Marching On: The Politics of Performance

Tuesday April 10, 2018 – Saturday June 9, 2018

With Bryony Roberts, Mabel O. Wilson, and the Marching Cobras of New York, commissioned by Storefront for Art and Architecture


Marching On Performance Teaser, November 2017. Commissioned by Storefront for Art and Architecture. Video by Feran Mendoza and Chris Balmer.




April 12th – June 9th, 2018

97 Kenmare Street, New York, NY


April 12th Exhibition Opening:

Press and Members Preview: 6 pm – 7 pm

Public Opening: 7 pm – 9 pm


#marchingon     #politicsofperformance     @storefrontnyc


Marching On: The Politics of Performance explores the legacy of marching and organized forms of performance. African-American marching bands have long been powerful agents of cultural and political expression, celebrating collective identities and asserting rights to public space and visibility. 


Commissioned by Storefront for Art and Architecture, Bryony Roberts and Mabel O. Wilson collaborate with the Marching Cobras of New York, a Harlem-based after-school drum line and dance team in a new project that interweaves echoes of the 1917 Silent March against racial violence with references to the revered Harlem Hellfighters in order to celebrate the crucial role of the community’s collective performances as acts of both cultural expression and political resistance.


Marching On will be inaugurated with a series of performances presented by the Marcus Garvey Park Alliance as part of Performa 17 in November 2017. The performances are free and open to the public. Read more about the performances here.


Rooted in military training exercises and even combat itself, marching bands and drumlines were historically used to acknowledge military service in African-American communities and the absence of civil rights despite sacrifices to defend the nation. These performance forms have radically expanded since the nineteenth century to include dance lines with hip-hop and stepping choreography, but they remain connected to a strong political lineage. The symbols, iconography, costumes, colors, and movement used throughout this history reflect various understandings of social and cultural perceptions and actions. Addressing both historical and contemporary meanings, this exhibition celebrates the medium of marching performance, focusing in particular on the power of such performance to articulate heritage at a moment of rapid change.


About the Artists


Bryony Roberts is an architectural designer and scholar. She earned a BA from Yale University and an MArch from Princeton University. Her work has been supported by the Graham Foundation and was featured in the 2015 Chicago Architecture Biennial. She has published widely in design and mainstream publications, and has taught at Rice University, SCI-Arc, and the Oslo School of Architecture. In 2015, she was awarded the Rome Prize from the American Academy in Rome. Roberts’s practice integrates architecture, art, preservation, and performance to activate and critically engage historical buildings and urban spaces. With projects at sites such as Piazza del Campidoglio in Rome, Federal Plaza in Chicago, Government Quarter in Oslo, and Neutra VDL House in Los Angeles, her practice operates across many scales, from temporary installations to urban design. This range aims to foster social activation of historical sites and critical discourses on how we preserve and change existing structures.


Mabel O. Wilson navigates her transdisciplinary practice between the fields of architecture, art, and cultural history. She is a professor of architectural design and theory/history at Columbia University’s GSAPP, where she directs the graduate program in advanced architectural research. She co-directs GSAPP’s Global Africa Lab and the Project on Spatial Politics. She also holds an appointment as a senior fellow at the Institute for Research in African American Studies. Wilson’s design experiments, scholarly research, and advocacy projects focus upon space, politics and cultural memory in black America; raciality, technology, and aesthetics; and the globalization of architectural practice.


The Marching Cobras is a youth performance group based in Harlem that includes a 25-person drum line and a 25-person dance line. The Marching Cobras will be the lead artists involved in the performance and exhibition. Workshops with the group will guide the collaborative design of the live performances. Their mission is to “enrich lives of youth by providing opportunities for artistic expression and leadership development through music, marching band, step, dance, and much more.”




Marching On: The Politics of Performance is commissioned by Storefront for Art and Architecture.


Exhibition Team

Curator: Eva Franch

Associate Curator: Carlos Mínguez Carrasco

Strategic Development: Jinny Khanduja

Programs Producer: Max Lauter


Project Support

Marching On: The Politics of Performance is supported by the National Endowment for the Arts, the Graham Foundation for Advanced Studies in the Fine Arts, and the Lower Manhattan Cultural Council.


General Support

Storefront’s programming is made possible through general support from Arup; DS+R; F.J. Sciame Construction Co., Inc.; Knippers Helbig; KPF; MADWORKSHOP; ODA; Rockwell Group; Roger Ferris + Partners; Tishman Speyer; the Foundation for Contemporary Arts; The Greenwich Collection Ltd.; the Lily Auchincloss Foundation; the New York State Council on the Arts with the support of Governor Andrew Cuomo and the New York State Legislature; public funds from the New York City Department of Cultural Affairs in partnership with the City Council; The Peter T. Joseph Foundation; and by Storefront’s Board of Directors, members, and individual donors.


Photo: The Marching Cobras’ drum line in Harlem, 2014. Courtesy of Carlo Allegri/Reuters.

Souvenirs: New New York Icons

Saturday September 16, 2017 – Saturday December 9, 2017

September 16th – December 9th, 2017

97 Kenmare Street, New York, NY


September 16th Exhibition Opening:

Public Viewing: 11 am – 6 pm

Public Opening: 7 pm – 9 pm [Facebook]


VOTE FOR YOUR FAVORITE ICON (to be delivered to Mayor de Blasio)




As a contemporary form of commercialized nostalgia, souvenirs are the ultimate cliche in the representation of a city. Pocket-sized, acritical, and cheap, they populate tourist sites all over the world with a patina of innocence.


Producing collective imaginaries made up of lines that follow the profiles of superlative sculptures, buildings, and stories, souvenirs have become the reference points that anchor a particular culture in time, representing (consciously or not) political, cultural, and social values.


Souvenirs: New New York Icons, the second iteration of Storefront’s model show, commissions 59+ objects that redefine New York’s iconic imagery. Inspired by each of the city’s Community Districts, more than 59 artists, architects, and designers have reimagined the referential images that constitute the global perception of the city, proposing new understandings of the urban experience.


Challenging the symbols that have permeated the gift shop, Souvenirs presents critical approaches to the shifting and complex iconography of the city. The exhibition introduces new objects and, with them, new ways to relate to form, matter, affect, representation, and agency.


Visitors to the exhibition will be asked to cast a vote for the object that best represents their visions and values of the city. The top three souvenirs will be presented to the Mayor Bill de Blasio as new icons for New York City.


About the Installation

Storefront’s Iconic facade, designed by Steven Holl and Vito Acconci in 1994, has become a referent for the architectural community worldwide. The facade project, consisting of a series of pivoting panels opening the gallery walls onto the sidewalk, was built with an innovative concrete mixture, disrupting preconceived notions of heaviness attached to concrete. Taking this notion of postmateriality to its extreme, MOS Architects has produced a series of operations that open up the facade and the gallery space (through literal holes and material and textural transformations), bringing it into conversation with its urban and architectural context. With a series of transfers (material, formal, and spatial) between concrete, stone, glass, wood, plastic, and air, the installation brings the logic behind the aesthetics of recycling into a new formal language that invites us to reflect upon notions of signification and legibility in the built environment.


Exhibition Design by MOS Architects

Graphic Design by Studio Lin



IIIII Columns

Abruzzo Bodziak Architects
Afaina de Jong / AFARAI & Innavisions
Al-Hamad Design (Nanu Al-Hamad / Kaeli Streeter)
Alan Ruiz
Ania Jaworska with Lucia Lee

Antonas Office
Atelier Van Lieshout
Caroline Woolard
Charlap Hyman & Herrero
Frank Benson
Future Expansion
Hayley Eber
Huy Bui
Ibañez Kim
Jenny Sabin Studio: Jenny E. Sabin, Jingyang Liu Leo
Jerome W Haferd and K Brandt Knapp
Kwong Von Glinow Design Office
Leigha Dennis
Liz Phillips
Local Projects
Lydia Xynogala
Michael Wang
Michelle Chang
Midnight Commercial
Miguel Robles-Durán (Cohabitation Strategies)
N H D M / Nahyun Hwang + David Eugin Moon
Naomi Fisher
New Affiliates

Oana Stanescu Family NY
Office III

Office Kovacs
Ogrydziak Prillinger Architects (OPA)
Once–Future Office
P.R.O. – Peterson Rich Office
Patrick Meagher & Lenka Ilic
​Rafael de Cárdenas / Architecture at Large
Slash Projects
Slow and Steady Wins the Race
Sonia Leimer
Studio Christian Wassmann
Studio Meem
Talbot & Yoon
Young & Ayata and iheartblob
ZUS [Zones Urbaines Sensibles]


About the Model Show

Following a trilogy of drawing shows, Storefront’s second annual group model show examines three-dimensional methods of representation in architecture, with the city of New York as its experimental playground. Each edition of the show invites participants to reflect upon a specific topic that encapsulates critical conversations in design and contemporary culture. In each iteration, architects, artists, and designers interrogate the model as a method and means by which notions of representation and production can be understood, from aesthetic cliches to disciplinary obsessions to data visualization, in order to unveil the power of architecture and its relationship to the politics of the city. The first edition of the model show, Sharing Models Manhattanisms, examined growing anxieties behind the sharing economy and its untapped potential for public collectivity.


Storefront Team

Curator: Eva Franch

Associate Curator: Carlos Mínguez Carrasco

Project Coordinator: Max Lauter

Development and Outreach: Jinny Khanduja

Interns: Estefania Acosta, Asia Bazdireva, Kate Chen, Lafina Eptaminitaki, Yuki He, Yu-Yang Huang, Juan Carlos Javier, Amela Parcic, Luca Smith Senise, Yuki Tori, Ann Mirjam Vaikla




Souvenirs: New New York Icons




Exhibition Support

Souvenirs: New New York Icons features Marmoreal by Max Lamb, made possible through the generous support of Dzek.




Material for this exhibition is kindly provided by Bendheim (glass) and Vycom (plastic). 3D printing is supported by Shapeways.


Logo Pantone-3245-green-teal JPEG





General Support

Storefront’s programming is made possible through general support from Arup; DS+R; F.J. Sciame Construction Co., Inc.; Knippers Helbig; KPF; MADWORKSHOP; ODA; Rockwell Group; Roger Ferris + Partners; Tishman Speyer; the Foundation for Contemporary Arts; The Greenwich Collection Ltd.; the Lily Auchincloss Foundation; the New York State Council on the Arts with the support of Governor Andrew Cuomo and the New York State Legislature; public funds from the New York City Department of Cultural Affairs in partnership with the City Council; The Peter T. Joseph Foundation; and by Storefront’s Board of Directors, members, and individual donors.


Council on the Arts



Temple of Manufacturing

Wednesday June 7, 2017 – Saturday August 5, 2017



Temple of Manufacturing

Presented by Storefront for Art and Architecture

in Collaboration with COMPANY (Aamu Song & Johan Olin)


June 7th, 2017 – August 5th, 2017

97 Kenmare St, New York, NY


#templeofmanufacturing   @storefrontnyc  @com_pa_ny





“That which withers in the age of mechanical reproduction is the aura of the work of art.”

Walter Benjamin

The Work of Art in the Age of Mechanical Reproduction


In the 1950s, in the midst of modern discourse regarding industrial design, Charles and Ray Eames aimed to produce “the best, for the most, for the least.” More than fifty years later, global pro­cesses of mass production have complicated the democratic aspirations that the Eames sought to espouse.
In our current interdependent global economy, the designations “Designed by X,” “Made by X,” “Manufactured by X,” “Made in X,” and “Product of X” are increasingly complex. While their origins are based in trade agreements and intellectual property rights, they also carry the weight of serv­ing as symbols of economic protectionism, human exploitation, and ecological malpractice, among other issues.
Recently, we have witnessed the re-emergence of more “localized” forms of production. Handmade items, arts and crafts, and light manufacturing have made a resurgence in our contem­porary product-based markets. Among the reasons for this include responses against the perils of global mass production, reactions to the consumerist philosophies of the 80s and 90s, and the preservation of manufacturing processes and their associated identities of place. Combined with increasing preferences and desires for “artisanal” and “local” goods, these phenomena have changed the way we make things.
Temple of Manufacturing presents COMPANY’s long-term project: SECRETS. Traveling to remote sites around the world to learn crafting processes unique to particular industries and places, the duo (comprised of Aamu Song and Johan Olin) has collaborated over the last decade with a variety of communities to rethink the very processes and knowledge embedded in these places. Applying this knowledge to new and unexpected designs, COMPANY’s work creates an intersection between the mastery of traditional technique and the invention of a new, poetic, and personal material and object-specific vocabulary.
For the installation at Storefront, COMPANY presents its own Temple of Manufacturing, an installa­tion that reflects the feeling of sacredness that the duo encountered while visiting spaces of pro­duction all over the world. Raw materials, drawings, objects, designs, and process documents are presented alongside a series of frescoes painted in situ that narrate some of the journeys, topics, and works that structure their research.
Temple of Manufacturing presents objects conceived and produced as composite figures from COMPANY’s own design methods and their trips to Japan, Russia, Finland, Estonia, and the Amish communities of Pennsylvania. Part an artist’s travel log, part a sanctuary for the maker’s masters, and somewhere between an archive, an exhibition, and a store (the ultimate temple of contempo­rary capitalism) the installation reflects upon “the aura of the work of art” (in this case, the design object), and the hidden processes of design research as related to manual versus mechanized pro­duction.
“Designed by COMPANY,” “Made by COMPANY,” “Manufactured by COMPANY,” “Made with COMPANY,” and “Product of COMPANY,” the objects presented in this exhibition are built with love and shared with everyone, maintaining the playfulness that the Eames brought to the world of making, with an eye toward the ethics of production and global design culture.



COMPANY, formed by Aamu Song and Johan Olin, is an art and detective agency from Helsinki, Finland. COMPANY has been discovering manufacturing secrets worldwide for over a decade, working as artists, designers, and producers, and running their own shop (Salakauppa) in Helsinki.




Exhibition Support

Special exhibition support for Temple of Manufacturing is generously provided by the Arts Promotion Centre Finland (Taike), the Finnish Cultural Foundation, the Finnish Cultural Institute in New York, and Frame. 


The soundtrack for this exhibition was created by Tuomas Toivonen. Paint has generously been provided by Farrow & Ball.


Beverages for the opening are kindly provided by Tenugin, the spirit of the forest.


Arts Promotion Centre Finland Taike copy
Finnish Cultural Foundation copy FCINY-LOGO Frame Finland copy

General Support

Storefront’s programming is made possible through general support from Arup; DS+R; F.J. Sciame Construction Co., Inc.; Knippers Helbig; KPF; MADWORKSHOP; ODA; Rockwell Group; Roger Ferris + Partners; Tishman Speyer; the Foundation for Contemporary Arts; The Greenwich Collection Ltd.; the Lily Auchincloss Foundation; the New York State Council on the Arts with the support of Governor Andrew Cuomo and the New York State Legislature; public funds from the New York City Department of Cultural Affairs in partnership with the City Council; The Peter T. Joseph Foundation; and by Storefront’s Board of Directors, members, and individual donors.




Control Syntax Rio

Monday March 27, 2017 – Saturday May 20, 2017


Control Syntax Rio


Curated and designed by Farzin Lotfi-Jam and Mark Wasiuta
Presented by Storefront for Art and Architecture and Het Nieuwe Instituut, Rotterdam.


March 28th, 2017 – May 20th, 2017

97 Kenmare St, New York, NY


#controlsyntaxrio   @storefrontnyc


Rio de Janeiro is one of the most visible sites of “smart city” experimentation. In response to catastrophic natural disasters, calamitous traffic congestion, and urban health epidemics, the Centro de Operações Rio (COR) was designed as a corrective tool and as a new command and control hub that would allow the city to prepare for the 2016 Olympic Games. Launched in 2010, COR now monitors its urban camera network and information sensors, gauges optimal traffic patterns, determines landslide risk zones, predicts weather disruptions, and maps disease paths.


Rio’s wild topography, wealth disparities, and aging infrastructure make it an unlikely testing ground for the smooth rationality of urban management that “smart city” rhetoric proclaims. Through COR, the predictable impression of Rio de Janeiro as a lush playground of beaches and samba dancers conflicts with the new image of a Rio governed by smart city control systems. As the city also becomes increasingly marked by extreme police tactics and political protests, Rio appears less a case of urban optimization than a platform for viewing the conflicts that have erupted around urban data management, civil rights, and issues of social control. Yet, COR is also a sign of a new form of participatory civic politics. Citizens may visit the COR building to observe its image screens, data displays, and information collection technologies. In this way, COR serves as a public relations space from which the city broadcasts an image of urban administrative control.


The exhibition shows Rio structured through COR’s control syntax and smart city command processes. This syntax is assembled from seemingly banal “if-then” statements that become surprisingly charged by their encounters with the political and circulatory life of the city. Through COR, the exhibition sees traffic engineering as urban politics and as haunted by potential catastrophe. The exhibition also understands COR as indicative of an important new space of representation for the 21st century city and its emerging computational governmentality.


Exhibition Credits

Curators: Farzin Lotfi-Jam, Mark Wasiuta

Exhibition Design: Sharif Anous, Farzin Lotfi-Jam, Mark Wasiuta

Graphic Design: MTWTF

Exhibition Design and Production Assistance: Florencia Alvarez, Javier Bidot-Betancourt, John Dwyer, Jennifer Komorowski, Chelsea Meyer, Jacqui Robbins, Miranda Römer, Augustine Savage, Jen Wood

Sound Design: Sonic Platforms (Michael Christopher, Max Lauter)

Film Voiceover: Louise Dreier

Audio Recording: Marco Pavão

Videography: Terry Barentsen


This project has been made possible through the initiative and leadership of the teams at Het Nieuwe Instituut, led by Guus Beumer (Artistic Director) and Marina Otero Verzier (Head of Research), and at Storefront, led by Eva Franch (Chief Curator and Executive Director).


About the Curators


Farzin Lotfi-Jam is Principal of farzinfarzin, a multidisciplinary studio that designs spaces, software, and media. He is faculty in the architecture program at Columbia University and holds advanced degrees from Columbia University and RMIT University in Melbourne, Australia. He is a fellow of the Akademie Schloss Solitude in Stuttgart and was previously the 2013-2014 Sanders Fellow at the University of Michigan. His research has been funded by the Veski organization and the Graham Foundation, and has been collected by the Centre Pompidou in Paris. He has been exhibited at the Museum of Contemporary Art Detroit, AIGA/NY Annex, the Oslo Architecture Triennale, the Venice Architecture Biennale, among others.


Mark Wasiuta is Co-Director of the MS degree program Critical, Curatorial and Conceptual Practices in Architecture at Columbia GSAPP. Over the last decade, as Director of Exhibitions at GSAPP, he has developed a body of research and archival exhibitions that focus on under-examined practices of the postwar period. Recent exhibitions, produced with various collaborators, include  “Every Building in Baghdad: The Rifat Chadirji Archives at the Arab Image Foundation,” “Environmental Communications: Contact High,” “Information Fall-Out: Buckminster Fuller’s World Game,” and “Les Levine: Bio-Tech Rehearsals 1967-1973.” His work has appeared at the Graham Foundation, the Istanbul Design Biennial, the Venice Architecture Biennale, Het Nieuwe Instituut, the Chicago Architecture Biennial, and elsewhere. He directs Collecting Architecture Territories, a multi-year research program that analyses global art institutions that have emerged from private collections. Wasiuta is recipient of recent grants from the Asian Cultural Council, the Graham Foundation, and NYSCA.


About Het Nieuwe Instituut
Het Nieuwe Instituut aims to illuminate and map a rapidly changing world while at the same time fostering discussion of topics related to the vast field of design. All the institute’s activities are grounded in the principles of design and innovation – two concepts bound up with changing value systems and conflict. Het Nieuwe Instituut organises exhibitions, lectures and fellowships, carries out research and development projects, and publishes reports on the outcomes of its projects.


Exhibition Support

Control Syntax Rio is presented in New York City as part of a year-long joint cultural crossover program between Storefront for Art and Architecture and Het Nieuwe Instituut. The partnership, supported by the Netherlands Consulate General in New York, seeks to examine the relationships of power between those involved in the construction of the contemporary city through a series of events, exhibitions, and projects to be developed in New York, Rotterdam, and other cities around the world. Control Syntax Rio was commissioned by Het Nieuwe Instituut, where it was presented from June 2016 to January 2017. Special exhibition support for Control Syntax Rio is generously provided by Samsung and FoyerLive.




Storefront’s programming is made possible through general support from Arup; DS+R; F.J. Sciame Construction Co., Inc.; Knippers Helbig; KPF; MADWORKSHOP; ODA; Rockwell Group; Roger Ferris + Partners; Tishman Speyer; the Foundation for Contemporary Arts; The Greenwich Collection Ltd.; the Lily Auchincloss Foundation; the New York State Council on the Arts with the support of Governor Andrew Cuomo and the New York State Legislature; public funds from the New York City Department of Cultural Affairs in partnership with the City Council; The Peter T. Joseph Foundation; and by Storefront’s Board of Directors, members, and individual donors.


Paranoia Man in a Rat Fink Room

Wednesday November 2, 2016 – Saturday February 18, 2017

EPSON scanner image

Paranoia Man in a Rat Fink Room

By Jonah Freeman and Justin Lowe

Presented by Storefront for Art and Architecture and the New York Comedy Festival


November 2nd, 2016 – February 18th, 2017

97 Kenmare St, New York, NY

Special Preview Performances: November 2nd – 6th

Election Night Public Opening: November 8th, 7 – 9 pm


#paranoiaman     #ratfinkroom     #makenylaugh     @storefrontnyc     @nycomedyfest


Storefront for Art and Architecture is closing its doors for good. The real estate vultures have descended to feed on the malnourished carcass of its signature Kenmare Street space. Its replacement will most likely be a Juice Press supplement administered through fiber-optic eyeliner. The official announcement is that it will be something called SAN SAN. A flagship store for BAMA Cosmetic Pharmaceuticals, OCTOPUS Entheobotanical Data Networks and Fata Morgana Entertainment Systems brought to you in a fancy new package designed by interior starchitect Henri Erkins. “A multiplatform consumer experience where virtual and tactile interaction merge in a new marketing sphere.” A kind of combination Pizza Hut-Taco Bell-Google daydream for the Lower Manhattan demographic. But before the polish of recycled paper, space rock, and smartphone flirtation bring about point-of-purchase orgasms, Jonah Freeman and Justin Lowe have arranged for an interim scenario.


The overstock of Jungle Video, the now defunct media superstore you may remember from your drive to LAX via La Tijera Boulevard, is coming to Storefront for Art and Architecture for a fire sale of such gray market classics as Linguini is Not a Flower and Thank God For My Forties. A Canal Street-style kiosk of bootleg handbags and toxic perfume will stage a pop-up shop for all manner of DVD, VHS, Compact Disc, Louis Vuitton, Calvin Klein, Prada, and perhaps a dime bag of heavily stepped on cocaine if you know the password. But this will only be the first stop on the path to the headlining act: a reprisal of the infamous Rat Fink Room.


The Rat Fink Room, the first dedicated stand-up comedy club on planet earth, opened in September 1963 on 50th St. and 3rd Ave. in New York City. Its proprietors, Morris Levy and Jackie Kannon, imagined an ad hoc gathering place where two-bit insult comics settled scores and “working blue” pushed the limits of good taste.


Jackie Kannon, its ringmeister, was a mobbed-up sycophant comic who felt pressured to buy himself a nose job in the hope of breaking out of the borscht belt. He was not even dimly aware of what might be at stake in the obscenity trials of the time, around such now-classic works as Howl and Naked Lunch. For him, “working blue” was about the money. Morris “The Octopus” Levy, the founder of Birdland and Roulette Records, was a mob connected music business executive who is mostly remembered as a crook who stole from recording artists, and was convicted of extortion and suspected of heroin distribution. Levy used the Rat Fink Room and his other venues as a place to surreptitiously record comedy acts and release records without the comics’ permission. He gave them no portion of the proceeds and threatened bodily harm if they sued. In the spirit of this, Freeman and Lowe have converted the neighbor’s bathroom (Staci, age 12, addicted to synthetic marijuana) into a surveillance headquarters that will keep audio/video recordings of the last days of Storefront.


The Rat Fink Room will be alive again in the twilight of Storefront for Art and Architecture through a series of nights programmed by Caroline Hirsch and the New York Comedy Festival from November 2nd to November 6th.


It is true that the New York City of the 20th century imagination is gone and never to return. But there will be a copy of New Jack City shot on a handycam in 1993 at Worldwide Cinemas on 50th St. and 8th Ave. available for purchase.



Paranoia Man In A Rat Fink Room opened in tandem with the 13th annual New York Comedy Festival, which takes place annually during the first week of November at venues throughout New York City. As part of a special week-long preview, Caroline Hirsch, founder and owner of the New York Comedy Festival and Carolines on Broadway, curated comedic programming inside the installation, bringing to the space a functioning nightclub and entertainment venue complete with live stand-up performances by more than 20 comedians. 


For more information about the performances and preview events, see here.



On Tuesday, November 8th, Storefront for Art and Architecture and the New York Comedy Festival presented the public opening of Paranoia Man in a Rat Fink Room, which coincided with the US presidential election. Guests entered the Rat Fink Room, and experienced election-related programming and coverage throughout the evening. Live New York Comedy Festival stand-up performances were interspersed with the coverage, and hosted by Sarah Armour.



Matt Pavich
Neko White
Loyiso Gola


Paranoia Man Gid without Logos


Now in its thirteenth year, the New York Comedy Festival is produced by Carolines on Broadway in association with Comedy Central. The festival has featured the country’s top comedians, including Aziz Ansari, Judd Apatow, Hannibal Buress, Bill Burr, Louis C.K., Margaret Cho, Billy Crystal, Larry David, Ricky Gervais, Kathy Griffin, Kevin Hart, John Leguizamo, Norm Macdonald, Bill Maher, Tig Notaro, Nick Offerman, Amy Schumer, Sarah Silverman, and Wanda Sykes, to name a few. In 2007, the festival launched the “Stand Up for Heroes” event to benefit The Bob Woodruff Foundation, which has featured performances by Ricky Gervais, John Mayer, Seth Meyers, John Oliver, Conan O’Brien, Ray Romano, Jerry Seinfeld, Bruce Springsteen, Jon Stewart, and Robin Williams, among others.  To date, the “Stand Up for Heroes” events have raised over $33 million.  For more information please visit the NYCF website, like the NYCF Facebook page, and follow the NYCF on Twitter, @NYComedyFest.  This year the festival has a new hashtag — #MakeNYLaugh — for use in all of its social media platforms.



Jonah Freeman was born in 1975 in Santa Fe, NM and lives and works in New York City. He holds a degree in Film Production and Dramatic Writing from NYU Tisch School of the Arts. Since 1998, he has been exhibiting film/video, photo and environmental installations in galleries and museums worldwide. His several interconnected bodies of work primarily focus on the phantasmagoria of the constructed world. Recent solo exhibitions include In The Kaleidoscope Room, Mitterrand + Sanz, Zurich, Switzerland (2009); The Long Goodbye, John Connelly Presents, New York, NY (2007); The Franklin Abraham, Andrew Kreps Gallery, New York, NY (2005); and In the Public Realm: Sixteen Scenarios, Public Art Fund, Brooklyn Public Library, Brooklyn, NY (2002).


Freeman’s solo films have screened in several film festivals including The International Film Festival Rotterdam, The Locarno International Film Festival and The Rome International Film Festival. His work has also been represented in the recent group shows: Paper Exhibition, Artists Space, New York, NY (2009); The Future As Disruption, The Kitchen, New York, NY (2008); Le Centre pour l’Image Contemporaine, Saint Gervais, Geneva, Switzerland (2008); Grow Your Own, Palais de Tokyo, Paris, France (2007); Busan Biennale 2006, Busan, South Korea (2006); Intouchable (l’ Idea transparence), Centre National d’Art Contemporain – Villa Arson, Nice, France (2006); Day Labor, PS1/MOMA, New York, NY (2005); Vanishing Point, The Wexner Center for the Arts, Wexner, OH (2005).


Justin Lowe was born in 1976 Dayton, Ohio. In 2004, he received his MFA from Columbia University. He currently lives and works in Los Angeles, California and New York City. Since 2003, he has been exhibiting large scale, immersive, site-specific installations in galleries and museums worldwide. Solo exhibitions include Hair of the Dog, Pepin Moore, Los Angeles, CA (2011); Werewolf Karaoke, Wadsworth Museum, Hartford, CT (2010); The New War, Galleria Cesare Manzo, Pescara, Italy (2010); Freedom Time is Here Little Kittens, Fredric Giroux, Paris, France (2008); Helter Swelter, Oliver Kamm/5BE Gallery, New York, NY (2006); Slouching Toward Bethlehem, Frederic Giroux, Paris, France (2006); Waterfall, The Wrong Gallery, Berlin, Germany (2004); Passage, PS1 Special Project Room, New York, NY (2004); Collecting Pictures in the Brain, Hotel Sculpture Center (2005); .45 0n the 33, Galleria Cesare Manzo, Pescara, Italy (2007). Group exhibitions include Greater LA, Los Angeles, CA (2011); Fit To Print: Printed Media In Collage, Gagosian Gallery, New York, NY (2007); FUORI USO 2006 – ALTERED STATES, National Museum of Contemporary Art (MNAC), Bucharest, Romania (2007); The Pantagruel Syndrome, Museum of Contemporary Art in the Castello di Rivoli, Turin, Italy (2005); Greater New York PS1/MOMA, New York, NY (2005).


Together, Jonah Freeman and Justin Lowe create extensive immersive installations. These shows include San San Trilogy, Art Basel – Unlimited, Basel, Switzerland (2016); Brunch Over Troubled Water, Plutschow Gallery, Zurich, Switzerland (2015); Scenario in The Shade, Red Bull Studios, New York, NY (2015); Floating Chain (High-Res Toni), Marlborough Chelsea, New York, NY, (2014); Taipei Biennial 2014, Taipei Fine Arts Museum, Taipei, Taiwan, (2014); SISTER MOIRE, Winfield House, London, UK (2013); A Diamond hidden in the Mouth of a Corpse, ISTANBUL ’74, Istanbul, Turkey (2012); Stray Light Grey, Marlborough Chelsea, NY (2012); Bright White Underground, Country Club, LA (2010); Black Acid Co-op, Deitch Projects, NYC (2009); The Station, Miami, FL (2008); Hello Meth Lab In The Sun, Ballroom Marfa, (2008). Select group exhibitions include PANOPTICUM, Robert Miller Gallery, New York, NY (2014); Kiss Me Deadly: A Group Show of Contemporary Neo-Noir from Los Angeles, Paradise Row, London, UK (201); Transmission LA, MOCA Los Angeles, Los Angeles, CA (2012); From the Martian Chronicles, L&M Gallery, Los Angeles, CA (2012).



Storefront’s programming is made possible through general support from Arup; DS+R; F.J. Sciame Construction Co., Inc.; Gaggenau; KPF; MADWORKSHOP; ODA; Roger Ferris + Partners; the Foundation for Contemporary Arts; The Greenwich Collection Ltd.; the Lily Auchincloss Foundation; the New York State Council on the Arts with the support of Governor Andrew Cuomo and the New York State Legislature; public funds from the New York City Department of Cultural Affairs in partnership with the City Council; The Peter T. Joseph Foundation; and by Storefront’s Board of Directors, members, and individual donors.

This exhibition is presented in collaboration with the New York Comedy Festival.


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Work in Progress

Tuesday September 27, 2016 – Saturday October 22, 2016


September 27th  October 22nd, 2016

Storefront for Art and Architecture

97 Kenmare Street, New York, NY


#workinprogress     #WIP     #LL47     @storefrontnyc


New York City is experiencing a booming construction phase. Real estate has become one the most powerful driving forces in the social and urban development of the city. Constrained by laws, policies and codes, market forces and financial structures, and limited architectural responses, the city is being homogenized and transformed into a space for the financial elite, affecting individuals and communities throughout the five boroughs, and changing the social and cultural fabric of the city.


Green construction fences, with their illustrated LL47 “Work in Progress” signs, often present the first visual cues of this process, and of its underlying economic and legislative causes.


This fall, a green construction fence will close Storefront for Art and Architecture and a LL47 sign will illustrate its future development. On these new walls, over 25 LL47 signs commissioned to artists, designers, and architects will depict alternative visions of ongoing construction sites throughout New York City, offering a space of reflection and critique of current development practices and the architectures that build them. A photographic survey of works in progress throughout the city, will depict this new naturalized green New York landscape, inviting us to think about the city that is growing with our times.


Work in Progress is curated by POWERHOUSE in collaboration with Storefront for Art and Architecture, with photographs by Naho Kubota and design by PARA Project. Individuals interested in contributing ideas and additional LL47 signs can download the submission template (available in the documents section above), and send their work to Contributors can also tag their photos with #workinprogress and #storefrontnyc.
AGENCY: Ersela Kripa + Stephen Mueller; Al-Hamad Design; Daisy Ames; Antoine Catala; Nick DeMarco; DSGN AGNC: Quilian Riano; Aaron Gemmill, Marc Handelman, and Prem Krishnamurthy;The Living; LOT-EK; MEGA CORP. (Michael Tingen); Michael Sorkin Studio; MOS Architects; OOF (Tom Hancocks and Carrie Smith); Paloma Powers; Lisa Park; Alan Paukman; PLAYLAB, INC.; POWERHOUSE, William Green, Anton Cromas, and Olga Boltuts; PUCON; Martha Rosler; Jesse Seegers; Miriam Simun; Andrew Strasser; SYC 
POWERHOUSE and Storefront for Art and Architecture
Naho Kubota
Exhibition Design and Installation:
PARA Project
Graphic Design and Identity:
Bryant Wells
Sound Design:
POWERHOUSE and Josh Padarathsingh

Gregory Ketant and Nanu Al-Hamad are POWERHOUSE, an artist duo that explores the practice of architecture and design as a vehicle for transformation.


Nanu Al-Hamad is a designer and artist living and working in New York. Al-Hamad’s fearless attitude toward design challenges the boundaries for creating objects under a philosophy of conceptual functionalism. As a solo artist and a founding member of the artist collective GCC, Al-Hamad’s work has been exhibited at the Swiss Institute, NY; Musée d’Art Moderne de la Ville de Paris, Paris; Whitney Museum of American Art, NY; Sharjah Biennial, UAE; Ullens Center for Contemporary Art, Beijing; New Museum, NY; MoMA PS1, NY; Kraupa-Tuskany Zeidler, Berlin; Project Native Informant, London; and design fairs ICFF, Downtown Design Dubai, and Salone del Mobile.


Gregory Ketant is an interdisciplinary artist and designer and the creative director of MEGA. Originally from South Florida, Ketant moved to New York to pursue a law degree at Hofstra University. After graduating, he decided to forgo a career in law to explore the interchange of technology, subcultures, ecosystems, mythology and modernity. He has since curated a living exhibition private condominium, directed a music video using motion tracking technology, debuted a furniture collection in Kuwait, and most recently unveiled his pentalogy ROSES. His work has been shown or featured at Sultan Gallery, AC Institute, Jack Chiles Gallery, Superchief Gallery, and YUME Gallery.


About PARA Project:

PARA Project is an office for architecture based in New York City, directed by Jon Lott.  
PARA is recipient of the 2016 Emerging Voices Award from the Architectural League of New York; the 2014 New Practices New York Award from the American Institute of Architects; the 2013 Design Vanguard Award from Architectural Record; a 2009 finalist for the MoMA/P.S.1 Young Architects Program; the 2007 Young Architects Award from the Architectural League of New York; and was recently a Mies Crown Hall America Prize finalist for the project: Haffenden House. 



This exhibition is supported by Peter Guggenheimer. Construction services are provided by IA Construction Management, Inc. Fabrication assistance is provided by Grey Wartinger.


Storefront’s programming is made possible through general support from Arup; DS+R; F.J. Sciame Construction Co., Inc.; Gaggenau; KPF; MADWORKSHOP; ODA; Roger Ferris + Partners; the Foundation for Contemporary Arts; The Greenwich Collection Ltd.; the Lily Auchincloss Foundation; the New York State Council on the Arts with the support of Governor Andrew Cuomo and the New York State Legislature; public funds from the New York City Department of Cultural Affairs in partnership with the City Council; The Peter T. Joseph Foundation; and by Storefront’s Board of Directors, members, and individual donors.





Sharing Models: Manhattanisms

Friday July 15, 2016 – Friday September 2, 2016


July 15th – September 2nd, 2016

Storefront for Art and Architecture

97 Kenmare St, New York, NY


#SharingModels     #manhattanisms     #shareme     @storefrontnyc


We are experiencing the emergence of a culture that is marked by a return to, redefinition, and expansion of the notion of the commons. The increasing complexity and interconnectedness of globalization is reorienting us away from trends that have emphasized individuation and singular development, and toward new forms of collectivity. 
Over the last decade, emerging technologies and economies have affected aspects of our everyday life, from the way we work and travel, to how we think about shelter and social engagement.

How will the sharing movement of today affect the way we inhabit and build the cities of tomorrow?

Manhattan, one of the most dense and iconic places in the world, has been a laboratory for many visions of urbanism. Sharing Models: Manhattanisms invited 30 international architects to produce models of their own visions for the city’s future. 
The models, each a section of Manhattan, established analytical, conceptual, and physical frameworks for inhabiting and constructing urban space and the public sphere. Together, they presented a composite figure; a territory that is simultaneously fictional and real, and one that opened a window to new perceptions of the city’s shared assets.  

Sharing Models Project Pages



Asymptote Architecture

Atelier Manferdini

Bureau V

Buro Koray Duman



Future Firm

Höweler + Yoon

Huff + Gooden Architects

June-14 (Meyer-Grohbrügge & Chermayeff)

Leong Leong



Manuel Herz Architects

Matilde Cassani




The Open Workshop

Pedro & Juana

RICA* (Iñaqui Carnicero and Lorena del Río)

Renato Rizzi / IUAV


SITU Studio



Tatiana Bilbao Estudio + Rodolfo Díaz Cervantes

TEN Arquitectos

Urban Agency


Research support for this exhibition provided by Juan Francisco Saldarriaga and the Center for Spatial Research at Columbia University.


Specific model support provided by Acción Cultural Española (AC/E) and Hotel Americano.


Stencil cuts provided by SOFTlab.


Share Me: Facade Installations

As part of Sharing Models: Manhattanisms, five artists were invited to produce stencils that asked us to reflect upon the sharing movement. The facade of Storefront was transformed into a canvas that presented one artist’s work each week throughout the duration of the show. Visitors to Storefront’s gallery space received a stencil of the work being shown. Participating artists included Curtis Kulig, John Giorno, Lawrence Weiner, Sebastian Errazuriz, and Shantell Martin.




July 14th – Curtis Kulig, We Love We Share


July 28th – John Giorno, Sit In My Heart And Smile




August 11th – Sebastian ErraZurizYou Share, They Profit


August 18th – Shantell Martin, Share



Storefront’s programming is made possible through general support from Arup; DS+R; F.J. Sciame Construction Co., Inc.; Gaggenau; KPF; MADWORKSHOP; ODA; Roger Ferris + Partners; the Foundation for Contemporary Arts; The Greenwich Collection Ltd.; the Lily Auchincloss Foundation; the New York State Council on the Arts with the support of Governor Andrew Cuomo and the New York State Legislature; public funds from the New York City Department of Cultural Affairs in partnership with the City Council; The Peter T. Joseph Foundation; and by Storefront’s Board of Directors, members, and individual donors.




Memory Trace

Wednesday April 20, 2016 – Saturday July 2, 2016

By Fazal Sheikh

Lifta – Jerusalem District, Fazal Sheikh, The Erasure Trilogy (2015). Presented as part of Memory Trace, 2016, at Storefront for Art and Architecture.
April 20th – July 2nd, 2016
6-7 pm: Press and Members Preview [RSVP]
7-8 pm: Public Opening Event – Reading Images: Memory and Place [RSVP]
8-9 pm: Public Reception  [RSVP]
#MemoryTrace     #OnMemoryandPlace     #erasures     @storefrontnyc
Memory Trace by Fazal Sheikh brings a site-specific installation of part of the Israeli Separation Wall to the façade of Storefront’s gallery space. Presented behind the façade are photographs of ruins and landscapes of villages that were evacuated and mostly destroyed during the 1948 and 1967 wars, as well as portraits of Arab-Israelis and Palestinians who were living in these villages and were displaced by war or forced into refugee camps.
The exhibition is presented as part of Erasures, a project by Fazal Sheikh that seeks to explore the legacies of the Arab-Israeli War of 1948, which resulted in the establishment of the State of Israel and in the reconfiguration of territorial borders across the region. The Erasures project is currently presenting a body of photographs at six institutions around the world simultaneously.
“Taken from 2010 to the present, the photographs demonstrate that the conflict cannot be restricted to any single population or any one side of the conflict. They present a past but also a present wound that, produced by the violence, trauma, and ruin that were the signature of the war, can be read in the fact that Palestinians, Bedouins, and Israelis all find themselves today in mourning. In asking us to consider the history that simultaneously divides and binds these populations, Sheikh hopes to lay the groundwork for a potentially transformative empathy. What is at stake is the possibility of exposing and countering the various processes of erasure that have sought to eliminate both the violence of this history and the acts of erasure themselves. In making these histories of dispossession visible, Erasures hopes to interrupt our historical amnesia, and to transform our understanding of this ongoing conflict.”  Eduardo Cadava, Curator
Memory Trace takes over the entire interior and exterior façade of Storefront with an image of a segment of the most iconic element of the ongoing conflict, the Israeli Separation Wall. The image, as seen from both sides of the wall, contains a series of traces that invite us to reflect upon notions of dispossession and displacement.
The more than 25 images presented in the interior of the gallery space are accompanied by captions in English, Arabic, and Hebrew that enable the visitor to locate the physical and political geographies inscribed within them, reconstructing, through the traces left over time, a series of memories and histories.
The landscapes of each site are accompanied by a series of information that includes: thelatitudinal and longitudinal coordinates, the population and number of houses on the site in 1948, the date when the village was evacuated, the occupying force and Israeli operation that evacuated it, a brief note about what (if anything) replaced the village in the aftermath of the war, a note about what is visible on the site today, and a statement about whether or not the village has been renamed, is now without a name, or is even registered in contemporary maps of Israel.
For the accompanying portraits, each includes excerpts from Sheikh’s interviews with the subjects conducted between 2010 and the present, from their accounts of what they saw as their villages were evacuated and depopulated or what they experienced after (and as a result of) the war, andthe sorrow and loss they have endured because of their inability to return to their homes and land.
Some of the persons in the portraits have died in the time since the interviews, making this documentation the last trace of a history in disappearance.
Reading Images: On Memory and Place
On the occasion of the opening of Memory Trace, Storefront for Art and Architecture will present Reading Images: On Memory and Placemoderated by Eduardo Cadava and Fazal Sheikh with the participation of historians, artists, critics and journalists exploring and discussing the work on display. Participants include: Sadia Abbas, Emmet Gowin, Amira Hass, Rashid Khalidi, Rosalind Morris, Shela Sheikh, and Michael Wood, among others.
For more information and to RSVP, see here.

About Erasures

Erasures is presented simultaneously at Storefront for Art and Architecture, Pace/MacGill Gallery, and the Brooklyn Museum of Art in New York, Slought Foundation in Philadelphia, the Al-Ma’mal Foundation for Contemporary Art in East Jerusalem, and the Khalil Sakakini Cultural Center in Ramallah.
Together, this decentralized network of institutions, each one of them presenting different parts of the work and functioning in different arenas and with different mandates, seeks to generate conversation across different sites, contexts, and communities about the politics of dispossession and displacement.
A free exhibition newspaper structured around four different chapters that relate in different ways to the various exhibitions (Memory Trace, Desert Bloom, Independence/Nakba, and al-ʻAraqīb) presents nearly all of the works on display, and serves as a guide for the visitor. It is published in English, Arabic, and Hebrew, and a digital copy will be available on April 20th at, and
The complete body of work of Fazal Sheikh on the Israeli-Palestinian conflict can be found in the multi-volume publication The Erasure Trilogy, published by Steidl in the Spring of 2015.


Slought Foundation

Conversation between Eduardo Cadava and Fazal Sheikh

Opening reception: March 22, 6:30 – 8:30 p.m.


Institute of Contemporary Art, Philadelphia

Silverstein Photography Lecture, Fazal Sheikh

March 24, 6:30 p.m.


Brooklyn Museum of Art

These Perspectives: A conversation between Fazal Sheikh and Teju Cole

April 14, 7 p.m.


Pace/MacGill Gallery

Opening reception: April 21, 5:30 – 7:30 p.m.


Al-Ma’mal Center for Contemporary Art

Opening reception: April 13, 6 p.m.


Sakakini Cultural Center

Newspaper release and conversation with Eduardo Cadava and Fazal Sheikh

May 15



Al-Ma’mal Foundation for Contemporary Art is a non-profit organization, based in Jerusalem’s Old City, that aims to promote, instigate, disseminate and facilitate the making of art. Founded in 1997, Al Ma’mal serves as an advocate for contemporary art and a catalyst for the realisation of art projects by organising exhibitions and events.


Information: For more information about upcoming events and projects T: +97226283457; F: +97226272312; Email: Gallery Hours: Monday-Friday; 10:00am – 5:00pm. Closed Saturday and Sunday. Gallery Location: New Gate, Old City, Jerusalem 91145


Brooklyn Museum of Art: The mission of the Brooklyn Museum is to act as a bridge between the rich artistic heritage of world cultures, as embodied in its collections, and the unique experience of each visitor. Dedicated to the primacy of the visitor experience, committed to excellence in every aspect of its collections and programs, and drawing on both new and traditional tools of communication, interpretation, and presentation, the Museum aims to serve its diverse public as a dynamic, innovative, and welcoming center for learning through the visual arts.


Information: General Admission $16. For more information about upcoming events and projects T: 718.638.5000. Hours: Wednesday through Sunday, 11am-6pm. Close Monday and Tuesday. Location: Brooklyn Museum, 200 Eastern Parkway, Brooklyn, 11238-6052 NY, USA.


The Khalil Sakakini Cultural Center is a non-governmental, non-profit organization dedicated to the promotion of arts and culture in Palestine. The Sakakini was founded in May 1996, and is located in Ramallah in a restored traditional mansion. KSCC strives to promote art and culture in the Palestinian society, through actions committed to the encouragement of creativity and the enhancement of the aesthetic in everyday life.


Information: For more information about upcoming events and projects T: +97022987374; Email: Gallery Hours: (check wesbite) Gallery Location: Khalil Sakakini Cultural Center; Al rajaa’ StreetAl Masyoon; P.O.Box 1887 Ramallah, Palestine;


Pace MacGill Gallery was founded in 1983 by Peter MacGill, in collaboration with partners Arne Glimcher of the Pace Gallery and Richard Solomon of Pace Prints and Pace Primitive. The gallery has established itself as one of the premier venues dealing in modern and contemporary photography, presenting over 200 exhibitions and publishing numerous catalogues. Pace/MacGill strives to disseminate the work of its artists to museums, private collectors, and corporate collections around the world.


Information: For more information about upcoming events and projects T: +1 212.759.7999, Email: Hours: Tuesday – Friday, 9:30am – 5:30pm, Saturday, 10:00am – 6:00pm. Closed Sunday and Monday. Location: 32 East 57th Street, 9th floor, New York, 10022 NY, USA.


Slought Foundation is a non-profit organization that engages publics in dialogue about cultural and socio-political change in Philadelphia, the world, and the cloud. We are a new form of institution that builds relationships and social trust through collaboration and the exchange of ideas. For over a decade, they have worked with artists, communities, and institutions worldwide to develop projects that encourage inclusiveness, advocacy, and the sharing of knowledge.


Information: For more information about upcoming events and projects T: +1 215-701-4627; F: +1 215 764 5783; Email: Hours: Tuesday through Friday, 12-5pm. Admission is free. We are also open by appointment. To schedule your visit, email us or call +1.215.701.4627. Location: 4017 Walnut Street, Philadelphia, PA, USA 19104-3513.

Photographs: Fazal Sheikh
Curator: Eduardo Cadava
Captions: Site references and details of the events in Memory Trace were compiled by Fazal Sheikh in collaboration with Noga Kadman. Full reference details, including notes on transliteration and acknowledgments, are provided in The Erasure Trilogy.
Graphic design and Concept: Fazal Sheikh, Gerhard Steidl, and Duncan Whyte
About the Artist
Fazal Sheikh is an artist whose practice involves photographs, texts, moving images, and oral testimony. Many of his projects are concerned with complex human rights issues, and he has a longstanding focus on the rights of displaced and dispossessed populations. For the last twenty-five years or so he has documented and recorded the mass phenomena of the refugee, and the modern history of displaced persons and peoples in Afghanistan, Pakistan, India, Somalia, Kenya, Brazil, and beyond.
His work has been exhibited at, among other places, the Tate Modern in London, the Henri Cartier-Bresson Foundation in Paris, the International Center of Photography and the United Nations in New York, the Museum of Contemporary Art in Moscow, and the MAPFRE Foundation in Madrid. It has garnered him the Infinity Award from the International Center of Photography, the Leica Medal of Excellence, the Henri Cartier-Bresson International Grand Prize, and the Lucie Humanitarian Award. He also has received fellowships from the Fulbright Foundation, the Guggenheim Foundation, and the National Endowment of the Arts, and, in 2005, he was named a MacArthur Fellow.
His books include: A Sense of Common Ground (1996), The Victor Weeps (1998), A Camel for the Son (2001), Ramadan Moon (2001), Ladli (2007), The Circle (2008), Portraits (2011), and most recently, The Erasure Trilogy (2015).
About the Curator
Eduardo Cadava teaches in the Department of English at Princeton University. He is a faculty member in the summer program at the European Graduate School in Saas-Fee, and he has been the Benjamin Menschel Distinguished Visiting Professor in Architecture at Cooper Union.
He is the author of Words of Light: Theses on the Photography of History (1997) and Emerson and the Climates of History (1997), and co-editor of Who Comes After the Subject? (1991), Cities Without Citizens (2004), a special issue of the South Atlantic Quarterly entitled And Justice for All?: The Claims of Human Rights (2004), and The Itinerant Languages of Photography (2013).
He has co-curated installations and exhibitions at the MAXXI Museum in Rome, the Slought Foundation in Philadelphia, and the Princeton University Art Museum, and he has co-produced a DVD entitled Unpacking Derrida’s Library (2014), with recorded remarks by Judith Butler, Hélène Cixous, Hent de Vries, Gayatri Chakravorty Spivak, and Samuel Weber. He has recently introduced and co-translated Nadar’s memoirs, When I Was a Photographer (2015) and a collection of his essays on photography appeared in Spanish under the title La imagen en ruinas in 2015. His book Paper Graveyards: Essays on Art and Photography is forthcoming from Princeton University Press, and his book on Fazal Sheikh’s The Erasure TrilogyErasures, is forthcoming from Steidl.
With special thanks to Jane P. Watkins, for her commitment to dialogue and generous support.
The Memory Trace wall installation is made possible thanks to the generous support of Steidl.
The Erasure Trilogy emerged from an initial commission from the This Place project:
Storefront’s programming is made possible through general support from Arup; F.J. Sciame Construction Co., Inc.; Gaggenau; KPF; ODA; Roger Ferris + Partners; the Foundation for Contemporary Arts; The Greenwich Collection Ltd.; the New York State Council on the Arts with the support of Governor Andrew Cuomo and the New York State Legislature; public funds from the New York City Department of Cultural Affairs in partnership with the City Council; The Peter T. Joseph Foundation; and by Storefront’s Board of Directors, members, and individual donors. Production and materials for signage and exhibition design are supported by A To A Studio Solutions.




Closed Worlds

Tuesday February 16, 2016 – Saturday April 9, 2016

February 17th – April 9th, 2016

Press & Members Preview: Tuesday, February 16th – 6-7 pm

Public Opening: Tuesday, February 16th – 7-9 pm

Conference – Encounters That Never Happened: Saturday, 2/27 – 12-6 pm


About Closed Worlds


What do outer space capsules, submarines, and office buildings have in common? Each was conceived as a closed system: a self-sustaining physical environment demarcated from its surroundings by a boundary that does not allow for the transfer of matter or energy.

The history of twentieth century architecture, design, and engineering has been strongly linked to the conceptualization and production of closed systems. As partial reconstructions of the world in time and in space, closed systems identify and secure the cycling of materials necessary for the sustenance of life. Contemporary discussions about global warming, recycling, and sustainability have emerged as direct conceptual constructs related to the study and analysis of closed systems.


Closed Worlds, curated by Lydia Kallipoliti, exhibited an archive of 41 historical living prototypes built over the last century that present an unexplored genealogy of closed resource regeneration systems. The exhibition also features Some World Games, a virtual reality ecosystem by Farzin Farzin that presents a contemporary 42nd prototype selected as the winner of the Closed Worlds Design Competition hosted by Storefront in November 2015.


From the space program to countercultural architectural groups experimenting with autonomous living, Closed Worlds documents a larger disciplinary transformation and the rise of a new environmental consensus in the form of a synthetic naturalism, where the laws of nature and metabolism are displaced from the domain of wilderness to the domain of cities and buildings. While deriving from a deeply rooted fantasy of architecture producing nature, Closed Worlds integrates these ideas into the very fabric of reality in our contemporary cities and buildings.



About the 42nd Prototype


Some World Games, the winning installation of the Closed Worlds Design Competition, is an immersive environment that urges visitors to explore and experiment with virtual prototypes generated from the archive of 41 closed systems exhibited as part of the larger Closed Worlds exhibition. Participants are guided through the installation on a looped track that channels their kinetic motion through an orbiting virtual environment.


Some World Games harnesses the expended energy of exhibition exploration—the acts of reading, viewing, and wandering—and puts this agency on display. Entering the installation is a decisive act in which the visitor consents to a moment of vulnerability, plugging into the universe of the archive and engaging with its content through virtual immersion in physical space.


For more information about the competition and the winning design, see here.



Closed Worlds: Encounters That Never Happened


On Saturday, February 27th, Storefront and The Irwin S. Chanin School of Architecture of The Cooper Union will jointly present a public conference, Closed World: Encounters That Never Happened. Presenters and discussants will engage in debate and discussion on the history and future of closed systems in architecture and design. Participants include such luminaries as Reyner Banham, Buckminster Fuller, Jacques Cousteau, Victor Olgyay, Neil ArmstrongRay and Charles Eames, Walt Disney, Peter Van Dresser, Hans Hollein, and John McHale.


For more information and to see the list of participants as it is updated, see here. RSVP for the conference here.




Closed Worlds Exhibition:

Curator and Principal Researcher: Lydia Kallipoliti

Research: Alyssa Goraieb, Hamza Hasan, Tiffany Montanez, Catherine Walker, Royd Zhang, Miguel Lantigua-Inoa, Emily Estes, Danielle Griffo and Chendru Starkloff

Graphic Design and Exhibition Design: Pentagram/Natasha Jen with Melodie Yashar and JangHyun Han

Feedback Drawings: Tope Olujobi

Lexicon Editor: Hamza Hasan

Special Thanks: Bess Krietemeyer, Andreas Theodoridis, Cecilia Ramos, Alex Miller


42nd Prototype, Some World Games:

Installation Design, Concept, and FabricationFarzin Farzin (Farzin Lotfi-Jam, Sharif Anous, John Arnold)

Fabrication Assistance: Joseph Vidich, Kin & Company

Lighting Design AssistanceChristopher Adam Architectural Illumination Engineering


This exhibition is supported by the Graham Foundation and the New York State Council for the Arts. The research for this exhibition has been supported by Syracuse University School of Architecture and Rensselaer Polytechnic Institute.


42nd prototype 3D printing resources provided by MakerBot.

3D printing provided by Voodoo Manufacturing.


General support for Storefront exhibitions is provided by the New York State Council for the Arts, the New York City Department of Cultural Affairs, Arup, KPF, Sciame Construction, DS+R, and ODA.


This exhibition is dedicated to the memory of Michael-Angel Kallipolitis (1982-2016), who lived in a closed world and left ours too soon on January 5, 2016.

JB1.0: Jamming Bodies

Friday October 16, 2015 – Saturday December 19, 2015

Jamming Bodies Laboratory. Lucy MCRae and Skylar Tibbits. Storefront for Art and Architecture 2015.



“If one wants to dance on a tightrope, one has to first tension the wire.”

Siegfried Ebeling, 1926, Space as Membrane


JB1.0: Jamming Bodies is an immersive installation that transforms Storefront’s gallery space into a laboratory. The installation, a collaboration between science fiction artist Lucy McRae and architect and computational designer Skylar Tibbits with MIT’s Self-Assembly Lab, explores the relationship between human bodies and the matter that surrounds them.


JB1.0: Jamming Bodies collapses architecture, technology, and art into a single object. While skin usually demarcates the transition between exterior and interior, this experimental installation transforms skin into a membrane that operates as both. A threshold toward a space of total interiority or total exteriority, JB1.0 is an animate continuum that simultaneously embraces and modifies human bodies and space. Combining the plasticity of mutable organisms with the rigidity of architectural forms, JB1.0 brings architecture and its subject into a single space. A breathing, morphable wall, JB1.0 animates the building enclosure by absorbing and expulsing the atmosphere around it while compressing the bodies with which it interacts.


With this project, McRae and Tibbits, along with MIT’s Self-Assembly Lab, explore pneumatic architectural skins and their potential applications to the future of health, fitness, fashion, furniture, and zero gravity. JB1.0 is both an installation and performance piece, and serves to investigate the implications of material transformation and self-reconfiguring membranes on the feeling, behavior, and physiology of the body.


JB1.0 takes the form of Storefront’s gallery wall as a point of departure, providing through its various iterations and forms a series of works on display as bodies (visitors to the gallery) interact with the installation.


JB1.0 is the first iteration of a research project on the scalability of granular jamming for spatial applications. “Jamming” entails a process by which disordered materials can reversibly switch between liquid, solid, and semi-solid states by increasing density. The installation requires reciprocal action by human bodies for the total fulfillment and observation of variables such as tunable stiffness, reconfiguration, morphability, and dynamic internal/external forms.


Through this exhibition, Storefront for Art and Architecture is transformed into a lab space to test questions of scale, geometry, and temporality in relationship to the shape, size, intensity, and quantity of particles that comprise physical structures.


JB1.0 is the first collaboration between McRae and Tibbits, who bring together their expertise to produce a pioneering large-scale jammable furniture and a body-focused space. This prototype, a mix between a playground and a laboratory test room, explodes inherited ideas within many industries and disciplines, putting morphable space and the body at the center of conversations about the future of science, technology, health, and fitness, as well as in the conceptual and material definitions of our everyday spaces of inhabitation.




–  –  –  –  –  

This exhibition was made possible through the generous support of the the Robert Rauschenberg Foundation’s Artistic Innovation and Collaboration Program.

Jamming Bodies is the third in a series of projects commissioned by Storefront with the support of the Rauschenberg Foundation. The grant supports collaborations that produce innovative work between individuals across disciplinary fields. Previous exhibitions presented at Storefront as part of the program include Situation NY by Marc Fornes and Jana Winderen in 2014 and Speechbuster by Jimenez Lai and Grayson Cox in 2013.