29.03 - 03.05.2025
Curated by Baptiste Pinteaux
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© Bruce Pavlow

© Bruce Pavlow


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© Bruce Pavlow


These six bodies of work are brought together first and foremost by the sense of discovery that they inspire. All seem to have developed in a minor register, coming together in the shadow of some other, more prominent practice. Sometimes their simplicity and eroticism leaves them open to suspicions of amateurism and bad taste. Together, they compose a light and dissonant score in which you can recognize the pleasure of improvisation and an imagination free from any weighty canon – an off-key melody full of an emotion that is at once nostalgic, artificial, and unlike any other.

Ces œuvres se rejoignent avant tout par la sensation de découverte qu'elles suscitent. Chacune semble avoir évolué dans un registre secondaire, se formant à l'ombre d'une pratique plus dominante. Parfois, leur simplicité et leur érotisme les exposent à des accusations d'amateurisme ou de mauvais goût. Ensemble, elles forment une partition légère et dissonante, où l'on perçoit le plaisir de l'improvisation et une imagination affranchie de tout canon rigide – une mélodie désaccordée, empreinte d'une émotion à la fois nostalgique, artificielle et unique.

Martha Edelheit, Balmoral Dutch Cigar, 1960. Collage of various materials, 37,5 x 53,5 cm.
MARTHA EDELHEIT

Born in 1931 in New York, United States
Lives and works in New York, United States

Martha Edelheit is known for both her frank depictions of sexuality and her lush and vivid work is at once critical, sensual, and humorous.

Edelheit studied at the University of Chicago, New York University, and Columbia University in the 1950s where she studied with artist Michael Loew and art historian Meyer Schapiro. She established herself in the center of the downtown avant- garde, becoming a member of the Reuben Gallery where her first solo show was held in 1960. She, like other members Jim Dine, Rosalyn Drexler, Allan Kaprow, Claes Oldenberg, Lucas Samaras, and Robert Whitman, were expanding the definitions of art-making with the creation of Happenings and experimental objects. By the early 1970s, Edelheit became involved in the Women’s Art Movement as an activist and art worker amonst other movement (The Women’s Caucus for Art, the Women’s Institte for Freedom of the Press). She was also a member of Fight Censorship, alongside other women artists foregrounding eroticism, including Joan Semmel, Judith Bernstein, and Hannah Wilke.

Her work has been included in museum exhibitions internationally, including Kunsthalle Bielefeld, Germany, Fondation Vincent Van Gogh, Arles, France or the Jewish Museum, New York, among others. It will be featured in the 2025 exhibition Sixties Surreal at the Whitney Museum of American Art. She curated the exhibition Erotic City currently on view at the Eric Firestone Gallery in New York.

Martha Edelheit, Studies of Susan Sontag, c. 1960-1962. Ink on paper. 27,9 x 21,6 cm . Unique.



Martha Edelheit, Chrysanthemums, 1963. Pastel on paper. 74 x 97,4 cm . Unique.



Martha Edelheit, Annie in her new boots, smoking, 1969. Pencil and graphite on paper. 74 x 97,4 cm . Unique.



Martha Edelheit, David S., napping, c. 1971. Graphite on paper. 43,2 x 35,6 cm . Unique.



Martha Edelheit, David S., resting, c. 1971. Graphite on paper. 38.1 x 27.9 cm . Unique.



Martha Edelheit, Paul, c. 1971. Graphite on paper. 37,5 x 55,9 cm . Unique.



Martha Edelheit, Dream of being a dominatrix, 1960-1962. Ink on paper. 35,7 x 29,3 cm. Unique.

Martha Edelheit, Lady in a Night Club, 1960-1962. Ink and watercolor on paper. 35,7 x 29,3 cm. Unique.



Martha Edelheit, David S., foot and napping study, c. 1967. Charcoal on paper. 35.6 x 42.5 cm. Unique.



Martha Edelheit, David G., c. 1971. Graphite on paper. 43,2 x 35,6 cm. Unique.



Martha Edelheit, David S., back studies, c. 1971. Graphite on paper. 37,5 x 55,9 cm. Unique.



Martha Edelheit, David S., seated with hands clasped, c. 1971. Graphite on paper. 37,5 x 55,9 cm. Unique.



Martha Edelheit, Factory of voyeurs, c. 1971. Graphite on paper. 37,5 x 55,9 cm. Unique.



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Wayne Koestenbaum, Jesse, 2021. Acrylic and watercolor pencil on paper. 45,7 x 60,96 cm. Unique.
WAYNE KOESTEMBAUM

Born in 1958 in San José, California, United States
Lives and works in New York, United States

Wayne Koestenbaum is a poet, critic, novelist, artist and performer. He is the author of more than twenty books, including Camp Marmalade, Best-Selling Jewish Porn Films, Andy Warhol and The Queen’s Throat.

His essays and poems have been widely published in periodicals and anthologies, including The New Yorker, The New York Times, The Paris Review or Artforum. His literary archive is in the Yale Collection of American Literature at Yale’s Beinecke Rare Book and Manuscript Library. Koestenbaum has exhibited his own paintings in solo shows at White Columns, 356 Mission, and more currently at Gattopardo, Los Angeles.

His first piano/vocal record, Lounge Act, was released by Ugly Duckling Presse Records in 2017; he has given musical performances of his improvisatory Sprechstimme soliloquies at The Kitchen, REDCAT, Centre Pompidou, Walker Art Center, The Artist’s Institute, and the Renaissance Society.

Koestenbaum’s brief essay-films, originally seen on Instagram are the most recent development of his interdisciplinary, multi-media practice.

Wayne Koestenbaum, Theda Bara with Bubbles, 2023. Unique screenprint on paper. 27,94 x 35,56 cm . Unique.



Wayne Koestenbaum, Scenes from a Marriage, 2024. Video, non exclusive release of copyright. 3 min. 6 sec.



Wayne Koestenbaum, Pat on the Pier, 2020. Digitized super 8 film, silent. 3 min. 18 sec. Link : https://vimeo.com/461870481

Wayne Koestenbaum, Bird Love, 2024. Video, non exclusive release of copyright. 1 min. 10 sec. Link : https://vimeo.com/952113549



Wayne Koestenbaum, Portrait of Darcelle, 2023. Video, non exclusive release of copyright. 1 min. 35 sec. Link : https://vimeo.com/814313945



Wayne Koestenbaum, Hotel Theory, 2020. Video, non exclusive release of copyright. 59 sec.

Wayne Koestenbaum, Mod Cheap Thrills, 2019. Video, non exclusive release of copyright. 57 sec.



Wayne Koestenbaum, Uneasy Rider, 2024. Video, non exclusive release of copyright. 1 min. 24 sec.



Wayne Koestenbaum, The Activity of the Birds, 2024. Video, non exclusive release of copyright. 1 min. 58 sec. Link : https://vimeo.com/965455046

Martin Laborde, Reloaded/Combinatory collage (Horse), 2024. Mixed media. 50 x 65 cm . Unique.
MARTIN LABORDE

Born in 1983 in Paris, France
Lives and works in Nice, France

From 2017 to 2024, Martin Laborde lived and worked in Lisbon, Portugal, where his studio hosted episodic installments of Ampersand—an independent program he co-founded. Past exhibitions include among others works by Zoé Beloff, Keren Cyt- ter, Moyra Davey, Jana Euler, Sylvie Fanchon, Tina Girouard, Richard Hawkins, Pati Hill, Chris Langdon, Bern Porter, Wolfgang Stoerchle. Formely in Lisbon, Ampersand is currently itinerant. In 2025, Ampersand signed the solo exhibition on Jean Painlevé à Culturgest Lisbon, and recently open an exhibition with Ana Jotta at Gallery Ma- rian Goodman, Paris titled « Beaucoup, peu, rien » (on view until May 9, 2025).

Laborde is one of three editors of the art magazine octopus notes and one of the editors of the upcoming publication Peau d’Ana, a conversation with Ana Jotta. His work was recently presented at Treize, Mala & FarO. Dope Press (Los Angeles), Giselle’s Books (Marseille) and Daisy (Paris) are currently preparing a book compi- ling recent years of his collage practice, to be published late 2025 featuring among others texts by Wayne Koestenbaum, Oscar Tuazon, and Marie Canet.

Martin Laborde, Reloaded/Combinatory collage (Fridge), 2024. Mixed media. 29,7 x 21 cm . Unique.

Martin Laborde, Reloaded/Combinatory collage (Fruits), 2024. Mixed media. 29,7 x 21 cm. Unique.

homas Lanigan-Schmidt, Untiltled (High Heel), 2003. Plastic bottle, beads, garlands, staples, pipe cleaners, and various materials. 16,5 x 21,5 x 8,9 cm . Unique.
THOMAS LANIGAN-SCHMIDT

Born in 1948 in Elizabeth, New Jersey, United States
Lives and works in New York, United States

Thomas Lanigan-Schmidt’s mixed-media constructions, collages, and installations are marked by a trashy opulence concocted from household items and dollar stores. Mimicking Byzantine decoration with cellophane, aluminum foil, tinsel and glitter, Lanigan-Schmidt pioneered a maximalist aesthetic in the late 1960s that explored gay sexuality, class struggle, and religion. Mingling high with low, and sacred with profane, Lanigan-Schmidt bucked the reductive tastes of conceptualism and minimalism that dominated his youth, creating a radically decorative practice that, despite its influence, has never been properly assimilated into the history of American art.

His work is represented in the collections of the Metropolitan Museum of Art, Whitney Museum of American Art, MoMA, Brooklyn Museum, Ludwig Forum für Internationale Kunst, among others. He has exhibited extensively throughout the United States and Europe, and was the subject of the critically acclaimed 2012 retrospective at MoMA PS1. In June 2009, Lanigan-Schmidt was honored by President Barack Obama for his courageous participation in the 1969 Stonewall rebellion, and he was the keynote speaker when the Stonewall Inn became a national monument in 2016.

Thomas Lanigan-Schmidt, Mouse House with Patron’s Portrait, 1968-69. Plastic bottle, beads, garlands, staples, pipe cleaners, and various materials. 16,5 x 21,5 x 8,9 cm . Unique.



Thomas Lanigan-Schmidt, Lollipop Knick-Knack (Watering the flowers), 1970. Aluminum foil, linoleum, glitter, cellophane, acrylic paint, and various materials. 33 x 20,3 x 10,2 cm . Unique.



Thomas Lanigan-Schmidt, Lollipop Knick-Knack (Foot Ball & Lollipop), 1970. Aluminum foil, linoleum, glitter, cellophane, acrylic paint, and various materials. 33 x 20,3 x 10,2 cm . Unique.



Thomas Lanigan-Schmidt, Lollipop Knick-Knack (My, My, My), 1970. Aluminum foil, linoleum, glitter, cellophane, acrylic paint, and various materials. 34,3 x 17,1 x 15,2 cm . Unique.



Thomas Lanigan-Schmidt, Lollipop Knick-Knack (Green Lollipop Pink Rose), 1970. Aluminum foil, linoleum, glitter, cellophane, acrylic paint, and various materials. 34,3 x 20,3 x 22,8 cm . Unique.



Thomas Lanigan-Schmidt, Untitled, 2024-2025. Sharpie, ballpoint pen, gel pen on tissue box. 21,15 x 34 cm . Unique.



Thomas Lanigan-Schmidt, Untitled, 2024-2025. Sharpie, ballpoint pen, gel pen on tissue box. 21,15 x 17 cm. Unique.

Thomas Lanigan-Schmidt, Mouse House with Patron’s Portrait, 1968-69. Plastic bottle, beads, garlands, staples, pipe cleaners, and various materials. 16,5 x 21,5 x 8,9 cm . Unique.



Thomas Lanigan-Schmidt, Lollipop Knick-Knack (Watering the flowers), 1970. Aluminum foil, linoleum, glitter, cellophane, acrylic paint, and various materials. 33 x 20,3 x 10,2 cm . Unique.



Thomas Lanigan-Schmidt, Lollipop Knick-Knack (Foot Ball & Lollipop), 1970. Aluminum foil, linoleum, glitter, cellophane, acrylic paint, and various materials. 33 x 20,3 x 10,2 cm . Unique.



Thomas Lanigan-Schmidt, Lollipop Knick-Knack (My, My, My), 1970. Aluminum foil, linoleum, glitter, cellophane, acrylic paint, and various materials. 34,3 x 17,1 x 15,2 cm . Unique.



Thomas Lanigan-Schmidt, Lollipop Knick-Knack (Green Lollipop Pink Rose), 1970. Aluminum foil, linoleum, glitter, cellophane, acrylic paint, and various materials. 34,3 x 20,3 x 22,8 cm . Unique.



Thomas Lanigan-Schmidt, Untitled, 2024-2025. Sharpie, ballpoint pen, gel pen on tissue box. 21,15 x 34 cm . Unique.



Thomas Lanigan-Schmidt, Untitled, 2024-2025. Sharpie, ballpoint pen, gel pen on tissue box. 21,15 x 17 cm. Unique.

Bruce Pavlow, Survival House 1977, 75 Haight Street, San Francisco, 1977-2025. C-print. 33 x 45,7 cm. Edition of 3 + 1 AP.
BRUCE PAVLOW

Born in 1958 in San Francisco, United States
Lives and works in New York, United States

Almost twenty years separate Bruce Pavlow’s 1988 exhibition at White Columns, New York, alongside Cady Noland, from his return to the studio in the early 2010s. In the meantime, he worked for an American distribution company specialized in French independent films, reflecting a passion already visible in his first two films produced in the late 1970s.

A remarkable document from the first decade of the gay liberation movement, Pavlow’s Survival House (1978) is a beautifully evocative yet long-overlooked analog slideshow. It explores a San Francisco shelter on Haight Street that provided refuge for homeless gay and transgender people in the late 1970s. The series of color photographs capturing both the melancholic liminality of its domestic spaces and the deep sense of community among its inhabitants. This work and the film that he shot simultaneously offers a poignant portrait of survival and solidarity.

Bruce Pavlow’s work has been exhibited at institutions such as The Institute of Contemporary Art, London, The University Art Museum, Berkeley, White Columns, New York, Soho Center for the Arts, New York, American Fine Arts, New York, and Shoot the Lobster, New York.

Bruce Pavlow, Survival House 1977, 75 Haight Street, San Francisco, 1977-2025. C-print. 33 x 45,7 cm. Edition of 3 + 1 AP.



Bruce Pavlow, M.A.S.S, 1980. Video, sound, color. 28 min. Edition of 5 + 1 AP.

Bruce Pavlow, Survival House 1977, 75 Haight Street, San Francisco, 1977-2025. C-print. 33 x 45,7 cm. Edition of 3 + 1 AP.



Bruce Pavlow, Glitterati, 2020. Mural sculpture: mirror and plexiglass, glitter tape, wood (2 elements). 2 x (36,8 x 27,9 x 5,8 cm). Unique.

Ben Taylor, Caleb, 2024. Digital print with Epson P20 000 on RC Satine Photo Premium Infinity Canson 310g. 80 x 60 cm. Unique.
BEN TAYLOR

Born in 1992 in Philadelphia, United States
Lives and works in New York, United States

Ben Taylor is a New York-based photographer whose work has been featured in i-D, Buffalo Zine, The Face, and Interview Magazine. His portraits capture a new generation of musicians, writers, and marginalized communities. Recently, his work has been exhibited at Ampersand, Lisbon, and the Emily Harvey Foundation, New York.

Ben Taylor, Caleb, 2024. Digital print with Epson P20 000 on RC Satine Photo Premium Infinity Canson 310g. Unique.

Ben Taylor, Mona, 2024. Digital print with Epson P20 000 on RC Satine Photo Premium Infinity Canson 310g. 50 x 40 cm. Unique.