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Monday 11am - 6pm Tuesday 11am - 6pm Wednesday 11am - 6pm Thursday 11am - 6pm Friday 11am - 6pm

http://www.gallerywendinorris.com/

Gallery Wendi Norris, 436 Jackson Street, San Francisco, CA (2026)

05/31/2026

Join us in wishing a very happy birthday to Ranu Mukherjee ()!

Multidisciplinary artist, Dean of the School of Film/Video at CalArts (), and recipient of the prestigious 2026 Ruth Awardee by the Ruth Foundation for the Arts (), Mukherjee is celebrated for her hybrid pieces in painting, moving image, and installation that are marked by a deliberate use of saturated color, the collision of tempos, and sensual materiality.

Her work is currently on view throughout San Francisco, including at Gallery Wendi Norris, which is presenting her latest series of paintings, “The Long Middle,” through July 3.

Her work is also on view in Fraenkel Gallery’s () newly opened exhibition, “Slice of the Pie,” and the de Young Museum’s () permanent collection display, “About Place: Bay Area Artists from the Svane Gift.”

Flying into San Francisco? Mukherjee’s large-scale work made of glass, fabric and metal composite is currently installed in SFO International Airport’s Terminal G ().

Portrait of the artist by Azikiwe Mohammed for Ruth Arts. Ranu Mukherjee, “men being tender” (2025), pigment, crystalina, ink, chalk pastel, and UV inkjet print on cotton jamdani on line, 60 x 60 inches. “osmotic guardians” (2023), pigment, ink, crystalina, and UV inkjet print on silk and cotton sari fabric on linen, 40 x 40 inches. “Unsettling the Gravity of Assumptions” (2021), pigment, crystalina, and UV inkjet print on silk and cotton sari fabric on linen, 48 x 48 inches.

05/20/2026

Now Open | “Ranu Mukherjee: The Long Middle”

Gallery Wendi Norris is proud to present its sixth solo exhibition with Ranu Mukherjee ().

Over the last thirty years, Mukherjee has developed a multidisciplinary practice that questions Western and human-centric ideas about intelligence, resilience, and survival, imagining a more tender and attentive way of relating to the world. This sensibility animates the eight new paintings now on view, which reflect on our current paradigmatic shift as Mukherjee links the pressures of mid-life, motherhood, and personal transformation with the threats of climate crisis, resource extraction, and species loss.

Join us tonight at 5 – 7 pm for a reception to celebrate the opening of the exhibition that KQED () named one the 10 best museum and gallery shows to see in the Bay Area this summer.

🔗 Preview the show at the link in bio.

Opening reception for “Ranu Mukherjee | The Long Middle”
🗓️ Wednesday, May 20
⏰ 5 – 7 pm
📍 Gallery Wendi Norris, San Francisco

Images courtesy of the artist and Gallery Wendi Norris, San Francisco. Install photography by .

05/19/2026

Mark your calendar!

This Wednesday, May 20, Chitra Ganesh () will deliver the 2026 Nelson Social Justice Fund Lecture at the Portland Museum of Art () in Portland, ME, joined by Sayantan Mukhopadhyay (), PhD, Associate Curator of Modern and Contemporary Art at the PMA.

Informed by South Asian iconography, semiotic theory, science fiction, q***r theory, and the visual languages of vintage comics, anime, and film, Ganesh’s richly layered worlds center q***r and femme protagonists actively shaping their futures.

Ganesh’s animation ‘Rainbow Body’ (2018) from The Scorpion Gesture series recently entered the permanent collection of the Portland Museum of Art.

The Leonard and Merle Nelson Social Justice Fund honors artists whose commitment to social justice is lived and embodied in their work and lives.

📍 Portland Museum of Art, Portland, ME
🗓️ Wednesday, May 20
⏰ 6 - 7 pm

Photo of Chitra Ganesh by Raul Irani. “The Scorpion Gesture: Rainbow Body,” 2018. Digital animation, single-channel video with color and sound, 2:02. Courtesy of the artist and Gallery Wendi Norris, San Francisco.

05/15/2026

Join us Wednesday, May 20, at 5 – 7 pm for the opening reception of “Ranu Mukherjee | The Long Middle,” which KQED () named one the 10 best museum and gallery shows to see in the Bay Area this summer.

Sarah Hotchkiss () writes that Mukherjee’s “abstract, dreamy renderings of plants, animals and interior spaces convey a sense of constant movement and change... Mukherjee presents fragmented, entropic ecosystems, fitting depictions of our current state of environmental, social and political affairs.”

🔗 Read the full article and preview the show at the link in bio.

Opening reception for “Ranu Mukherjee | The Long Middle”
🗓️ Wednesday, May 20
⏰ 5 – 7 pm
📍 Gallery Wendi Norris, San Francisco

Install photography by . Image courtesy of the artist and Gallery Wendi Norris, San Francisco.

05/14/2026

María Magdalena Campos-Pons’ new work at the 61st International Art Exhibition of La Biennale di Venezia () has been named one of “6 Artworks That Define the 2026 Venice Biennale’s Main Exhibition” by Artsy.

Described by Grace Aneiza Ali () as “a monument in floral form,” Campos-Pons’ installation, “Anatomy of the Magnolia Tree for Koyo Kouoh and Toni Morrison” (2026), has earned critical acclaim in international press.

“A stunning tribute to these women’s advocacy.” — Josie Thaddeus-Johns, Artsy ()

“Monumental and symbolically charged… through a shift in scale, what was marginal becomes central, visible, dominant.” — Monica Trigona, Il Giornale Dell’Arte ()

“Rooted in Black women’s solidarity across generations, geographies and disciplines... celebrates the very meaning of Kouoh’s notion of “minor keys”: those quieter frequencies of memory, poetry and resistance woven into an immersive environment where human presence, nature and sound become part of an inseparable, fertile entanglement.” — Elisa Carollo (), Observer ()

“Turning them both into beaming saints... surrounded by giant magnolias, meant to symbolize the American South and thus Kouoh’s advocacy for Black women.” — Ben Davis (), Artnet ()

This monumental work is on view through November 22, 2026, in the Central Pavilion at the Giardini della Biennale in Venice.

“Anatomy of the Magnolia Tree for Koyo Kouoh and Toni Morrison,” 2026. Works on paper: inkjet print, watercolor, ink, and gouache on Arches archival paper, approximately 11’ x 20’ unframed. Flower 1-6: resin and PLA filament, dimensions variable. Flower 7: Murano glass and metal. Sound piece, “Whispers,” by Kamaal Malak. Courtesy of the artist, Efie Gallery, and Galleria Giampaolo Abondo. Photo by Camilla Glorioso.

05/08/2026

Last chance | Watch the different stages of the creation of Ambreen Butt’s (.butt) work “Rupture” (2026), currently on view at Gallery Wendi Norris.

As its title suggests, the artist physically severed the work’s surface in multiple places. In the spaces she ruptured, Butt slotted the cutout of a lithograph of a protesting woman who emerges out of the abstracted, rippling plane of a keffiyeh. Butt inserted the actual fabric of a keffiyeh through these ruptures, as an act of repair and restoration.

This work is on view for one day more in “Ambreen Butt: I Bear Witness,” which closes Saturday, May 9.

Ambreen Butt, “Rupture,” 2026. Watercolors, white gouache, pencil, collage, and fabric on tea-stained paper, 30 x 22 inches / 76.2 x 55.88 cm. Courtesy of the artist and Gallery Wendi Norris, San Francisco.

05/06/2026

We are thrilled that María Magdalena Campos-Pons () and Ambreen Butt (.butt) are presenting work this week across Venice in exhibitions in and around the Biennale.

Campos-Pons is among the 111 participants in “In Minor Keys,” the 61st International Art Exhibition of La Biennale di Venezia (), on view May 9 – November 22, 2026. With collaborator Kamaal Malak, she presents a new installation in the Central Pavilion at the Giardini della Biennale, a work rooted in one of the exhibition’s guiding threads: the creole garden and courtyard as sites of imaginative freedom and collective nourishment.

In the days surrounding the Biennale’s opening, Campos-Pons brings her practice into live performance across the Giardini and Arsenale:
— Wednesday, May 6, 5pm: Teatro Tese dei Soppalchi, Arsenale
— Thursday, May 7, 3pm: “Poetry Caravan” procession, Giardini della Biennale, in honor of the late curator Koyo Kouoh
— Saturday, May 9, 4pm: Teatro Tese dei Soppalchi, Arsenale

Also on view May 10–July 10, 2026 is “Resonance: Vanderbilt University in Venice” at Fondazione Giorgio e Armanda Marchesani, Dorsoduro. Initiated by Campos-Pons and Malak through the Engine for Art, Democracy and Justice (.program) and presented in collaboration with , “Resonance” is a palazzo-based laboratory of ideas and artistic practice in the form of exhibitions and public programs curated by Grace Aneiza Ali () and Selene Wendt. Ambreen Butt presents work alongside Carrie Mae Weems (), Deborah Willis (), and dozens of other artists.

The program opens Sunday, May 10 with “A Gathering in the Key of Resonance,” featuring a formal introduction and sonic intervention by Campos-Pons and Malak, followed by conversations with Siddhartha Mitter (), Aruna D’Souza (.flaneuse), and others throughout the day.

Images: Portrait of María Magdalena Campos-Pons and Kamaal Malak by John Russell/Vanderbilt University. Portrait of Ambreen Butt by Kevin Todora.

04/30/2026

On view | “Awladi (My Children)” (2026) by Ambreen Butt

Ambreen Butt (.butt) places a maternal figure at the center of the frame where she cradles walking irises, a flower that the artist grows in her own garden. The figure is framed within an ornamental border drawn from Indo-Persian manuscript traditions that Butt was classically trained in. The plant she holds spills beyond the frame’s edges, pressing the figure’s presence into our space.

The words “Awladi” and its English translation, “My Children,” permeate the entire work, repeating in small script across the ornamental field around the frame, and rising into three-dimensional letters formed from fabric pushed through cuts in the surface—fraying at the edges, their loose threads cascading downward like roots, or like grief that cannot be contained.

Butt physically cuts open the work’s surface, a visceral echo of the wounds that war and displacement leave behind. She then repairs those cuts with the same fabric. Gold embellishments and vegetal ornament coexist with raw, downward stains, resulting in an image that casts the maternal figure as an emblem of endurance.

“Ambreen Butt: I Bear Witness”
🗓️ On view at Gallery Wendi Norris through Saturday, May 9

Ambreen Butt, “Awladi (My Children)” (and details), 2026. Fabric, collage, gold leaf, vegetable dyes, watercolors, and gouache on tea-stained paper, 43.5 x 30.5 inches / 110.49 x 77.47 cm. Courtesy of the artist and Gallery Wendi Norris, San Francisco.

04/23/2026

Exhibition announcement | “Ranu Mukherjee: The Long Middle”

Gallery Wendi Norris is proud to announce its forthcoming exhibition featuring new work by Ranu Mukherjee (), on view at the gallery May 20 – July 3, 2026.

The exhibition will present new paintings that weave the autobiographical with the political, ecological, and geological—linking the pressures of mid-life and personal transformation with the urgencies of climate crisis, resource extraction, and species loss.

Built from pigment, crystalina, and ink printed on cotton jamdani and silk sari on linen, Mukherjee’s layered paintings simultaneously reveal and conceal, drawing on the plant and animal worlds to imagine more tender ways of surviving and relating to the world. Her paintings propose a vocabulary of resilience and recovery.

🔗 Visit the link in bio to learn more about the exhibition.

“Ranu Mukherjee: The Long Middle”
🗓️ Wednesday, May 20
⏰ 5 – 7 pm: Opening Reception
📍 Gallery Wendi Norris, 436 Jackson Street, San Francisco

Ranu Mukherjee, “healers” (and details), 2026. Pigment, crystalina, and UV inkjet print on silk sari on linen, 60 x 60 x 2 inches / 152.4 x 152.4 x 5.08 cm. Courtesy of the artist and Gallery Wendi Norris, San Francisco. Photography by Jeff McLane.

04/22/2026

This Earth Day, we take a closer look at how Ambreen Butt (.butt) deploys the land as a collaborator in her new series, “I Bear Witness,” currently on view at Gallery Wendi Norris.

In this series, the land embodies the ultimate manifestation of the maternal—something that sustains, witnesses, and holds. Throughout, Butt builds her surfaces from vegetable dyes, tea-staining, and eco-printing, the materials layered mark by mark. Earth-derived pigments suffuse the works, creating a direct connection between the painted surface and the earth from which these pigments are drawn.

Across multiple works, walking irises—cultivated from Butt’s own garden —appear as emblems of ephemerality and resilience. Each bloom opens for a single day. The plant propagates by bending toward the ground and taking root wherever it lands, walking onward.

“Ambreen Butt: I Bear Witness”
🗓️ On view through Saturday, May 9

Details of Ambreen Butt “Speak!” (2026), “Silence!” (2026), “Awladna (Our Children)” (2026), “Holding” (2026), “Substitution” (2026).

Gallery Wendi Norris

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Monday	11am - 6pm
Tuesday	11am - 6pm
Wednesday	11am - 6pm
Thursday	11am - 6pm
Friday	11am - 6pm