Lehmann Maupin

Today for #WomensHistoryMonth, we’re celebrating the work and life of Swiss artist, Heidi Bucher. She is best remembered for her innovative use of latex and exploration of the physical boundaries between the body and its surroundings. Serving simultaneously as means of historical preservation and metaphorical molting, Bucher’s Hautr?ume—or “roomskins”—act as indexes of the complicated relationship humans have to their bodies and pasts. Working across the United States, Switzerland, and the Canary Islands, Bucher forged a practice anchored in familial, cultural, and architectural histories and deeply entwined with contemporary concerns around the boundaries between public and private space, and femininity and the body. ?? Join us in celebrating our women artists: bit.ly/4iFiEc2 ?? : 1) Heidi Bucher with ‘Door of the Herrenzimmer’, 1978 2) Heidi Bucher skinning the men’s room, Herrenzimmer, 1979. Photo by Hans Peter Siffert 3) Untitled (Door of the Herrenzimmer), 1978. Latex, cotton, and mother of pearl pigment, 100.39 x 82.68 inches (255 x 210 cm). Photo by Matthew Herrmann ? The Estate of Heidi Bucher

You’re Invited: Join us for an artist talk with Kim Yun Shin and curator Christopher Y. Lew on Thursday, April 3 at 5 PM at our New York gallery. ?? RSVP today: https://lnkd.in/eDz5ux_d The talk precedes the opening reception (6–8 PM) for Kim Yun Shin’s exhibition ‘Divide Two Divide One’, which features selections from several of the artist’s historic series, with works dating from the mid-80s to the present. Encompassing sculptures crafted from wood, quartz, and onyx, as well as paintings, the exhibition probes the scope of Kim’s historic career, tracing her artistic and thematic development, and thus, her connection to the natural and spiritual worlds around her.

Today for #WomensHistoryMonth, we’re celebrating the work and activism of Marilyn Minter. Well known for her meticulous technical mastery, Minter’s details often highlight natural corporeal qualities that are omitted in mass-media depictions of women, such as body hair and stretch marks, which she deems not only authentic but also beautiful. In her early work, Minter explored erotica—most often images created by men for men—and created new versions of erotic images solely meant for female consumption as a means of reclaiming female sexuality and desire. This revolutionary act was met with serious criticism from leaders of the feminist movement who questioned the ability to reclaim such exploitative images. Nevertheless, Minter has unabashedly continued to advocate for women’s rights and reproductive freedoms, a stance, which for her, always includes women openly expressing their sexuality and desire—reclaiming the female body and subverting the historical objectification of women from the male gaze. Minter’s work will be included in our presentation at Art Basel Hong Kong. ?? Booth 1C22 ??? Previews: March 26–27. Public days: March 28–30 ?? Join us in celebrating our women artists: bit.ly/4iFiEc2 ?? : 1) Marilyn Minter by Nadya Wasylko, 2014 2) Pink On and On and On, 1992. Enamel on metal sign, 48 x 36 inches (121.9 x 91.4 cm). Photo by Izzy Leung 3) Left On Red, 2024. Enamel on metal, 36 x 48 x 2 inches (91.4 x 121.9 x 5.1 cm) Courtesy the artist, Salon 94, New York; Regen Projects, Los Angeles; and Baldwin Gallery, Aspen.

Today for #WomensHistoryMonth, we’re celebrating Chilean artist Cecilia Vicu?a. Born and raised in Santiago, she was exiled during the early 1970s after the violent military coup against President Salvador Allende. This sense of impermanence, and a desire to preserve and pay tribute to the indigenous history and culture of Chile, have characterized her work throughout her career.? In the mid-1960’s, Vicu?a became interested in ancient quipus—an Andean method of communication and record-keeping involving the knotting of colored strings. Her first spatial weavings date from the early 1970s, and soon after she began to make her own Quipus from unspun wool. These ephemeral, site-specific installations combined the tactile ritual of weaving and spinning with assemblage, poetry, and performance. Several paintings and drawings by Vicu?a will be included in our presentation at Art Basel Hong Kong. ?? Booth 1C22 ??? Previews: March 26–27. Public days: March 28–30 ?? See what our women artists are up to around the world: bit.ly/4iFiEc2 ?? : 1) Cecilia Vicu?a with ‘A Journal of Objects for the Chilean Resistance’, 1974, mixed media installation at Arts Meeting Place, London. Quipus hang from the wall to the left. 2) Quipu in the Gutter, 1990 Ritual performance, Beach Street, New York. Photo by César Paternosto 3) The artist with ‘Quipu Womb’, 2017, in 2022 at the Tate Modern. Photo by Lucy Dawkins ? 2024 Cecilia Vicu?a/Artist Rights Society (ARS), New York

Beyond Material opens today, Thursday March 20, at Lehmann Maupin London! Curated by London-based Partner Isabella Icoz, the group show brings together work from nine artists within the gallery’s program, centering the unique approach each of these artists take to material within their practices. Beyond Material is on view at No.9 Cork Street in Mayfair from March 20–May 10. ?? Learn more: bit.ly/3XYzBq0 ?? : 1) McArthur Binion, Circuit: Landscape: No. 5, 1972. Oil paint stick and wax crayon on aluminum, 25 x 32 inches (63.5 x 81.3 cm). Photo: Matthew Herrmann 2) Liza Lou, Ode, 2024. Glass beads on stretched canvas with artist's frame, 20.75 x 20.75 x 2 inches (framed) (52.7 x 52.7 x 5.1 cm). Photo: Joshua White 3) Detail of Ode, 2024

We are proud to announce the recent placement of?20 works from our program with 19 institutions based in 10?countries spanning Asia, Europe, the?Americas, Africa, and the Middle?East. Read the announcement: bit.ly/4hf7g5T With works entering public collections including the Guggenheim Museum in New York, the Singapore Art Museum, the National Gallery of Art in Washington DC, the Pérez Art Museum Miami, the Vancouver Art Gallery, and more, we continue to be inspired by the international reach and curatorial recognition achieved by our artists.

“Gray’s clever layering of forms and critical consideration of colonialism’s origins and repercussions illuminate striking parallels across time and space.” — The Brooklyn Rail See Todd Gray: While Angels Gaze in New York, now extended through March 29. ? Learn more: bit.ly/427Ry89

This Women’s History Month, we are proud to recognize the achievements of the 16 women artists in our gallery program. Learn more: bit.ly/4iFiEc2

We are pleased to announce that Emma Son has been promoted to Partner, based in Seoul. Son joined Lehmann Maupin in 2017. Under her leadership, Lehmann Maupin became one of the first international galleries to establish a permanent space in South Korea. In 2022, Son led the opening of our new location in Seoul’s Hannam neighborhood. Learn more: bit.ly/4h7sCBX

Join us for an artist talk with Todd Gray on Thursday, March 13 at 5 PM at our New York gallery. Todd Gray?will be in conversation with New York-based curator and writer Allison Glenn (Allison G.), who was recently announced as the curator of the 2026 Toronto Biennial of Art. RSVP to secure your spot: bit.ly/TGTalk Gray will discuss his current Lehmann Maupin exhibition, ‘While Angels Gaze’, and its relationship with the ideas and themes that permeate his decades-long practice. The show was recently extended and will be on view through March 29. Pictured: Todd Gray in his LA studio; Portrait of Allison Glenn. Photo by Rana Young