Karla Black presents a new solo exhibition at Rodder, a New York gallery housed in a Neo-Renaissance apartment, from May 5 to June 18, 2026. The show features her signature Post-Minimalist installations that embrace disarray, using fugitive materials, smeared oil paints on mirrors, and ornamental clutter to challenge sculptural conventions. Key works include "Nature at the Court" (2026), a large gestural piece that blends confection and confusion. The exhibition responds to the domestic, Rococo-influenced setting, with mirrored elements and pastel pigments creating a visceral, temporal experience.
This exhibition matters because it marks a significant shift in Black's practice from large museum halls to an intimate apartment-turned-gallery, forcing her to adapt her overgrown, explosive installations to a domestic scale. The show underscores her ongoing interrogation of sculpture's boundaries—grounded versus gestural, permanent versus fugitive—while engaging with art historical references from Rococo pattern books to Post-Minimalism. The accompanying text by artist and writer Marjorie Welish further contextualizes Black's work within broader debates about materiality, decorum, and the cultural intervention of transposing natural substances into interior spaces.