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THE
ANNEX
GALLERY
Beginning April 8, 2026, the exhibition brings together a recent body of work that reaffirms his position as one of the most compelling living voices of Cuban abstraction. Born in Artemisa in 1961 and currently based in North Carolina, Mena has developed a visual language grounded in gesture, color, and structural tension, drawing from both urban experience and an internalized emotional memory...
A District Showcase of Young Artists
I suppose that waking up to find the night has birthed a new Banksy is, by now, almost routine. This time, however, something is different. He has literally moved up a step. He has planted a life-size sculpture in one of the most heavily guarded spaces in London. No witnesses. The piece appeared in the early hours of Wednesday at Waterloo Place, an avenue in central London halfway between Trafalgar Square and Buckingham Palace.
Somewhere between Salzburg and the history of postwar German art, Georg Baselitz died yesterday at 88. His gallery announced it on Thursday. The family stated that he passed 'in peace'. The cause was not made public. Baselitz was born in 1938 in Deutschbaselitz, a village in Saxony, under the name Hans-Georg Kern. In the first years of his life, during the war, four thousand tonnes of bombs fell on his village...
There is something bitterly ironic, and in some way unjust, in the posthumous fate of William Blake. An extraordinary poet and engraver, he spent his life defending imagination as a sacred faculty, denouncing slavery, and dreaming of a spiritual Jerusalem on earth. He has nevertheless ended up recast, in the contemporary imagination, as a numen, or tutelary spirit, of evil. His name and his images appear tattooed on the skin of serial killers, whispered into the ears of victims in television series...
Art historiography in the American Midwest often relies on preservation institutions that consolidate particular versions of the past. This year, the Taft Museum of Art subjects its founding narrative to review through the integration of “domestic” aesthetics into the historical texture that defines it.
I have yet to visit the exhibition Rembrandt: Masterpieces in Black and White. Prints from the Rembrandt House Museum, which opened on February 7 in the Fifth Third Gallery at the Taft Museum. Almost every day I find myself thinking I should go. Opportunities like this are not common, especially when dealing with a major figure of Dutch art.
Cuba, Spirit and resiliencia in the Work of Ivonne Ferrer and Ciro Quintana
Held on the 27th as part of the Pendleton Art Center’s widely attended Final Friday, the gallery welcomed close to one hundred visitors between 5:00 and 9:00 p.m. The public showed particular interest in the political dimension underlying Ciro Quintana’s works and in the reflections on identity and gender presented through Ivonne Ferrer’s ceramic selection.
Pedro Abascal at The Annex Gallery
Between January 30 and February 14, 2026, Dossier Havana was presented at The Annex Gallery as one of the most consistent proposals within its recent program. The exhibition brought together a selection of photographic works by Pedro Abascal, structured as an open visual archive on Havana, where the city appears not as background, but as an object of observation.
The Political Body: Form in the Work of Kina Matahari
Claudia Ricardo’s exhibition, Next to Nothing—recognized within the Cuban art circuit as Kina Matahari—has concluded its run at The Annex Gallery. Now that the works have been dismantled, we are granted the opportunity to analyze what occurred, moving beyond the curatorial framework’s initial intent. The title was a premonition of a paradox...