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THE
ANNEX
GALLERY
Beginning September 16, 2026, I.T.I.N.E.R.A.T.I.O.N.S presents a photographic series by Juan-Sí González developed through his journeys along the roads of the American Midwest. Images initially made as practical records of an unfamiliar territory gradually became observations of spaces shaped, transformed, and ultimately abandoned by human presence. Signs, buildings, objects, and other remnants of material culture reveal ways of thinking, living, and inhabiting that have accumulated over time. Moving along the subtle boundary between documentary and fiction, González transforms these deserted environments into reinterpreted topographies that expose aspects of the social imaginary and invite reflection on the physical, ideological, and psychological landscapes we collectively occupy.
Given its scale and significance, I will present my analysis of this project in several installments. These are the ten design proposals shortlisted for the next series of euro banknotes. At this moment, they are under the gaze of millions. Citizens of the euro area have been invited to choose their favorites in a survey that will remain open until September 21...
For this series, Rubio & del Amo, a Murcia-based studio specializing in visual identity, editorial design and packaging, joins forces with Cruz más Cruz, the Madrid firm founded by José María Cruz Novillo and later consolidated with the arrival of his son Pepe. Two fairly complementary sensibilities feeding into a common project.
In the mid-1990s, I had many printed copies of the Financial Times in my hands. Probably sometime between 1995 and 1997. I was fascinated by its design, the wan salmon of its pages and Ingram Pinn’s illustrations: its visual identity, basically. As for reading it, very little, I confess. It was an almost purely retinal experience, and little else. But it became clear to me that its texts were written for professionals —people who make decisions on the basis of verified information—
The smell of fresh ink on a print just lifted from the press has a remarkable ability to turn devotees into addicts. So do the uneasy intervals built into the process, which forge a very particular bond with the craft. This lies at the origin of nearly every printmaking and screen-printing workshop. Another trait they tend to share is an unusual capacity for endurance...
Since Wednesday, August 12, Annex Gallery has been presenting Tiger Lily: Collective Impressions. Tiger Lily Press is a cooperative printmaking workshop founded in Cincinnati in 1979, conceived as an open space for practice, teaching, and the preservation of artistic printing techniques...
2026 Members’ Exhibition
Beginning August 12, 2026, Collective Impressions brings together recent work by members of Tiger Lily Press at The Annex Gallery. Rooted in Cincinnati’s tradition of printmaking, the exhibition highlights the range of approaches sustained by this artist-run community, from established processes to contemporary experimentation. More than a group show, it offers a portrait of a studio culture built through exchange, technical knowledge, and collective practice, while affirming the vitality of print today.
The Sound of Trust
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...
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...
