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THE
ANNEX
GALLERY
Beginning July 15, 2026, The Sound of Trust presents a selection of photographs by Jim Marshall, the American photographer and photojournalist born in Chicago in 1936 and raised in San Francisco’s Fillmore District. Over a career spanning five decades, Marshall produced some of the most enduring images of twentieth-century music, working from an exceptional proximity to the artists he photographed, on stage, backstage, in studios, hotel rooms, prisons, festivals, and city streets. Called the most celebrated and prolific photographer of the 20th century, Marshall is widely known for his iconic music photography. Because Jim lived life alongside his subjects and never betrayed their trust, he was granted second-to-none access.
2026 Members’ Exhibition
Ai Weiwei's art leaves me with certain reservations. The public figure strikes me as overly polished, burnished almost to excess. Some years ago he dropped an authentic Han dynasty urn onto the floor. Made sometime between 206 BC and AD 220, its first and only purpose was to shatter. He had bought it in Beijing in the early 1990s, during China's rapid urban expansion...
Call Me Ahmel .January arrived, and so did 2025. Halfway through the month it will pierce my head and my body in much the same way 2024 did—with hypersonic calm. Be careful. In Miami everything happens too fast, a good friend warned me, sounding more alarmed than concerned. Another good friend, one we have in common, calls him my fascist friend. Cuba, the way tango does to the men—and to the women—in Borges's magnificent story The Man on Pink Corner, has its own way with him.
When we first came across Tim Harrier’s Shaman Spirit Guides, we dismissed them without mercy as the product of artificial intelligence. The mud-covered faces, the animals emerging from the background, and an unbroken frontal force produced, almost at once, a malignant suspicion. Suspicion ran far ahead of the work. And we are right to suspect almost everything in life. This series, no...
There is a book. Before the exhibition, before the charcoal drawings spread across the galleries of the Contemporary Arts Center, before the viewer crosses the blue thresholds into the dreamworld of Freeman Little, there is a self-published book...
Now and again, chance weaves a concurrence of circumstances that places us before a window opening onto the past. The opportunity to converse, undistracted, with the Austrian artist Stylianos Schicho was a privilege, since what most interests me in art are the sinews that bind it to whoever produces it.
Thresholds. The Long Road Home
Although I am an avowed admirer of her solo work and have known her for nearly twenty-five years, I do not remember ever having spoken in person with Liudmila Velasco. About her work, about the weather, about how unbearable this or that artist can become. When I left the island, Liudmila was already practically an institution within Cuban women’s photography...
Docile Metals and Memory
On June 3, Leticia Sánchez Toledo opened Docile Metals and Memory at The Annex Gallery, a series that delved into the material and affective memory of objects. The pieces were conceived from metal trays unearthed on Facebook Marketplace, at Sunday flea markets, and in secondhand venues. They were objects few still wished to keep in their original state — easy to come by, hard to maintain, awkward to place...
Shipibo 'dieta' and the cyanotype
Amazonia, the solo exhibition by Julia O. Bianco, brought together a body of work developed through the artist’s sustained engagement with the Shipibo Indigenous community of the Peruvian Amazon. The exhibition combined watercolor and ink on paper, embroidered textile works, illuminated cyanotypes, and installation, articulating a visual meditation on medicinal plants, the Amazonian dieta —or samá in Shipibo— migration, family inheritance, and the ethics of reciprocity.