Georges Bergès Gallery

09/05/2026

Mark Tennant | Zipper
Oil on canvas | 48 x 36 in (121.9 x 91.4 cm)

Turned away, face withheld. Two arms reaching behind a back — dressing or un******ng, we are not told which, and that ambiguity is the whole picture.

Flesh built in thick, hurried strokes against a field of teal that behaves more like weather than like a room. Nothing smoothed over. Intimacy caught at speed, and left there.

Inquiries: [email protected]
Georges Bergès Gallery
The future of art

09/03/2026

“Little America”

Shalom Tomas Neuman

Fifty years of Fusionism in one object: paint, sculpture, found material, light, sound — refusing to stay in any single medium, the way the country it’s named for refuses to stay one thing.

The Future He Already Made — Shalom Neuman: Fifty Years of Fusionism
Opening Thursday, September 10, 6–9 PM
On view through October 3

An exhibition unlike any we’ve had.

Inquiries: [email protected]
Georges Bergès Gallery
The future of art

08/31/2026

SHALOM TOMÁŠ NEUMAN
The Future He Already Made
Fifty Years of Fusionism

Opening Thursday, September 10, 2026 · 6–8 PM

Four panels. Circuit boards, lava lamps, keyboards, wired-in faces, bodies half-cast and half-painted. Neuman has been building this language since the 1970s — painting that won’t stay flat, sculpture that won’t stay still, technology fused into the surface rather than pointed at from a distance. He called it Fusionism before anyone needed the word.

RSVP: [email protected]

Georges Bergès Gallery
The future of art

08/31/2026

Shalom Tomas Neuman
Little America

Fifty years of Fusionism in one object: paint, sculpture, found material, light, sound — refusing to stay in any single medium, the way the country it’s named for refuses to stay one thing.

The Future He Already Made — Shalom Neuman: Fifty Years of Fusionism
Opening Thursday, September 10, 6–9 PM
On view through October 3

An exhibition unlike any we’ve had.

Inquiries: [email protected]
Georges Bergès Gallery
The future of art

08/29/2026

Michael Carson
Untitled (jazz interior)
40 × 60 inches · oil on resin

Smoke, brass, and a single overhead bulb. Carson builds the room out of grays and lets three points of warmth do all the work — the horn, the singer’s shoulder, the flare of her laugh. Everything else recedes into the vault. He paints the way a rhythm section plays behind a soloist: restraint everywhere so one thing can carry.

The floorboards are the tell. Loose, dragged, almost unfinished — and they hold the whole stage.

Inquiries: [email protected]
Georges Bergès Gallery
The future of art

08/23/2026

08/23/2026

Artist Petra Collins, by Chadwick Tyler.

White socks. Fake magnolias. A camera she isn’t afraid of. Tyler photographs the moment before the pose arrives — and stops there.

Inquiries: [email protected]

Georges Bergès Gallery
The future of art

08/20/2026

Christopher Rothko at Georges Bergès Gallery

Writer, cultural steward, and son of Mark Rothko — Christopher Rothko has spent his career defending not just the preservation of one of modern art’s most consequential legacies, but the conditions under which it is properly encountered. Depth over spectacle. Context over convenience.

That commitment brought him to Realms Of Gold, Hisako Kobayashi’s solo exhibition — a body of work that asks for the same thing his father’s did: time.

An evening of conversation, continuity, and quiet intensity.

Inquiries: [email protected]
Georges Bergès Gallery
The future of art

08/20/2026

Dan Finaldi

Finaldi paints from observation — no photographs, no invention, the whole picture built in front of the thing itself. It puts him in a line that runs through Fairfield Porter and the Bay Area painter; painters who never gave up looking at the world while everyone else was arguing about whether looking still counted.

Bare branches, long shadows, footprints in the crust. New York’s other winter — the one you walk home through.

Inquiries: [email protected]
Georges Bergès Gallery
The future of art

08/15/2026

The persistent and captivating art of Chadwick Tyler.

There is a moment between being looked at and being seen where a photograph either flinches or holds. Tyler’s work holds.

The room is ordinary — lamplight, motel gold, a black ashtray, a cheap green lighter. That ordinariness is the point. Nothing here has been arranged for our approval.

What persists is the gaze. Not seduction, not spectacle. A person entirely herself, deciding how much of that self to surrender to the lens. Tyler photographs the deciding.

The picture does not perform. It simply refuses to look away first — and so neither can you.

Inquiries: [email protected]

Georges Bergès Gallery
The future of art