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In his fourth solo exhibition at Norr Cohan and his largest gallery exhibition to date, Tuan Andrew Nguyen explores the enduring legacies of war and the restorative potential of remembrance through new installation, sculpture, and film. Drawing on the histories and landscapes of Quảng Trị in central Vietnam, Nguyen transforms remnants of conflict into objects of healing: artillery shells become resonant kinetic mobiles, demined bomb casings are recast as ceremonial bells, and thousands of fragments of reclaimed brass form shimmering, painterly surfaces.

At the heart of the exhibition is the premiere of Sacred Forest / Rừng Thiêng (2026), a lyrical film following a young girl who journeys into a world where boundaries between memory and myth, life and death begin to dissolve. Here, Nguyen draws on the Indigenous knowledge and spiritual beliefs of the region, where mountains and forests are inhabited by guardian spirits, and ground long scarred by war is returned to those who have always held it sacred. Together, the works reimagine instruments of destruction as vessels of memory, inviting us to reconsider our relationship to the land, its histories, and the lives it sustains.

Join us for the opening reception next Friday, October 30, from 6-8PM.

🔗 Learn more about the exhibition at the link in bio.

📸: Photo by Hoàng Đăng Tùng. Courtesy Tuan Andrew Nguyen and Norr Cohan, New York

This is the final week to see Memory of the Surface, an exhibition of new and recent works by Vicky Colombet, at the gallery's 52 Walker St location.

Using pure pigment, her abstractions reflect what Colombet calls an “inner landscape,” not paintings of a specific place, but immersive worlds in and of themselves, built not to resemble nature but from its very material. “My painting is nature,” Colombet has said, “and my time is that of the painting.”

🔗 Learn more about Memory of the Surface at the link in bio.

📸 Vicky Colombet, Rain Forest #1520, 2023. Pigments, oil and alkyd on canvas (Ultramarine Blue, Iron Oxide Black, Titanium White). 72 x 72 in (182.8 x 182.8 cm). Courtesy of the artist and Fernberger, Los Angeles. Photo by GC Photography.

Congratulations to Katie Paterson, whose major solo exhibition at UCCA Dune opens next Sunday, October 25. On view through April 2027, Katie Paterson: Across Deep Time, marks the artist’s first solo institutional exhibition in China and will be shown across ten interconnected gallery spaces embedded in sand and open to sky and sea.

Curated by Zhang Yao, the exhibition brings together sixteen installations and two performance pieces, and reflects on the human condition within deep geological time. New works include a water-based kinetic installation, tracing elemental rhythms of flow, condensation, and dispersal.

Katie Paterson is known for her multi-disciplinary and conceptually-driven work with an emphasis on nature, ecology, geology and cosmology. Collaborating with scientists and researchers across the world, Paterson’s projects consider our place on Earth in the context of geological time and change. Her artworks make use of sophisticated technologies and specialist expertise to stage intimate, poetic and philosophical engagements between people and their natural environment.

🔗 Learn more about Katie Paterson: Across Deep Time at the link in bio.

📸 [1] Katie Paterson, Totality, 2016. Courtesy of the artist and Kunsthaus Pasquart, Biel. Photo by Julie Lovens. [2] Katie Paterson, Phoenix, 2016. Courtesy of the artist and Norr Cohan, New York. Photo by Eivind Lauritzen. [3] Katie Paterson, Candle (from Earth into a Black Hole), 2015. Courtesy of the artist and the British Council. Photo by Cui Junjun.

Don't miss Savdie / Soutine, closing next Saturday, October 24, at Norr Cohan's 48 Walker Street location.

In Ilana Savdie's Houdini and His Wife, a dense knot of golden forms occupies the center of the composition while strands of resin extend downward across the surface. The title refers to Harry Houdini and his wife Bess, both illusionists and escape artists, and to their agreement that the first of them to die would attempt to communicate with the other from beyond the grave. The painting brings together ideas of entanglement, communication, and failed escape, using fragmentation and material accumulation to sustain a sense of forms caught between connection and separation.

Chaïm Soutine's Paysage du Midi presents similar moments of accumulation through a dense screen of foliage. Soutine's mature style is already visibly forming here: the wild, directional brushwork and compressed, airless space that would define his later manner are beginning to emerge, even as the scene remains legible in a way he would soon abandon, the unsettled landscape reflecting the internal and external turmoil he experienced as an immigrant in France.

🔗 Learn more about the exhibition at the link in bio.

📸 [1] Ilana Savdie, Houdini and His Wife, 2026. Oil and acrylic on canvas stretched on panel. 80 x 65 in (203.2 x 165.1 cm). © Ilana Savdie 2026. Courtesy of the artist and Norr Cohan, New York. Photo by Dan Brewer. [2] Chaïm Soutine, Paysage du Midi, ca. 1919. Oil on canvas, 25 3/8 x 17 1/2 in (64.5 x 44.5 cm). Courtesy of ACA Galleries. Photo by Erin Brady for Dan Bradica Studio.

Norr Cohan is thrilled to announce Kennedy Yanko’s first-ever institutional solo exhibition in Paris at the Cité de l’architecture et du patrimoine, opening on October 16, 2026. Entitled "Ce qui nous rassemble," which translates to “That which unites us” in English, the exhibition engages Yanko’s contemporary sculptures in dialogue with a charged architectural history.

Her newest body of work will be surrounded by white casts of fragments from churches across France—arches, angels, gargoyles, façades, and other remnants of sacred structures—generating a space suspended between historical memory and the possibility of the future.

Exhibition programming includes an artist talk with Kennedy Yanko in conversation with Erin Gilbert, curator and author, moderated by Matthieu Poirier, art historian and exhibition curator, on October 17 at 2:30 PM in the museum's auditorium.

🔗 Learn more about the exhibition and artist conversation at the link in bio.

📸 Kennedy Yanko, Serpent II, 2026. Paint skin, metal, 55 x 36 x 34 in (139.7 x 91.4 x 86.4 cm). © Kennedy Yanko 2026. Courtesy of Norr Cohan, New York, and Salon 94, New York. Photo by Martin Parsekian.

This Friday, October 16, St Paul's Cathedral will celebrate the life and legacy of Bill Viola. The special event marks ten years since the unveiling of the artist's video installations, Mary, 2016, and Martyrs (Earth, Air, Fire, Water), 2014, on long-term loan from the Tate.

Viola previously said that the two large-scale installations symbolize "some of the profound mysteries of human existence. One is concerned with birth and the other death; one with comfort and creation, the other with suffering and sacrifice... the final pieces will function both as aesthetic objects of contemporary art and as practical objects of traditional contemplation and devotion."

Friday's event will feature short talks about Viola and his work, and an exclusive opportunity to view an additional artwork beneath the Dome of St Paul’s Cathedral, Inverted Birth, 2014. The viewing will be accompanied by music from the St Paul’s Cathedral Consort.

🔗 RSVP for the celebration of Bill Viola on Friday, October 16, from 6:30-7:30 PM at the link in bio.

📸 [1] Installation view, Bill Viola, Mary, 2016. St Paul's Cathedral, London, UK. Photo by Peter Mallet. [2] Installation view, Bill Viola, Martyrs (Earth, Air, Fire, Water), 2014. St Paul's Cathedral, London, UK. Photo by Peter Mallet.

New and recent paintings by Vicky Colombet (b. 1953) are on view in Memory of the Surface at NORR COHAN's 52 Walker Street location through October 24.

Raised in Paris by a French father and a mother of Filipino descent, Colombet spent much of her childhood traveling with her family across Southeast Asia and India, an early encounter with Eastern philosophy inseparable from her later work.

In the early 1970s, she began working under Henri Dimier (1899–1986), returning around this same time to the philosophy of her childhood at Plum Village monastery under Thích Nhat Hanh — an emphasis on presence and mindfulness that distinguishes the void as a place to connect rather than divide. By the early 1980s, she had arrived at a style that withheld any sign of having been painted at all, surfaces reading instead as photographic prints or naturally occurring formations, her hand almost entirely suppressed.

🔗 Learn more about the exhibition at the link in bio.

📸 Installation view, Memory of the Surface, NORR COHAN, New York, NY. Photo by GC Photography.

New paintings by Ilana Savdie (b. 1986) are paired alongside paintings by Chaïm Soutine (1893–1943) at NORR COHAN's 48 Walker Street location through October 24.

One of the singular painters of the École de Paris, Soutine has come to be regarded as a pivotal figure in the passage from early modernism to the gestural painting of the postwar years. Savdie is considered among the most inventive painters of her generation, navigating the legacies of abstraction, postmodernism, and the digital turn, joining gestural marks to gradients, translucencies, and surfaces inflected by the language of the screen.

In a review of the exhibition by Celeste Marcus, author of Chaim Soutine: Genius, Obsession, and a Dramatic Life in Art, "Savdie’s canvases translate Soutine... Savdie shows viewers that the whipped-ness in her paintings is related to the motion in a Soutine... It is like watching two dancers with very different charismas make complementary motions with their bodies side by side."

🔗 Learn more about Savdie / Soutine and inquire about available works at the link in bio.

📸 [1] Ilana Savdie, Galactophore, 2026. Oil, acrylic, and beeswax on canvas stretched on panel. 67 x 90 in (170.2 x 228.6 cm). © Ilana Savdie 2026. Courtesy of the artist and NORR COHAN, New York. Photo by Dan Brewer. [2] Chaïm Soutine, Le lièvre sur fond bleu, ca. 1924. Oil on canvas. Framed: 41 x 29 1/4 in (104 x 74.4 cm). Courtesy of Simon Studer Art. Photo by Erin Brady for Dan Bradica Studio.

Christopher Myers is featured in the Sunday Edition of The New York Times, speaking with Elisabeth Egan about his new children's book, "Night Ride," and his expansive presentation at the central branch of the Brooklyn Public Library:

“I love forms — like stained glass, like quilts — where when you see them, you know how they’re made,” Myers said. “It’s not like the hand of God came down. We see every stitch in the quilt. You’ve seen glass before.”

According to Myers and his publisher, Night Ride is the first picture book done entirely in stained glass. It consists of 20 large panels sketched and mapped in Myers’s studio, assembled by a family of artisans in Guadalajara, Mexico, then shipped back to Brooklyn to be framed, lit and photographed. The resulting volume is a small work of art that follows five young people as they explore New York City by bike in the dark."

🔗 Read more of The New York Times feature at the link in bio.

📸 Visuals by Peter Fisher for The New York Times.

#ChristopherMyers #TheNewYorkTimes #NORRCOHAN

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