-Eye), c. 1984
acrylic on canvas
14 x 16 1/8 x 2 5/8 ins.
35.6 x 41 x 6.7 cm
Beyond his pop cultural relevance, the Popeye character also functioned on an erotic level for Wong. As Johnson notes in the zine accompanying the exhibition, “Wong’s Popeyes clearly convey an edgy, sexual sensibility. Necks arise from heart-shaped valentines, chins are scrotal, and noses and heads topped by sailor caps are phallic.” This blurring between social realist concern and homoerotic desire is a mainstay of the artist’s career, a notion underscored by Wong’s depictions of prisoners, graffiti writers, and firemen in other bodies of work from the 1980s and 90s.
Martin Wong
Untitled (Little Lulu and Tubby), c. 1989
acrylic on canvas
47 1/2 x 47 1/2 ins.
120.7 x 120.7 cm
Wong’s fascination with cartoons found added cultural context after the artist’s formative trip along the Hippie Trail from Europe to South Asia in the early 1970s. Enamored with collectibles and figurines since childhood, Wong commented on the subject after his return, as Beadnell quotes in her zine essay, “To an American child, Donald Duck has the same sort of real existence as the demons and demigods of Indian and Tibetan popular religious art…The cartoons are our mythology…” This credo would be made manifest in paintings such as Untitled (Little Lulu and Tubby), c. 1989, and The Most Beautiful Painting in the World, 1989, the latter transposing the recognizable Mutt and Jeff comic characters into Cézanne’s The Card Players from nearly a century prior. Keenly aware of the Western art historical canon, Wong has embedded into this painting a plethora of seemingly low art Asian and American allusions: an infinite string of “Kilroy was Here” faces, Wong’s signature rendered as a Chinese name chop, and the artist’s iconic allover brick façade patterning, to name a few. In Wong’s visual world, meaning is never linear, but rather a composite of historical and cultural references that are sincere and comic in the same breath, always with a knowing nod to the sensual.
Martin Wong: Popeye runs through May 30, 2026, accompanied by a color illustrated zine featuring essays by the show’s curators. A major survey of the artist’s work, Martin Wong: Chinatown USA, curated by Yasafumi Nakamori, is concurrently on view at Wrightwood 659, Chicago, IL, April 17-July 18, 2026, accompanied by an illustrated catalogue co-published by Gregory R. Miller Co. and Halsted A&A Foundation.
Martin Wong (1946-1999) 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 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; The 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, Chicago, IL; the 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 the 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 debuted at the Centro de Arte Dos de Mayo in Madrid, traveling to the KW Institute for Contemporary Art, Berlin, Germany, and the Camden Art Centre, London, UK, before concluding at the Stedelijk Museum, Amsterdam, The Netherlands.
Martin Wong
Untitled (Alfred E. Newman), c. 1978-1979
acrylic on canvas
36 x 48 ins.
91.4 x 121.9 cm
Martin Wong
Oy! (Veh), 1991
acrylic on plywood
117 x 98 ins.
297.2 x 248.9 cm
Martin Wong
The Most Beautiful Painting in the World, 1989
acrylic on canvas
60 x 84 ins.
152.4 x 213.4 cm