Pace Gallery

On view in Paris 🇫🇷 Paris Photo Booth C23 Grand Palais Nov 13 – 16, 2025 Our booth features a curated selection of works by over 20 artists, underscoring the breadth and history of our photography program. "The works on view—a compelling dialogue between new and old—not only highlight photography's incredible range but also affirm its crucial place within the broader history of modern and contemporary art."—Lauren Panzo, Vice President Discover the presentation: https://lnkd.in/e5-Wfapp

“Through the process of making monotypes, Gottlieb was able to return to the active, hands-on methods that he prized. His joy at being able to work directly with paint and paper once more gave him a fresh start.” — Sanford Hirsch  On the occasion of Adolph Gottlieb and Kim Whanki: The Language of Abstraction, The Universe of Emotion, now on view at Pace in Seoul, we’re revisiting a 2022 essay by Sanford Hirsch, Executive Director of the Adolph and Esther Gottlieb Foundation, that takes a close look at Gottlieb’s late-career printmaking.  When his health waned in his later years, Gottlieb turned to monotypes, which proved to be a more physically manageable, though equally inspiring, evolution of his painting practice. As Hirsch writes, Gottlieb’s monotypes can be understood as “personal notes of an artist of long experience who was aware he was nearing the end of his life.”  Explore Gottlieb’s monotypes, like Burst (Second State) (1974), at our presentation in Seoul, on view through January 10, 2026. Discover the Journal: https://lnkd.in/eM_5eejz Discover the Exhibition: https://lnkd.in/dqmDQDdk Artwork: Adolph Gottlieb, "Untitled," 1973 © Adolph and Esther Gottlieb Foundation/Licensed by VAGA at ARS, New York

In Focus  🔎 Kim Whanki in Seoul Excerpts from the diary of Korean modernist painter #KimWhanki provide a glimpse into the creative process behind his canvases, which employ repeated dots and refined chromatic structures to evoke an Eastern sense of meditation and cosmic order.  A selection of Kim’s poetic abstractions from the late 1960s to the early 1970s are on view until early 2026 in “The Language of Abstraction, The Universe of Emotion” at #PaceSeoul, which pairs the artist’s work with paintings by #AdolphGottlieb.  Learn more about Kim Whanki and find exhibition details: https://lnkd.in/dqmDQDdk

Opening tonight at #PaceNewYork, our November exhibitions round out our 65th Anniversary programming by spotlighting the work of modern masters #AgnesMartin and #AntoniTàpies, along with influential contemporary artists #LiSongsong and #FriedrichKunath. 540 West 25th Street: 1️⃣ Agnes Martin: Innocent Love  https://lnkd.in/ebd5WeVQ 2️⃣ Antoni Tàpies: On paper https://lnkd.in/eP2fie6Z 3️⃣ Li Songsong: History Paintings  https://lnkd.in/emRahr-q 510 West 25th Street: 4️⃣ Friedrich Kunath: Aimless Love  https://lnkd.in/eq_Tzfzm Join us for the opening reception of these four stellar exhibitions tonight:    Thursday, November 6, 2025  6–8 PM  540 and 510 West 25th Street    

In Focus 🔎 our presentation of works on paper by #AntoniTàpies spans decades of his artistic practice, from the start of his career in the 1940s to the final years of his life in the early 2000s.  The selection on view in “Antoni Tàpies: On paper” trace the development of the Catalonian artist’s visual lexicon, which was influenced by his interest in signs and symbols from Eastern religions and philosophies, particularly #Buddhism, as well as elements of #Surrealism, symbolism, and existentialism.  Swipe through to explore #worksonpaper—as well as the artist’s thinking—from across the decades. “Antoni Tàpies: On paper” will be on view from November 7 through December 20, 2025, at #PaceNewYork.  "Antoni Tàpies: On paper” opens November 6, 2025, with an opening reception from 6–8pm ET at our 540 West 25th Street gallery.  Discover the exhibition: https://lnkd.in/eP2fie6Z

Reflections: Agnes Martin | Richard Tuttle Artist #RichardTuttle shares thoughts on his close friend and collaborator Agnes Martin, who drew deep inspiration from the concept of innocence.  Tuttle’s and Martin’s decades-long friendship began in the 1960s, when they first met in New York. Since then, their work has been shown together in numerous exhibitions, including “Agnes Martin, Richard Tuttle: Crossing Lines” at #PaceNewYork in 2017.   

⭐ Congratulations to Pace artist #MaryCorse, who over the weekend was honored along with director Ryan Coogler during Los Angeles County Museum of Art (LACMA)'s 14th annual Art+Film Gala! Corse was introduced during the gala by fellow Light and Space pioneer #JamesTurrell, who praised the artist as “one of the keepers of the light.” Corse's 60-year career reflects a groundbreaking approach to light, perception, and subjectivity. Read more about the gala via ARTnews: https://lnkd.in/ebV-WeuH

Opening this week: Pam Evelyn’s first major institutional exhibition in the United States opens on November 7 at Dallas Contemporary "Pam Evelyn: Salvaged Future” will present large-scale works created by the artist over an extended period of focused painting in various locations, including Cornwall, England, her London studio, and the The Watermill Center on Long Island in New York, where she recently completed a residency over the summer. The exhibition will be on view to the public through March 15, 2026.  Learn more and RSVP for the opening celebration via Dallas Contemporary. Discover more works by Pam Evelyn at the link in bio.    Artwork: Pam Evelyn, "Louse Point (for Bill)," 2025 © Pam Evelyn, courtesy Pace Gallery

“Once viewed through the prism of handmade embellishment, the grid actually appears everywhere in time and space: French cathedral floors, ancient Greek coffered ceilings, Arabic screens, Portuguese azulejos, and Aztec codices.” — Michaëla de Lacaze Mohrmann  Michaëla de Lacaze Mohrmann’s 2022 essay on the work of Pace artist Prabhavathi Meppayil, “Reincarnations of the Grid,” rounds out our dive into our Journal archive for unique perspectives on #Minimalism.  Here, Mohrmann investigates the grid and the ways that Meppayil complicates its modernist associations by interweaving “artisanal practice and geometric Minimalist vocabularies.”  Read the full essay in our Journal: https://lnkd.in/eTixuQVC   Artwork: Prabhavathi Meppayil, "l/forty four," 2019 © Prabhavathi Meppayil 

“Minimalism, today, strips information down to its most essential forms, regardless of the complexity of interwoven stories that may be concealed within the object’s making.” — Andria Hickey  In anticipation of Agnes Martin: Innocent Love, opening November 7 at our New York gallery, we’re highlighting writings that—like Martin’s canvases—expand and deepen our understanding of #Minimalism.  Revisit curator Andria Hickey’s 2021 essay “Infrastructural Aesthetics: Minimalism in the Information Age,” which explores contemporary minimalist approaches across a range of artistic disciplines.  Read the full essay in our Journal: https://lnkd.in/ed72-sGX