Locks Gallery

Locks Gallery Booth 414 | The 2026 Armory Show

Today is the last day to see our presentation at this year’s Armory Show at the Javits Center. Come visit us at Booth 414 to see this curation of gallery artists including Jennifer Bartlett, Lynda Benglis, Louise Fishman, Jane Irish, John Moore, Robert Motherwell, Louise Nevelson, Joanna Pousette-Dart, David Row, and Pat Steir.

Thanks to all who stopped by this week!

OPENING TOMORROW

‘Nightfall: A Group Show’

At the Lake. Up the Creek. In the Studio.

Moonlit waters reflect a blackened forest. Shadowy leaves sway over a stream. A wall of windows and a city aglow.

Like a nocturne, ‘Nightfall’ presents a lyrical dialogue between five artist’s varied interpretations of the mysteries of the night, including works by Alex Katz, Louise Nevelson, Jennifer Bartlett, Sarah McEneaney, and John Moore.

Image: Alex Katz, ‘Black Brook V,’ 1989, Oil on canvas, 90 1/2 x 66 1/4 inches

OPENING SEPTEMBER 10

In ‘Windowscapes,’ John Moore’s poignant images exist between the concrete and the metaphysical. Appearing at first like a glass of water, his paintings possess a “matter-of-fact” realism and transparency that belie the illusory, transcendent qualities of paint which he masterfully employs in his quietly brimming compositions.

Locks Gallery is pleased to present this exhibition of Moore’s recent paintings that reflect his enduring interest in the window both as frame and subject, alongside a landmark painting of a Philadelphia skyline from 1977 titled May Day.

Image: ‘Blue Moon,’ 2025, Oil on board, 24 x 24 inches

In ‘Windowscapes,’ John Moore’s poignant images exist between the concrete and the metaphysical. Appearing at first like a glass of water, his paintings possess a “matter-of-fact” realism and transparency that belie the illusory, transcendent qualities of paint which he masterfully employs in his quietly brimming compositions.

Locks Gallery is pleased to present this exhibition of Moore’s recent paintings that reflect his enduring interest in the window both as frame and subject, alongside a landmark painting of a Philadelphia skyline from 1977 titled May Day.

Image: ‘Grand,’ 2025, Oil on canvas, 24 x 24 inches

In ‘Windowscapes,’ John Moore’s poignant images exist between the concrete and the metaphysical. Appearing at first like a glass of water, his paintings possess a “matter-of-fact” realism and transparency that belie the illusory, transcendent qualities of paint which he masterfully employs in his quietly brimming compositions.

Locks Gallery is pleased to present this exhibition of Moore’s recent paintings that reflect his enduring interest in the window both as frame and subject, alongside a landmark painting of a Philadelphia skyline from 1977 titled May Day.

Image: ‘Reflection,’ 2025, Oil on board, 24 x 24 inches

OPENING SEPTEMBER 10

In ‘Windowscapes,’ John Moore’s poignant images exist between the concrete and the metaphysical. Appearing at first like a glass of water, his paintings possess a “matter-of-fact” realism and transparency that belie the illusory, transcendent qualities of paint which he mas

Tonight, we are reminded of Kate Bright’s ‘Hot Night.’ Featuring the artist’s singular representation of flora, the foreground is adorned by a complex network of fanning petals and bulbous self-seeders. In the background, a fiery glow emanates and blushes the flowers, revealing glimpses of the otherwise imperceptible architecture hidden beneath that sheen of darkness. Between the dense assortment of plants and the encompassing darkness, Bright artfully captures the sweltering, moody nature of a “hot night.”

‘Hot Night,’ 2022
Oil on canvas
67 x 59 inches

Inside the Exhibition

Today is the last day of David Row’s exhibition on the first floor of the gallery. Come view this selection of works on paper and shaped paintings that emphasize the artist’s highly layered and all-encompassing compositions.

This show was recently spotlighted by John Muse for The Philly Occasional where he writes, “Row puts hard geometric abstraction in touch with particular places and times, and he delivers bright, meaty oils that index flesh and blood exposure.” Read more at the link in our bio.

Rob Wynne, ‘EXTRA LIFE,’ 2018

As part of the Brooklyn Museum’s newest exhibition, ‘Iris Van Herpen: Sculpting the Senses,’ Wynne’s piece is beautifully installed in conversation with the Dutch designer’s haute couture creations. Featuring over 140 works from Van Herpen’s oeuvre, ‘EXTRA LIFE’ cosmically interacts with these other-worldly designs.

‘Iris Van Herpen: Sculpting the Senses’ and Rob Wynne’s ‘EXTRA LIFE’ will be on view until December 6, 2026.

Photos courtesy of Paula Abreu Pita

“Grounded in an exploration of materials, [Lynda Benglis’] sculptures often involve physical gestures such as pouring, knotting, and molding.”

In his newest Haute Couture collection, Jonathan Anderson draws upon the iconic and continuously permutating oeuvre of Lynda Benglis.

Benglis’s pleated metal works from the 1980s emerged from a fascination with the body. These large sheets of metal were twisted, pleated, and knotted before being coated with liquid aluminum or bronze. Anderson stated that his interest in Benglis’s work derived from the “spontaneous joy” yet “muscular” quality of these pieces.

This same inquiry carries into her paper sculptures that are formed by the stretching of paper over chicken wire, acting like a second “skin.”

This decades-long exploration of form and structure transcends the studio—Benglis’s idiosyncratic approach and fascination with the body is finding new life on the runway with this thoughtful presentation by Jonathan Anderson.

‘Grammar of Forms,’ an exhibition featuring works from the collection paired with Benglis’ sculptures is now on view at the Musée Rodin.

Image 1: ‘Madame Butterfly,’ 2017, cast sparkles on handmade paper over chicken wire, 27 x 26 x 16 inches
Image 2: ‘Trippel II,’ 1988, stainless steel mesh and aluminum, 72 x 52 x 15 inches
Image 3: ‘Kanzler,’ 1987-1988, copper, steel, and wire mesh, 72 x 30 x 14 inches

Additional Images courtesy of Dior.

Locks Gallery will be closed tomorrow, July 4th through Monday July 6th. The gallery will reopen on Tuesday, July 7th.

During July and August, the gallery will be open Monday to Friday.

David Row’s exhibition continues on the first floor through July 24.

Image: Edna Andrade, ‘Afterglow,’ 1988, collage on paper, 8 3/4 x 11 3/4 inches