Jennifer Baahng Gallery

Jennifer Baahng Gallery JENNIFER BAAHNG GALLERY is a contemporary art gallery in New York.

INDETERMINACYJohn Cage: Works on Paperthrough April 22, 2026For more Information, contact us at INQUIRIES@BAAHNG.COMINDE...
03/25/2026

INDETERMINACY
John Cage: Works on Paper
through April 22, 2026

For more Information, contact us at [email protected]

INDETERMINACY features a carefully curated selection of John Cage's most influential works on paper. The exhibition examines Cage's intentional, unbiased approach to removing personal bias from the creative process. The theme of silence, represented in INDETERMINACY, is expressed through visual works that encompass a wide range of philosophical perspectives.

John Cage's engagement with Gertrude Stein's work spanned his entire career, beginning with his early musical settings of her poems in the 1930s and evolving into a philosophical connection to her ‘landscape’ approach to language. He believed that meaning was flexible and that words were often used beyond their usual senses. This view created a surface of sound and text characterized by a non-hierarchical structure. Immediate perception, similar to Stein's ‘continuous present,’ aimed to immerse the audience in the world as it is and eliminate symbolic baggage from art.

While John Cage used the term to describe his 1959 collection of 90 stories, "indeterminacy" is a fundamental aspect of his visual art practice. Cage's works on paper function as musical scores with graphic notation. These scores are indeterminate in performance and open to multiple interpretations. In this
exhibition, chance refers to the random methods employed in composition, and indeterminacy emphasizes the open-ended nature of the final work. By removing the self from the center of the artwork, John Cage encourages us to view the paper as a window into a constantly changing yet still present world. INDETERMINACY closely aligns with his intent, as the works rely on chance to shape their unconstrained final form.

IMAGE:
John Cage, Where There Is Where There Urban Landscape 31, 1987-89, a series of 48 unique color aquatints with flat bite etching, 22.75 × 30 in.

JENNIFER BAAHNG celebrates major milestones in 2025, showcasing its artists Jaye Moon and Sue McNally. Jaye Moon’s innov...
12/10/2025

JENNIFER BAAHNG celebrates major milestones in 2025, showcasing its artists Jaye Moon and Sue McNally. Jaye Moon’s innovative practices and Sue McNally’s landscapes have gained national recognition and captivated audiences in New York and beyond.

Sue McNally continues to impress in the contemporary art scene with her landscape series, showcased in solo and group exhibitions that highlight the enduring power of painting: at the Saint-Gaudens National Historical Park, August 16-October 27, 2025; THE AUDACITY OF PAINT at the Maier Museum of Art, Oct 19, 2025-Mar 8, 2026; and in the Spring/Summer 2025 issue of Evergreen Review’s Certenza.

Jaye Moon was inducted into the 2025 NYFA Hall of Fame at the New York Foundation for the Arts. As an NYFA Fellow in sculpture since 2009, she was honored for her innovative, accessible art. The Fall 2025 issue of Prattfolio, the magazine of Pratt Institute (where she earned her MFA), featured an interview titled “Bridging Touch and Vision, Brick by Brick.” Moon discusses her experience as an immigrant artist, her vibrant sculptural works that break down barriers, and how receiving a NYFA grant affirmed her creative vision.


IAN GANASSI (1955 - 2025)It is with heavy hearts that we announce the passing of Ian Ganassi, on December 7, 2025. Ganas...
12/10/2025

IAN GANASSI (1955 - 2025)

It is with heavy hearts that we announce the passing of Ian Ganassi, on December 7, 2025. Ganassi, a poet and artist, is represented by Jennifer Baahng Gallery with the collage collaboration “The Corpses.” He and his partner in the long-running project, painter Laura Bell, first exhibited with the gallery in 2009 in the group show “Disciplined Spontaneity,” which also featured antecedents such as John Cage. A major survey of more than 200 collages, dating from 2005 to 2024, was showcased by the gallery last year.

Ian Ganassi worked as a writer, teacher, and percussionist. His poems appeared in many literary magazines, including the Yale Review and New American Writing; his poem “Blunt Trauma” was nominated for a Pushcart Prize; and his translations from Virgil’s Aeneid appeared in the New England Review. Ian’s first poetry collection, “Mean Numbers,” was published in 2016; his second collection, “True for the Moment,” in 2023; and his third, “By This Time,” in 2024.

Jaye Moon’s “Sonagi” is a Braille painting created with Lego bricks. The artwork is made up of 20,000 Lego bricks, each ...
11/22/2025

Jaye Moon’s “Sonagi” is a Braille painting created with Lego bricks. The artwork is made up of 20,000 Lego bricks, each featuring a Braille-encoded number. The Braille features an excerpt from the 1952 Korean short story SONAGI by Hwang Sun-won. It tells a moving tale of first love between a young boy and girl in the rural countryside, with their innocence and unspoken feelings symbolized by a sudden, fleeting rain shower.

LEARN MORE:
Visit COLLECTING at BAAHNG.COM
Contact us at [email protected]

IMAGE:
Jaye Moon
“Sonagi “ (Sudden Rain Shower) detail, 2025, 20,000 Lego bricks with number codes in Braille on Dibon, 25 x 80 x 1 inches.

OPENINGR. C. BakerTraced and PlatedNovember 1 - December 30, 2025For all inquiries, contact us at NEWYORK@BAAHNG.COM.“Tr...
11/06/2025

OPENING

R. C. Baker
Traced and Plated
November 1 - December 30, 2025

For all inquiries, contact us at [email protected].

“Traced and Plated,” a curatorial initiative by JENNIFER BAAHNG titled “WE ARE THE LAND,” showcases, online, the repurposing and transformation of discarded remnants of mass media, providing a compelling reflection on how human actions leave imprints and scars on the land we occupy. It illustrates R.C. Baker’s Jornada abstractions, “Jornada Del Muerto’s,” including the tabloid comprised of two pages entitled ‘President: Why?’, which highlights in magenta the prolonged irradiation of the desert caused by the half-lives of nuclear elements from fallout resulting from weapon testing and radioactive waste stored in extensive subterranean chambers in Southern Texas. The exhibition also features four Plate Paintings, titled “Zapruder Rising,” used to print the tabloid. Coated with inks and solvents in unpredictable and uncontrolled manners, these works constitute self-contained artistic pieces. These artworks embody the artist’s transformative perspective, revealing beauty and depth in the most unexpected places. “Traced and Plated” affirms the enduring vitality of painting by integrating new materials, repurposing physical printing media, and challenging the landscape genre within contemporary art.

IMAGE:
R.C. Baker, “Zapruder Rising,” 2018-2025, four aluminum printing plates, emulsion, ink, solvent, 35 x 22.75, inches, each

Sue McNally is featured in THE AUDACITY OF PAINT, which runs from October 19, 2025,, to March 8, 2026, at The Maier Muse...
10/25/2025

Sue McNally is featured in THE AUDACITY OF PAINT, which runs from October 19, 2025,, to March 8, 2026, at The Maier Museum of Art, Randolph College, Lynchburg, VA.

—The Audacity of Paint features works by contemporary American artists whose primary medium is paint. The exhibition includes pieces by Sally Egbert, Julia Jo, Sue McNally, and Walter Price, highlighting the resilience and power of paint as a medium in the age of AI. In this technological environment, paint endures with its sensual qualities and flexible, human-driven mark-making—bold not only in its refusal to rely on digital methods but also in its capacity to convey impractical joy. —

For more details, reach us at [email protected].

IMAGE:
Sue McNally, Louisiana Swamp, LA, 2016, Oil and charcoal on canvas, 90 x 114 in.

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CONJURE opens Oct 13-Nov 30, featuring Janet Taylor Pickett’s fabric constructions from 1993-2022. For information, cont...
10/08/2025

CONJURE opens Oct 13-Nov 30, featuring Janet Taylor Pickett’s fabric constructions from 1993-2022. For information, contact us at [email protected].

Janet Taylor Pickett’s fabric constructions began in the early 1990s, featuring imagery that was deeply personal yet accessible. Her work explored themes related to ecology, motherhood, and transcendence. A profound sense of loss prompted her to reconsider what truly matters in a well-lived life. An aphorism reinforced her belief in navigating adversity to discover what is life-affirming. These works feel familiar and inviting, illustrating connections that evoke the past and paving the way with new materials and directions.

Memory functions as a metaphor in Taylor Pickett’s art. In 1991, she attended a workshop at Vermont Studio Center with painter Sam Gilliam, whose use of beveled edges and drapes inspired her to add sculptural elements to her work, creating compelling mural pieces. Her father died in January 1993; her mother passed in November 1996, both influential figures in her life and art. Losing her parents was a pivotal moment, reducing her vitality and causing a creative block. Facing painter’s block, she turned to fabric, inspired by Romare Bearden, Matisse, and her grandmother, a quilter. Quilting, a soothing craft, helped her turn grief into healing.

CONJURE, a collection of fabric constructions, seeks to document the artist’s ongoing journey of self-actualization—“homing.” Surrounded by vibrant colors, tendrils of flora, and intricate textiles, the subjects in Janet Taylor Pickett’s work stand out in their lively environment, commanding the frame as the focal point of each fabric piece. It draws inspiration from actively shaping and refining memories into a comforting space for the mind, which the artist’s personal geography—the self-landscape of memory—reveals.

A JENNIFER BAAHNG’s curatorial series, WE ARE THE LAND, opens with Nobuo Sekine’s monumental work, “Phase Conception: Sp...
09/09/2025

A JENNIFER BAAHNG’s curatorial series, WE ARE THE LAND, opens with Nobuo Sekine’s monumental work, “Phase Conception: Spring Sea” (1988), a thoughtful and timely reflection on human interaction with the material world. Sekine’s work—characterized by formal precision, material resonance, and philosophical depth—examines the boundary between humanity and the environment. His work is neither loud nor didactic. It is calm, reflective, and deeply rooted, like the land itself. As contemporary artists, activists, and thinkers seek to interpret and respond to ecological change, WE ARE THE LAND features artworks that depict land as a symbol of identity, process, and connection.

In a time of environmental crisis, climate instability, and global displacement, WE ARE THE LAND explores a fundamental truth. It challenges the modern urge to dominate, control, or aestheticize nature. It encourages us to be present, to feel, to perceive, and ultimately to see ourselves as connected to the physical world. Nobuo Sekine’s “Phase Conception: Spring Sea” offers a non-anthropocentric perspective on the world. It invites us to experience what it means to be land — to shimmer, to shift, to erode, and to endure. WE ARE THE LAND reminds us that sometimes the most radical act is to do less, observe more, and coexist with what already exists.

IMAGES:
Nobuo Sekine, Phase Conception: Spring Sea, detail, 1988, Gold leaf, acrylic paint on layers of thick handmade Japanese paper, 64 x 89 x 2.5 in.

Nobuo Sekine, Phase—Mother Earth, 1968, Earth, cement, Cylinder: 220 x 270 (diameter) cm, Hole: 220 x 270 (diameter) cm, Photograph by Osamu Murai, Photo Credit: Wikipedia

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OPENING TODAY!“This Is My Tune” by Sue McNally at St Gaudens National Historical Park.
08/16/2025

OPENING TODAY!
“This Is My Tune” by Sue McNally at St Gaudens National Historical Park.

Sue McNallyTHIS IS MY TUNEAugust 16 - October 27, 2025Opening Reception: Saturday, August 16, 4 - 6 PMArtist’s Talk: Sat...
08/07/2025

Sue McNally
THIS IS MY TUNE
August 16 - October 27, 2025

Opening Reception: Saturday, August 16, 4 - 6 PM
Artist’s Talk: Saturday, August 16, 4:30 PM
Location: Saint-Gaudens National Historical Park, 139 Saint-Gaudens Road, NH 03745

INQUIRE at [email protected]

In 2010, Sue McNally started a series of paintings representing each of the 50 U.S. states. As the series developed, expressive interpretation replaced literal depiction. The landscape remained the foundation, but the act of painting took center stage. THIS IS MY TUNE reflects this decade-long evolution. Chesapeake Storm, VA (2014) is a vivid experience of a fast-moving storm. Little Round Top, PA (2024) was painted after a visit to Gettysburg: Death, the weather that day, and an exaggerated portrayal of the hill’s shape as a nod to its strategic importance.

IMAGES:
Sue McNally, "Little Round Top, PA," 2024, Acrylic on canvas, 103 x 74 in.
Sue McNally, "Chesapeake Storm, VA," 2014, Oil on canvas, 72 x 96 in.


POWER OF RANDOMNESS presents works by William S. Burroughs, John Cage, and Mario Merz, July - August 2025. For more info...
07/15/2025

POWER OF RANDOMNESS presents works by William S. Burroughs, John Cage, and Mario Merz, July - August 2025. For more information, contact us at [email protected]

John Cage
Chance and indeterminacy are fundamental to Cage’s work. In Mesostics, Cage removed personal preferences, creating unexpected, multi-directional textual arrangements. The element of chance encourages unpredictability, advancing art and aiding the discovery of hidden meanings, which some see as a form of freedom.

IMAGE: John Cage, “Mesostics: Earth, Air, Fire, Water,” 1985, detail, monotype with collage on gray Rives paper, 29.72 x 44.01 in.

William S. Burroughs
Burroughs used the cut-up technique to introduce randomness into his writing by cutting texts into fragments and rearranging them to form new compositions. He also created the fold-in method, folding two texts vertically and reading across. Burroughs emphasizes that spontaneity can’t be forced but can be brought in unpredictably.

IMAGE: William S. Burroughs, “Pride” from “The Seven Deadly Sins,” detail, 1991, Woodcut, screen print, edition of 90, 45.25 x 31 in., each

Mario Merz
Merz, a prominent figure in Arte Povera, used number theory in his art to show growth, connection, and interaction between environments. The Fibonacci sequence isn’t random; its properties create patterns with seemingly random traits, revealing relationships that serve as a bridge to creativity and scientific discovery.

IMAGE: Mario Merz, “IT IS TO HAVE A SPACE WITH TABLE FOR NO ONE,” detail, 1973, 26 x 37.5 in.

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10065

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Tuesday 10am - 6pm
Wednesday 10am - 6pm
Thursday 10am - 6pm
Friday 10am - 6pm
Saturday 10am - 6pm

Telephone

+12122552177

Website

https://baahngshop.com/

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