A creature with red skin and a black nose holds a mirror before itself—beyond the mirror, an image of an individual with bronze gold hair and pink skin hands beside a mask of a face, a ski mask, and another work of art.

Chris Fallon: Irresistible Deception

In this new body of work, Fallon — known for his striking images of ambiguous figures that both draw on and challenge existing traditions of portraiture — explores how the practice of collecting shapes the fashioning of domestic space.

A box of tampons, condoms, birth control; a vibrator; a dildo; a pregnancy test—all spread on a table before a figure, with medium-length black hair and hoop earrings, painted in portraiture. Behind them, a sign hangs on their wall, "Don't Yuck Someone Else's Yum."

Susan Chen: I Am Not a Virus

Informed by just a few hours of Zoom conversation with each person, Chen creates compositions that illuminate the experiences, desires, and emotions of her sitters.

Portrait of a Black woman wearing gold earrings, her hair pulled behind her head and tucked into a cow-print cowboy hat. She wears a yellow western fringe shirt and stands before a field, abutted by a treeline.

Otis Kwame Kye Quaicoe

Each figure becomes a symbol of the reclamation of cultural dignity, embracing the idea of origin and personal narrative as it relates to gender and race dynamics.

A self portrait hanging on a white wall of a person with medium-length, wavy brown hair, a 5-o'clock shadow and a black shirt stand upright and look through the canvas at the viewer.

Thomas McDonell: Me

Los Angeles-based McDonell presents a suite of assemblage paintings and prints surrounding notions of the self. The title of the exhibition, Me, immediately presents the core of the work, a probe into the idea of private versus public, and the ownership of images and ideas.

A portrait of a featureless man holding a featureless toddler, both rendered in generous swaths of paint. The man has black hair, a small black beard, and rich brown skin. The child has black hair and golden brown skin. The man wears a grey sweatshirt with a US flag, the child wears a white t-shirt. The man's face is angled up as though he's looking at the child, and the child is facing out toward the viewer.

Shaina McCoy: Father, Father

Viewed against the backdrop of America’s current reckoning with its endemic racism, the faceless figures become an allegory of the attempted erasures of Black and Brown families.