Kim Fisher’s painting evokes the ethos of collage, even if collage itself is not literally part of the work. The artist deftly renders her compositions—usually sourced from fashion magazines, newspapers, and shopping bags—through a methodical process of layering oil on linen. In Magazine Paintings (2011– ), Fisher’s ongoing series, her investment in collage as both an attitude and technique becomes increasingly clear. Fisher begins with small-scale collage studies then translates the straight, curved, and jagged edges of the cut and torn magazine scraps to her paintings. The majority feature faded single-color compositions, spectral gradations, or abstracted landscapes that seem to reach beyond their frames.

Study for Ripple, 2021
Oil on aluminum on dyed linen
14 × 14 × 1 1/4 in
35.6 × 35.6 × 3.2 cm

Jennifer Moon (b. 1973, Lafayette, Indiana; lives and works in Los Angeles) is a polydisciplinamorous life-artist whose work investigates the co-production of ethico-onto-epistem-ologies via organizing systems (social systems, institutional structures, power relations, scientific theories, emotional frameworks, etc.) and how these various systems are entangled, co-constituted, performed, and perpetuated through bodies (human, nonhuman, material, immaterial). Drawing from queer life, science, self-help, popular culture, the extremely personal, and fantasy, Moon’s work mobilizes possibilities to reconfigure our relationship to power, to reignite the social and political imaginaries, and to stimulate change beyond binaries, hierarchies, and capital.

I ? Karen Barad, 2020
Inkjet print
11 × 18 in
27.9 × 45.7 cm
Edition 2/10

Mario Ybarra, Jr. creates sculptures, installations, photographs, and activist interventions as a means of examining various components of Mexican-American identity. His aesthetic often combines street culture iconography with historical and political imagery, such as in Brown and Proud (2006), which depicts Mexican revolutionary Emiliano Zapata in a large-scale work that merges graffiti art with a style recalling the work of muralist Diego Rivera. Ybarra also draws from quintessentially American imagery and popular culture, such as in Scarface Museum (2007), which features paraphernalia from the famous 1983 film Scarface (about a drug cartel kingpin during the 1980s cocaine boom) displayed in a glass vitrine as a memorial to one of the artist’s late friends.

Self Portrait as Andy …, 2020
Archival Light Jet Print
3 × 3 in
7.6 × 7.6 cm