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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
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...
A few months ago I wondered in these pages what Macron was getting out of lending the Bayeux Tapestry to the English. Forty thousand French citizens signed a petition to block it, citing textile fragility and, I suspect, a touch of cross-Channel rancour as well. The other question remained: what would the British Museum get out of it.
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
Beginning June 17, 2026, Retrospective presents a selection of photographs by Liudmila Velasco, a Cuban artist born in Moscow in 1969 who has lived and worked in Havana for most of her life and now pursues an independent practice. Trained at the San Alejandro Academy and shaped by decades within Cuba's photographic avant-garde, Velasco treats the image as a site of memory, where monuments, archive, and the everyday city are layered into meditations on time, utopia, and revolution. The exhibition arrives as a first sustained look back across that trajectory, gathering work made over more than thirty years, and reaffirms a photographic language defined by conceptual rigor, historical memory, and an enduring tension between the island and the sea.
Docile Metals and Memory
Presented from June 3 to 13, 2026, Docile Metals and Memory brought together a new body of work by Leticia Sánchez Toledo, developed on metal trays found through Facebook Marketplace, Sunday flea markets, and secondhand venues. Once domestic objects associated with service, display, courtesy, and social ritual, these trays became in Sánchez Toledo’s hands a charged surface where material memory and affective memory meet. The series moved from the intimacy of the household toward a broader reflection on friendship, kinship, sociability, and the forms of Caribbean life shaped in the early decades of the twentieth century.
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.