May 6 - May 19, 2026
His work explores how cultural production and capital exchange offer platforms for social critique and reflection. Through a research-grounded approach, Anderson warps, chops, and screws material, asserting an allegiance to medium-non specificity and ephemerality.
Anderson’s works often originate from meditations on speculative futures and the Black and Caribbean vernacular. He sees these elements as pivotal in a practice ultimately concerned with the universal themes of possibility, survival, and memory.
Anderson lives and works in Brooklyn, New York. He is a graduate of the Brown|RISD Dual Degree Program, receiving a BFA in Sculpture from the Rhode Island School of Design and an AB in Modern Culture and Media from Brown University.
His solo presentations include his Dorner Prize-winning sculpture, Fountain at the RISD Museum, and his exhibition Saudade at La Papeleria in Madrid, Spain. He has also exhibited in other notable spaces: Galeria Cromática (CDMX, Mexico), Experimental Loop Film Festival (NYC, NY), Touchstone Gallery (Washington, DC), and Bridge Red Studios (Miami, FL).
He has been awarded residencies at the Anderson Ranch Arts Center and the Museum of Contemporary Art in Massachusetts, and was the inaugural Decompress Artist-in-Residence with Data4Black. Anderson is also a recipient of the Windgate Lamar Craft Fellowship, the International Sculpture Center’s Outstanding Achievement in Contemporary Sculptor Award, the American Visions Nomination, and is a 2019 Presidential Scholar in the Arts and a National YoungArts Foundation Visual Arts Winner with Distinction. Jaleel Marques Porcha
Jaleel Marques Porcha
I make performance, photography, video, and installations as an extended practice of black study. My work is grounded in the (wayward, fugitive) everyday performance of black vernacular life. In my performance practice, I use theater, interpretive movement, and recitations of original and pre-existing texts to “describe the life that oscillates among the categories of domestic, whore, slave, and corpse” (Saidiya Hartman, Wayward Lives, Beautiful Experiments). I rely on failure and experimentation, looking backwards as a means of renegotiating looking backwards as a means of renegotiating what I think I know. By foregrounding process, action, and everyday experience, I challenge the idea that knowledge is held only within documents and essays, using the language of the academic elite. My interest lies in how performance, when used as a process-based tool, can help evolve experiences that reconnect people to severed lines of thinking not found in an institution, but at landmarks of public communal exchange and internalization.
JaLeel received their BFA in Photography & Sculpture from the Rhode Island School of Design and an MFA in Visual Arts from Rutgers’ Mason Gross School of Art.
April 23 - May 5 2026
The static horizon is a misunderstanding, a destination by convention, but a mechanism in practice. The Horizon as a process of transformation, whose event is indistinct and unknowable. Much of this work looks towards this eventuality, as repetition and emphasis, or through the intensely personal narrative, in linear chronology or in static state.
The vessels that approach this event horizon are varied in form and propulsion. Lo Conte’s archeological approach to iconography gives us a vocabulary to use when encountering the austere unknowability of Quizhpe’s photographic work, as dark as space. Bash Oquendo gives us a second, a pause in the sunset and the moment after, when the sun has left and all light is reflected. Slater’s work asks the opposite, crisp clarity, unfiltered.
Storms require shelter, but Elfreedah’s work instead creates an anatomical challenge to the safety of our own bod-
ies, revealing structures created by the physicalizing of violence. We are altered by experience, but strength projects
outwards, asking for a shared understanding. Hovering above us, Alvarez asks these questions- how can protection
be a stance of power and strength?
Marie Salud’s video work, framed by Yoko Ono’s 1980 Kiss Kiss Kiss makes the final demand- for closeness, for freedom to be cared for, and for true expression of the self. The horizon becomes a closed circle, imminence, kindness, and the approach of hope.
Nick Lo Conte
Shay Elfreedah
Bash Oquendo
Jonathan Quizhpe
Marie Salud
Rowan Slater
April 4 - April 17, 2026
Through, still
kept porch of wet sand
did not make it through
though swept and washed with reminders
stuck in obscured sightlines
air flows through
still, breezed back on backs
creaked by Sunday leanings
still, yard sparrows and bassed out trucks
bumping backs on backs
still, hair day and braided bars
keep porous in suns haunt
they sit still through
~
There’s a genetic component to memory
Sankofa set me free
Like the way my hair coils and plumes like poetry
Puffs enlaced in love, each strand doused in Blue Magic and my mama’s voice hallowed that hummed
Mr. Water? Mr. Water?
Why ya ticklin’ my head?
Mr. Water? Mr. Water?
Did you hear what I said?
My granny’s hot comb sizzles. I sit, a singular inversion of my peers reflected.
In isolation, I pray for the bluest eyes,
that each strand of my hair becomes taught
from God’s soft hands because
the whole world lays at the center of them.
The hot comb sizzles as my ear shapes itself to the tongue
of the gullah geechee boy that weaves roses on the corner,
I buy six of them and inhale
because I have found a piece of home
Chase Irvin (born 1991 in Los Angeles) is a visual artist and architectural designer. She received a B.Arch from Syracuse University in 2014 and is currently pursuing her MFA at Rutgers University. Her practice is rooted in the Black body’s pursuit of home. She has exhibited at Icebox Project Space; Philadelphia, Hashimoto Contemporary; San Francisco, The deYoung Museum; San Francisco, Bakersfield Museum of Art; Bakersfield, Root Division; San Francisco, Richmond Art Center; Richmond.
March 13 - April 2, 2026
Nuisance is pleased to present Carry the Day, on view March 13 through April 2, 2026. The exhibition
brings together five artists whose work maps a course through the structure of a single day, from waking
to conclusion. Functioning as allegory, Carry the Day breaks time into iconographic moments and
encounters, populating the matrix of daily experience with recurring forms, charged moments, and the
supporting characters that create a quotidian experience.
and her BFA from Mason Gross School of the Arts (2012). She also studied at the Akademie der
Bildenden Künste in Munich, Germany, in the class of Norbert Prangenberg (2012). Her work has been shown in the United States, the UK, and Germany.
Lydia Kern (b. 1992, Boston) has been an artist-in-residence at the Corporation of Yaddo, Champlain College, Vermont Studio Center, the Lab Program in Mexico City, and AS220. Originally from Massachusetts and Burlington, Vermont, she lives and works in Queens, New York.
Bridget Quirk (b. 1994, Pittsburgh) lives and works in Brooklyn, New York. She creates paintings that
depict people in places. She received a Bachelor of Fine Arts from Carnegie Mellon University. She has exhibited at Chautauqua Institution (Chautauqua, NY) and Miller Institute for Contemporary Art (Pittsburgh, PA).
Itai Lavie (b. 1999, Tel Aviv) works across ceramics, sculpture, painting, and installation, using historical form to explore memory and material meaning. He is especially interested in iconography—how images and symbols carry meaning across time.
Emily Drew Miller (b. 1994, Summit, NJ) is an artist and educator living, working, and shlepping between New York and New Jersey. She received a BFA from Carnegie Mellon University in 2016 and an MFA from Rutgers University in 2025. Her work has been shown at Below Grand Gallery, NYC; Mana Contemporary, Jersey City; Miller Institute for Contemporary Art, Pittsburgh; Soloway Gallery, Brooklyn; Westbeth Gallery, NYC; and Turley Gallery, Hudson, among others.
Feb 5 - Feb 26 2026
Lauren Francescone (b. 1983, New York, NY) is an artist and graphic designer based in Montreal. She is the publisher and designer of Temperatures, a biannual publication about artists working in clay. She has attended numerous residencies, including the Banff Centre (2015), the European Ceramic Workcentre (2020), and Shigaraki Ceramic Cultural Park (2026). In 2024, she presented Timeline, a glass and ceramic installation at the ICinaVirginia Commonwealthth University. She received a BS from the University of Virginia School of Architecture and an MFA from the Yale School of Art.
Nate Millstein (b. 19,96 Brooklyn, NY) received his Bachelor of Arts degree from Bard College in 2018. He is currently an MFA candidate at Mason Gross School of the Arts at Rutgers University, expected to graduate in the Spring of 2026. Select exhibitions include Uncertainty surrounds the holding of things at After/Time collective Gallery, Portland OR, Irrigation at The Reinstitute Gallery, Millerton, NY, TALK LISTEN DOOR at Soft Serve Projects NYC, Thank God we don’t know what we look like at HERE Arts Center NYC, and Burning at Nightclub Gallery,
Minneapolis MN.
Feyaz Yusuff (b. 1990, New York, NY) is an American artist who lives and works in Jersey City, NJ. He received an MFA from Rutgers in 2025. Feyaz is interested in evil, and these paintings emerge from that interrogation. They are like songs about now. The forms in these paintings are portentous, reflecting how things seem to be at this moment; an unceasing march of cruelty and fear.
Lemon
Dec 13 2025 - Jan 22 2026
Lemon includes original and found photographs and texts, ready-made objects, and a custom-built vitrine. The exhibition draws thematic connections between everyday failures, a sense of resourcefulness that is most possible amidst obstructions, and extremely narrow margins.
Andrew Jarman is an artist and writer based in New Brunswick, New Jersey. Jarman is currently a candidate for Rutgers MFA in Visual Arts 2026. Jarman currently teaches photography at Rutgers and Princeton.
Moira Sims
Moira Sims is a writer and producer of artist projects and exhibitions based in New York City. In 2025, Sims published an anthology of writing titled Communiqués during KAJE’s Think Tank Residency in Gowanus, Brooklyn. In 2020, Sims founded Octagon, a curatorial initiative focused on working closely with artists to produce long-form solo projects.
Irreversibility of Eternity
Nov 20-27 2025
We see three artists approaching the unapproachable. They have departed from three points: the self, the wild, and the wasteland. As a combined expedition, these places emerge in the work of each individual and together form a voice that proves emergent beauty is available at all times and in all places. All three examine growth and abundance. Through Hill’s intensely focused vision of life in the margins of built environments, we see moments of quiet—the pacific and directionally locked face of a driver, a merging of person and tool. There is the quiet ascent of the coyote. We imagine ourselves as the mother wolf in Cormac Mccarthy’s The Crossing: “Where she ran the cries of the coyotes clapped shut as if a door had closed upon them and all was fear and marvel.” Seen through the lens of decayed walls, the meaning of home long since stripped by decay and use, we feel that fear and that marvel.
Still, there is peace. Edwards’ practiced hand treats material as the quiet companion we carry on every walk. We understand the object, but the mystery of that silence is pushed forward until we are asked to contend with it on a personal basis. The quilted Hex pattern sits above, the Polaris. Barn quilts speak loudly, yet Edwards allows us only subtle variations in tone, a quilt for the night walkers. We understand there is something of the dark forest present here—we are outside the barn, but still warmed.
In all places we are ourselves, a living document of experience, memory, and contact. Enver’s work draws us close, asking us to process the self as a collection of elements and icons. Treated with reverence, the ephemera becomes the being. Each moment is written using a language unique to the person speaking it, yet through this archival process, we witness translation and understanding. The arc of hair and the glow of fat speak softly but clearly: the hidden is as critical as the visible.
Nov 20-27 2025
We see three artists approaching the unapproachable. They have departed from three points: the self, the wild, and the wasteland. As a combined expedition, these places emerge in the work of each individual and together form a voice that proves emergent beauty is available at all times and in all places. All three examine growth and abundance. Through Hill’s intensely focused vision of life in the margins of built environments, we see moments of quiet—the pacific and directionally locked face of a driver, a merging of person and tool. There is the quiet ascent of the coyote. We imagine ourselves as the mother wolf in Cormac Mccarthy’s The Crossing: “Where she ran the cries of the coyotes clapped shut as if a door had closed upon them and all was fear and marvel.” Seen through the lens of decayed walls, the meaning of home long since stripped by decay and use, we feel that fear and that marvel.
Still, there is peace. Edwards’ practiced hand treats material as the quiet companion we carry on every walk. We understand the object, but the mystery of that silence is pushed forward until we are asked to contend with it on a personal basis. The quilted Hex pattern sits above, the Polaris. Barn quilts speak loudly, yet Edwards allows us only subtle variations in tone, a quilt for the night walkers. We understand there is something of the dark forest present here—we are outside the barn, but still warmed.
In all places we are ourselves, a living document of experience, memory, and contact. Enver’s work draws us close, asking us to process the self as a collection of elements and icons. Treated with reverence, the ephemera becomes the being. Each moment is written using a language unique to the person speaking it, yet through this archival process, we witness translation and understanding. The arc of hair and the glow of fat speak softly but clearly: the hidden is as critical as the visible.
Lorel Hill
Lorel Hill is a sculptor and BFA graduate of Mason Gross School of the Arts at Rutgers University.
He completed a Fellowship at Mildred’s Lane Artist Residency and was recently accepted as an artist
in residence in the 2026 program of GlogauAIR in Berlin, Germany.
Yumna Enver
Yumna Enver (she/her/hers) is an American-Pakistani artist based in New Brunswick, New
Jersey. Her work pulls from sculpture, print, and drawing to explore her body as a site of active
memory. Most recently, she received a BFA from Mason Gross School of the Arts
Devin Edwards
Devin Edwards (They/Them) is a Charlottesville-based artist originally from northern New Jer-
sey. They hold their BFA from Mason Gross School of the Arts. Working between printmaking,
woodworking, ceramics, painting, and drawing methods. They make sculptural collages referencing
ephemeral memories and craft traditions, creating a space where domestic spaces and the natural
world come crashing in on each other.
Lorel Hill is a sculptor and BFA graduate of Mason Gross School of the Arts at Rutgers University.
He completed a Fellowship at Mildred’s Lane Artist Residency and was recently accepted as an artist
in residence in the 2026 program of GlogauAIR in Berlin, Germany.
Yumna Enver
Yumna Enver (she/her/hers) is an American-Pakistani artist based in New Brunswick, New
Jersey. Her work pulls from sculpture, print, and drawing to explore her body as a site of active
memory. Most recently, she received a BFA from Mason Gross School of the Arts
Devin Edwards
Devin Edwards (They/Them) is a Charlottesville-based artist originally from northern New Jer-
sey. They hold their BFA from Mason Gross School of the Arts. Working between printmaking,
woodworking, ceramics, painting, and drawing methods. They make sculptural collages referencing
ephemeral memories and craft traditions, creating a space where domestic spaces and the natural
world come crashing in on each other.
Fixes
Nov 7-14 2025
Nov 7-14 2025
The Sharing Group is a loose collective formed in 2025, focusing on non-conventional spaces and a reciprocal approach to exhibition and creation. Created under the guidance of Cheon pyo Lee, they have shown throughout New Jersey, culminating in a group show at the Re Institute in upstate New York.
~
A field, a plane, a stairwell, a basement, a church, a bridge, a barn.
A hole in the wall. An unmarked door. A room for the taking.
The Sharing Group is a deliberately loose collective that has shown in various configurations—as objects bouncing between concrete and sky, as an intimately curated, underground basement show; as a quiet radiance in a church activities hall; as resonant bodies beneath a bridge; as sprawling, unfurling, branching beings that bridged inside and outside at the Re-Institute in Millerton, New York.
The Sharing Group reunites, expanded and expanding, in the newly formed Nuisance Gallery in New Brunswick, New Jersey. Both The Sharing Group and Nuisance exploit lapses in attention, uninforced rules, patchworked surveillance, vacant space, and dead air to find when and where making artistic work is possible. The Sharing Group’s newest exhibition is in, perhaps, its most controlled space yet, but shows where its artists have been and where they’re going. They’re just passing through, trailing in mud from the world.
Oct 23-31 2025
In Lodge, Jules Gårder, and Jen Chai Shear have created a system that forces recognition and navigation, a direct physical intervention in what is typically afforded to the viewer, collector, curator, or guest: the center. During the later stages of preparation for this show, in a conversation, we sought a title that would complement a collaboration between numerous ideas and elements. The word “lodge” was proposed. I initially imagined something lodged, embedded, or intruding, perhaps a splinter. Marginalia, the decorative, whimsical or illuminating elements on the edges of texts, were highlighted as a source of energy this show would draw from. In fact, we were talking about the industrious and noble animal, the beaver, and the homes they build on the edges (margins) of ponds they have created.
They are a strange creature, creative but bound by neurosis. They produce their dams for one reason: the sound of water is impermissible to them. It must be stilled. There doesn’t seem to be a better metaphor for an artist than that. A gallery, any venue filled with any creative thing, is just that: an unobstructed channel through which a person can flow in and out.
In Lodge, they have been dammed, pooled, forced to circulate, contained and divided by structure and multitude. This space, in which this is the inaugural show, is Nuisance, the adjective, and later the name given to the cat I grew up with. He was an interloper, with goals and objectives opaque to us, but clear to him. Despite beavers being widely viewed as something along those lines, whose dams must be defeated with dynamite, their ponds are generative, creating the density and stillness in which life thrives. Through collection, the many become monolithic, capable of altering the landscape. Their work is recognized, and they feature in legends, artwork, and iconography. We have bestowed upon them the honour of complexity. In Lodge, you are asked to navigate complexity and pause in the still moments that individual moments create, to be both the marginalia and the page at the same time.
Jules Gårder
Jules Gårder is an artist and educator born in Sweden, raised in Maine and currently living and working in New Jersey. They work across sculpture, performance, video and collaboration. Ceramics is the material they engage with the most. They are indebted to the patterns of demise and reconstruction that are prompted by loss and posthumously collaborate with their mother who died 24 years, 301 days, 15 hours, 53 minutes ago at the time of this writing. Recent work employs mythological and architectural histories to engage with unresolvable relational realities of sexuality and power. They received their BA from UCLA in art, are a current MFA candidate at Rutgers and have shown their work nationally.
Jen Chai Shear
Jennifer Chai Shear (b. 1987 in Taipei, Taiwan) is an interdisciplinary artist whose work explores the realm of memory, desire, fantasy, and fear. She has recently shown at Studio Route 29 (Frenchtown, NJ), Kunsthalle Zürich (Zürich, Switzerland), Soft Life (London, UK), and Los Angeles Contemporary Archives (Los Angeles, CA).