Intersecting craft, sculpture, and large-scale textiles, this exhibition deconstructs everyday materials to examine themes of housing precarity, consumerism, and environmental destruction through a lens of curiosity and reuse.

Salma Ragheb: This exhibition investigates the spatial and social dynamics of Cairo’s beauty salons and hammams, where domestic life and body care spill into the public sphere. Through paintings of contradictory storefronts and Cairene bathhouse walls alongside a hip-bathtub sculpture inspired by Karnak’s ancient baths, the work explores how architectural spaces bracket and cradle the body. Ultimately, it highlights how shared body-care rituals allow for moments of class dissolution and blur the boundaries between private intimacy and public life.

Clea Christakos-Gee: Embracing the material elements of photography, this exhibition uses collage to navigate experiences of psychosis, disorientation, and psychological rupture. Through enlarged images compressed within clear album sleeves and printed onto transparent film, the work allows fragmented photographs to overlap and cast blurred, tinted projections onto the gallery walls. Accompanied by an artist book revealing the creative process, the series considers how visual and perceptual fragments can be materially activated to shape, rather than resolve, internal complexity.

It’s all for you is an installation materialized through vermicomposting that explores queer intimacy and alternative forms of kinship with the more-than-human. Through dresser-like structures with interactive drawers containing living, community-tended compost, the project incorporates donated love letters, organic matter, and biodegradable keepsakes alongside mini-freezers displaying preserved materials and sculptures cast from worm castings. Blending living systems with public participation, the exhibition invites visitors to contribute compostable materials and share in the ongoing cycle of care, decay, and renewal.

I Find Myself Waiting is an ongoing photographic exploration of friendship, intimacy, and the emotional limbos of young adulthood. Through large-scale film prints paired with multimedia text excerpts, such as letters, journal entries, and text messages, Bangladeshi photographer Shebonti Khandaker documents her friends and lover within spaces of transition. Shaped by the pressures of immigration and work precarity, the project transforms fleeting moments of love, discomfort, and impending loss into a poignant defense against time, capturing the fragile tender bounds of a generation in flux.

The Presence of Discomfort features works by Phuong Nguyen and Eira McIntosh, who use material-based practices to explore liminality, vulnerability, and uncertainty. Nguyen pairs fragile porcelain, wood carvings, and plastic twine to examine diasporic experiences and inner tension shaped by the Western gaze. Meanwhile, McIntosh constructs sculptures from steel, latex, vinyl tubing, and wiring—materials that expand and contract to collapse notions of past, present, and future. Together, their works invite reflection on discomfort as a vital, reflective space for intimacy with our interior worlds.

Spaces and objects that once were brings together five artists who investigate disregarded, lifeless, and suburban man-made environments. Through found objects, reflective paintings, and sculptural works, the exhibition explores how industrial structures dictate bodily movement, evoke a sense of displacement, and shape our daily lives amid cycles of constant urban evolution and stagnancy.

Edge Elisions is a modular, multi-media installation that investigates the landscape of data centers and the violence of computer vision. Centered on a large-scale server-rack terminal encased in clear vacuum-formed “body packaging,” the work pairs lightboxes and a video essay to interrogate how algorithmic edge detection misreads the body and relies on obfuscated, exploitative human labor. By intentionally misusing tools of technological capture, the exhibition opens seams between subject, object, and background to imagine alternative possibilities within the digitized surround.

This collaborative exhibition spans drawings, ceramic sculptures, an animation, and a site-specific ephemeral wall drawing made with pastel, charcoal, and found objects. Grounded in the concept of the niche, as nest, shrine, and architectural space for incubation, the project uses repurposed cardboard boxes integrated directly into the wall drawing to house collected objects. Functioning as interconnected containers for story-sharing, these hybrid structures divide and unite individual narratives while inviting viewers to participate in the creative process.

Night Bug is a narrative exhibition that reconstructs a remembered summer night out in late adolescence through a series of small- to medium-scale representational oil paintings. Drawing from personal photographs to navigate experiences of memory loss, the works follow a fictitious timeline from dusk to dawn, capturing quiet, sensory moments across parks, lakes, and backroads. Hung at varying heights that respond directly to their subject matter, the exhibition uses physical space and fragmented imagery to invite viewers into an emotional geography where personal and collective memories surface.

Race to the Bottom features four kinetic sculptures that use playfulness, dark poetry, and miniature scale to explore politics, existentialism, and metaphysics. Through vitrines animated by atmospheric explosions of ash and swirling gold dust, alongside a frantic spiral highway of crashing ball bearings, the works respond to moments of global crisis and human futility, using mechanical movement and subtle humor to engage with heavy, serious subject matter.