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Dozens of Artists Bring Their Studios to Hauser & Wirth New York

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A new exhibition by Anicka Yi and Josh Kline explores the spaces where artistic ideas take shape.

Reimagining the Artist’s Studio

A new group exhibition titled Studio Visit has opened at Hauser & Wirth in New York, curated by artists Anicka Yi and Josh Kline. Presented in collaboration with Performance Space New York, the show examines the artist’s studio not just as a physical workspace, but as a psychological and conceptual environment where identity, creativity and labor intersect.

The exhibition gathers work and reflections from 27 international artists, inviting them to revisit the environments and practices that shaped their early careers.

A Dialogue Between Private and Public

The show features contributions from a wide range of influential artists including American Artist, Jean-Michel Basquiat, Huma Bhabha, Cecily Brown, Farah Al Qasimi, Tschabalala Self, Wolfgang Tillmans, Rirkrit Tiravanija and Ambera Wellmann.

Beyond displaying artworks, each participant submitted written reflections about their early studio experiences. These texts were then transformed using artificial intelligence into what the gallery describes as “machine-generated memories,” resulting in visual interpretations of formative creative spaces.

Exploring Labor, Technology and Community

The exhibition draws inspiration from Circular File, the experimental collective founded by Yi and Kline with Jon Santos in the late 2000s. Through performances and televised projects, the group investigated themes of artistic labor and the social conditions surrounding creative production.

In a similar spirit, Studio Visit explores how artistic communities form through shared spaces, chance encounters and evolving technologies. By focusing on the environments where art begins rather than where it is ultimately displayed, the show highlights the networks and infrastructures that shape creative careers.

Studio Visit is currently on view at Hauser & Wirth New York through April 11.

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