Heart Of The Matter by Lynda Benglis and Black Dada (D) by Adam Pendleton

Frieze New York

Adam Pendleton and Lynda Benglis

Upcoming
May 7 – May 11, 2025
New York

ART FAIR DETAILS

Frieze New York
Booth B10
May 7 – 11, 2025

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Above, Left to Right: Lynda Benglis, Heart Of The Matter, 2024 © Lynda Benglis / Artists Rights Society (ARS), New York; Adam Pendleton, Black Dada (D), 2025 © Adam Pendleton,

Pace is pleased to announce its presentation for the 2025 edition of Frieze New York, running May 7 to 11 at The Shed. Curated by Adam Pendleton, the gallery's booth will feature six of his recent paintings alongside six new and recent sculptures by Lynda Benglis.

The presentation explores how both artists translate gesture into physical form through their distinct mediums—Pendleton through painting and Benglis through sculpture—revealing their shared interest in pushing the boundaries of abstraction through formal, material, and conceptual innovation.

This year’s edition of Frieze New York will coincide with Adam Pendleton: Love, Queen, on view at the Hirshhorn Museum in Washington, D.C. from April 4, 2025 to January 3, 2027. Anchoring the museum’s 50th anniversary celebration, this major exhibition will bring together paintings from multiple bodies of work as well as a new single-channel video work. The artist’s presentations at both the Hirshhorn and Frieze will focus on his unique contributions to contemporary American painting.

Pendleton’s paintings challenge convention by blurring distinctions among painting, photography, and drawing, rendering visually active and spatially complex works that give visual form to what the artist describes as the 'complex real'—the onslaught of sensory phenomena and often contradictory information that defines contemporary experience. His painting process begins on paper by exploring the full breadth of mark-making. He layers paint, spray paint, ink, and watercolor, while integrating fragmentary text and geometric forms through stenciling techniques. These works on paper are photographed and subsequently combined using a screen-printing process. The resulting paintings are at once expressionistic, minimal, and conceptually rich.

Benglis has been celebrated for her free, ecstatic forms, which are simultaneously playful, visceral, organic, and abstract, since the 1960s. Having begun her career in the midst of the Postminimal movement, she has continually pushed the tradition of sculpture into new territories, using a variety of materials—from beeswax, latex, and polyurethane foam to plaster, gold, vaporized metals, glass, ceramics, and paper—to experiment with new processes and ideas. Benglis’s embrace of flowing forms, color, and sensual surfaces attests to her inventive and radical spirit as well as her ongoing investigation of the proprioceptive, sensory experiences of making and viewing her sculptures.

At Frieze New York, Pendleton will present four Black Dada paintings from 2024 alongside two new Movement paintings completed this year. Emerging from his processes of translation and transformation, the paintings' surfaces feature both stark contrasts and subtle variations in tone and finish, dissolving immediate distinctions between foreground and background. In his new Movement paintings—which will debut at the Hirshhorn Museum and will be shown for the first time in New York at Frieze—Pendleton has created expressionistic compositions that reveal the poetics and power of the handmade mark. In these works, he meditates on the force and potential of performative gestures and how painting can communicate the limits and spirit of the human body. On the occasion of the fair, Pace Publishing will release a new book on Pendleton's work from his 2024 New York solo exhibition with the gallery, An Abstraction.

Benglis will present six bronze sculptures, created between 2021 and 2024, in Pace’s booth at the fair. Each of these coiling, twisting, jutting, and snaking works in bronze has a relationship with an existing clay sculpture by the artist. Rendered at larger scales than their clay counterparts, her Everdur and White Tombasil bronzes invite a different kind of experience and engagement from the viewer. Glistening and reflective, these sculptures lend shape to feeling, harnessing liquid, buoyant qualities to express the pleasures of gesture and materiality, the powers of memory, the poetics of gravity, and the matter of sensation itself. All six of these sculptures paired with Pendleton's paintings come from Benglis's private collection and are being presented publicly for the first time at Frieze.

During the run of Frieze New York, solo exhibitions of work by Robert Indiana and Robert Mangold will be on view at Pace’s 540 West 25th Street gallery, and a solo show by Alicja Kwade will be presented at the gallery’s 508/510 West 25th Street space.

On May 17, an exhibition of works on paper by Joan Jonas, curated by Pendleton, will open at Pace’s Tokyo gallery—this presentation will shed light on the relationship between drawing and performance in Jonas’s practice.

Featured Works

Untitled (Movement) by Adam Pendleton — Adam Pendleton, *Untitled (Movement)*, 2024-2025, silkscreen ink and black gesso on canvas, 96" × 80" (243.8 cm × 203.2 cm)

Black Dada (B) by Adam Pendleton — Adam Pendleton, *Black Dada (B)*, 2024-2025, silkscreen ink and black gesso on canvas, two parts, 36" × 28-1/2" (91.4 cm × 72.4 cm) framed, 37-7/8" × 30-3/8" × 2-1/4" (96.2 cm × 77.2 cm × 5.7 cm)

Black Dada (K) by Adam Pendleton — Adam Pendleton, *Black Dada (K)*, 2024-2025, silkscreen ink and black gesso on canvas, two parts, 36" × 28-1/2" (91.4 cm × 72.4 cm) framed, 37-7/8" × 30-3/8" × 2-1/4" (96.2 cm × 77.2 cm × 5.7 cm)

Black Dada (D) by Adam Pendleton — Adam Pendleton, *Black Dada (D)*, 2024-2025, silkscreen ink and black gesso on canvas, two parts, 36" × 28-1/2" (91.4 cm × 72.4 cm) framed, 37-7/8" × 30-3/4" × 2-1/4" (96.2 cm × 78.1 cm × 5.7 cm)

Black Dada (A) by Adam Pendleton — Adam Pendleton, *Black Dada (A)*, 2024-2025, silkscreen ink and black gesso on canvas, two parts, 36" × 28-1/2" (91.4 cm × 72.4 cm) framed, 37-7/8" × 30-3/8" × 2-1/4" (96.2 cm × 77.2 cm × 5.7 cm)

Mad Hatter by Lynda Benglis — Lynda Benglis, *Mad Hatter*, 2021, Everdur bronze (golden), 23" × 15" × 13" (58.4 cm × 38.1 cm × 33 cm)

Heart Of The Matter by Lynda Benglis — Lynda Benglis, *Heart Of The Matter*, 2024, white tombasil bronze, 30" × 23" × 40" (76.2 cm × 58.4 cm × 101.6 cm)

Dice by Lynda Benglis — Lynda Benglis, *Dice*, 2023, white tombasil bronze, 26-1/2" × 27-3/4" × 26-1/2" (67.3 cm × 70.5 cm × 67.3 cm)

Winged Victory by Lynda Benglis — Lynda Benglis, *Winged Victory*, 2024, everdur bronze, 25-3/16" × 32-3/4" × 21-7/16" (64 cm × 83.2 cm × 54.5 cm)

Lasso by Lynda Benglis — Lynda Benglis, *Lasso*, 2023, Everdur bronze, 22" × 28-1/2" × 36" (55.9 cm × 72.4 cm × 91.4 cm) 175 lbs. (79.38 kg)

Hooker by Lynda Benglis — Lynda Benglis, *Hooker*, 2022, White Tombasil bronze, 23-1/4" × 19-1/2" × 23-1/2" (59.1 cm × 49.5 cm × 59.7 cm), estimated dimensions

About the Artists

Adam Pendleton

Adam Pendleton, a central figure in American painting, continuously redefines the medium as it relates to process and abstraction. Upending linear compositional logic, Pendleton’s paintings are created by a distilled layering of gesture, fragment, and form that mirrors the cacophony of contemporary experience. Each painting comes to life through its expressionistic flourishes, stark contrasts, and subtle use of material, tone, and finish, as well as a precision reminiscent of minimal and conceptual art. Generative and poetic, his paintings create fluid and essential spaces for seeing, thinking, and feeling.

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Lynda Benglis

Since the 1960s, Lynda Benglis has been celebrated for the free, ecstatic forms she has made that are simultaneously playful and visceral, organic and abstract. Emerging amid the rise of Postminimalism, she has consistently pushed the boundaries of painting and sculpture, expanding their possibilities over the course of her career. Composed of a variety of materials—from beeswax, latex, and polyurethane foam to later innovations with plaster, gold, vaporized metals, glass, ceramics, and paper—her works demonstrate an enduring fascination with process. The embrace of flowing forms, color, and sensual surfaces attests to her inventive and radical spirit. Benglis’s experimental videos extend this commitment to process into new media, featuring performative actions and using technological mediation to explore themes of physical presence, narcissism, sexuality, and gendered identity. Through her multifarious practice, Benglis continues a long-running investigation of the proprioceptive, sensory experiences of making and viewing her works.

Learn More