EXPO CHICAGO 2025 by Miles McEnery Gallery

24-27 APRIL 2025

24 - 27 APRIL 2025

NAVY PIER | CHICAGO BOOTH #325

BEVERLY FISHMAN

“Her art is just as intentional, conceived with the precision of a chemist and the sensitivity of a poet, and painstakingly executed through numerous steps. The perfection of her forms—circles, ovals, triangles, squares, and rectangular slivers—suggests the geometric rigor of a pharmaceutical pill extruder, but her artistic choices elevate them high above drugstore banality. She is a skilled colorist, concocting and contrasting unlikely hues to energize, dazzle, or subdue. Those colors are then transformed into opaque automotive paint, which covers the forms in perfectly uniform concentric bands. She frequently bevels the edges of her wood supports so they take on a jewel-like quality under their pristine surfaces. They are treasures, after all, she seems to be telling us with a wink.”

– Meredith Mendelsohn in “This Could Be the Cure.”

Equilibrium (J.S.C.), 2025

Urethane paint on wood

45 x 42 inches

114.3 x 106.7 cm

(37586)

BEVERLY FISHMAN

Equilibrium (L.W.6), 2025

Urethane paint on wood

45 1/2 x 40 inches

115.6 x 101.6 cm (37574)

BEVERLY FISHMAN

“Our lack of connection to the sitters is strange yet liberating for all concerned. They are cloistered, not displayed for the delectation of either painter or viewer. We, too, are slightly disembodied, free to examine these faceless yet somehow individualized portraits unwatched.Though, in the palpable silence, these figures might be listening, like confessors awaiting our revelations.”

– Roberta Smith

KAREL FUNK

19 x 25 in

48.3 x 63.5 cm

KAREL FUNK

Untitled #113, 2024

Acrylic on panel

(37559)

KAREL FUNK

Untitled #111, 2023

Acrylic on panel

19 x 24 in

48.3 x 61 cm

(37557)

JACOB HASHIMOTO

“Hashimoto, it must be noted, is a highly skilled colorist, and his selection and placement of each piece in a given work produces a design of perfectly balanced sweeps of color. It is here that the true magic of his work, based in joy, color, and childlike innocence, emerges. For, despite their deep complexity and formal perfection, all of these works are made from small, hand-made kites that are themselves representative of a child’s toy. In fact, it was through remembrances of his grandfather and father making and flying kites with him as a boy that Hashimoto landed on this form. Knowing this, the viewer can also factor in the concept of play and familial joy, which is made evident by the kites themselves and the energetic color palette played out on each.”

– Eric Shiner in “Swipe Theory and Pixelism: Jacob Hashimoto on a New Trajectory”

137.2 x 121.9 cm (37697)

JACOB HASHIMOTO TBD, 2025

Acrylic, bamboo, paper, wood, and Dacron

54 x 48 inches

JACOB HASHIMOTO

Underestimating the Moon III, 2024

Acrylic, bamboo, paper, wood, and Dacron

13 x 7 x 8 1/4 inches

33 x 17.8 x 21 cm (36946)

JACOB HASHIMOTO

Underestimating the Moon V, 2024

Acrylic, bamboo, paper, wood, and Dacron

13 x 7 x 8 1/4 inches

33 x 17.8 x 21 cm (36949)

JACOB HASHIMOTO

Underestimating the Moon VII, 2024

Acrylic, bamboo, paper, wood, and Dacron

13 x 7 x 8 1/4 inches

33 x 17.8 x 21 cm (36951)

JACOB HASHIMOTO

Underestimating the Moon IX, 2024

Acrylic, bamboo, paper, wood, and Dacron

13 x 7 x 8 1/4 inches

33 x 17.8 x 21 cm (36948)

MARKUS LINNENBRINK

“As all his works demonstrate, Linnenbrink is interested in encouraging spectators to fall into a dream-like state of consciousness in which we question and reimagine everything we see. Through the intense interaction of gesture, color, movement, chance, and form, Linnenbrink’s art encourages its viewers to get lost in trippy reveries—psychedelic experiences of vision as a constant process of creative activity and change.”

– Matthew Biro in “Markus Linnenbrink: Art and Technology”

HEAVENCOMECRASHING, 2025

Epoxy resin and pigments on wood

60 x 48 inches

152.4 x 121.9 cm

(37678)

MARKUS LINNENBRINK

ITHINKIWILLCALLITMORNING, 2023

Epoxy resin and pigments on wood

60 x 48 inches

152.4 x 121.9 cm

(35470)

MARKUS LINNENBRINK

PATRICK WILSON

“The sensuality of the surfaces of Wilson’s paintings is spectacular: so sumptuous and aglow with so much to savor that it’s clear that each painting is occupying the here-andnow as if it were the only moment that mattered, and that you, the viewer, are the center of the universe. There is not a smidgen of withholding. There’s discipline, to be sure, but with Wilson’s paintings it’s pretty clear that rigors and regimens have far more to do with his relationship to his art than with what his works expect from us. It’s obvious that Wilson goes to great lengths to get every detail so close to perfect that you’d need a magnifying glass and a laser level to detect any variations in his razor-sharp edges, crisp contours, and perfectly smooth planes.”

– David Pagel