fall exhibition openings: liz collins and ace hotel new york artists-in-residence

Join us for two exhibition openings: One for Liz Collins—whose monumental wall-based textile installations will be installed in our Loft and Lobby spaces—and Body Grounds: The Intimacy of Memory, Myth, and Loss, a group exhibition on our 2nd floor featuring work by four past artists-in-residence at Ace Hotel New York, presented through our recent year-long co-curatorial partnership.

Date: Sept 11, 2025
Time: 5–8pm
Location: Powerhouse Arts, 322 3rd Ave., Brooklyn

Liz Collins Unveils Monumental Textile Installations at PHA
Upon entry in the PHA Lobby, visitors will encounter works from a series Collins most notably exhibited in La Biennale di Venezia’s 60th International Art Exhibition, Stranieri Ovunque — Foreigners Everywhere, curated by Adriano Pedrosa. In the Loft, Tundra Garden, among Collins’s most ambitious installations to date, features nine monumental textile panels spanning over 193 square feet, created in collaboration with The Alpha Workshops at PHA, and complemented by custom furniture by New York maker Dune. The transformed Loft will serve as a public lounge during the Powerhouse: International performing arts festival.

A limited edition print by Collins will be published through PHA’s Print Publishing Program this fall.

The installations will remain on view through December 2025.

Body Grounds: The Intimacy of Memory, Myth, and Loss
Body Grounds: The Intimacy of Memory, Myth, and Loss brings together Lauren Cohen, Stephanie Santana, Jacob Olmedo, and Pacifico Silano—four past artists-in-residence at Ace Hotel, presented through our recent year-long co-curatorial partnership. These artists’ practices examine how personal narrative, identity, and cultural memory are shaped by systems of power, trauma, and resilience. Through humor, mythology, materiality, and loss, each artist navigates and investigates the body as a grounding site—where intimacy is in flux and memory is both a burden and a place of resistance.

The exhibition will remain on view through Oct 9, 2025.

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Bios

Liz Collins
Liz Collins is well-known for pushing the boundaries of art and design in innovative and experimental work in fabric, yarn, and other materials and techniques associated with textile media. Although she embraces a language of abstraction, bold colors, patterns, and symbols allude to queer and feminist references, sourcing further inspiration from interpersonal and environmental forces such as electricity, volatility, connectivity, and energy exchange. 

Whether in the form of textile, painting, drawing or installation, Collins frequently explores the dichotomy of structure and entropy–qualities inherent to textile that speak to the fissures present in broader architectural, political, and social structures. Processes of slowly cutting, unbinding, revealing, and rearranging subtly nod to the destabilization that takes place when small but organized acts aim to undercut rigid systems. 

Currently on view at the RISD Museum in Providence, RI is Motherlode, a mid-career retrospective of Collins’s work curated by Kate Irvin. The exhibition is accompanied by a monograph published by Himmer and edited by Irvin, with additional essays, interviews, and contributions from Glenn Adamson, Octavia Bürgel, Julia Bryan-Wilson, Zoe Latta, and Eileen Myles. Other recent museum exhibitions include Woven Histories: Textiles and Modern Abstraction, curated by Lynne Cooke and presented at the Los Angeles County Museum of Art; the National Gallery of Art, Washington, DC; the National Gallery of Canada, Ottawa, ON; and the Museum of Modern Art, New York. Collins’s work was also featured in a field of bloom and hum, curated by Ian Berry at the Tang Teaching Museum in Saratoga Springs, NY.

Collins has been the subject of solo exhibitions at CANDICE MADEY, New York (2024), Rossana Orlandi, Milan (2024, 2019); Touchstones Rochdale, UK (2022); AMP, Provincetown, MA (2020); the Museum of Arts and Design, New York (2018); the Tang Teaching Museum, Saratoga Springs, NY (2015); the Knoxville Museum of Art, TN (2005), among others. She has been featured in group exhibitions at the Museum of Modern Art, New York (2025); the National Gallery of Canada, Ottawa, ON (2024); the Venice Biennale, IT (2024); the National Gallery of Art, Washington (2024); the Los Angeles County Museum of Art (2023); the Addison Gallery of American Art, Andover, MA (2023, 2020); Longhouse Reserve, East Hampton, NY (2023); the Lyndhurst Mansion, Tarrytown, NY (2022); the Leslie-Lohman Museum of Art, New York (2021, 2017, 2014); the Drawing Center, New York, NY (2019, 2018); BRIC, Brooklyn, NY (2019); Smack Mellon, Brooklyn, NY (2019); the New Museum, New York (2017); the Museum at FIT, New York (2013); the Los Angeles Municipal Art Gallery (2015); and the Institute of Contemporary Art, Boston (2011). 

Collins’s honors include an Anonymous Was A Woman Fellowship, a USA Fellowship, a MacColl Johnson Fellowship, Foundation for Contemporary Arts & Artist Relief grants, Drawing Center Open Sessions and residencies at Civitella Ranieri, Siena Art Institute, MacDowell, Yaddo, Haystack, Museum of Arts and Design, Stoneleaf, and currently she is in the Two Trees Cultural Subsidy Studio Program in Brooklyn. In 2020, The Tang Museum released “Liz Collins Energy Field”, her first major publication. 

Collins lives and works in Brooklyn, NY. She received her BFA and MFA in Textiles from the Rhode Island School of Design. 

Lauren Cohen
Lauren Cohen gathers content for her paintings, sculptures, graphic novels and comedic performances by documenting a constructed life that blurs truth and fiction. Her work draws directly from job experiences as well as historical events and characters to construct a universe where control, power, sexuality and violence are recurring themes.

Jacob Olmedo
Jacob Olmedo (they/them) navigates textile making from the reaction of the fragile barriers of American frameworks and the demise in connection with the liberation of queer futures. Working across mediums, their work often takes shape in tender textile forms that are abstracted with harsh building materials that show familiar circumstances of restrictions and reveal the fragilities of instructed ways of being. Olmedo often works upon their personal and cultural resonance of grief, joy, rage, power, and vulnerability through experimenting with color, texture, and radiance. 

Stephanie Santana
Stephanie Santana constructs mixed-media textile works and prints that explore interior worlds, mythologies, navigational tools and resistance strategies of African diasporic origin. Rooted in archival research while employing a range of printmaking, quilting and embroidery techniques, her practice locates alternative spaces of knowledge and self-definition.

Pacifico Silano 
Pacifico Silano explores print culture, image circulation and LGBT+ identity by re-photographing gay pornographic magazines of the ’70s and ’80s — an era connecting the progressive legacy of the sexual revolution with the advent of the HIV/AIDS crisis. He assembles these images into a range of installations that point to the tensions underlying the source material.

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Image credits:
Liz Collins
Rainbow Mountains: Weather, 2024
Woven textile
122 3/4 x 200 3/4 inches
312 x 510 cm
(LC058)
Photo credit: Ben Van den Berghe/ We Document Art

Ace Hotel New York artist-in-residence
Top left: Jacob Olmedo, sample work for Catch me I’m falling, please hear me calling, 2025.
Top right: Pacifico Silano, Elegy to the Void (Detail), 2025
Bottom left: Stephanie Santana, Seen (Detail), 2024
Bottom right: Lauren Cohen, The Art World Chess Set (Detail), 2024