ALEJO
  • WORKS
    • Projects >
      • 2025 TROPICAL LAB SINGAPORE
      • 2025 | Emersión
      • 2024 | Prototype 1.0
      • 2024 | Bound/Unbound
      • 2023 | IN WORK WE TRUST | ¡CHAMO, ¿QUÉ HICISTE CON EL CARRO?
      • 2023 | DRAW POINT TO POINT
      • 2023 | PORTALS IN A STATE OF SUNSHINE
      • 2022 | OVERLAID '22
      • 2022 | GTIS & PARTNERS
      • 2022 | CHOCOLATE BOX
      • 2022 | COLUMBIA MFA THESIS EXHIBITION
      • 2021 | THE (better late than never) SUMMER SHOW
      • 2021 | COLUMBIA UNIVERSITY CLASS OF 2022 FIRST YEAR SHOW
      • 2021 | GÜELCOME TO MY BEREAVED CHIMERA OF LA LA LAND
      • 2020 | DRAWN: CONCEPT & CRAFT
      • 2020 | ARAC COLLAGE SERIES
      • 2019 | GREEN GO HOME
      • 2019 | BOYBO++ ( AFTER MATISSE )
      • 2019 | BATTLESHIP POTEMKIN
      • ARCHIVE >
        • 2018 | REFURBISHED
        • 2017 | PRE-REFURBISHED
        • 2016 | UNTITLED
        • 2015 | THIS WASN'T WHAT WE ASKED FOR
        • 2014 | SONY
        • 2013 | SALVAGE
        • 2012 | MECHANICAL PATTERNS
        • 2011 | PLOTTED PENS
        • 2010 | HUE
        • 2009 | UNDERWATER
        • 2008 | PHOTOGRAPHY
        • 2007 | COLONIALISM
  • TOURS
  • CURRENT
  • ABOUT
    • About the work
    • CV
    • PRESS

​Cut:  Abstraction in the United States from the 1970's to the Present


​Group exhibition at Patricia and Phillip Frost Art Museum 

Picture
June 1, 2019 — August 25, 2019
Curated By: Amy Galpin, Ph.D., Chief Curator of the Frost Art Museum
"Cut: Abstraction in the United States from the 1970s to the Present" was an exhibition that explored the evolution of abstract art in America, focusing on artists who manipulated painting surfaces through cuts, carvings, and indentations. The exhibition, curated by Amy Galpin, featured a multigenerational group of artists, including both established figures like Al Loving, Elizabeth Murray, and Jack Whitten, and younger artists like Loriel Beltrán, Alejandro Contreras, and Clara Varas, showcasing how abstraction has been a driving force in American art and its international impact. The exhibition highlighted the diverse approaches artists took in manipulating their materials, pushing the boundaries of traditional abstraction. ​

BOYBO++ ( after Matisse )

Picture
Picture
Picture
Powered by Create your own unique website with customizable templates.
  • WORKS
    • Projects >
      • 2025 TROPICAL LAB SINGAPORE
      • 2025 | Emersión
      • 2024 | Prototype 1.0
      • 2024 | Bound/Unbound
      • 2023 | IN WORK WE TRUST | ¡CHAMO, ¿QUÉ HICISTE CON EL CARRO?
      • 2023 | DRAW POINT TO POINT
      • 2023 | PORTALS IN A STATE OF SUNSHINE
      • 2022 | OVERLAID '22
      • 2022 | GTIS & PARTNERS
      • 2022 | CHOCOLATE BOX
      • 2022 | COLUMBIA MFA THESIS EXHIBITION
      • 2021 | THE (better late than never) SUMMER SHOW
      • 2021 | COLUMBIA UNIVERSITY CLASS OF 2022 FIRST YEAR SHOW
      • 2021 | GÜELCOME TO MY BEREAVED CHIMERA OF LA LA LAND
      • 2020 | DRAWN: CONCEPT & CRAFT
      • 2020 | ARAC COLLAGE SERIES
      • 2019 | GREEN GO HOME
      • 2019 | BOYBO++ ( AFTER MATISSE )
      • 2019 | BATTLESHIP POTEMKIN
      • ARCHIVE >
        • 2018 | REFURBISHED
        • 2017 | PRE-REFURBISHED
        • 2016 | UNTITLED
        • 2015 | THIS WASN'T WHAT WE ASKED FOR
        • 2014 | SONY
        • 2013 | SALVAGE
        • 2012 | MECHANICAL PATTERNS
        • 2011 | PLOTTED PENS
        • 2010 | HUE
        • 2009 | UNDERWATER
        • 2008 | PHOTOGRAPHY
        • 2007 | COLONIALISM
  • TOURS
  • CURRENT
  • ABOUT
    • About the work
    • CV
    • PRESS