Time: Saturday, May 14, 2022, 1-2:30 PM

In Person at EFA Project Space (323 West 39th Street, 2nd Floor, NYC 10018)

RSVP RECOMMENDED (via Eventbrite)

What became of the White Seeds planted in Black Soil?

In “Atlantic Correspondence,” Tanika I. Williams reconstructs her genealogical journey from Ireland, to Jamaica, to New York from the 1800s to present day. The cartographic performance plots Williams' ancestry with soil, immigration documents and vital records, to visualize ancestry through plant migrations.

ABOUT THE EXHIBITION

Curated by Dylan Gauthier, Radhika Subramaniam and Marina Zurkow, and featuring installations by Eating in Public/Gaye Chan + Nandita Sharma, Anna Rose Hopkins + Marina Zurkow, Del Hardin Hoyle, Sal Randolph with Anne Randolph, and collaborators, Sprout Hinge Nap Wobble is a group exhibition that invites the public to feel planetary relationalities at a time of planetary crisis. The vicious systems and wilful actions that are responsible for today’s planetary catastrophe have spawned an attendant industry of planning—preparedness, scenario planning, emergency management—that directs itself to the future, to anticipation, to fear, to escape. Through a series of arrangements and encounters, Sprout explores the material and metaphorical ways in which connections are possible in a climate of uncertainty—neither wholly optimistic nor utterly despairing, neither propelled by urgency nor foreclosed, but held within their vibrating tensions.

ABOUT THE ARTIST

Tanika I. Williams is a Brooklyn-based video and performance artist exploring mothering, ecology and spirituality. https://www.tanikawilliams.net/

LAND ACKNOWLEDGEMENT

This is Lenapehoking, the Lenape homeland and gathering place for many Indigenous nations and beings. When the unceded earth breathes again, there will be Indigenous lives here, as there are now and have always been. It will still be Lenapehoking. We learn from the bedrock and commit to uplifting, honoring, and listening to those who are seen and unseen, present and future.

ACCESS INFO

EFA Project Space is located on the second floor of 323 West 39th Street. It is accessible via an elevator (whose door width is 32” and car width is 65”) or two flights of stairs. At the building’s ground-level front desk, you will be asked to sign in with your name but not to provide ID. 

The exhibition is free. Chairs with backs are available to guests upon request by speaking to a gallery attendant. There are two non-gender-segregated bathrooms on the building’s third floor, accessible via the elevators, outside the Project Space. The bathrooms are cleaned twice daily. One bathroom is wide and long enough to accommodate a wheelchair; the other cannot. Neither bathroom has grab bars. Though we cannot guarantee a scent-free space, we ask that all guests, who are able, to attend the exhibition fragrance-free, out of consideration for guests with chemical sensitivities. Fragrance-free soap is available in the restrooms on the third floor.

Time: Saturday, May 7, 4-5 PM

In Person at EFA Project Space (323 West 39th Street, 2nd Floor, NYC 10018)

RSVP Recommended

on the boat, let's face it i'm held. in its waves, its vagueness, in its water. i see only water. water doesn't answer. no land ahead. just water. /eileen myles, the importance of being iceland

...and under them the earth
sank with its grosser portions; and the water,
lowest of all, held up, held in, the land. /ovid, metamorphoses, book one, lines 30-2

the water is opaque. it is comforting to imagine that you are in it. you won't be visible any longer… relief from the unending demands of simple sight. /roni horn, saying water

water receives you, affirms you, shows you who you are, and all the neat, imperceptible qualities that are water tease you with their ambiguity, tease you and extend you out into the world. /roni horn, saying water

May 7, dispersed holdings will perform meditations on water with words and sound, in conjunction with Sal Randolph’s installation, Slowing Time.

ABOUT THE EXHIBITION

Curated by Dylan Gauthier, Radhika Subramaniam and Marina Zurkow, and featuring installations by Eating in Public/Gaye Chan + Nandita Sharma, Anna Rose Hopkins + Marina Zurkow, Del Hardin Hoyle, Sal Randolph, and collaborators, Sprout Hinge Nap Wobble is a group exhibition that invites the public to feel planetary relationalities at a time of planetary crisis. The vicious systems and wilful actions that are responsible for today’s planetary catastrophe have spawned an attendant industry of planning—preparedness, scenario planning, emergency management—that directs itself to the future, to anticipation, to fear, to escape. Through a series of arrangements and encounters, Sprout explores the material and metaphorical ways in which connections are possible in a climate of uncertainty—neither wholly optimistic nor utterly despairing, neither propelled by urgency nor foreclosed, but held within their vibrating tensions.

BIOS
Jeff Dolven teaches poetry and poetics at Princeton University, where he was founding director of the Interdisciplinary Doctoral Program in the Humanities. A collection of his poems, A New English Grammar, is forthcoming from Dispersed Holdings.

dispersed holdings is an artist-run platform for publishing and experimental listening practices founded in 2015 by Sal Randolph and David Richardson. For two years (2016–18), dispersed was sited in the former Bowery apartment of the artist Eva Hesse. Since leaving that space, dispersed holdings has published three books: Speed of Resin (2019), a meditation on impermanence and an homage to Hesse; Reading Room (2020), a document of the "Ambient Reading Spectacular" residency series and an exploration of the practice of reading; and Reading Now (2021), a follow-up to Reading Room that considers reading practices amid lockdown. On occasion, dispersed holdings is also a band.

Sal Randolph is an artist working between language and action. Her current work addresses the intersection of attention, time, feeling, capital, and crisis through performance, experimental publishing, and the creation of social spaces. She is co-founder of dispersed holdings, originally a listening and publication space in New York sited in the former apartment of sculptor Eva Hesse, continuing now as a publishing project and, from time to time, a band. She is a member of the research consortium ESTAR(SER) and is currently a teaching fellow at Bennington College. She is also a Zen practitioner and senior student of Roshi Enkyo O’Hara at the Village Zendo.

David Richardson writes fiction and essays. Since 2015, he has co-directed the publishing project dispersed holdings, with whom he edited Reading Room (2020) and Speed of Resin (co-published with Cooperative Editions, 2019), and co-edited Reading Now (2021). He holds an MFA in fiction from UMass Poets & Writers, and he teaches in the Bard Language and Thinking Program, the Bard Prison Initiative, and the UMass Writing Program.

Emma Wippermann is a poet based in New York. Her closet drama Joan of Arkansas is forthcoming from Ugly Duckling Presse later this year. She has an MFA from Brown University and has published work in jubilat, Omniverse, Second Factory, No, Dear, Oversound, Temporary Art Review, and elsewhere.

LAND ACKNOWLEDGEMENT

This is Lenapehoking, the Lenape homeland and gathering place for many Indigenous nations and beings. When the unceded earth breathes again, there will be Indigenous lives here, as there are now and have always been. It will still be Lenapehoking. We learn from the bedrock and commit to uplifting, honoring, and listening to those who are seen and unseen, present and future.

ACCESS INFO

EFA Project Space is located on the second floor of 323 West 39th Street. It is accessible via an elevator (whose door width is 32” and car width is 65”) or two flights of stairs. At the building’s ground-level front desk, you will be asked to sign in with your name but not to provide ID. 

The exhibition is free. Chairs with backs are available to guests upon request by speaking to a gallery attendant. There are two non-gender-segregated bathrooms on the building’s third floor, accessible via the elevators, outside the Project Space. The bathrooms are cleaned twice daily. One bathroom is wide and long enough to accommodate a wheelchair; the other cannot. Neither bathroom has grab bars. Though we cannot guarantee a scent-free space, we ask that all guests, who are able, to attend the exhibition fragrance-free, out of consideration for guests with chemical sensitivities. Fragrance-free soap is available in the restrooms on the third floor.

Time: Thursday, April 21, 6-7 PM

NOTE: THIS EVENT HAS BEEN CANCELLED DUE TO CIRCUMSTANCES BEYOND OUR CONTROL. PLEASE CHECK BACK FOR A POSTPONEMENT DATE.

Join us for an evening performance by Sprout Hinge Nap Wobble artist Del Hardin Hoyle and sound artist/composer Matt Evans.

ABOUT THE EXHIBITION

Curated by Dylan Gauthier, Radhika Subramaniam and Marina Zurkow, and featuring installations by Eating in Public/Gaye Chan + Nandita Sharma, Anna Rose Hopkins + Marina Zurkow, Del Hardin Hoyle, Sal Randolph, and collaborators, Sprout Hinge Nap Wobble is a group exhibition that invites the public to feel planetary relationalities at a time of planetary crisis. The vicious systems and wilful actions that are responsible for today’s planetary catastrophe have spawned an attendant industry of planning—preparedness, scenario planning, emergency management—that directs itself to the future, to anticipation, to fear, to escape. Through a series of arrangements and encounters, Sprout explores the material and metaphorical ways in which connections are possible in a climate of uncertainty—neither wholly optimistic nor utterly despairing, neither propelled by urgency nor foreclosed, but held within their vibrating tensions.

BIOS

Matt Evans is a composer and percussionist producing acoustic and electronic music, collaborative performances, and concept-driven recording projects through an eco-fictional lens. Taking cues from interwoven organic species, entangled online networks, and intersectional thinking, Evans uses drum-driven hypnotic soundscapes and embodied improvisatory performance to question the unknowable and absurd relationships between the human experience, capital-driven consumerism, and ecological systems. These projects imagine new ways to care for ecosystems and communities while engaging in art-making that applies research, ritual, and abstraction.

Evans’ classical compositions tend toward the ambient and the poetic, where simple structural logics are impeded on by indeterminate and incidental forms. Textural string and wind writing combine with ephemeral and otherworldly percussion and keyboard sounds in the production of effervescent clouds of subtle shifting harmony and rhythm. Experiments with expanded intonation and euclidian rhythms give these compositions an uncanny, hyperreal feeling that extends an overarching dreamy sentiment. These works often take optical phenomenon and theoretical physics as a point of departure — as calculated depictions of phenomenological anomalies. 

Del Hardin Hoyle was born in Rotherham, UK. He lives and works in Brooklyn, New York City. A recent graduate from the Interior Design MFA at Parsons the New School for Design, New York. Del’s work establishes itself across a wide range of forms - from sculpture, furniture and interior design, sound, music, installation, curating, film and graphic design to name a few. Del started the monthly radio show A Year On Earth with musician and sound designer Sam Bellingham in 2018. He co-founded the artist collective (it’s all) Tropical in England in 2014 curating ambitious large scale group exhibitions all over the UK. He has exhibited widely across the UK, Northern Europe and New York City.

LAND ACKNOWLEDGEMENT

This is Lenapehoking, the Lenape homeland and gathering place for many Indigenous nations and beings. When the unceded earth breathes again, there will be Indigenous lives here, as there are now and have always been. It will still be Lenapehoking. We learn from the bedrock and commit to uplifting, honoring, and listening to those who are seen and unseen, present and future.

ACCESS INFO

EFA Project Space is located on the second floor of 323 West 39th Street. It is accessible via an elevator (whose door width is 32” and car width is 65”) or two flights of stairs. At the building’s ground-level front desk, you will be asked to sign in with your name but not to provide ID. 

The exhibition is free. Chairs with backs are available to guests upon request by speaking to a gallery attendant. There are two non-gender-segregated bathrooms on the building’s third floor, accessible via the elevators, outside the Project Space. The bathrooms are cleaned twice daily. One bathroom is wide and long enough to accommodate a wheelchair; the other cannot. Neither bathroom has grab bars. Though we cannot guarantee a scent-free space, we ask that all guests, who are able, to attend the exhibition fragrance-free, out of consideration for guests with chemical sensitivities. Fragrance-free soap is available in the restrooms on the third floor.

A conversation with writer and researcher Heather Davis and Sprout artists Anna Rose Hopkins and Marina Zurkow about the legacies of plastic, oceans, and kin, and infinity, as part of our series of programs around the installation Languish at the End of the Ocean (2022) by Hopkins and Zurkow, presented in Sprout Hinge Nap Wobble. This immersive installation can be experienced at EFA Project Space through May 14. Fashioned as a self-service spa, the installation features the artists’ guided meditation Soupy Salty Sonic: A Liquid Wanting which invites the audience to voyage through undersea depths as their body morphs to become part of the ocean.

Please RSVP on Eventbrite for the Zoom link.

ABOUT THE EXHIBITION

Curated by Dylan Gauthier, Radhika Subramaniam and Marina Zurkow, and featuring installations by Gaye Chan + Nandita Sharma, Anna Rose Hopkins + Marina Zurkow, Del Hardin Hoyle, Sal Randolph, and collaborators, Sprout Hinge Nap Wobble is a group exhibition that invites the public to feel planetary relationalities at a time of planetary crisis. The vicious systems and wilful actions that are responsible for today’s planetary catastrophe have spawned an attendant industry of planning—preparedness, scenario planning, emergency management—that directs itself to the future, to anticipation, to fear, to escape. Through a series of arrangements and encounters, Sprout explores the material and metaphorical ways in which connections are possible in a climate of uncertainty—neither wholly optimistic nor utterly despairing, neither propelled by urgency nor foreclosed, but held within their vibrating tensions.

BIOS

Heather Davis is a writer, researcher and teacher whose work draws on feminist and queer theory to examine ecology, materiality, and contemporary art in the context of settler colonialism. She is an assistant professor of Culture and Media at The New School. Her most recent book, Plastic Matter (Duke University Press, 2022), re-examines materiality in light of plastic’s saturation. Davis is also a member of the Synthetic Collective, an interdisciplinary team of scientists, humanities scholars, and artists, who investigate and make visible plastic pollution in the Great Lakes.

Anna Rose Hopkins is a performing artist and chef by trade who plays at the intersection of food, theater and narrative. Her work considers food systems, the Anthropocene, affective labor and hierarchies of service. Her collaborative works have been supported by Swissnex SF, Getty PST:LA/LA the Barbara Seiler Gallery. Film/TV works of note include Dark Night (dir. Tim Sutton), Amos World (dir. Cécile B. Evans), and Gregory Go Boom (dir. Janicza Bravo). Anna Rose is co-founder of Farm2People, bolstering the farm to food bank supply chain; chef and co-owner at Hank and Bean; writer/actor with IAMA Theatre Company. 

Media and participatory practice artist Marina Zurkow connects people to nature-culture tensions and environmental messes with humor and affection. Her work has been featured at Borusan Contemporary, Istanbul; Storm King Art Center, New York; the 7th Moscow Biennale; Smithsonian American Art Museum, Washington D.C.; Sundance Film Festival, Utah; and the Seoul Media City Biennial, Korea, among others. She is a 2011 Guggenheim Fellow and received grants from NYFA, NYSCA, the Rockefeller Foundation, and Creative Capital. She is represented by bitforms gallery and resides in the Hudson Valley, New York.

LAND ACKNOWLEDGEMENT

This is Lenapehoking, the Lenape homeland and gathering place for many Indigenous nations and beings. When the unceded earth breathes again, there will be Indigenous lives here, as there are now and have always been. It will still be Lenapehoking. We learn from the bedrock and commit to uplifting, honoring, and listening to those who are seen and unseen, present and future.

ACCESS INFO

The event will feature live transcription. Video of the talk will be posted with captions after the event. Please contact projectspace@efanyc.org if you have specific access needs or requests.

A conversation between artist and researcher Ellie Irons and Sprout Hinge Nap Wobble artist Gaye Chan, on weediness. Presented as part of Sprout Hinge Nap Wobble, curated by Dylan Gauthier, Radhika Subramaniam, and Marina Zurkow.

ABOUT THE ARTISTS

Gaye Chan

Gaye Chan is a conceptual artist who moves between solo and collaborative activities that take place on the web, in publications, streets as well as galleries. Her recent work often ruminates on how cartography and photography simultaneously offer and occlude information. Past exhibition venues include Art in General (New York City), Articule (Montreal), Artspeak (Vancouver), Asia Society (New York City), Gallery 4A (Sydney), Honolulu Museum of Art (Honolulu), SF Camerawork (San Francisco), Southern Exposure (San Francisco), and YYZ Artist Outlet (Toronto).

Chan’s collaborative projects include being a part of Eating in Public and Downwind Productions. Eating in Public is an anti-capitalism project nudging a little space outside of the commodity system. Following the path of pirates and nomads, hunters and gathers, diggers and levelers, they gather at people’s homes, plant free food gardens on private and public land, set up free stores, all without permission. Downwind examines the impact of colonialism, capitalism, and tourism. Through agitprop commodities and web media, DownWind takes up Waikiki as an actual specific site/sight and a metaphor for countless other places where self-sustaining peoples have been dislocated for profit.

Gaye Chan was born in Hong Kong and immigrated to the United States in 1969. She received her MFA from San Francisco Art Institute and is a professor of the Department of Art and Art History at the University of Hawai’i at Manoa.

Chan’s work has been supported by Art Matters and the Creative Capital Foundation.

Ellie Irons

Ellie Irons is an artist and educator living and working on Mohican land in current-day Troy, New York, USA. From foraged watercolor paintings to un-lawning experiments, her work combines socially engaged art, ecology fieldwork, and embodied learning. She is a co-founder of the Next Epoch Seed Library and the Environmental Performance Agency, collaborations investigating relationships between humans and spontaneous urban plants (aka weeds). Her solo and collaborative work has been part of recent exhibitions on contemporary environmental art, including The Department of Human and Natural Services at NURTUREArt, Ecological Consciousness: Artist as Instigator at Wave Hill, and Unsettled Nature at the Smithsonian Museum of Natural History. Her work has been covered by publications ranging from Art in America to the Proceedings of the National Academy of Sciences. Irons received a BA from Scripps College in Los Angeles and an MFA from Hunter College in New York. In December 2021, She completed a PhD in arts practice at Rensselaer Polytechnic Institute, focusing on artistic practice for cultivating plant-human solidarity and ecosocial justice in an age of extraction and climate chaos. She is currently an environmental educator at Radix Ecological Sustainability Center and an artist in residence at Basilica Hudson.

LAND ACKNOWLEDGEMENT

This is Lenapehoking, the Lenape homeland and gathering place for many Indigenous nations and beings. When the unceded earth breathes again, there will be Indigenous lives here, as there are now and have always been. It will still be Lenapehoking. We learn from the bedrock and commit to uplifting, honoring, and listening to those who are seen and unseen, present and future.

An in-person reading at EFA Project Space by Ron Broglio, with prints by Marina Zurkow.

Animals of the world unite. You have nothing to lose but your chains. Join us for a reading and book launch of Animal Revolution by Ron Broglio and accompanying pop-up exhibition of the curious book illustrations by Marina Zurkow. From radioactive boar invading towns to jellyfish disarming battleships, we report to you these creative nonfiction incidents accumulate to reveal how fur and claw and feather and fin are jamming the gears of our social machine. Books and archival limited edition prints will be available for sale at the reading. The book is also available for sale here.

A selection of 18”x24 digital prints on Hahnemühle German Etching 310, Edition of 25, are for sale for $300. Each print will be accompanied by a copy of the book.

Proceeds from print sales go to Liberty Wildlife, a Phoenix area wildlife rehabilitation program including work with the critically endangered California Condor

ABOUT THE EXHIBITION

Curated by Dylan Gauthier, Radhika Subramaniam and Marina Zurkow, and featuring installations by Gaye Chan + Nandita Sharma, Anna Rose Hopkins + Marina Zurkow, Del Hardin Hoyle, Sal Randolph, and other collaborators, Sprout Hinge Nap Wobble is a group exhibition that invites the public to feel planetary relationalities at a time of planetary crisis. The vicious systems and willful actions that are responsible for today’s planetary catastrophe have spawned an attendant industry of planning—preparedness, scenario planning, emergency management—that directs itself to the future, to anticipation, to fear, to escape. Through a series of arrangements and encounters, Sprout explores the material and metaphorical ways in which connections are possible in a climate of uncertainty—neither wholly optimistic nor utterly despairing, neither propelled by urgency nor foreclosed, but held within their vibrating tensions.

BIOS

Ron Broglio writes books and essays on nonhuman phenomenology and animal studies. He has curated and produced a number of art exhibitions on contemporary environmental art. Broglio is director of the desert humanities initiative at Arizona State University and Associate Director of the Institute for Humanities Research. He is author of Animal Revolution and Surface Encounters: thinking with animals and art among other books and edited collections including the recently published The Edinburgh Companion to Animal Studies. He co-edits the Desert Humanities book series for Texas Tech University Press. Broglio was collaborator and co-curator of Trout Fishing in America and Other Stories in which artists Bryndís Snæbjörnsdóttir and Mark Wilson examine the cultural life of endangered species in the Grand Canyon. He has performed as Field Marshal of the Animal Revolution and created a number of animal art interventions including Teat Tweet and Santio’s Gift. Currently, he is working on desert phenomenology experiments with the arts, designers, and science collaborators in an art book series Strata (first issues on saguaro, rocks, and lines & borders). As Director of Desert Humanities, he is engaged in a number of long-term thinking-making experiments in the deserts of the American Southwest.

Media and participatory practice artist Marina Zurkow connects people to nature-culture tensions and environmental messes with humor and affection. Her work has been featured at Borusan Contemporary, Istanbul; Storm King Art Center, New York; the 7th Moscow Biennale; Smithsonian American Art Museum, Washington D.C.; Sundance Film Festival, Utah; and the Seoul Media City Biennial, Korea, among others. She is a 2011 Guggenheim Fellow and received grants from NYFA, NYSCA, the Rockefeller Foundation, and Creative Capital. She is represented by bitforms gallery and resides in the Hudson Valley, New York.

LAND ACKNOWLEDGEMENT

This is Lenapehoking, the Lenape homeland and gathering place for many Indigenous nations and beings. When the unceded earth breathes again, there will be Indigenous lives here, as there are now and have always been. It will still be Lenapehoking. We learn from the bedrock and commit to uplifting, honoring, and listening to those who are seen and unseen, present and future.

ACCESS INFO

EFA Project Space is located on the second floor of 323 West 39th Street. It is accessible via an elevator (whose door width is 32” and car width is 65”) or two flights of stairs. At the building’s ground-level front desk, you will be asked to sign in with your name but not to provide ID. 

The exhibition is free. Chairs with backs are available to guests upon request by speaking to a gallery attendant. There are two non-gender-segregated bathrooms on the building’s third floor, accessible via the elevators, outside the Project Space. The bathrooms are cleaned twice daily. One bathroom is wide and long enough to accommodate a wheelchair; the other cannot. Neither bathroom has grab bars. Though we cannot guarantee a scent-free space, we ask that all guests, who are able, to attend the exhibition fragrance-free, out of consideration for guests with chemical sensitivities. Fragrance-free soap is available in the restrooms on the third floor.

Please join us at EFA Project Space on Saturday, March 12, 2022 for the opening reception of Sprout Hinge Nap Wobble, curated by Dylan Gauthier, Radhika Subramaniam, and Marina Zurkow, with exhibition design by Universal Solvent Studios.

The exhibition features installations by Gaye Chan + Nandita Sharma, Anna Rose Hopkins + Marina Zurkow, Del Hardin Hoyle, and Sal Randolph, and during its run performances, talks, and interventions by Ron Broglio, Heather Davis, Matt Evans, Ellie Irons, Anne Randolph, David Richardson, Tanika I. Williams, Brett Gui Xin, and others.

The gallery will be open from 12 pm, with a durational performance of Acts of Service by Anna Rose Hopkins from 12 - 5 pm, an ongoing plant swap by Eating in Public/Gaye Chan and Nandita Sharma, and a sound performance/activation by Del Hardin Hoyle beginning at 7 pm. Bring a plant to swap!

RSVP Encouraged, not required. Masks and proof of vaccination required for entry to EFA Center.

The opening will coincide with the reception for Dread In The Eyes, curated by Deric Carner, on EFA’s 3rd Floor, featuring work by EFA Member Artists Samira Abbassy, Allen T. Ball, Michael Eade, Sally Egbert, Jason File, Katya Grokhovsky, Edgar Jerins, Kosuke Kawahara, Greg Kwiatek, Dana Levy, Cheryl Molnar, Nazanin Noroozi, and Whitney Oldenburg.

About the exhibition

Sprout Hinge Nap Wobble is a group exhibition that invites the public to feel planetary relationalities at a time of planetary crisis. The vicious systems and willful actions that are responsible for today’s planetary catastrophe have spawned an attendant industry of planning—preparedness, scenario planning, emergency management—that directs itself to the future, to anticipation, to fear, to escape. Sprout invites your participation to inhabit ways of being that are soft, wild, caressing and off-kilter. We ask if and how we can prepare in the now—think with the emergent boldness of the sprout, with the casual yet crucial pivot of the hinge, with the sensual nonchalance of the nap—both as siesta and as the luxurious pile of a rug—and approach the world with a wobble—uncertain, intoxicated, unsteady and open. 

LAND ACKNOWLEDGEMENT

This is Lenapehoking, the Lenape homeland and gathering place for many Indigenous nations and beings. When the unceded earth breathes again, there will be Indigenous lives here, as there are now and have always been. It will still be Lenapehoking. We learn from the bedrock and commit to uplifting, honoring, and listening to those who are seen and unseen, present and future.

ACCESS INFO

EFA Project Space is located on the second floor of 323 West 39th Street. It is accessible via an elevator (whose door width is 32” and car width is 65”) or two flights of stairs. At the building’s ground-level front desk, you will be asked to sign in with your name but not to provide ID. 

The exhibition is free. Chairs with backs are available to guests upon request by speaking to a gallery attendant. There are two non-gender-segregated bathrooms on the building’s third floor, accessible via the elevators, outside the Project Space. The bathrooms are cleaned twice daily. One bathroom is wide and long enough to accommodate a wheelchair; the other cannot. Neither bathroom has grab bars. Though we cannot guarantee a scent-free space, we ask that all guests, who are able, to attend the exhibition fragrance-free, out of consideration for guests with chemical sensitivities. Fragrance-free soap is available in the restrooms on the third floor.

For the health and safety of our staff and the general public, attendance at events requires advanced RSVP. All attendees must show proof of vaccination. Masks are obligatory for entry.