LOMEX Art Gallery

OPENING FRIDAY, APRIL 24THYosh*taka AmanoTime and Light86 Walker Street, 3rd Floor & 89 Walker Street,  April 24 - May 2...
04/21/2026

OPENING FRIDAY, APRIL 24TH

Yosh*taka Amano
Time and Light

86 Walker Street, 3rd Floor & 89 Walker Street,

April 24 - May 23, 2026
Opening April 24th, 6 - 8 PM

Opening this Friday, the gallery is proud to present a series of large scale works on panel by Yosh*taka Amano, alongside a selection of important lithographs.

This exhibition coincides with a multi-month retrospective at The Warehouse Dallas Art Foundation.

LOMEXOPENING FRIDAY, APRIL 24THYosh*taka AmanoTime and Light86 Walker Street, 3rd Floor & 89 Walker Street,  April 24 - ...
04/21/2026

LOMEX

OPENING FRIDAY, APRIL 24TH

Yosh*taka Amano
Time and Light

86 Walker Street, 3rd Floor & 89 Walker Street,

April 24 - May 23, 2026
Opening April 24th, 6 - 8 PM

Opening this Friday, the gallery is proud to present a series of large scale works on panel by Yosh*taka Amano, alongside a selection of important lithographs.

This exhibition coincides with a multi-month retrospective at The Warehouse Dallas Art Foundation.

Aurel SchmidtHell Dogs ( Influencer Dogs of the Apocalypse), 2025Pencil and colored pencil on paper46 1/2 x 32 5/8 inche...
04/17/2026

Aurel Schmidt
Hell Dogs ( Influencer Dogs of the Apocalypse), 2025
Pencil and colored pencil on paper
46 1/2 x 32 5/8 inches; 51 1/8 x 39 3/8 inches (framed)

On view at the Dallas Invitational
Alongside works by
Yosh*taka Amano
Presenting works by
Yosh*taka Amano
Kye Christensen-Knowles
David Flaugher
Andrea Fourchy
Joseph Geagan
Kathryn Kerr
Mathieu Malouf
Phoebe Nesgos
Aurel Schmidt
Heji Shin

Rosewood Mansion on Turtle Creek, Dallas, TX
Room 110
April 16 - 18, 2026


Andrea FourchyKnitwear I, 2026Oil on canvas89 x 65 3/4 inches
03/04/2026

Andrea Fourchy
Knitwear I, 2026
Oil on canvas
89 x 65 3/4 inches


Joseph GeaganTo the Rafters, 2026Oil on linen36 × 48 inches (91.44 × 121.92 cm) From our Frieze Los Angeles Presentation
03/03/2026

Joseph Geagan
To the Rafters, 2026
Oil on linen
36 × 48 inches (91.44 × 121.92 cm)


From our Frieze Los Angeles Presentation

Heji ShinSpace X Starship, Oct 13 2024, 2025Inkjet print56 × 41 ⅛ inches (142.24 × 104.46 cm)  From Frieze Los Angeles 2...
03/02/2026

Heji Shin
Space X Starship, Oct 13 2024, 2025
Inkjet print
56 × 41 ⅛ inches (142.24 × 104.46 cm)

From Frieze Los Angeles 2026

Works by   from our frieze presentationAurel Schmidt“Erewhon”, 2025Pencil, colored pencil, acrylic, human hair,metal, an...
03/02/2026

Works by from our frieze presentation


Aurel Schmidt
“Erewhon”, 2025
Pencil, colored pencil, acrylic, human hair,
metal, and SIM card on paper
19 7/8 x 13 3/4 inches
23 x 17 x 1 3/4 inches (framed)

Aurel Schmidt
“Oil on linen”, 2026
Oil on canvas
75 3/4 x 56 inches

Aurel Schmidt
“Elegant Noodle”, 2025
Pencil, colored pencil, acrylic, pastel, water color,
foil wrappers, gold, cubic zirconium, hologram, and
burn holes on paper
20 5/8 x 13 5/8 inches
23 3/4 x 16 3/4 x 1 3/4 inches (framed)

Works b

On View today at Frieze Booth B28:FRIEZE LOS ANGELES 2026Presenting works byYosh*taka AmanoKye Christensen-KnowlesAndrea...
02/26/2026

On View today at Frieze Booth B28:

FRIEZE LOS ANGELES 2026

Presenting works by

Yosh*taka Amano
Kye Christensen-Knowles
Andrea Fourchy
Joseph Geagan
Kathryn Kerr
Mathieu Malouf
Phoebe Nesgos
Aurel Schmidt
Shogo Shimizu
Heji Shin

Booth B28
Santa Monica Airport
3233 Donald Douglas Loop S, Santa Monica, CA

February 26 - March 1, 2026

Pictured:
Kye Christensen-Knowles
Hiji, 2026
Oil on linen
60 x 48 inches; 61 3/4 x 49 3/4 x 2 1/4 inches (frame)

人 の ポ エ ム ( 病 者 ) S E P 1 4 , 2 0 2 4「 紙 に 描 い た 千 円 札 」「 地 球 の 首 都 は ? 」「 わ た し 死 に た く な い け ど 、 死 ん だ っ て い い ! 」「 ど ...
02/19/2026

人 の ポ エ ム ( 病 者 ) S E P 1 4 , 2 0 2 4
「 紙 に 描 い た 千 円 札 」
「 地 球 の 首 都 は ? 」
「 わ た し 死 に た く な い け ど 、 死 ん だ っ て い い ! 」
「 ど う し よ う 、 わ た し 笑 い 上 戸 で 死 に そ う 、 ア ハ ハ ハ 」
「 正 直 者 は 馬 鹿 を 見 な い 」
「 S E X っ て な ん で し ょ う か 」
「 先 生 、 わ た し 男 に な り た く な い の ! 人 体 実 験 し な い で ! 」...
人 間 を 口 か ら 肛 門 ま で の 一 本 の 管 と し て 眺 め る と 、 少 し 笑 え て く る 。
思 考 、 感 情 、 欲 望 、 そ し て 声 さ え も 、 管 を 循 環 し 流 動 す る 内 容 物 に す ぎ な い よ う に 思 え て く る か ら だ 。
排 泄 の と き 、 圧 力 に 押 さ れ て 滞 留 物 が 外 へ 放 出 さ れ 、 身 体 は 苦 痛 と 快 楽 、 崇 高 と 滑 稽 を 同 時 に 解 き 放 つ 。
未 消 化 の ま ま 噴 き 出 す 言 葉 や 表 現 が 魅 惑 を 帯 び る の も 、 逸 脱 と し て 外 界 に 痕 跡 を 残 し た 、 思 考 の 排 泄 物 と し て 現 れ る か ら だ 。
・ ・ ・ ・
埋 め 込 み 手 術 FEB 13, 2026
膿 ん だ 虫 歯 を 抜 き 、
そ の 歯 と 同 じ 寸 法 の 穴 を 頭 蓋 骨 に 開 け 、
脳 に 直 接 触 れ る よ う に 埋 め 込 ん だ 。
傷 口 を 閉 じ た あ と 、 残 っ た の は 言 葉 に な ら な い 悲 し み だ っ た 。
My Neighbor’s Poem (Sick Person) SEP 14, 2024
“A 1000 Yen Bill Drawn o n Paper”
“What’s the Earth’s Capital?”
“I don’t want t o die, but I don’t mind dying!”
“Oh dear, I’m laughing so much I might die, hahaha”
“Honest people don’t make fools o f others.”
“What is sex?”
“Teacher, I don’t want to b e a man! Don’t experiment on me!”
When you look at a human being as a tube from the mouth to the a**s, it’s a little funny.
Thoughts, emotions, desires, and even voices seem like mere fluids circulating through the tube.
When we excrete, the pressure expels trapped material, and the body simultaneously releases pain and pleasure, the sublime and the ridiculous. The allure of
undigested words and expressions comes from their appearance as excrement, leaving traces i n the outside world as aberrations.
••.
Implantation Surgery, February 13, 2026
After the abscessed tooth was extracted,
a hole the same size as the tooth was drilled into the skull
and the implant was placed directly i n contact with the brain
After the wound was closed, all that remained was an indescribable grief.
-Shogo Shimizu 2026

Opening Thursday, February 19th and 89 Walker:Shogo ShimizuPatience Note IIIDolan EditI met Shogo for ramen in Sugamo so...
02/18/2026

Opening Thursday, February 19th and 89 Walker:

Shogo Shimizu
Patience Note III

Dolan Edit

I met Shogo for ramen in Sugamo sometime in 2019. There was a pat of butter in the ramen, a specialty of Hokkaido, where he now lives. It was quite late and I was drunk. When leaving, I was surprised to learn that Shogo wasn’t going home but was about to start the night shift at Family Mart. One of Shogo’s drawings from this period details an erotic exchange of static electricity he experienced when giving change to a customer, which he characterized as being like the transmission of a secret code. For me, this is emblematic of what Shogo is able to do. Through his specific sensitivity, mundane experiences open up a world of psychological turmoil. Shogo’s drawings operate as externalizations of this type of complex personal thought, using drawing as a tool of epistemic inquiry to propose provisional models for how internal forces might be organized. The drawings take various forms: simple diaristic text notes, belabored diagrammatic atlases of motifs, or even fashion illustrations that externalize internal emotional strife as garments. At other times, recursive ideas can be simplified down to textual logo mood-boarding or given precise masterful pictorial treatments. Mostly unified through his use of plain notepad paper, Shogo’s drawings retain the immediacy of working marginalia, functioning as scaffolds for his thoughts. Shogo’s adolescent-coded visual language reflects a condition of extended adolescence present in Japanese society that is now increasingly normalized across the West. The drawings chart emotional forces acting upon the self, pressures that accumulate and reorganize into visual systems that give form to anxieties, desires, and repressed inner thoughts.
-Alex Mackin Dolan, 2026

Address

86 Walker
New York, NY
10013

Opening Hours

Wednesday 12pm - 6pm
Thursday 12pm - 6pm
Friday 12pm - 6pm
Saturday 9am - 6pm

Telephone

+19176678541

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