A black felt indoor message board hung on a white wall in the hallway outside of EFA Project Space. Visitors to the gallery encounter this sign as they exit the hallway and turn left to enter into the Project Space. The sign is approximately 36” tall and 20” wide with a white aluminum frame and a glass door with a small aluminum key hole which has been airbrushed out of this image. 2” tall large white Helvetica-font letters spell out: Permissions the 2020 SHIFT Residency Exhibition, and in smaller font, curated by Maya Suess. Below this text, EFA PROJECT SPACE is spelled out along with gallery open hours.

A view of the Project Space gallery as you enter. A former manufacturing space, the gallery shows residual traces of its industrial past – grey-painted concrete floors, white concrete beams running along the ceiling, industrial radiators and conduits. An 8’ high white wall with the exhibition text on the left side of the image frames out a viewing alcove on the right side containing the work of Hernease Davis. Hernease’s work consists of long swaths of fabric with blue cyanotype exposures that range in color from bright blue to almost black clustered in a semi-circle in the center of the space. The fabric pieces are suspended from the ceiling with hand-woven twine. The wall behind the hanging works is also painted in cyanotype exposure fluid in a pattern that could resemble seagrass. A row of aluminum windows on the right side of the image looks out onto a building just across West 39th Street.

A rectangular gallery with grey concrete floors and white walls, with many industrial pipes and track lights running across the white ceiling. At center, an installation grouping of brightly colored geometric sculptural works by Gi (Ginny) Huo, at right, flat text-based wall works and a monitor displaying a blue silhouetted body by Joy Garnett, at left, a small black-framed text piece by Jordan Lord standing alone in the center of a long white wall. An open doorway reveals an adjacent room, painted bright pink with a strip of gold-lamé wallpaper running across the middle of the wall, partially showing three figurative painting-collage works by Guido Garaycochea.

An installation image of the exhibition as you turn right into the gallery. One large and three small sculptural works by Gi (Ginny) Huo fill the right side of the image, bright blue painted paper cascades down the salmon pink stepped sculpture. To the left of these sculptures is a gap between the walls, through which you can see the windows at the back of the gallery. On the other side of the gap there is a square white wall with one small frame hung more than half way down the wall. To the left of that is the free standing Dry Toilet structure similar to an out-house, made by Monika Wuhrer from found plywood and other materials and painted slate grey. The door is open and the white walls inside are visible. Behind them is the row of windows that line one side of the gallery.

A view of the back corner of the gallery, showing Asha Ganpat’s work. A rectangular gallery with a slate grey floor and white walls and bright spot lights illuminating Asha Ganpat’s small white lace pieces, which are barely visible from this distance. On the right wall there is a monitor showing a close-up of someone’s fingers. Behind the right wall, a sliver of the room where Guido Garaycochea’s work is hung is visible, showing pink walls and a line of gold wallpaper and two of Guido’s paintings. In the foreground is a white rectangular bench.

Four large prints made by Shona Masarin are hanging on the back wall of the gallery, they are arranged in a grid of four hung vertically. The prints are blue, black and white abstract shapes both in and out of focus. To the left of the prints are the wall of windows, and a large monitor sitting on the window ledge. The image on the monitor is mostly black but small light shapes similar to the prints are visible. There are two rails on the ceiling where lights are hanging, from the rail on the right three lights point toward the wall, where three of Asha’s lace pieces hang, barely visible. In the foreground sits the white bench.

A long shot of the gallery, the grid of Shona Masarin’s abstract prints hang on the back wall and bright white spots shine on the right where Asha Ganpat’s pieces are hanging. The back wall of Guido Garaycochea’s pink room is visible through an opening in the walls, as are two of his square paintings - the canvases divided into grids and painted in bright warm tones. Above the white temporary wall of the gallery, a pink glow emanates from the pink walls. On the outside of the wall hangs a white particle board with holes, like you would see in a workshop, on it papers, photographs, a screwdriver and other ephemera hang in clusters. The slate grey floors reflect the lights above.

The installation of Guido Garaycochea’s painting-collages and sculpture work sits within a 10’ x 15’ rectangular room which is painted bright pink with a strip of gold-lamé wallpaper running across the middle of the wall and gold, textured fabric bunched up on the top section of the wall, which gives the impression of an opulent window treatment. A grouping of three figurative painting-collage works by Garaycochea are featured prominently on the wall on the right, with two smaller groupings of two and three paintings to the left and on the wall directly in front of you. An open doorway to the left leads out to the adjoining gallery with work by Monika Wuhrer, Shona Masarin, and Asha Ganpat.

A wide shot shows the whole gallery. Directly ahead is the square white wall with Jordan Lord’s work hung just below the wall’s center point. To its right is the gap leading to Guido Garaycochea’s pink room, a line of paintings hanging on the right wall. To the right of that is Gi (Ginny) Huo’s brightly colored geometric sculptures. One the left side of the center wall stands Monika Wuhrer’s dry toilet, and the wall of industrial windows. Shona Masarin’s grid of prints is partly visible on the back wall.