The Armory Show 2026
The Javits Center, New York | Eric Firestone Gallery, Booth 417
September 24–27, 2026
The Armory Show
Elise Asher · Mel Casas · Elaine de Kooning · Lauren dela Roche · Martha Edelheit · Elise Ferguson · Torben Gammelgaard · Grace Hartigan · Colleen Herman · Huê Thi Hoffmaster · Kim Levin · Jay Milder · Joe Overstreet · Betty Parsons · Pat Passlof · Jeanne Reynal · Thomas Sills · Anita Steckel · Almo Talud · Jon Tierney · Paul Waters · Nadia Yaron
Almo Talud
NO TE VALLAS JOSELITO, 2026
acrylic on canvas
94 1/2 x 78 3/4 in.
240 x 200 cm.
(ALTA014)
Eric Firestone Gallery is pleased to announce its participation in the 2026 edition of the Armory Show, with a presentation juxtaposing contemporary and historic artists.
Explorations of the body and eroticism in work from the 1960s and 70s are echoed by recent paintings with similar themes. A highlight of the presentation is a major 1969 painting by Chicano artist Mel Casas (b. El Paso, TX, 1929; d. San Antonio, TX, 2014). The gallery will show a significant work from his Humanscape series, the artist’s best known body of work. American Beauty (Humanscape 58) features two nude figures and depictions of the “American Beauty” type rose in a theater-like tableau. Using the language of Pop Art to critique American culture, and the tendency to define women’s beauty as white, blonde, and thin, despite the diversity. In the last year, other works of this series have been included in exhibitions at major US institutions including the Whitney Museum of American Art and the Smithsonian American Art Museum. Recent figurative paintings by Almo Talud (b. Miami, FL, 1985), who grew up in Manizales, Colombia, also contradict the dominant patriarchal culture that surrounded him. His paintings represent celebratory occasions, populated by men and horses, reflecting memories of the small city Manizales, all re-examined through a queer lens. Work by Kim Levin (b. New York, NY, 1945), Anita Steckel (b. Brooklyn, NY, 1930; d. New York, NY, 2012), and Martha Edelheit (b. New York, NY, 1931) from the 1960s and 70s contends with the body and eroticism, re-considering these subjects through a feminist perspective. New paintings by Lauren Dela Roche (b. Santa Rosa, CA, 1983) depict multiplying and echoing views of a nude woman, who can be read as a symbol of Mother Nature. Dela Roche’s work has deep ties to agriculture and eco-theory, and she uses found and mended cotton feedsack textiles as her painting surfaces. Dela Roche is currently the subject of a museum exhibition at the Contemporary Museum of Saint Louis, MO.
Betty Parsons
Untitled, 1955
acrylic and graphite on paper
12 x 9 in.
30.2 x 22.9 cm.
(BPAR002)
Another highlight of the presentation is work by women of Abstract Expressionism, including Pat Passlof (b. Brunswick, GA, 1928, d. New York, NY, 2011), Elise Asher, Elaine de Kooning (b. 1918, New York, NY, d. 1989, Southampton, NY), Jeanne Reynal, Betty Parsons (b. New York, NY, 1900; d. Southold, NY, 1982), and Grace Hartigan (b. Newark, NJ, 1922; d. Baltimore, MD, 2008). This follows the gallery’s Spring 2026 exhibition Women Across America, and the current show After Magic: Early Works by Pat Passlof, 1948-1962. Elise Asher (b. Chicago, IL, 1912; d. New York, NY, 2004) was a poet-painter, who integrated poetry into her works—first thematically in her early abstractions, and then by incorporating calligraphic text into her brushwork. Jeanne Reynal (b. White Plains, NY, 1903; d. 1983), a mosaicist who worked at the intersection of Surrealism and Abstract Expressionism mid-century, used individual hand-cut stones and glass to create topographic surfaces.
Colleen Herman
Murmurs, 2026
oil on canvas
72 x 72 in.
182.9 x 182.9 cm.
(HERM170)
The landscape is evoked and abstracted by both historic and contemporary artists on view, including Paul Waters (b. Philadelphia, PA, 1936), Thomas Sills (b. Castalia, NC, 1914; d. 2000), Huê Thi Hoffmaster (“hWAY tie,” b. Lancaster, PA, 1982), and Colleen Herman. A new large painting by Hoffmaster will be a centerpiece of the presentation; his work is currently featured in the inaugural Aldrich Decennial at the Connecticut museum. Hoffmaster’s identity as a child of Vietnamese and American parents fuels a painting practice focused on transformation and the ephemerality of beauty in nature. His paintings are abstracted, calligraphic depictions of flowering branches and thickets, growing amidst atmospheric grounds. A suite of watercolors by Waters will occupy one wall of the presentation. In them, silhouetted forms suggest dancers, birds, female warriors, and nature, as well as purely geometric, abstract shapes. They are lyrical works often stained with rich color that suggests naturally occurring hues and pigments. They celebrate mythical, aboriginal painting, as well as the work of Matisse. Whimsically-drawn animals are echoed in the recent work of Torben Gammelgaard (b. 1972, Denmark), a Danish artist based in Copenhagen and Lynæs, who paints and glazes large-scale plates and vessels with inventive creatures, like birds, turtles, cats, and moose. Pouring, scribbling, and dabbing paint with her fingers, Colleen Herman (b. Baltimore, MD, 1982) takes inspiration from the Hudson Valley environment. She embraces a process where energetic textural interventions contrast with spans of canvas intentionally left open.
Jon Tierney
Untitled, 2026
ceramic
45 x 42 x 42 in.
114.3 x 106.7 x 106.7 cm.
(JOTI006)
In both sculpture and painting in the presentation, materiality and experimental processes are resonant. Nadia Yaron (b. Sao Paolo, Brazil, 1978), a sculptor working in the Hudson Valley of New York, hand-carves salvaged wood and stone. Balancing shapes on top of one another, her work contemplates the impermanence and constant movement of nature with the most weighty and permanent of materials. In his large-scale vessels, Jon Tierney (b. Connecticut, 1967) incorporates natural materials into the clay body. These elements burn away during firing, leaving behind rugged surfaces that evoke erosion and the passage of time. Elise Ferguson’s (b. Richmond, VA, 1964) abstractions are made by scraping up to a dozen layers of pigmented Venetian plaster onto panels, and then drawing repeating linear forms with graphite. These contemporary works will be shown alongside historic work, like that of Joe Overstreet (b. Conehatta, MS, 1933, d. New York, NY, 2019), which pushed the boundaries of painting through experimental abstraction.
Almo Talud
NO TE VALLAS JOSELITO, 2026
acrylic on canvas
94 1/2 x 78 3/4 in.
240 x 200 cm.
(ALTA014)
Lauren dela Roche
Save the Garden, 2026
acrylic on found cotton feedback
70 x 107 in.
177.8 x 271.8 cm.
(LDRO090)
Anita Steckel
The Food Box Series, c. 1966
hand colored etching with ink, watercolor, and gouache on thin, smooth, beige paper
11 x 8 1/2 in. each
27.9 x 21.6 cm. each
(ASTE030)
Betty Parsons
Untitled, 1955
acrylic and graphite on paper
12 x 9 in.
30.2 x 22.9 cm.
(BPAR002)
Elaine de Kooning
Basketball #40, 1977
oil on canvas
84 x 66 in.
213.4 x 167.6 cm.
(EDEK013)
Grace Hartigan
Hawaiian Still Life, 1988
oil on canvas
78 x 42 in.
198.1 x 106.7 cm.
(GHAR024)
Jay Milder
Red Subway Runner, 1964
oil and volcanic ash on canvas
69 x 69 in.
175.26 x 175.26 cm.
(JMIL014)
Joe Overstreet
Ungawa – Black Power, 1968
acrylic on canvas construction
72 x 48 in.
182.9 x 121.9 cm.
(JOVE435)
Kim Levin
ACTION PAINTING V, 1979
oil on linen, 4 panels
10 x 10 in.
25.4 x 25.4 cm.
(KLEV008)
Mel Casas
American Beauty (Humanscape 58), 1969
acrylic on canvas
72 x 96 in.
182.9 x 243.8 cm.
(MECAS026)
Martha Edelheit
Stage Performance, 1964
ink and watercolor on rice paper mounted on board
8 x 10 in.
20.32 x 26.04 cm.
(MEDE063)
Nadia Yaron
Willows, 2026
limestone, walnut, marble, oak, and cherry
85 x 19 x 15 in.
215.9 x 48.3 x 38.1 cm.
(NAYA006)
Pat Passlof
Untitled, 1959
oil on paper mounted on canvas
19 x 24 in.
48.26 x 60.96 cm.
(PASS093)
Thomas Sills
Triumphant Figure, 1965
oil on canvas
57 x 69 in.
144.78 x 175.26 cm.
(THSIL486)
Torben Gammelgaard
Flamingo, 2026
ceramic
24 1/2 x 17 x 17 in.
62.2 x 43.2 x 43.2 cm.
(TORB041)
Almo Talud
NO TE VALLAS JOSELITO, 2026
acrylic on canvas
94 1/2 x 78 3/4 in.
240 x 200 cm.
(ALTA014)
Lauren dela Roche
Save the Garden, 2026
acrylic on found cotton feedback
70 x 107 in.
177.8 x 271.8 cm.
(LDRO090)
Anita Steckel
The Food Box Series, c. 1966
hand colored etching with ink, watercolor, and gouache on thin, smooth, beige paper
11 x 8 1/2 in. each
27.9 x 21.6 cm. each
(ASTE030)
Betty Parsons
Untitled, 1955
acrylic and graphite on paper
12 x 9 in.
30.2 x 22.9 cm.
(BPAR002)
Elaine de Kooning
Basketball #40, 1977
oil on canvas
84 x 66 in.
213.4 x 167.6 cm.
(EDEK013)
Grace Hartigan
Hawaiian Still Life, 1988
oil on canvas
78 x 42 in.
198.1 x 106.7 cm.
(GHAR024)
Jay Milder
Red Subway Runner, 1964
oil and volcanic ash on canvas
69 x 69 in.
175.26 x 175.26 cm.
(JMIL014)
Joe Overstreet
Ungawa – Black Power, 1968
acrylic on canvas construction
72 x 48 in.
182.9 x 121.9 cm.
(JOVE435)
Kim Levin
ACTION PAINTING V, 1979
oil on linen, 4 panels
10 x 10 in.
25.4 x 25.4 cm.
(KLEV008)
Mel Casas
American Beauty (Humanscape 58), 1969
acrylic on canvas
72 x 96 in.
182.9 x 243.8 cm.
(MECAS026)
Martha Edelheit
Stage Performance, 1964
ink and watercolor on rice paper mounted on board
8 x 10 in.
20.32 x 26.04 cm.
(MEDE063)
Nadia Yaron
Willows, 2026
limestone, walnut, marble, oak, and cherry
85 x 19 x 15 in.
215.9 x 48.3 x 38.1 cm.
(NAYA006)
Pat Passlof
Untitled, 1959
oil on paper mounted on canvas
19 x 24 in.
48.26 x 60.96 cm.
(PASS093)
Thomas Sills
Triumphant Figure, 1965
oil on canvas
57 x 69 in.
144.78 x 175.26 cm.
(THSIL486)
Torben Gammelgaard
Flamingo, 2026
ceramic
24 1/2 x 17 x 17 in.
62.2 x 43.2 x 43.2 cm.
(TORB041)