Paul Fabozzi’s paintings and works on paper have been exhibited widely in solo and group shows across New York, Philadelphia, San Francisco, Rome, Busan, and beyond. His work is held in numerous private and public collections, including the Weatherspoon Art Museum, San Diego Museum of Art, Neuberger Museum of Art, Frost Museum of Art, Samuel Dorsky Museum of Art, and the New York Public Library.

Fabozzi is the recipient of a New York Foundation for the Arts Fellowship and support from the Café Royal Cultural Foundation. He is also the editor of Artists, Critics, Context: Readings in and around American Art since 1945 (Prentice-Hall), an anthology of writings on contemporary art.

He currently serves as Professor of Fine Arts and Chair of the Department of Art and Design at St. John’s University in Queens, New York, and as Creative Director of Moves: Movimenti Creativi, a visiting artist residency program based in Lucera, Italy.

Fabozzi earned his MFA from the University of Pennsylvania’s Weitzman School of Design in 1993 and his BFA from Alfred University’s School of Art and Design in 1988. His formative studies also included programs in Cortona, Italy, with the University of Georgia at Athens in 1989, and in Siena, Italy, with SUNY Buffalo in 1987.

In LIC Morphology, Paul Fabozzi presents a series of interrelated paintings inspired by his wanderings beneath the elevated train lines of Long Island City, Queens. Using the dynamic intersections of structure, light, and movement as his foundation, Fabozzi transforms this ever-changing urban landscape into a meditation on rhythm, space, and time.

Over the past fifteen years, Fabozzi has observed and documented the dramatic transformation of the Queensboro Plaza area through an ongoing archive of photographs. His paintings reimagine these impressions through layered mark-making and shifting tonalities that evoke both the industrial past and the architectural energy of the present. In LIC Morphology, the city becomes both subject and metaphor—a living structure in constant motion.

This exhibition grows from an artist’s book of cyanotype photograms that explores time across human, botanical, and geologic scales. Recurring forms—a house, phases of the moon, and common garden plants—trace cycles of growth, memory, transformation, and return.

Expanding on the visual and conceptual language first developed in the book, the exhibition brings together cyanotype, monotype, and collage works that consider how individual experience exists within much larger natural rhythms. Moving between the intimate and the expansive, the works invite viewers to reflect on the interconnectedness of humans and the natural world, and on the ways our lives are shaped by cycles of time that extend far beyond our immediate perception.

This exhibition brings together works from Ann Cofta’s ongoing exploration of the relationship between architecture, time, and memory. Moving across textiles, relief sculpture, and artist books, Cofta reinterprets the cityscape through a range of materials, forms, and visual approaches.

Soft patterned fabrics become clusters of buildings through hand embroidery and quilting, while sculptural smokestacks and billowing clouds take shape as solid papier-mâché reliefs. The imagery appears again in miniature painted tunnel and accordion books, where the city is compressed into intimate, unfolding structures.

Through repetition and material transformation, Cofta reflects on how familiar urban forms become embedded in memory, shifting between the architectural, the tactile, and the personal.

For In the Shadow of the Red Sun, Weihui Lu brings together a series of installation residues—hand-bound artist books, photographs, and vessels containing gathered and preserved water. Each work carries the trace of a past ephemeral action while taking on a new presence within the exhibition.

Through these quiet, minimal gestures, Lu draws distant landscapes into the gallery, from her embodied engagements with Sawkill Creek to her research into New York City’s reservoir system. Water, image, object, and archive become interconnected records of place, movement, and memory.

Together, the works resist the demands of fixed outcomes and continuous production, moving instead toward a more organic and ongoing sense of time. Process and finished work intermingle, while the boundaries between past and present, memory and lived experience, gradually become more porous.

Chris’s solo exhibition explores the evanescence of memory—the way a thought, person, place, or experience can briefly consume our attention before gradually receding, only to resurface when unexpectedly triggered. Inspired by landscape, the works are not representations of specific locations but meditations on the residual memories, sensations, and emotions that remain after encountering them. Each image becomes a space where memory shifts between presence and absence, clarity and disappearance.

Working intuitively, Chris often begins with an idea or intention but allows the process itself to guide the work toward an uncertain outcome. This openness is central to the exhibition, which brings together a series of Solarplate etchings and wet cyanotypes, two processes shaped by sunlight, water, time, and chance.

Solarplate etching offers a less-toxic approach to printmaking, using sunlight or UV light to expose and develop the printing plate. Chris works with non-toxic inks and frequently incorporates hand-dyed papers, adding layers of color, texture, and material variation. Wet cyanotype, a camera-less photographic process, allows for an even more spontaneous and expressive approach. Natural materials, spices, and everyday household elements interact with sensitized paper, sunlight, and water to produce unpredictable traces, washes, and impressions.

This exhibition presents a series of oil paintings on three-dimensional panels accompanied by site-responsive installation elements. Drawing from Kelly Olshan’s ongoing exploration of aspiration, anxiety, and the pursuit of an idealized elsewhere, the works create imagined landscapes in which abstracted staircases, shifting horizons, and impossible pathways suggest destinations that remain just out of reach.

Extending beyond the traditional picture plane, the dimensional paintings and installation elements invite viewers to physically navigate the space while considering the tension between striving and arrival. Through these fragmented yet interconnected environments, Olshan reflects on our tendency to project fulfillment into the future—and on the elusive nature of the places, goals, and versions of ourselves we continually pursue.