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We would be pleased to see you during the forthcoming Upstate Art Weekend embracing the cultural offerings of the Hudson Valley. Our project, Teruko Yokoi, will be available for travelers beginning Thursday, June 25th thru Monday, June 29th. What we have discovered is that the Hudson Valley is more utopian in feel, and less institutional, less market driven. In that regard, we’ve discovered some favorite venues that you might enjoy and which could enrich your experience while exploring our area.

Opening this week is the retrospective of an old friend and collaborator, Leandro Erlich. Following earlier surveys in Buenos Aires, Tokyo, Miami, Milan and Helsinki, the Grand Palais is presenting 18 fully realized installations spanning 30 years. The works have always relied on the engagement of the audience, they must be physically experienced and activated by one’s active participation. In a rapid succession, I presented and participated in the realization of El Living (1997-99), Rain (1999-2000), The Swimming Pool (1998-2001) for 49th Venice Biennal (Argentina) and finally Turismo (2000) for the Decimo Bienal de La Habana. Each project was unique and exceptional. Also included in the exhibition is a documentation room referencing another 45 projects realized over his imaginative career.

On the occasion of Laffoley’s first European retrospective, a large scale poster was produced. Having been listed as sold out for an entire decade, we discovered a case of the original printing from 2009 which we are making available. 

Lectures by Paul Laffoley were marathons. Once I hosted an event in the gallery in his honor, and his lecture was four hours on Saturday night, and four hours on Sunday night (without repeating any portion of the topic). The event was entitled Un Apéritif de l’absinthe: Hommage à Rimbaud (2004). With additions of more recent digital reproductions from the archives of the Estate, Steven Moskowitz edited and added text to help with following along where the sound quality was garbled in these recovered recordings from 1984.

From the collection of Rakuko Naito and Taadaki Kuwayama, I was pleased to receive a typewritten book from 1981 written by Teruko Yokoi. Entitled “HINAGESHI”, it provides a lifelong insight and poetic interpretation of her passion for the poppy flower. More than a visual motif, it had a spiritual reference and continuing memory for her. I thank Rakuko for sharing this personal gift and enduring memory.

I’m sharing PART TWO of the extensive presentation given by Paul Laffoley over 40 years ago. This second of three chapters has been compiled a close friend of Paul’s, Steven Moskowitz. With additions of more recent digital reproductions from the archives of the Estate, Steven has also added text to help with following along where the sound quality was garbled.

I’m sharing a remastered and rare lecture given by Paul Laffoley over 40 years ago. The first of three chapters has been compiled by a close friend of Paul’s, Steven Moskowitz from found videos taken by another member of the Boston Visionary Cell, Werner Grundl, with additions of more recent digital reproductions from the archives of the Estate.

After a twelve-month transition to the Hudson Valley, Kent Fine Art has finished renovating our Carriage House (Alwynds 1910) for presenting selected projects and continuing research.

This summer, we are pleased to be inaugurating our new project space here in the lower Hudson Valley. Opening during the Upstate Art Weekend on June 25th, we will present a poetic group of masterful watercolors by Teruko Yokoi for which she has been lovingly remembered.

The Hotel Chelsea recently opened a spectacular sushi lounge named after one of the hotel's former residents, Teruko Yokoi. Just published is an Architectural Digest feature narrating the history of the hotel with mention of the new "Teruko".

It seems very timely now, in 1995, Muntadas’ Portraits were a forerunner of attention to the developing media landscape. In a series of 11 subjects drawn from the media, they were enlarged to achieve the anonymity of the protagonists where the microphone appears as a symbol and prosthesis of power. Interestingly, it has been lent for exhibitions in part or complete on 33 occasions in Europe and South America, but only once in the United States (1995).

On behalf of our colleagues, friends, families, and our democracy, it's good to see a very challenging year come to an end. Let's hope for a more illuminating 2026!

Tokyo, San Francisco, New York, Paris, and Bern—all places that left marks on her oeuvre…with all the feelings of uncertainty, disquiet, and displacement that such a position triggers…It is also an account of the experience of an artist who has worked despite and through the wounds of history, geography, race, and gender.

As I think back over the 51 years since I did this painting, I cannot actually reconstruct the moment in time when I was motivated to paint this, and with such prophetic specificity. I believe the subject refers to the terrorist attack by plane on the New York’s “World Trade Center” building: (The Twin Towers) on September 11, 2001. That day is when Muslims state that Jesus was born.

Sadly I learned this morning that Llyn Foulkes had passed away today. I wanted to share a song that Llyn had been writing, and which he sung to me in the Summer of 2022

Paul Laffoley, whose annotated diagrammatic paintings, with their kaleidoscopic representations of abstruse philosophic systems, made him one of the most distinctive and cerebral of the outsider artists, died on Nov. 16 at his home in Boston. He was 80. The cause was congestive heart failure, said Douglas Walla, his dealer at Kent Fine Art in Manhattan.

Jökulsárlón Glacier in Iceland is one of the last remaining frozen realms on our Earth, these colossal ice formations command the seas and float away from the glacier, accelerating the melting time as they break off. A mesmerizing and rare spectacle unfolds, a shelf or iceberg calved from its glacier. 

Llyn’s first wife, Kelly, happened to be the daughter of Ward Kimball, Disney’s head animator. Ward not only gave Llyn a copy of the first page from the 1934 Mickey Mouse Club handbook with its blatant mission to “implant beneficial principles” into the minds of children, he also got him back into music with his Fivehouse Five plus Two band.

Black people have struggled to feel comfortable in their skin. We’ve had to deal with the images of Aunt Jemima and the twisted perceptions. I am not the only large and shapely black woman who has had to find a point at which she can feel comfortable. Now it’s celebratory to be a black woman. . .

Paul Laffoley’s diagrammatic paintings, drawings, and box constructions remain firmly outside any of art’s currently fashionable classifications, and they stand little chance of being assimilated into the mainstream. Like the work of the visionary utopians William Blake, Buckminster Fuller, and Charles Ives, works by Laffoley demand to be taken on their own terms. As with the work of all true visionaries, Laffoley’s art has few if any stylistic affinities with his predecessors. The reason for this is that the visionary genre is not a matter of style but of content.

In honor of Paul Laffoley’s legacy, his Estate has gifted to the Peabody Essex Museum and the Phillips Library in Salem, Massachusetts, all of the artist’s original handwritten manuscripts (162 documents/2241 pages). In addition, to add to the architecture collection of the Museum, 78 architectural studies were also donated for reference and accessibility. We are very grateful for the invitation by the Peabody to secure Paul’s archive for study by future generations.

Art publications, such as art magazines, journals, catalogues and critical reviews, play a pivotal role in shaping the trajectory of contemporary art. These outlets not only reflect prevailing trends but actively influence them by spotlighting artists, fostering critical discourse, and curating narratives that leave an impression on the art community.

A critical voice in contemporary public art, Dennis Adams interrogates the aesthetics and politics of the cityscape, the meaning and experience of public space. Through site-specific installations and urban interventions, Adams questions how the built environment and media archives structure our relationship to history, memory, and ideology. His work resists passive reception, instead inviting – and often confronting – viewers with the entangled narratives of power and representation, rooted in the belief that the city is both a site of power and a contested field of representation.

“Poems written in color” is how Teruko Yokoi would describe her own practice. Beyond their formal qualities, Yokoi’s works presented here embody a larger narrative of post-war artistic exchange. She navigated diverse cultural landscapes, most notably San Francisco, New York and Paris in the early sixties to her long- term residency in Bern. In presenting Yokoi’s work within the framework of the Noh Theater, the exhibition focuses on Yokoi’s innate ability to harness tradition yet stay resonant with the contemporary sensibilities of her time.

Given his association with the earlier artists of the historic avant-garde including Duchamp and Picabia, along with his involvement with Equipo Cronica and Equipo Realidad, Eduardo Arroyo holds a unique position in the critique, vitality and global dispersion of American Pop Art in Spain and France. Arroyo’s works have been widely exhibited throughout Europe since 1961.

Smart investing involves diversification, and savvy investors are sure to look toward art market investments beyond the conventional high-end auction houses and blue-chip art sales that typically dominate headlines. By exploring alternative avenues, investors can uncover overlooked opportunities that may yield significant rewards, both financially and culturally, while engaging more meaningfully with the evolving art world.

Paul Laffoley was an artist and visionary, a cartographer of consciousness, and an architect of alternate realities. Across his detailed and complex paintings, Laffoley constructed visual thought-forms that combined mysticism, scientific theory, and futuristic speculation into diagrams of the universe. His work is situated between visionary art and speculative metaphysics, offering an esoteric yet remarkably coherent view of reality.

This spring, the retrospective exhibition Teruko Yokoi: Noh Theater at Hollis Taggart, with the support of Kent Fine Art, offers a vibrant homage to a compelling artist and visual poet. Running from May 1 to June 14, 2025, this Teruko Yokoi exhibition spotlights the artistic legacy of a painter whose work bridged continents and cultures, weaving together Japanese modern art and Western abstraction.

Since her birth on the 75th Kentucky Derby Day, it seemed predicted that she was destined to be the pre-eminent artist to employ the persona of the horse as her lifelong passion and concentration, both as a rider, breeder and ultimate fine artist. She began experimenting with horses out of wood and mud after settling in Bozeman, Montana in 1976. While her first shows were in Chicago and San Francisco, her career and collector base skyrocketed beginning in 1978 with a show with Ivan Karp’s OK Harris. Over the past 50 years, she has been honored by numerous museum exhibitions and her work is included in major museums throughout the United States.

We are pleased to share the exhibition Teruko Yokoi: Noh Theater in collaboration with the Hollis Taggart Gallery located at 521 West 26th Street. The exhibition has been made possible thorough the enthusiastic support for the Estate by Hollis Taggart and Severin Delfs, along with the cooperation of Tai Wallace of the Emerald Gallery with Teruko’s daughter, Kayo Malik and Kent Fine Art.

Yulia Pinkusevich’s art is deeply informed by scientific inquiry and the study of knowledge systems and their representation, demonstrating both creativity and analytical rigor. This intersectional engagement, and her use of the scientific visual language, is present in various works throughout her career. In her projects, she challenges perceptions of space and time while engaging with some of today’s most pressing challenges, such as environmental change and war. Her work invites us to reconsider the frameworks—both scientific and cultural—through which we interpret the world.

With the new exhibition Lugar Público [Public Place], Antoni Muntadas brings a site-specific installation to Sesc Pompeia in São Paulo, Brazil. From April 5 to August 10, Muntadas’ intervention will take over Sesc Pompeia’s Conviviality Area, inviting the public to reflect on the evolving dynamics of urban spaces and the increasingly blurred lines between public and private domains. Mark your calendars for Antoni Muntadas’ São Paulo show of 2025—his largest site-specific installation to date.

Curated by Diego Matos and sponsored by Sesc Pompeia, this project is a site-specific installation featuring audiovisual and text interventions, as well as architectural structures designed to explore the meanings of "public"—both as an audience and as public space—while prompting reflections on contemporary urban environments and the notions of leisure and the public sphere. This will be Muntadas’s largest site specific installation to date

Drawn from her impressions of the natural world, she would describe her paintings as “poems written in colors”. Yokoi enjoyed a pastoral childhood, wandering the hills outside of Nagoya with her father on what he termed “haiku hiroi”. Settling in Bern in 1962, the landscape reminded her of the childhood landscape lost after World War II. Violet represents the lyrical merging of abstract expressionist experiences with Japanese aesthetics.

While preparing for his “Projectos” (1974-2004) mid-career retrospective in Mexico City for Laboratorio Arte Alameda (CDMX) and the Sala de Arte Publico Siqueiros, he began to document a bit of the local street life. Muntadas frequently saw the term “QUEJAS (complaints)” on the local buses and service vehicles. Along with photographing and cataloguing this local eccentricity, he began to phone the numbers. What he discovered was that the listed phone numbers were either never answered or disconnected.

Maelstrom is defined as a powerful circular current of water, a whirlpool or vortex which is usually the result of conflicting tides, pulling down and destroying anything caught in its current. This term can also be used to describe situations or states of confused movement or violent turmoil.

“COOL HAND LUKE takes its name from the film of the same title. In that film, Paul Newman bets that he can eat 50 eggs and does. My idea here, was to register the desire for total knowledge.”

In 1790, the famous German poet Johann Wolfgang von Goethe invented the term “Zeitgeist” (the spirit of the times). Laffoley would refer to the two interlocking triangles as a symbol of stability which he would call the “Emerald Tablet”. The Tablet is the summary of the meaning and structure of alchemy. This concept was key to the formation of The Boston Visionary Cell in 1971.

“nostalgia appears to be a longing for a place but is actually a yearning for a different time—the time of our childhood, the slower rhythms of our dreams…Time out of time…Nostalgia can be a poetic creation, an individual mechanism of survival, a countercultural practice, a poison, and a cure.
Svetlana Boym from The Future of Nostalgia, 2001

The theme of translation is extended to the exchange of national currencies in this image/collage originally conceived for a group exhibition in the shuttered office of a Canal Street Bank Office in New York City organized by the Manhattan Art Projects.

Yulia Pinkusevich (b. 1982 Kharkov, Ukraine) Conditions were poor, food was scarce, money was very tight. My family shared a tiny one-bedroom apartment for a family of 4. I had chronic tonsillitis due to malnutrition. But I was a kid then and perceived my life through those eyes: in retrospect we had it rough for a while, but at the time this was all we knew. I think I was a relatively happy child.

Kent Fine Art actively works toward the curatorial presentation of a select group of artists of record, building provenance, exhibitions and publishing their activities where possible.