During my visit to the Alexander Berggruen Gallery, my initial goal was to critique Kevin McNamee-Tweed’s work, having followed his career since his 2020 monograph. While there, Tajh Rust’s first New York show caught my attention, compelling me to write about his art as well.
Rust’s exhibition presents six figurative paintings, two of which are acrylic on silvered glass, distinct from the four oil canvases. The reflective quality of the silvered glass blurs the line between the viewer and the art, reinforcing the themes of his pieces titled “How to Disappear I” and “How to Disappear II” (both 2026). In a world inundated with stereotypical portrayals, Rust poses the challenging question of whether Black individuality can truly be perceived without bias.
The oil paintings portray Black individuals in leisurely settings like a pool and a beach. These scenes, cropped to limit visible details, invite the viewer to imagine the narrative. For instance, “Once in a Blue” (2026) stimulates curiosity about the setting and characters, highlighting the subjective nature of observation.
In “Rückenfigur III” (2025), Rust uses a compositional style reminiscent of Caspar David Friedrich, featuring a figure from behind. This approach, combined with the painting’s positioning and imagery, challenges our connection to the subject and encourages reflection on perception.
Kevin McNamee-Tweed’s work, characterized by its whimsical and mysterious nature, aligns with the New York School’s legacy. His ceramic pieces, like “Untitled (Robot in Clouds)” (2025), depict fantastical scenarios that evoke curiosity and wonder. His art, alongside Rust’s, invites us to find marvels even in challenging times. Both exhibitions, curated by the gallery, run at Alexander Berggruen Gallery through April 1.
