Week of March 4, 2024

A weekly Saturday recap to share with you our favorite links, discoveries, exhibitions, and more from the past seven days. This week: the spring weather in New York goes hand in hand with a slew of new exhibition openings, including an archival Max Lamb show, a Bushwick gallery meditating on consumer iconography, and the new Latin American “Crafting Modernity” design exhibition at MoMA.


The vernal equinox approaches, the days have been sunny, and just in time, a slew of new exhibitions have opened that make you actually want to art-hop around New York City. While you’re waiting for the Whitney Biennial (debuting this week), pop uptown and be sure to see Max Lamb’s Inventory exhibition at Salon 94 Design, for which the designer dug into the gallery’s storage — where his works had been kept for years, some in disrepair — and emerged with 282 pieces from 31 series, made from 33 different materials over the last 17 years. From stone to polystyrene to textiles to bronze, the grouping “provides both Lamb and us the opportunity to literally take stock of the development of his practice, its twists and turns and evolution, offering clues to where he might be headed,” as critic Zoe Ryan puts it in the accompanying essay. Photos by Sean Davidson

That aforementioned S94 Design storage space is actually in the same Bushwick building as new(ish) gallery International Objects, who debuted their third exhibition, called Extra Taste, earlier in February. The excellent exhibition explores the iconography of consumer culture in America — where else could you find a pigmented resin replica of Babybel cheese affixed to a column? — and our favorite works by far were a series by Conrad Bakker of things carved and painted in wood: an Eames chair, an X-Files poster, and a replica of Robert Smithson’s library among them.

Blockbuster design exhibitions at MoMA have strangely been few and far between over the last decade — especially considering design’s nascent cool-girl status — so we were happy to see the opening of Crafting Modernity, which traces Latin America’s design lineage through the middle of the last century. The exhibition presents what the curators call conflicting visions of modernity — “for some, design was an evolution of local and Indigenous craft traditions, leading to an approach that combined centuries-old artisanal techniques with machine-based methods. For others, design responded to market conditions and local tastes, and was based on available technologies and industrial processes.” But from my 21st-century perch, I don’t see those as conflicting at all but rather two forces working in concert to produce the majority of design objects today. From top: Clara Porset’s Butaque, Juan Baixas’ Puzzle Chair, Jacques Mosseri’s Cuatroenuno table, Emilio Ambasz’s Flashlight

Downtown, at Jacqueline Sullivan Gallery, you’ll find the first American solo exhibition from longtime fave Valentina Cameranesi-Sgroi, who is debuting new works in glass, wood, and lacquer, alongside select vintage pieces sourced from Olde Hope in Pennsylvania. The exhibition consists of three parts: wooden boxes, whose shapes recall Aldo Rossi, painted with delicate, watercolor-like pastels and hung with tassels of linen macrame, natural rope, copper enamel, and borosilicate charms; enameled copper vessels, handmade in Venice and inspired by vampires and gothic 1980s-era French beauty ads; and experimental freeform glass vessels, rendered opaque by a blast of excess heat and drooped to evoke a sense of decay. Photos by William Jess Laird

Elsewhere downtown is the debut exhibition at the new 7,000-sq.ft. New York location of STUDIOTWENTYSEVEN, the gallery run by Robert Onuska and Nacho Polo. Among our favorite pieces on display, from top: Ondulating Bronze chair by Luna Paiva; Colorado cabinet by Benjamin Foucaud; Agatha chair by Martin Massé; AII5 Coffee Table by Francesco Balzano paired with a Kathrine Bernhardt painting of Dr. Teeth from The Muppets; and Monoblock bronze chair by Luna Paiva. Photos by William Jess Laird


Last month, the Copenhagen-based brand FRAMA took over Maison Rocher with a temporary installation called Tabula Rasa, which brought together permanent FRAMA collection pieces, the newly launched Folding Flat Chair, and work-in-progress sculptures from British sculptor Nicholas Shurey. A more permanent installation at Maison Rocher is forthcoming. (And for anyone wondering, as I was, who the lamp in the top photo is by, it’s Kym Ellery!)

Audo recently released a few excellent additions to its collection including a shapely aluminum side table by one of our favorite finds from last year’s Stockholm fair, Ted Synnott; a stainless-steel table with a hollow ovoid in the middle by Danielle Siggerud; and a new striped fabric for one of our favorite chairs, the Brasilia by Andersson & Voll.

Usually, interior designers can’t get clients to commit to too much color. In LA, this project by Another Human is literally almost too much color, but the tonality keeps it from going overboard. Loving the floor-to-ceiling Kvadrat blue sheers, the custom raspberry Waka Waka dining table, and the vintage 80s Postmodern chairs, now recovered in a lime green Raf Simons fabric.

Gonna venture to guess this is the first bed in history inspired by a cocaine tray. Launched at Zona Maco in Mexico City, Kouros Maghsoudi’s high-gloss fiberglass Hug Bed originally took the form of a smaller ashtray, jewelry catchall, or what have you; scaled up, it still reads deliciously hedonistic.

New from the Australian rug brand Pampa: throws inspired by the universal symbols of the sun and the moon, called Sol, Luna, and Rainbow. Designed in Australia and crafted in Argentina by local artisans, the cotton throws are designed to accompany you wherever you go: to the beach, at a picnic, on the bed, or even up on the wall.