Below Grand Gallery(@belowgrandnyc) 인스타그램 상세 프로필 분석: 팔로워 17,005, 참여율 0.88%

On view now: ‘Tomorrow maybe’ curated by Zakariya Abdul-Qadir & Eric Geithner Jordan Cruz Pilones, Hanged (Commodity), 2026, Red Votive Wax, red plastic net, black metal chain, 48 x 12 x 12 in Untitled (Mom’s home decor), 2026, Red Votive Wax, 48 x 36 x 1 in Jordan Corine Cruz is a Puerto Rican visual artist whose process-driven sculptures and time-based installations draw on Puerto Rican craft practices, Bronx block culture, and histories of resistance. Her work investigates how communities sustain knowledge and identity through tradition, embodied practice, and collective care. Cruz holds a BFA and MFA from the School of Visual Arts. Her work has been most notably shown at the Bronx Museum of the Arts, PHOTOVILLE, Haul Gallery, and BronxArtSpace. She is the 2026 Artist-in-Residence at BXArts Factory, a 2024 BXMA AIM Fellow, and a recipient of the 2020 BRIO Award from the Bronx Council on the Arts. In 2019, Cruz organized The Culture of Community: A Latinx Photo Symposium in partnership with El Museo del Barrio and SVA, bringing together artists and scholars to explore visual strategies for Latinx community-building. Cruz serves as Technical Director of the Photography & Imaging program at NYU Tisch, where she also leads Tisch Future Imagemakers, a free 14-week photography program for high school students. She lives and works in the Bronx, New York. Saturdays 12-6pm and by appt thru May 9 @ 53 Orchard @jordancorinec @zakariyaa.qadir @ericgeithner

On view now: ‘Pulse Demon’ curated by Bradley Milligan and Davis Arney Andrew Ross, Loup-Garou, 2024, beech, red cedar, dowels, leather, belt, 36 x 57 1/2 x 30 in Andrew Ross’s Loup-Garou takes the form of a shaving horse—a hybrid of vise and workbench—existing simultaneously as both a woodworking tool and a sculptural object. Milled from a fallen red cedar tree, the work interprets the Caribbean myth of the lugawu, a shapeshifting creature, fusing states of transformation into an arrested process. Saturdays 12-6pm and by appt thru May 9 @ 52 Allen @andrewross_info @bradleympaintings @davisarney

On view now: ‘Pulse Demon’ curated by Bradley Milligan and Davis Arney Allyson Vieira, Dirt, 2025, studio sweepings, styrofoam, resin, 44 x 24 x 1 in Allyson Vieira’s work similarly draws from an archive of her own production, combined with a range of construction, craft, and building techniques. The resulting sculptures resemble a mythological architecture that points to multiple places and temporalities. Dirt, from her series Evidence, takes the form of a pointing arrow constructed from various debris and refuse, suspended within dissolved and reconstituted styrofoam reinforced with epoxy. Incorporating sweepings from her studio floor, the work embeds traces of its own making within an unconventional substrate. Its materials and form evoke packing and shipping, pointing to the artwork’s position within systems of circulation and commerce as a residue of its creation. Saturdays 12-6pm and by appt thru May 9 @ 52 Allen @allysonvieirastudio @bradleympaintings @davisarney

On view now: ‘Tomorrow maybe’ curated by Zakariya Abdul-Qadir & Eric Geithner Aidan McLellan Regardless of Where the Light Lay (No. 1), 2026, inkjet print on Hahnemühle rice paper, and wooden framing, 30 × 40 in with an 10 × 8 in framed section Regardless of Where the Light Lay (No. 5), 2026, framed inkjet print on Hahnemühle rice paper, 11 x 14 in framed and 5 x 5 in removed Aidan’s current body of work asks poignant questions. Without holes, would we be endlessly stagnant? What does it mean to accept our own instability, to love across dysfunction. “Referencing wholeness while still in the process of striving toward it.” Aidan’s words echo his photographs, grappling with flashes of recognition. The motif of the ever-shifting slide puzzle tows the sidling foundations of his practice. Sat 12-6pm // by appt thru May 9 @ 53 Orchard @at._.km @zakariyaa.qadir @ericgeithner

On view now: ‘Tomorrow maybe’ curated by Zakariya Abdul-Qadir & Eric Geithner Alison Kuo, Make Your Own Luck, 2024, Pachinko machine, ceramic figurines, massagers, shells, nightstand, religious objects, souvenirs, brushes, chopsticks, beads, glitter, glue and plastic twine, 36 x 96 x 18 in Photo courtesy of Daniel Kukla Alison’s sculptures are steeped in elaborate systems of symbols. Her practice lovingly unravels the weight of unwieldy family dynamics. She questions and acknowledges the contradictions within the ongoing wake of American imperialism. Alison’s work confronts assumptions about lineage and status. “We are chasing a dream in a way that might help us but also might hurt us.” Saturdays 12-6pm and by appt thru May 9 @ 53 Orchard @kuoskies @zakariyaa.qadir @ericgeithner

EXHIBITIONS TO SEE: Tomorrow maybe Featuring work by DPI Staff member Jordan Cruz April 4 - May 9, 2026 Below Grand 📍53 Orchard Street, New York, NY 10002 Reconstruction always risks collapse. Jordan Corine Cruz, Alison Kuo, and Aidan McLellan each oscillate around Tomorrow maybe’s heart: looking backward to consider our inherited voices and believing in the eventually. Cruz remolds and reroutes domestic narratives; Kuo deitizes accumulation, threading idols of past into present; McLellan rewards play and delays breakdown. Together grasping intangible visions to build approximations. The afterglow of yesterday is upon us. @nyutisch @tischphoto @nyuniversity @jordancorinec @belowgrandnyc #NYUtisch #TischPhoto #nyuniversity

On view now: ‘Pulse Demon’ curated by Bradley Milligan and Davis Arney Kadar Brock, Untitled (weaving#2), 2025, canvas, cotton thread, oil, acrylic and house paint, 58 x 52 x ½ in Kadar Brock’s process-based paintings involve the dissolution of images drawn from an archive largely composed of propaganda from a spiritual cult. These images undergo successive layering, reacting, and redacting until they are nearly eclipsed. The resulting works hold both painterly bravado and a weathered pathos. The works included in this exhibition both precede and result from this primary body. Untitled (weaving #2) is woven from used studio rags and deli bags, originally intended as a surface placed behind a painting for sanding, producing a reverse frottage effect. Untitled (materials test) consists of the literal sediment of his paintings: striations of colored paint dust accumulated through sanding, captured and cast into a singular object. Saturdays 12-6pm and by appt thru May 9 @ 52 Allen @kadar_brock_studio @bradleympaintings @davisarney

On view now: ‘Pulse Demon’ curated by Bradley Milligan and Davis Arney Jessica Dickinson, trace (Beneath – From/With), 2018-2022, pastel, oil pastel, dust, and oil on paper with fold, holes, Rips 45 1/2 x 20 in Part of a series she refers to as traces, Jessica Dickinson’s works— trace (Beneath – From/With) and trace (And: Now)—unfold organically alongside her paintings. Often developing over a period of years, these works absorb and record the processes of her studio practice: placed on the floor, moved throughout the space, and incorporating rubbings from accompanying paintings. Each carries its own specific history and materiality, indexing an unselective exposure to the conditions of the studio, including events such as a flood (as in trace (And: Now)). Saturdays 12-6pm and by appt thru May 9 @ 52 Allen @onwardsteadfast @bradleympaintings @davisarney

On view now: ‘Tomorrow maybe’ curated by Zakariya Abdul-Qadir & Eric Geithner Jordan Corine Cruz Aging Peel (Dream of Home series), 2025, Votive wax, orange peel, hair barrette, and plastic pearls, 6 x 6 x 1 in Instrumental (Bongos), 2025, Votive Wax, paper towel, metal, 15.5 x 7 x 7 in Jordan’s recent sculptures and installations tenderly braid aching devotion with fraught inheritance. “Experience is not linear but accumulative, folding back onto itself.” Tuning to duration elevates vulnerability. “The body becomes an archive shaped by repetition, care (or lack of care), and time.” Ordered matrices belie heaving clusters without losing sight of how we got here. Saturdays 12-6pm and by appt thru May 9 @ 53 Orchard @jordancorinec @zakariyaa.qadir @ericgeithner

Opening Saturday 5-7pm @ 52 Allen ‘Pulse Demon’ curated by Bradley Milligan and Davis Arney Below Grand is pleased to present a group exhibition including Kadar Brock, Jessica Dickenson, Andrew Ross, and Alyson Vieria. Borrowing its title from Pulse Demon (1996) by Japanese noise artist Merzbow, this exhibition explores feedback as both a framework and a generative method. In a musical context, feedback occurs when an output returns to its input, producing a loop that amplifies and distorts its source—often considered an unwanted byproduct of flawed sound engineering. Merzbow foregrounds this phenomenon, engaging and manipulating it deliberately. Similarly, the artists in this exhibition contend with feedback as a process of recombination, working with the often-overlooked remnants, precursors, and byproducts of studio practice. The works on view are not offcasts, but recalibrated materials—tools, surfaces, debris, and fragments—that have been reactivated and brought into focus as artworks in their own right. Some works gather and recontextualize the detritus of creative production, indexing the act of making or preserving otherwise ephemeral states. Others originate as instruments or supports for artistic creation, later assuming an autonomous objecthood beyond their initial function. Across these approaches, feedback becomes a productive loop: accumulation, reuse, and transformation converge as artists foreground what is typically discarded or obscured. In this way, the artist emerges as a prosumer, transmuting the reverberations of their own practice into works that render visible the entangled processes of consumption and production. Kadar Brock @kadar_brock_studio Andrew Ross @andrewross_info Allyson Vieira @allysonvieirastudio Jessica Dickinson @onwardsteadfast

Toot toot beep deep divas, Tomorrow maybe opens Saturday at 53 Orchard. Reconstruction always risks collapse. Jordan Corine Cruz, Alison Kuo, and Aidan McLellan each oscillate around Tomorrow maybe’s heart: looking backward to consider our inherited voices and believing in the eventually. Cruz remolds and reroutes domestic narratives; Kuo deitizes accumulation, threading idols of past into the present; McLellan rewards play and delays breakdown. Together grasping intangible visions to build approximations. The afterglow of yesterday upon us. Tomorrow maybe is curated by Zakariya Abdul-Qadir & Eric Geithner. See you Saturday @zakariyaa.qadir @ericgeithner @at._.km @kuoskies @jordancorinec

Folded Portal, 2026, by @maximilianorosiles 🧲 an installation of magnets and nails, variable dimensions 🔨 this is the LAST WEEK to see Frictions @belowgrandnyc : open hours are Saturday the 28th 12-6 or weekday mornings by appointment!