Your Content Goes Here MEXICO CITY, MEXICO Booth C104 Feb 7-11, 2024 MATERIAL RELEASE Material Release is a four-artist exhibition, in where Youdhisthir Maharjan (1984, Kathmandu, Nepal), Kerry Phillips (1974, Denton, Texas), along with Tony Vazquez-Figueroa (1970, Caracas, Venezuela) and Jerónimo Villa (1990, Bogotá, Colombia) each alchemize ordinary items into storytelling monuments of assemblage. The collective highlights the artists’ ability to liberate their materials, transforming object, purpose, and utility past the natural understanding assigned to their mediums. The expansive nature of the works in this curated exhibition challenges viewers’ confines of imagination in the transcendence displayed by the artworks on view, approached with varied nuances. Maharjan calls attention to the power and beauty of words, using books as readymade objects, obscuring, or redacting text and sculpting a renewed understanding of storytelling through this practice. Phillips repurposes discarded household materials, fabrics, and mementos imbued with nostalgia causing a pause of reflection in the stream of a fast-paced society dependent on abundance and known for disposability. Vazquez-Figueroa creates a personal archive of paintings, sculptures, objects, and installations, that form a collective memory in his unique transformation of resin. Villa amplifies the tension between purpose and pointlessness through the physical and visual metaphors created by his choice medium, refining used sandpaper, matches, natural woods, and the likes of. Across Material Release, intentionality becomes the common thread as the visceral presence, textures, smells, and memories that accompany each work create an interconnectedness between artist, viewer, and object. Material Release es una exhibición, en la cual Youdhisthir Maharjan (1984, Kathmandu, Nepal), Kerry Phillips (1974, Denton, Texas), junto con Tony Vázquez-Figueroa (1970, Caracas, Venezuela) y Jerónimo Villa (1990, Bogotá, Colombia), alquimizan elementos ordinarios para así convertirlos en monumentos narrativos de ensamblaje. El colectivo destaca la capacidad de dichos artistas para liberar sus

MIAMI, FLORIDA December 6-10, 2023 Booth B2 Click Here to View Article

Bogotá, Colombia November 23-26, 2023 Booth 518 JERONIMO VILLA: Works By Click Here to View Article

New York, New York, USA September 7 – 10, 2023 Booth E11 Click Here to View Article

Your Content Goes Here Chicago, IL USA 2023 BOOTH 129 April 13-16, 2023 ILLUSIONS CONFRONTED Illusion Confronted is a collective of six artists focusing on the ephemeral qualities of the human experience as they manifest across the 20th and 21st century. The roster includes Carlos Alfonzo, Ernesto Briel, and Rafael Soriano, alongside, Natalia Garcia-Lee, T. Eliott Mansa and Tony Vazquez-Figueroa and more. Illusions Confronted reveals consistencies between the artists narratives in their explorations of dimension, objectivity, behavior, and introspection. Ernesto Briel El Faraón, 1987 acrylic on canvas 48 x 48 inches 129.1 x 129.1 cm FEATURED ARTISTS & SELECTED WORKS Ernesto Briel Untitled, ca. 1971 Indian ink on paper 10 ¾ x 7 ¼ inches 27.3 x 18.4 cm Ernesto Briel Untitled, ca. 1971 Indian ink on paper 10 ¾ x 7 ¼ inches 27.3 x 18.4 cm Carlos Alfonso Untitled (Head) Witness, 1990 oil on canvas 36 x 30 inches 91.4 x 76.2 cm Rafel Soriano Preludio de un eclipse (Prelude to an Eclipse), 1996 oil on canvas 54 x 50 inches 137.2 x 127 cm Rafel Soriano Cautiva ternura (Captive Tenderness), 1997 oil on canvas 50 x 50 inches 127 x 127 cm Natalia Garcia-Lee The Building Of , 2021 oil on canvas 60 x 72 inches 152.4 x 182.88 cm T. Eliott Mansa For Moments of the Sun II, 2022 stuffed animals, pebbles,seashells, and train tracks on wood 40 x 40 x 10 inches 101.6 x 101.6 x 25.4 cm T. Eliott Mansa For Moments of the Sun III, 2022 stuffed animals, pebbles,seashells, and train tracks on wood 40 x 40

Your Content Goes Here MEXICO CITY, MEXICO Booth D 111 Feb 8-12, 2023 LnS Gallery is honored to present a petite collective of represented artists for the 2023 edition of Zona Maco. This group exhibition weaves the artistic stylings of Jennifer Basile, Ernesto Briel, Natalia Garcia-Lee and Tony Vazquez-Figueroa to dialogue across decades, styles, and mediums, and reflect on the complexities of our existence – its advances, issues, solutions, and achievements – unbound to a particular time or place. Each artist contributes to a greater visual archive of our continual history as a species. This group show is curated to allow art to employ the documentative aspect of its nature. INSTALLATION VIEWS AND SELECTED WORKS Jennifer Basile Bayshore Loop Road I, 2022 relief print on Japanese rice paper edition of 1 + 1 AP 37 ½ x 48 inches 95.3 x 121. 9 cm Jennifer Basile Bayshore Loop Road II, 2022 relief print on Japanese rice paper edition of 1 + 1 AP 46 x 37 ½ inches 116.8 x 95.3 cm Ernesto Briel Untitled, ca. mid 1960s Indian ink and corrective fluid on paper 21 1/8 x 29 inches 53.6 x 7 x 73.7 cm Ernesto Briel Untitled, ca. mid 1971 Indian ink on paper 10 3/4 x 7 1/4 inches 27.3 x 18.4 cm Ernesto Briel Untitled, ca. mid 1971 Indian ink on paper 10 3/4 x 7 1/4 inches 27.3 x 18.4 cm Ernesto Briel Untitled, ca. mid 1971 Indian ink on paper 10 3/4 x 7 1/4 inches 27.3 x 18.4 cm Ernesto Briel Untitled, ca. mid 1971 Indian ink on paper 10 3/4 x 7 1/4

Your Content Goes Here PINTA MIAMI Miami, Florida USA 2022 BOOTH B2 December 1 – 4, 2022 LnS Gallery will be presenting a collective exhibition of artworks by Gustavo Acosta, Carlos Alfonzo, Jennifer Basile, Natalia Garcia-Lee, T. Eliott Mansa, William Osorio, and Tony Vazquez-Figueroa. Each artist’s practice is an embodiment of a unique piece of today’s various visual languages, coming together in this multi/cultural dialectic conversation which in its very nature is representative of the current moment. Through this collective the palette, stories, histories, and accents of Miami reveal themselves within the larger narrative of the arts as a representation of humanity. INSTALLATION VIEWS AND SELECTED WORKS Gustavo Acosta The Unexpected Collision, 2022 acrylic on canvas 60 x 60 inches 152.4 x 152.4 cm Natalia Garcia-Lee Ode to Those Who Made the Most Mistakes, 2022 oil on canvas 60 x 72 inches 152.4 x 182.9 cm Jennifer Basile Coastal Prarie Trail, 2022 relief print on Japanese rice paper 72 x 144 inches 182.9 x 365.8 cm Natalia Garcia-Lee Ode to Those Who Made the Most Mistakes, 2022 oil on canvas 60 x 72 inches 152.4 x 182.9 cm William Osorio El tiempo del silencio II, 2022 oil on canvas 47 x 36 inches 119 x 91 cm William Osorio Regreso a la Tierra (Rug Paintings), 2022 oil on canvas with rug 88 x 62 inches 223.5 x 157.5 cm T. Eliott Mansa Only in your eyes does a person ever die, 2022 mixed media and assemblage on wood 36 x 96 inches 91.4 x 243.8 cm Tony Vazquez-Figueroa Archive Fever / The Object Cause, 2022 resin on archival print 56

Your Content Goes Here EXPO CHICAGO Chicago, IL USA 2022 BOOTH 420 April 7-10, 2022 fossil - eyes Jennifer Basile - Tim Buwalda - Tony Vazquez-Figueroa LnS Gallery is pleased to announce its participation EXPO CHICAGO 2022, where we will present fossil⸰eyes is a three-artist exhibition centered around the cyclical effects of the fossil fuel industry through a globalized lens, exposing our reliance and the inevitable, hastened fossilization of humankind due to negligence. In a world of mass production and over-industrialization, dreams become shattered illusions within a fabricated socio-economic maze, and natural oases are poisoned, and left to disappear. The driving force behind this genuine dystopia is a hunger, addiction, and reliance on fossil fuels: the finite resource that powers modern-day reality. The works included in the exhibition highlight the terrarium created by a nations economic boom and bust at the whim of petroleum and its tangential industries that become icons of ‘success,’ juxtaposed with the intimidating yet the evanescent beauty of fading environments. The artistic visions of Jennifer Basile, Tim Buwalda, and Tony Vazquez- Figueroa focus on the varied aspects and effects of the same international addiction INSTALLATION VIEWS AND SELECTED WORKS JENNIFER BASILE Launch Site Coot Bay Pond, 2021 six panel relief print on rice paper edition 1 of 1 + 1 AP 102 ½ x 115 ½ inches 260.4 x 293.4 JENNIFER BASILE ADK Swimming Hole, 2018 intaglio, edition variable 1 of 6 9 x 11 ¾ inches 22.9 x 29.8 cm JENNIFER BASILE ADK Swimming Hole, 2018 intaglio, edition variable 2 of 6 9 x 11 ¾ inches 22.9 x 29.8 cm JENNIFER BASILE ADK Swimming Hole, 2018 intaglio, edition variable 3 of

Your Content Goes Here MEXICO CITY, MEXICO Booth C100 Feb 9-13, 2022 La huella del hombre: Gustavo Acosta and Tony Vazquez-Figueroa LnS Gallery is pleased to announce its participation in Zona Maco 2022, where we will present La huella del hombre (The Imprint of Man), a bilateral presentation of works by represented artists Gustavo Acosta and Tony Vazquez-Figueroa, showcasing the deeply personal investigations of each artist during the COVID-19 pandemic. While Acosta’s purely acrylic practice stands relative to Vazquez-Figueroa’s mixed media and multidisciplinary works, both artists converse on the lasting influence that their surrounding environment forced upon them during isolation. Both work on analyzing the symbolic and literal craters that the pandemic’s living conditions and long entrenched nature have created within their respective lives and communities. For Acosta, the timely body of acrylic on canvas paintings featured in the presentation reflect the fragmented realities experienced throughout a unique moment in human history. He uses his iconic style of vibrant, profound imagery of urban settings, at times intervened by a human presence or besieged by unruly nature, in conjuring intense moods in a reflection of lived realities. Recognizable structures from the cities in which he has lived and visited: from Havana and Mexico City to Madrid, New York and Miami, become the concrete formations within each composition that read as both beautiful, and sometimes disturbing. Acosta describes his work as, “an investigation into the human condition, utilizing as testimony not the individual, but the individual’s creative footprint.” Inspired by everything from American realism, architecture, and action painting, his interpretation of architecture as an emblem of power explores the social and political aspects that buildings represent. For Vazquez-Figueroa, the immersive collection of paintings, photography, and sculptures speak on the artist’s interpretation of the

Your Content Goes Here Untitled, ART Fair San Francisco 2020 BOOTH B8 January 16-19, 2020 Carlos Alfonzo: Illuminating Trajectory LnS Gallery is pleased to announce its participation in UNTITLED, Art. San Francisco, where we will present a solo exhibition titled Carlos Alfonzo: Illuminating Trajectory. The focus survey on the artist features works from 1976-1990, including a range of paintings, works on paper, ceramic work, and sculptures. Among the selection on exhibit, Untitled (Still-Life) and Self-Portrait in L.A., were created while Alfonzo resided in California during the summer of 1983 through the spring of 1984. In July of 1980, Alfonzo left Cuba in exile through the port of Mariel and arrived in Miami. At an early stage of his youth on the island, Alfonzo’s creative talent became apparent, an endowment he began to cultivate through formal artistic studies at the San Alejandro Academy and at the University of Havana, from 1969 to 1977. As a young man working within the Cuban system, cautiously navigating the personal and artistic repressions of post-revolutionary life, he became disenchanted with the regime. Alfonzo made the decision to leave Cuba just 8 months before the opening of the pivotal Volumen 1 exhibition that heralded a new international direction in contemporary Cuban art, and where Alfonzo was slated to exhibit among those who would later become known as the “1980s Generation.” With hopes of finally living an open life as individual and artist, he endured a traumatic crossing via the Mariel boatlift to settle in Miami. Within the decade following his exile, Carlos Alfonzo was awarded a Visual Artist Fellowship in Painting from the National Endowment of the Arts in Washington D.C. and a CINTAS Fellowship in the Visual Arts. His work was exhibited in solo

Your Content Goes Here MEXICO CITY, MEXICO Booth NP 2 Feb 5-9, 2020 Tony Vazquez-Figueroa: Spectacular Modernity Tony Vazquez-Figueroa has researched the theme of Modernism in Latin America for over a decade; studying its origins and influences, both positive and negative on the local population, and its particular aesthetic. Most prominently, he addresses the issue in Venezuela and how oil was and continues to be a crucial element that shapes this crisis-ridden society today. For this project, Vazquez-Figueroa focuses on what he calls Spectacular Modernity: the ways in which the various Venezuelan governments of the 1950s, 60s, and 70s used the economic resources of the oil income to boost a National Aesthetic both in material — art and architecture — as well as with race, creating the beginning of a massive gentrification. From the perspective of art in its different ramifications, Venezuela richly promoted the image created by a handful of avant-garde artists of the time, to project the impression of development and progress; some of them were European immigrants like Gego and Leufert, and others were — the grand majority — Venezuelan heirs of the aesthetics of the previous group and highly influenced by the ideas of the Bauhaus, such as Carlos Raul Villanueva, Cruz Diez, and Soto, who became the spearhead for large government projects, such as universities, airports, mega-pavilions at international fairs, national industries, and more. In this way, Constructivism and Kineticism became Venezuela’s National Aesthetic, leaving aside a group of artists, such as Eugenio Espinoza and Claudio Perna, who in turn created the alternative and truly avant-garde movement. Regarding gentrification, the Pérez Jiménez government, for example, created and promoted incredibly robust European migration programs, as well as housing blocks for the impoverished population, and