The New York Times The Don’t-Misses at Independent and NADAMarch 2018
A small selection of the very best booths to anchor your stroll.
Contact
41 Elizabeth Street
New York, NY 10013
+1 212 560 0670
info@martosgallery.com
martosgallery.com
instagram
About the Gallery
Martos Gallery was founded in 2007 by Jose Martos, who had previously been a partner in the Alona Kagan Gallery in Chelsea and the Martos Kagan Gallery in Soho. The gallery works with an array of internationally renowned artists, both established and emerging, including the Estate of Dan Asher, Michael Auder, JPW3, Justin Lieberman, Aura Rosenberg, and Jory Rabinovitz. After 16 years in Chelsea, the gallery relocated to its current space in Chinatown in 2016. In the front room, Martos hosts May 68, a book and record store with rotating displays of art programmed by curator and writer Bob Nickas. In addition to Martos Gallery, Jose Martos also operates the itinerant project space Shoot the Lobster. Currently based in Los Angeles, Shoot the Lobster has staged exhibitions, performances, and pop-ups in numerous locations across the world, including Miami, Iowa, Luxembourg, and Vietnam.
Kathleen White
Exhibition view of Martos Gallery at Independent New York, 2018.
Courtesy Independent. Photo: Etienne Frossard.
Martos Gallery at Independent New York, 2015
Courtesy of Independent
Photo: Etienne Frossard
Courtesy of Martos Gallery
Courtesy of Martos Gallery
Courtesy of Martos Gallery
Courtesy of Martos Gallery
Courtesy of Martos Gallery
A small selection of the very best booths to anchor your stroll.
The single artwork that has stayed most in my thoughts this past year is Jessica Vaughn's After Willis (rubbed, used, and moved) #005, 2017.
Invisible Man, a group show at Martos Gallery curated by Ebony L. Haynes, gathers works by four artists that subtly call attention to embodied experience and the histories embedded in utilitarian objects.
A grouping of spare works by Torkwase Dyson, Kayode Ojo, Pope.L and Jessica Vaughn, this show is a brilliant solution to the contemporary art-world version of the same problem, demonstrating how to show work in a way that includes but is not limited to its makers' blackness.