Ulrike Müller will participate in an artist's talk on Wednesday, April 29th, 7–8pm, in relation to her commission The Conference of Animals at the Queens Museum. Registration necessary.

sotto voce is a group exhibition curated by Robert Bordo alongside his first solo exhibition at the gallery. sotto voce is a cumulative presentation of the disparate artists and works that intersect in various ways within Bordo’s oeuvre. These artists are points of reference; in some cases, via direct relationships, either personal or pedagogical. In others, he engages with their artworks that are printed in books, on view in galleries or museums, or sourced from the Internet. It is an exchange about, and a closeness with, shared concerns, ideas and methodologies with artists whose work inspire and challenge him in varying conceptual and visual ways. Some exchanges are borne of literal, interpersonal and critical dialogue but not visually evident in his work, while others constitute the inverse of that relationship, perceptibly sharing metaphors and allusions. Bordo jests that he is “promiscuous,” easily falling in and out of love with fleeting artistic “crushes” of all sorts. But these sotto voce artists have sustained him. They have stuck with Bordo and are actively present in his practice and archive of inspiration.

Curator Mia Locks and artist Ulrike Müller discuss the ideas, practices and influences within Or Both, an experimental two-part exhibition that includes a solo presentation of work by Müller alongside a group show of works by Martin Beck, Barbara Chase-Riboud, Jennie C. Jones, Eric N. Mack, Medrie MacPhee, Dona Nelson, and Deborah Remington. 

Or Both is an experimental two-part exhibition that includes a solo presentation of work by Ulrike Müller alongside a group show of works by Martin Beck, Barbara Chase-Riboud, Jennie C. Jones, Eric N. Mack, Medrie MacPhee, Dona Nelson, and Deborah Remington. Moving in and out of painting, Müller employs a range of materials, techniques, and image formats including drawing, enamel on steel, collage, monotype, and woven wool rugs. Taking Müller's practice as a point of departure, the group show is organized around compositional strategies and methods of decision making rather than around a shared subject matter or theme, opening up new possibilities for reading artworks together that might not seem immediately connected. Organized by Mia Locks. There will be an opening reception on September 27, 5:30–8pm. 

The Second Body is a group exhibition organized with Sam Contis, including Zarouhie Abdalian, Erica Baum, Trisha Brown, Sam Contis, Brie Ruais, Carly Steinbrunn, and Stefanie Victor. There will be an opening reception June 21, 6–8pm.

Der Hausfreund (The family friend) is a group exhibition curated by Cosima Rainer and Robert Müller. The opening reception will take place April 30, 6pm. This exhibition presents the work of Frederick of Berzeviczy-Pallavicini in dialogue with works by Kamilla Bishop, Josef Frank, Julian Gothe, Elisabeth Karlinsky, Oswald Oberhuber, Dagobert Peche, Marianne My Ullmann, Amelie von Wulffen & Nico Ihlein, Laura Welker, Eduard Wimmer-Wisgrill, and Min Yoon.

Count of Three is a survey of abstract painting from the 1960s to the present that takes structure—both formal and metaphysical—as a position to work within and against, opening onto myriad generative possibilities. Bringing together artists situated in an array of art historical, social, and cultural contexts, the exhibition features works by Polly Apfelbaum, Torkwase Dyson, Sam Gilliam, Carrie Moyer, Ulrike Müller, Odili Donald Odita, Betty Parsons, and Jack Tworkov.

Straying from the Line is an exhibition dedicated to such mapping in the field of art: the political lines of the present are territorial as well as physical. They produce a social geography of boundaries and hierarchies that always mark certain bodies as (un) readable and (un) visible, dominant or controlled. Through a fundamentally expanded perspective on the polyphony of feminist tendencies in the art of the last 100 years, with positions ranging from Eva Hesse and Maria Lassnig to Elaine Sturtevant, Lynda Benglis, Tony Cokes and Lee Lozano to Nicole Eisenman, Heji Shin and Martine Syms, the exhibition explores the potential of reorganizing various terrains—social as well as gender beyond a limiting logic.

The opening reception of Container Contained will take place on March 14, 7pm.

May You Live in Interesting Times, the 58th International Art Exhibition at the Venice Biennale curated by Ralph Rugoff, includes work by Ulrike Müller in both the Central Pavilion (Giardini) and the Arsenale. Ralph Rugoff has declared: May You Live in Interesting Times will no doubt include artworks that reflect upon precarious aspects of existence today, including different threats to key traditions, institutions and relationships of the “post-war order.” But let us acknowledge at the outset that art does not exercise its forces in the domain of politics. Art cannot stem the rise of nationalist movements and authoritarian governments in different parts of the world, for instance, nor can it alleviate the tragic fate of displaced peoples across the globe (whose numbers now represent almost one percent of the world’s entire population).

The Walls Do Not Fall is a solo exhibition featuring new work by Ulrike Müller, with a statement written by Gregg Bordowitz.

In conjunction with the 57th Carnegie International, Ulrike Müller will give a lecture at the Kresge Theater, Carnegie Mellon School of Art. All lectures are free and open to the public. Free parking is available in the East Campus Garage after 5pm or on Frew, Margaret Morrison, and Tech Streets after 6pm.

Forms of Enclosure brings together thirty artists selected from IPCNY's "New Prints" Program, a biannual, juried open call for prints and print-based work. This selection was chosen by May Castleberry, Elleree Erdos, Tatana Kellner, and David Sandlin.