Tag Archives: Raúl de Nieves


“Every time I enter a new room I scan for other queers. Maybe it’s a hunt for fleeting solidarity, maybe safety—not that the two are opposed. I didn’t know I did this until I didn’t have to, when I arrived in a place—[Fire Island]—where queer and its variants was the baseline. It is a profound experience, one I will never take for granted, even as I know the exclusions it enacts.

“This is a very personal show, in the sense that it has no pretensions of thoroughness or coherence. A series of friendships and encounters organized around a shared experience of finding one’s place. Just some people inhabiting a tiny speck of the world and—to borrow a phrase by Douglas Crimp, another friend from the island—misfitting together.” — Ryan McNamara*

McNamara brings Fire Island to Manhattan with a new exhibition of work by Travis BoyerJack BruscaTM DavyRaúl de NievesNicole EisenmanK8 HardyKia LabeijaMatthew LeifheitHanna LidenTiffany MalakootiSamuel RoeckPaul Mpagi SepuyaDevan ShimoyamaA.L. SteinerWolfgang TillmansCajsa von Zeipel, and himself.


Through April 14.

Baby Company

73 Allen Street, New York City.

*”Misfitting together” is a quote from Popism: The Warhol Sixties, by Andy Warhol and Pat Hackett (1980), referenced by Douglas Crimp in his book “Our Kind of Movie”: The Films of Andy Warhol (Cambridge, MA: MIT Press, 2012), 157, note 29:

“I [Warhol] was reflecting that most people thought the Factory was a place where everybody had the same attitudes about everything; the truth was, we were all odds-and-ends misfits, somehow misfitting together.”

From top: Ryan McNamara, Cemical Compound (6/8/2018), 2019, wood, plaster, paint, psilocybin, amyl nitrate, gamma-hydroxybutyrate, Truvada; Wolfgang Tillmans, Far away inside (Echo Beach), 2017, inkjet print; Matthew Leifheit; Meat Rack Gathering, 2018, dye sublimation print on aluminum; Nicole Eisenman and Tiffany Malakooti, Remarkable Lesbian Chess Set, 2016, clay, wood, and paint; A.L. Steiner, Untitled (Rachel on bay, Pines), 2016–2019; Fire installation view with K8 Hardy‘s jockstrap collection—Look Pines, 2016, fiberglass mannequin, metal base, cloth, enamel paint, synthetic wig—in foreground; Devan Shimoyama, Untitled, 2015–2018, dye-sublimation print on aluminum (2); Cajsa von Zeipel, Boy’s Tears, 2019, styrofoam, fiberglass, aqua resin, plaster; Travis Boyer, Le Fountain, 2019, embellished and dyed wool blanket on beeswax, wood, and steel frame; Jack Brusca, Pines Pavilion Logo, 1980, acrylic on canvas; Kia LaBeija, New Legend Lucky 007 on Fire Island, 2018, digital inkjet print.


“In K8 Hardy’s performances, the body makes itself a transmitter in order to update and queer the world with its broadcasts….If contemporary art is first and foremost a system for producing subjects in the form of contemporary artists…it’s probably time for artists to rethink their own role in this system’s reproduction….Instead of simply feeding the network in new and creative ways, artists would get more involved in de-creation, and engage subjectivization as an ever-recurring opportunity for unworking.” — John Kelsey*
K8 Hardy, Raúl de Nieves, and Participant present BEAUTIFUL RADIATING ENERGY, with de Nieves in a piece Hardy first performed at Reena Spaulings in 2004.
BEAUTIFUL RADIATING ENERGY, Sunday, May 21. Doors open at 7 pm.
PARTICIPANT, 253 East Houston Street, New York City.


At the 2017 Whitney Biennial, a room of de Nieves’ work—robed figures, taxidermy birds, a wall of faux stained glass—anchors the east end of the fifth floor. “Part church, part nightclub, part tomb.”**


WHITNEY MUSEUM OF AMERICAN ART, 99 Gansevoort Street, New York City.



*John Kelsey, “Information in Drag,” in K8 Hardy, How To: Untitled Runway Show, eds. K8 Hardy and Dorothée Perret (Los Angeles: DoPe Press, 2013), 111, 117–118.

**Charlotte Ickes, Whitney Biennial 2017, exh. cat., ed. Jason Best (New York: Whitney Museum of American Art, 2017), 152.

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Raúl de Nieves, 2017 Whitney Biennial. Image credit: Company Gallery, New York.