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CUE Art Foundation presents The Visible Hand

Archive | Information & News

7 Jan 2017 to 15 Feb 2017
Hours - Tuesday - Saturday 10-6
CUE Art Foundation
137 W. 25th Street
New York, NY
NY 10001
New York
North America
T: +1 212-206-3583
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Emilio Martinez Poppe and Susan Jahoda of BFAMFAPhD, Ten Leaps: The Card Game, 2016.

Artists in this exhibition: Chloë Bass, BFAMFAPhD, Maureen Connor, Devin Kenny, Jen Liu

The Visible Hand
Curated by David Borgonjon

January 7 - February 15, 2017
Opening reception: January 7, 6-8pm

Chloë Bass  //  BFAMFAPhD  //  Maureen Connor  //  Devin Kenny  //  Jen Liu

+ Art As Service: Symposium, Sat. January 28, 2-6PM
+ Artists ________ Institutions: Workshop, Sat. February 4, 1-7PM
Artist/Admin: Discussion. Sat. February 11, 7-9P

Drawing on a business history term for management—the visible hand—as a corrective to the invisible forces of the market, this show posits art as a form of managerial practice. After all, artists already live, breathe and work as single-person institutions.

The artists presented in The Visible Hand set aside the too-convenient narrative of art as an oppositional critique of corporate management, and propose art as existing within and alongside institutions rather than outside of them. The works here reflect on the entire process of artistic production, from early socialization to the arts education system to market pressures to systems of distribution, consumption and storage.

Jen Liu’s
The Pink Detachment paintings depict a series of large feminine fingers pushing and prodding, across a semi-abstract manufactured landscape. Liu’s exploration of power in the soft, affective form it often takes today draws on the colors and images of meatpacking, ballet, and Foxconn. These figures stand in for forces that are all around us but still too slippery to point to.

Chloë Bass
is a conceptual artist co-creating performances, publications, situations, and installations. The Book of Everyday Instruction is an eight-chapter project about one-on-one social interaction, investigating different iterations of “the pair.” Chapter Six: What is shared, what is offered, focuses on the metaphor of blending flavors. The first “course” of this chapter, to imagine intimacy not just between people, but between people and institutions.

Maureen Connor’s Personnel, initiated in 1999, turns exhibitions into opportunities to solve challenges relating to human resources in the cultural institution. Connor’s installations provide privacy, storage, water, or any other needs that surface during her research into the working conditions of art organizations. Documentation of several of her early projects will be on view, as will evidence of an ongoing new work.

is a collective that works at the intersection of art, technology, and political economy. Ten Leaps: A Lexicon for Art Education is a free resource for educators that can be used to analyze and reimagine power relationships in the arts. The text, workbook, and card game are tools that prompt investigations into the whole life of projects—from sourcing, to production, to presentation and archiving. Susan Jahoda, Emilio Martinez Poppe, Caroline Woolard are the core contributors to Ten Leaps. Interdisciplinary artist, writer and musician

Devin Kenny
will present a prototype of a platform for streamlined commissioning systems for artwork; his project proposes to disintermediate the gallery from the art collection process, so that collectors can easily commission new works directly from the artist through an easy graphic interface. Kenny’s project for The Visible Hand is produced in collaboration with Kevin Chen, a graphic designer and illustrator living and working in New York City.

The Visible Hand is organized by David Borgonjon, who believes that artists have the power to make organizations work better. He is curator at Eyebeam, a studio for technology by artists, and a founder of, a Chinese-language website for media art criticism. This exhibition is accompanied by a 32-page color catalogue, which includes essays by David Borgonjon and Rachel Valinsky. Rachel Valinsky is an independent curator, writer, and translator, as well as co-founder of the alternative library Wendy’s Subway. She is currently Writer-in-Residence for CUE Art Foundation and Art21 Magazine’s partner program. The catalogue is available free of charge to gallery visitors.

CUE Art Foundation’s exhibition program presents new and exceptionally strong work by under-recognized and emerging artists based in the United States. CUE is committed to exhibiting work in any medium from artists of all ages. This exhibition is the winning selection from the 2016-17 Open Call for Curatorial Projects. The proposal was unanimously selected by a jury comprised of panelists Herb Tam, Curator and Director of Exhibitions at the Museum of Chinese in America; Michelle Grabner, artist and writer; and Leslie Hewitt, artist. This program provides one deserving curator the necessary time and resources to realize an innovative project, with the aim of encouraging curatorial research in tandem with exhibition planning. In line with CUE’s commitment to providing substantive professional development opportunities, panelists also serve as mentors to the curator, providing support throughout the process of developing the exhibition.

For more information please contact Programs Manager Shona Masarin-Hurst at 

CUE Art Foundation
Joan Mitchell Foundation
New York Foundation for the Arts

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