Unfollow

Uri Aran, Jules de Balincourt, Paololuca Barbieri Marchi, Huma Bhabha, Ljiljana Blazevska, Marco Boggio Sella, F P Boué, Olaf Breuning, David Brody, Cecily Brown, Merlin Carpenter, Maurizio Cattelan, Patrick Conklin, Michaela Eichwald, Jason Fox, Jonah Freeman, Tatiana Grigorenko, Rachel Harrison, Regan Heiserman, KT Hickman, Marcus Jahmal, Jamian Juliano-Villani, Craig Kalpakjian, Morteza Khakshoor, Ragnar Kjartansson, Vitaly Komar, Bertrand Lavier, Austin Lee, Asher Liftin, Justin Lowe, Sangram Majumdar, Deborah Mesa-Pelly, Diego Perrone, Richard Prince, Andy Roberts, Hollis Robison, Dana Schutz, Josh Smith, Reena Spaulings, Rudolf Stingel, Robert Storr, Su Su, Spencer Sweeney, Chibuike Uzoma, Marianne Vitale, Michael Wetzel, Austin Martin White, Shoji Yamasaki

Falcon Art Collective presents Unfollow, curated by Robert Storr, Paololuca Barbieri Marchi, and Marco Boggio Sella. The exhibition follows the collective's inaugural presentation, R U Still Painting???, which debuted last year and established its commitment to probing the relevance, elasticity, and endurance of painting and its expanded field in contemporary practice.

As with its first edition, Falcon Art Collective activates vacant commercial real estate, transforming unused retail and office spaces into temporary exhibition sites. By repurposing storefronts that might otherwise sit empty, the collective fosters dialogue between creative and commercial communities while demonstrating how art can catalyze new forms of civic engagement.

Unfollow is inspired by two metaphysical thresholds. In Western theology, "Limbo" denotes a suspended realm between salvation and damnation. Its Eastern analogue, the Buddhist "Bardo," describes an intermediate spiritual state—one that entered contemporary literary consciousness through George Saunders's novel Lincoln in the Bardo. Together, these concepts frame the exhibition's central proposition: that our present cultural moment occupies a similar in-between condition.

As conceived by the curators, this condition is also aesthetic and historical, evident in the unresolved tension between Modernism and Postmodernism. From Francis Picabia's shadowing of Pablo Picasso's formal affirmation to Marcel Duchamp's strategic negation, the "isms" of the last century have continually collided and destabilized one another. We find ourselves once again in a charged interval where inherited categories no longer hold.

The exhibition foregrounds practices that resist easy classification, neither wholly declarative nor purely ironic, neither utopian nor nihilistic.

If R U Still Painting??? asked whether the medium persists, Unfollow broadens the inquiry: where, historically and conceptually, do we stand now? Rather than resolving the tension between inheritance and rupture, the exhibition inhabits that suspended space—where doubt becomes method and uncertainty becomes form.