When the Armory Whispers: Women Artists and Subtle Revolutions at ADAA’s Art Show
A fair known for its grandeur, the ADAA’s Art Show in New York this year quietly shifted the spotlight. Instead of the usual parade of blue-chip bravado, the 35th edition buzzed with the energy of contemporary women artists reclaiming space.
Galleries like Anat Ebgi and P.P.O.W foregrounded eco-feminist Faith Wilding and ceramicist Ann Agee, whose works blend personal mythologies with broader cultural critique. Wilding’s lush, silk-wrapped botanicals pulse with both vulnerability and resilience, while Agee’s Madonnas recast sacred icons as feminist manifestos stamped with the mark of one-woman industry.
Elsewhere, Sonja Sekula’s geometric abstractions emerged from the shadows, as Peter Blum Gallery revived her legacy alongside more celebrated peers. Even the materials—jute, sequins, discarded ceramics—hinted at a quiet rebellion against art world conventions.
In the Armory’s historic halls, what looked like tradition was, in fact, transformation: a gentle but insistent rewriting of who gets seen, and how.
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