group exhibitions


Rubenstein Arts Center
Duke University, Durham, NC
August 16 – September 18, 2022
Traveling exhibition. Premiers at the Rubenstein Arts Center, presented by Duke Arts in collaboration with Duke Islamic Studies Center. More info.

ARTISTS: Abbas Rattani, Abdullah Qureshi, Ahad Mahmood, Aisha Jemila, Amine Naima, Anum Awan, Driss Chaoui, Hisham Akira Bharoocha, Jameel Paulin, Joy Amina Garnett, Matthew Brooks, Mélika Hashemi, Mounir Fatmi, Nabi H. Ali, Roya Ahmadi, Saba Taj, Safiya Zerrougui, Safwat Saleem, Saks Afridi, Samira Idroos, Sanya Dosani, Sara Alfageeh, Sarah-Mecca Abdourahman, Shahzia Sikander, Shimul Chowdhury, Tijay Mohammed, Yasmeen Abedifard, Yussef Cole & Saniya Ahmed, Yusuf Siddiquee, Zulfikar Ali Bhutto


Installation photography: Etienne Frossard


EFA Project Space, Elizabeth Foundation for the Arts, New York, NY

November 18, 2020 – January 9, 2021

Hernease Davis
Asha Ganpat
Guido Garaycochea
Joy Garnett
Gi (Ginny) Huo
Jordan Lord
Shona Masarin
Monika Wührer

Curated by Maya Suess

EFA Project Space presents Permissions, an exhibition of new works produced during the 2019/20 SHIFT Residency. There is no way to introduce this exhibition without acknowledging that the works were created during a time of unexpected upheaval and a profound shift to the infrastructure of our lives. As the world moved into a time of global pandemic, economic upheaval, and a deep reckoning with systemic racism, the SHIFT residents were invited to make new bodies of work.


Dead Ringer

curated by Elizabeth Duffy
June 7 – July 14, 2019
Bristol Art Museum (Bristol, Rhode Island) including work by Beth Brandon, Joy Garnett, J. Myszka Lewis, Carolyn Marsden, Anna McNeary, Shari Mendelson, Brian Miller, Bradley Wester and Cheryl Yun.

“At first glance, the artists in Dead Ringer construct familiar objects and images: a bikini, a brick, a faceted glass vase. On closer inspection, an undercurrent of disquiet and hidden meanings emerge. The artists in Dead Ringer ask viewers to disassemble their works, to consider both what they think they see and the realities and epiphanies that come with closer looking. Calm and order feel alien to this moment of #MeToo, fake news and inexorable cruelty. Each of these artists makes works that are indelible, jaggedly smart and timely, looking at our moment and refusing to sugar-coat its anxieties.” – Elizabeth Duffy, Curator


Guest-curated by Heather Darcy Bhandari
Woskob Family Gallery
State College, PA

MARCH 29 ­– JUNE 2, 2018
Opening Reception: Wednesday, March 28, 5 – 7 PM

Tiny Acts Topple Empires is a group exhibition that considers the manifold expressions of rebellion and multitude of ways contemporary art can challenge the status quo and enact incremental change in our culture. The work engages with all types of rebellion: formal, material, political, and otherwise.

Featuring work by: Micaela Amateau Amato, Laura Bustamante, Mandy Cano Villalobos Studio, Jonathan Ehrenberg, John D. Freyer, Joy Garnett, David Grainger, Karolyn Hatton, Krista Hoefle, Vincent Hron, Sarah E. Jenkins, Noel Kassewitz, Dave Kube, Jess Lauren Lipton, Liz Luna, Meredith Lynn, Taryn McMahon, Christopher McNulty, Margaret Murphy, Joe Netta, Landon L. Newton, Michael Pribich, Leslie Robinson, K. Sarrantonio, Jody Servon Projects, Clinton Sleeper, Kate Snow, Ann Stoddard Art, Krista Svalbonas Fine Art, Steve Totin, MJ Tyson Studio, Kirsten Valentine, Hilary Wang, Coral Woodbury, JooYeon Judy Yang

When we speak of citizen journalism, many of us think of the Arab Spring and Egypt’s youth movement launched on January 25, 2011 with its reliance on smartphones, social media and viral video. As one Egyptian activist tweeted, “We use Facebook to schedule the protests, Twitter to coordinate, and YouTube to tell the world.” Only a few years earlier, in 2005—before the advent of Facebook and Twitter—protests and riots raged on the outskirts of Paris, sparked by the accidental deaths of two young boys who were hiding from police in an electrical substation in Clichy-sous-Bois. The rioting spread throughout the Île-de-France and eventually to the suburbs of other cities, giving expression to the hopelessness of a generation of marginalized youth, the children of predominantly Arab, African and North African immigrants, stuck in ghetto high-rises in the banlieues. Over several months, more than 9,000 vehicles were set on fire, as well as scores of public businesses; France declared a state of national emergency. A government-imposed media blackout sent journalists scurrying for imagery, which they found posted on personal blogs, YouTube and Flickr: lo-res images and video of burning cars and riot police, shot by ordinary people on the ground with cheap cameras and rudimentary phones. These images served as immediate and authentic documents, and are a precursor to subsequent uses of social media as tools for dissent. I painted my Paris Riots series based on a handful of lo-res images that were circulating on Flickr and elsewhere as the riots unfolded. The paintings are small but fiery like their source images, and speak to the urgent need to communicate what was happening on the ground. But unlike the digital images, the paintings embody physical space, and they instill, through the materiality of the gesture and the paint, the urgent physicality of the moment. Hence, the paintings offer the possibility of a different kind of engagement from what we’re used to when confronting political conflagration: the proximity afforded by the physical object, as opposed to the virtual image, more than a decade after the riots. ~ J. Garnett, 2017


Installation view of The Times at The FLAG Art Foundation, 2017. Photography by Steven Probert.
Joy Garnett: Explosion, Yellow & White, 2009, oil on canvas. 32×26 inches

The Times

June 1 – August 11, 2017

The FLAG Art Foundation
545 West 25th Street, 9th Floor
New York, NY 10001


FLAG Art Foundation – The Times – press release


Tom McGlynn, The Brooklyn Rail (July-Aug 2017): Disappearing, Inc.

“New Year’s Day” (video 2:48 min.) is included in a special program of post-election screenings and symposia at Petzel Gallery, NY:

We need to talk…
Artists and the public respond to the present conditions in America
January 7 – February 11, 2017
Petzel Gallery, 456 West 18th Street
Something different for the month of January 2017, We need to talk… will try to address the myriad issues presented by the election results of November 8th.

More info…


NYILYB_v04aNew York, I Love You, But... Curated by Keith Miller. Gallatin Galleries, Gallatin School of Individualized Study at NYU (Nov 5, 2015 – Jan 26, 2016)

Khalik Allah, Annie Berman, Sophie Blackall, Nathan Fitch, Brian Foo, Joy Garnett, Suzanne Goldenberg, Nina Katchadorian, Paul McDonough, Lawrence Mesich, Ron Milewicz, Amy Park, Maddalena Poletta, Casey Ruble, Ken Schles, Terreform ONE


Musée Magazine (November 2015): New York, I Love You, But… At NYU’s Gallatin Galleries  PDF

2015Seattle Art Fair 2015


John Isaacs, Thought for Food (IMBY Aug 11, 2015)


Piss and Vinegar (art and ferment)‘@ FOODshed installation view, Smack Mellon, Brooklyn, NY. Left to right: Joy Garnett. Bonnie Ora Sherk, Peter Nadin. Photo by Etienne Frossard.

FOODshed, Smack Mellon, Brooklyn (Summer 2014). Curated by Amy Lipton.

Last Brucennial
The Last Brucenniall, NYC, Mar-Apr 2014
The Wayland Rudd Collection, organized by Yevgeniy Fiks, First Floor Gallery, Harare, Zimbabwe, June 20-August 7, 2014.

The Wayland Rudd Collection (Harare, Zimbabwe): Installation shots

Wayland Rudd-Frossard
The Wayland Rudd Collection, a project by Yevgeniy Fiks. Winkleman Gallery, New York, January 17 – February 22, 2014. Photography by Etienne Frossard.

PRESS: Holland Cotter, The New York Times (February 2014): The Wayland Rudd Collection, at Winkleman Gallery PDF

The Wayland Rudd Collection (NYC): Installation shots

Sargent’s Daughters, Sargent’s Daughters, NY: An exhibition of women artists exploring the legacy of John Singer Sargent. June 25-July 26, 2014
  • A Gift to Birobidzhan, curated by Yevgeniy Fiks, 21ST.PROJECTS, New York. September 11 to October 19, 2014
  • Sargent’s Daughters, Sargent’s Daughters, NY: An exhibition of women artists exploring the legacy of John Singer Sargent. June 25-July 26, 2014.
  • Painting the Pixel, curated by Rachel Sharp, Gallery North, University of Northumbria, Newcastle upon Tyne, United Kingdom, March 3-April 11, 2014.
  • Being There, curated by Amy Lipton, Elga Wimmer Gallery, NY, Feb 1- Mar 14, 2014.


The Tool at Hand. Curated by Ethan Lasser.

The Tool at Hand, curated by Ethan Lasser. Originating: Milwaukee Art Museum, Dec 8, 2011-Apr 1, 2012; traveled to: Philadelphia Art Alliance, Feb 1-Apr 28 2013; Houston Center for Contemporary Craft, May 31-Sept 8, 2013; Museum of Contemporary Craft Portland in partnership with Pacific Northwest College of Art, Oct 2, 2013–Jan 11, 2014. The Tool at Hand: Work in progressExhibition catalogueExhibition website

Plume (2), 2005, oil on canvas, 26×46 inches

Highlights from the Collection of the National Academy of Sciences
September 20, 2010 – March 12, 2012
Keck Center, First Floor Gallery, 500 Fifth St., N.W., Washington, D.C.

Press: New Scientist: Genetic fruit, thoughtful trees: Academy treasures (5 October 2010)

Picture Takers 2012
Picture Takers. Curated by Mary Birmingham. Visual Arts Center of New Jersey, Summit, NJ, September 14-December 2, 2012.

Picture Takers: Exhibition catalogue.


2009: out of the blue, Gallery Bergen, Bergen Community College, Paramus, NJ, organized with Joy Episalla & Amy Lipton. Press release; installation views

out of the blue
March 4 – May 6, 2006
Abington Art Center
Jenkintown, PA

Organized with Joy Episalla & Amy Lipton. Brochure/artist multiple: OOTB-brochure-Final-RGB-posterOOTB-brochure-Final-pg1-RGB 

That Was Then…This Is Now. MoMA- PS1, June 22 – September 29, 2008. Shown: Nancy Spero (L); Joy Garnett (R).

That Was Then…This Is Now Installation shots

Documentation of CFA Gallery Exhibit
Atomic Afterimage. Curated by Keely Orgeman. Boston University Art Gallery, September 5 – November 2, 2008.

Atomic Afterimage: Cold War Imagery in Contemporary ArtExhibition catalogue. Installation shots

Things Fall Apart, a group exhibition curated by Joy Garnett. Winkleman Gallery, NY 
January 16 – February 21, 2009. Installation views
Featuring work by 
Stephen Andrews
, Paul Chan + The Front
 (NOLA), Mounir Fatmi
, Yevgeniy Fiks
, Joy Garnett
, Susan Hefuna, 
Christopher Lowry Johnson
, Carlos Motta, 
Renata Poljak
, Susan Silas.

Image War 2006
IMAGE WAR: Contesting Images of Political Conflict, Whitney Independent Study Program, at the CUNY Graduate Center, May 19 – June 25, 2006. Shown: Joy Garnett (L) and Rainer Ganahl (R).

IMAGE WAR: Contesting Images of Political Conflict. Catalogue essay (Benjamin Godsill). Installation shots

Murtaza Vali, Bidoun (Fall 2006): Image War’ Whitney Museum of American Art PDF

Red Heat, 2006, oil on canvas, 38x48 inches PRIVATE COLLECTION
Prevailing Climate, Sara Meltzer Gallery, NY. Image: Red Heat, 2006, oil on canvas, 38×48 inches PRIVATE COLLECTION

Prevailing Climate

PRESS: Holland Cotter, The New York Times (August 2006): Art in Review:  Prevailing Climate PDF
Sara Meltzer Gallery
525-531 West 26th Street
curated by Rachel Gugelberger and Jeffrey Walkowiak
July 13 – August 18, 2006 [press release]

Eric Anglès
Andrea Bowers
Margarita Cabrera
Anthony Discenza
Christoph Draeger
Joy Garnett
Boukje Janssen
John Jurayj
Catarina Leitao
Joan Linder
Anna von Mertens
Jason Middlebrook
Yumi Janeiro Roth
Karina Aguilera Skvirsky
Type A