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Subliminal Horizons: Part 2, curated by Alvin Hall

Past viewing_room
Germantown: August 20 – October 3, 2021
  • Subliminal Horizons: Part 2

    Curated by Alvin Hall

     

     

     
    Germantown: August 20—October 3, 2021
     
  • I always envisioned a horizontal, floor-based work of art at the opening of Subliminal Horizons. The exhibition's focus, BIPOC artists...

    Subliminal Horizons, installation view, Alexander Gray Associates, New York (2021)

    I always envisioned a horizontal, floor-based work of art at the opening of Subliminal Horizons. The exhibition's focus, BIPOC artists living and working in the Hudson Valley today, necessarily asks viewers to engage with the unconsidered, the overlooked, and the historically disregarded. Thus, it was natural for the exhibition to lead with works like Huma Bhabha's Road to Balkh, (2015) in New York, and Kianja Strobert's flotilla of metal lathe, papier mâché, and acrylic vessel-like sculpture in Germantown. These works evoke thoughts about how people traveled through the Hudson Valley by land and water; but they also prompt thoughts about what was carved out, built, altered, and expanded as migration, industrialization and natural shifts transformed the majestic landscapes portrayed in Hudson River School paintings into an economy. Many of the people who lived and worked there-indigenous, Black, brown, Asian, waves of immigrants from Europe-were not included until recently in the historical narrative about the area. The content of their labor is ever-present but, more often than not, taken for granted. The thematic threads running through Subliminal Horizons reveal or foreground multiple facets and implications of landscape, migration, and history.

  • Selected works by Kianja Strobert

    • Kianja Strobert 7W, 2021 Paper, wood, foam core, and acrylic paint 16 1/2 x 19 x 3 1/2 in framed (41.9 x 48.3 x 8.9 cm framed) (KS020)
      Kianja Strobert
      7W, 2021
      Paper, wood, foam core, and acrylic paint
      16 1/2 x 19 x 3 1/2 in framed (41.9 x 48.3 x 8.9 cm framed)
      (KS020)
    • Kianja Strobert 25, 2021 Metal lathe, papier mâché, and acrylic paint Approx 13 x 44 x 20 in (33 x 111.8 x 50.8 cm) (KS010)
      Kianja Strobert
      25, 2021
      Metal lathe, papier mâché, and acrylic paint
      Approx 13 x 44 x 20 in (33 x 111.8 x 50.8 cm)
      (KS010)
       
    • Kianja Strobert E1, 2021 Metal lathe, papier mâché, and acrylic paint Approx 35 x 18 1/2 x 2 1/4 in (88.9 x 47 x 5.7 cm) (KS019)
      Kianja Strobert
      E1, 2021
      Metal lathe, papier mâché, and acrylic paint
      Approx 35 x 18 1/2 x 2 1/4 in (88.9 x 47 x 5.7 cm)
      (KS019)
    Close
    • Kianja Strobert 14, 2021 Metal lathe, papier mâché, acrylic paint, and paper backing Approx 10 1/2 x 9 3/4 x 1 3/4 in (26.7 x 24.8 x 4.4 cm) (KS003)
      Kianja Strobert
      14, 2021
      Metal lathe, papier mâché, acrylic paint, and paper backing
      Approx 10 1/2 x 9 3/4 x 1 3/4 in (26.7 x 24.8 x 4.4 cm)
      (KS003)
    • Kianja Strobert 16, 2021 Metal lathe, papier mâché, and acrylic paint Approx 25 3/4 x 16 3/4 x 7 7/8 in (65.4 x 42.5 x 20 cm) (KS005)
      Kianja Strobert
      16, 2021
      Metal lathe, papier mâché, and acrylic paint
      Approx 25 3/4 x 16 3/4 x 7 7/8 in (65.4 x 42.5 x 20 cm)
      (KS005)
    • Kianja Strobert 18, 2021 Metal lathe, papier mâché, acrylic paint, and paper backing Approx 25 1/4 x 21 1/8 x 6 1/4 in (64.1 x 53.7 x 15.9 cm) (KS006)
      Kianja Strobert
      18, 2021
      Metal lathe, papier mâché, acrylic paint, and paper backing
      Approx 25 1/4 x 21 1/8 x 6 1/4 in (64.1 x 53.7 x 15.9 cm)
      (KS006)
    • Kianja Strobert 19, 2021 Metal lathe, papier mâché, acrylic paint, and paper backing Approx 20 x 21 1/4 x 5 3/4 in (50.8 x 54 x 14.6 cm) (KS007)
      Kianja Strobert
      19, 2021
      Metal lathe, papier mâché, acrylic paint, and paper backing
      Approx 20 x 21 1/4 x 5 3/4 in (50.8 x 54 x 14.6 cm)
      (KS007)
    • Kianja Strobert 24, 2021 Metal lathe, papier mâché, and acrylic paint Approx 47 x 19 1/4 x 8 3/4 in (119.4 x 48.9 x 22.2 cm) (KS009)
      Kianja Strobert
      24, 2021
      Metal lathe, papier mâché, and acrylic paint
      Approx 47 x 19 1/4 x 8 3/4 in (119.4 x 48.9 x 22.2 cm)
      (KS009)
    • Kianja Strobert 46, 2021 Metal lathe, papier mâché, acrylic paint, and paper Approx 21 1/8 x 17 1/4 x 7 3/4 in (53.7 x 43.8 x 19.7 cm) (KS018)
      Kianja Strobert
      46, 2021
      Metal lathe, papier mâché, acrylic paint, and paper
      Approx 21 1/8 x 17 1/4 x 7 3/4 in (53.7 x 43.8 x 19.7 cm)
      (KS018)
    • Kianja Strobert 21, 2021 Metal lathe, papier máché, and paper Approx 27 1/4 x 18 5/8 x 7 3/4 in (69.2 x 47.3 x 19.7 cm) (KS008)
      Kianja Strobert
      21, 2021
      Metal lathe, papier máché, and paper
      Approx 27 1/4 x 18 5/8 x 7 3/4 in (69.2 x 47.3 x 19.7 cm)
      (KS008)
    • Kianja Strobert 22, 2021 Metal lathe, papier mâché, and acrylic paint Approx 27 1/2 x 19 1/4 x 8 1/2 in (69.8 x 48.9 x 21.6 cm) (KS011)
      Kianja Strobert
      22, 2021
      Metal lathe, papier mâché, and acrylic paint
      Approx 27 1/2 x 19 1/4 x 8 1/2 in (69.8 x 48.9 x 21.6 cm)
      (KS011)
    • Kianja Strobert 45, 2021 Metal lathe, papier mâché, acrylic paint, and paper Approx 18 1/2 x 8 5/8 x 3 7/8 in (47 x 21.9 x 9.8 cm) (KS017)
      Kianja Strobert
      45, 2021
      Metal lathe, papier mâché, acrylic paint, and paper
      Approx 18 1/2 x 8 5/8 x 3 7/8 in (47 x 21.9 x 9.8 cm)
      (KS017)
    Close
  • The natural world figures strongly in many of the works on view. Xaviera Simmons' Thundersnow Road (2010)and If We Believe...

    Xaviera Simmons, If We Believe in Theory #1, 2009. Chromogenic color print. 40 x 50 in (101.6 x 127 cm). 41 1/8 x 51 1/8 x 2 1/4 in framed (104.5 x 129.9 x 5.7 cm framed). Edition of 3 (EC 1/1). (XS002)

    The natural world figures strongly in many of the works on view. Xaviera Simmons' Thundersnow Road (2010)and If We Believe in Theory 1 (2009) reference both the ground-level density of the landscape and the forward-looking drive of those traversing it. Diana Al-Hadid's works, especially Styx and Stones (2021) and Untitled (2020), offer a visual rumination on the raw, confronting energy of the waterways, the ever-present closeness of multiple-layered Nature that has its own beauty-mysterious of course but also surprisingly abstract when considered from afar. Lisa Corinne Davis's map-like abstract paintings, Psychotropic Turf, 2015 and Congruous Fantasy, 2017, suggest a similar consideration of estuaries, land, people, and other elements from different, equally thought-provoking visual perspectives.

     

     

     

  • Subliminal Horizons: Part 2, installation view, Alexander Gray Associates, Germantown (2021)

     

  • Selected works on view

    • Xaviera Simmons Thundersnow Road, 2010 Chromogenic color print 41 1/8 x 51 1/8 x 1 3/4 in framed (104.5 x 129.9 x 4.4 cm framed) Edition of 3 (EC 1/1) (XS001)
      Xaviera Simmons
      Thundersnow Road, 2010
      Chromogenic color print
      41 1/8 x 51 1/8 x 1 3/4 in framed (104.5 x 129.9 x 4.4 cm framed)
      Edition of 3 (EC 1/1)
      (XS001)
    • Diana Al-Hadid Untitled, 2021 Conté, charcoal, pastel, and acrylic on mylar 42 x 60 in (106.6 x 152.4 cm) (DA003)
      Diana Al-Hadid
      Untitled, 2021
      Conté, charcoal, pastel, and acrylic on mylar
      42 x 60 in (106.6 x 152.4 cm)
      (DA003)
    • Lisa Corinne Davis Congruous Fantasy, 2017 Oil on panel 24 x 36 x 1 1/2 in (61 x 91.4 x 3.8 cm) (LCD002)
      Lisa Corinne Davis
      Congruous Fantasy, 2017
      Oil on panel
      24 x 36 x 1 1/2 in (61 x 91.4 x 3.8 cm)
      (LCD002)
    Close
  • Where many of the artists working in the Hudson Valley today focus explicitly on landscape and migration, the importance of...

    Jeffrey Gibson, POWERFUL BECAUSE THEY'RE DIFFERENT, 2019. Cotton, linen, wool, and nylon. 81 1/2 x 101 in (207 x 256.5 cm) (JG003)

    Where many of the artists working in the Hudson Valley today focus explicitly on landscape and migration, the importance of material and craft––and the cultures from which they derive and which they interpolate––are also prominent themes. The bright colors of Jeffrey Gibson’s tapestry, Powerful Because They’re Different (2019) combines elements from his heritage (Cherokee and Choctaw) with those of other Indigenous people (the Navajo’s “eye-dazzler” weaving), to boldly proclaim aphorisms, idioms, messages, and beliefs that bring forth reflections about the many ways truth, strength, and resilience are sustained in cultures. (One also thinks about incantations that tap into the spirits of ancestors.) Laleh Khorramian’s Lady Totem (2021) and Tschabalala Self’s No (019) combine craft techniques traditionally associated with women in ways that prompt thoughts about how the female figure functions as a landscape upon which various beliefs and fantasies are projected. A closer look reveals that these art works share thought-provoking commonalities that connect them across cultures, across time.

  • Subliminal Horizons: Part 2, installation view, Alexander Gray Associates, Germantown (2021)

  • Selected works on view

    • Jeffrey Gibson A LITTLE BIT LOUDER NOW, 2019 Cotton and linen, digitally printed fabric, polyester thread, and cotton batting 77 x 68 1/4 in (195.6 x 173.4 cm) (JG002)
      Jeffrey Gibson
      A LITTLE BIT LOUDER NOW, 2019
      Cotton and linen, digitally printed fabric, polyester thread, and cotton batting
      77 x 68 1/4 in (195.6 x 173.4 cm)
      (JG002)
    • Laleh Khorramian Fallout, 2021 Acrylic, cotton, dye, ink, and silk on canvas 49 x 28 x 2 1/2 in (124.5 x 71.1 x 6.3 cm) (LK002)
      Laleh Khorramian
      Fallout, 2021
      Acrylic, cotton, dye, ink, and silk on canvas
      49 x 28 x 2 1/2 in (124.5 x 71.1 x 6.3 cm)
      (LK002)
    Close
  • Connections and relationships between individuals are often the source from which the blending of cultural practices and concepts begins, often...

    Subliminal Horizons, installation view, Alexander Gray Associates, Germantown (2021)

    Connections and relationships between individuals are often the source from which the blending of cultural practices and concepts begins, often in fascinating, curious, and bewitching ways. David Hammons’ serene Buddha stature with an African mask as its head radiates a multitude of cross-cultural references about deities, worship, serenity, beauty, synthesis, and adaptation. The fact that the combination of the two found objects feels perfectly aligned aesthetically and spiritually speaks to the unexpected elevation and richness that synthesis can yield. Jennie C. Jones’s spare drawings of vertical music staffs extend this blending into our minds as ethereal, random, calming cords of music or chants. Visually, Hammon’s and Jone’s works together remind viewers of the many ways solemnness can be found—created by nature and by artists. 

     

     Today in the Hudson Valley, distinct, individual narratives are declared, not quieted, shaded, or reshaped by the assimilation embraced by previous generations. Lyle Ashton Harris’s bold assemblages Trophy Piece (2020), and Antiquariato Busted (2020) embed diaristic photographs printed on aluminum and personal ephemera (for example, Harris’s dreadlocks) on a background of printed fabric from Ghana. Harris is boldly using his work to say who he is, what cultural perspective he brings to the area. Jeffrey Gibson’s Infinite Indigenous Queer Love (2020) is both his unapologetic personal narrative and his self-loving embrace that he offers to others.

  • Selected works on view

    • Lyle Ashton Harris Trophy Piece, 2020 Conjoined Ghanaian cloth, two dye sublimation prints on aluminum, spray-painted stencils, and artist's dreadlocks 40 5/8 x 49 3/4 x 3 in framed (103.2 x 126.4 x 7.6 cm framed) (LAH002)
      Lyle Ashton Harris
      Trophy Piece, 2020
      Conjoined Ghanaian cloth, two dye sublimation prints on aluminum, spray-painted stencils, and artist's dreadlocks
      40 5/8 x 49 3/4 x 3 in framed (103.2 x 126.4 x 7.6 cm framed)
      (LAH002)
    • Jennie C. Jones Untitled (Segue Score) Diptych #4, 2021 Collage, acrylic, and ink on paper in 2 parts 20 x 16 in (50.8 x 40.6 cm), 20 x 15 in (50.8 x 38.1 cm) 23 x 19 x 1 3/4 in framed each (58.4 x 48.3 x 4.4 cm framed each) (JCJ106)
      Jennie C. Jones
      Untitled (Segue Score) Diptych #4, 2021
      Collage, acrylic, and ink on paper in 2 parts
      20 x 16 in (50.8 x 40.6 cm), 20 x 15 in (50.8 x 38.1 cm)
      23 x 19 x 1 3/4 in framed each (58.4 x 48.3 x 4.4 cm framed each)
      (JCJ106)
    Close
  • Carlos Vega (Morebat et Dolebat I, 2020) and Melvin Edwards (Accord, 2017) evoke thoughts about the deliberate suppression and violence...

    Carlos Vega, Morebat et Dolebat I, 2020. Acrylic on canvas. 10 x 13 in (25.4 x 33 cm). 11 3/8 x 14 3/8 x 2 in framed (28.9 x 36.5 x 5.1 cm framed). (CV001)

    Carlos Vega (Morebat et Dolebat I, 2020) and Melvin Edwards (Accord, 2017) evoke thoughts about the deliberate suppression and violence that was also a part of the history of the Hudson Valley. This truth and the facts of the specific incidents were, for years, out of sight and out of mind-deliberately overlooked in a narrative that highlighted the sublime landscapes and the architectural palaces of robber barons and successful artists.

     

  • Selected works by Carlos Vega

    • Carlos Vega Morebat et Dolebat I, 2020 Acrylic on canvas 10 x 13 in (25.4 x 33 cm) 11 3/8 x 14 3/8 x 2 in (28.9 x 36.5 x 5.1 cm framed) (CV001)
      Carlos Vega
      Morebat et Dolebat I, 2020
      Acrylic on canvas
      10 x 13 in (25.4 x 33 cm)
      11 3/8 x 14 3/8 x 2 in (28.9 x 36.5 x 5.1 cm framed)
      (CV001)
    • Carlos Vega Morebat et Dolebat II, 2020 Acrylic on canvas 13 x 16 in (33 x 40.6 cm) 14 3/8 x 17 3/8 x 2 in framed (36.5 x 44.1 x 5.1 cm framed) (CV002)
      Carlos Vega
      Morebat et Dolebat II, 2020
      Acrylic on canvas
      13 x 16 in (33 x 40.6 cm)
      14 3/8 x 17 3/8 x 2 in framed (36.5 x 44.1 x 5.1 cm framed)
      (CV002)
    Close
  • Selected works by Melvin Edwards

    • Melvin Edwards Addis A., 2007 Welded steel 13 x 10 1/4 x 7 1/2 in (33 x 26 x 19.1 cm) (ME254)
      Melvin Edwards
      Addis A., 2007
      Welded steel
      13 x 10 1/4 x 7 1/2 in (33 x 26 x 19.1 cm)
      (ME254)
    • Melvin Edwards Accord, 2017 Welded steel and barbed wire 12 1/8 x 7 1/8 x 5 in (31.11 x 18.41 x 12.7 cm) (ME567)
      Melvin Edwards
      Accord, 2017
      Welded steel and barbed wire
      12 1/8 x 7 1/8 x 5 in (31.11 x 18.41 x 12.7 cm)
      (ME567)
    • Melvin Edwards Yet to be titled, 2019 Stainless steel 68 x 24 x 12 in (172.72 x 60.96 x 30.48 cm) (ME1035)
      Melvin Edwards
      Yet to be titled, 2019
      Stainless steel
      68 x 24 x 12 in (172.72 x 60.96 x 30.48 cm)
      (ME1035)
    Close
  • Romanticism and erasure have long been partners in sustaining dominant notions of the American Dream—notions that have historically marginalized or...

    Subliminal Horizons, installation view, Alexander Gray Associates, New York (2021)

    Romanticism and erasure have long been partners in sustaining dominant notions of the American Dream—notions that have historically marginalized or removed BIPOC people. Karlos Cárcamo’s paintings (Kase Paintings (P1,) 2021) and works on paper (Untitled Studies for Kase Paintings, 2019) bring these ghosts to the surface. His artworks show what’s left after his tag and that of other graffiti artists are erased. In these works, Cárcamo applies the same chemicals to the art works that are used by authorities to remove tags from buildings. In some works, the individual’s artistic identity is totally lost and unrecognizable; in others, part of the tag can almost be deciphered. His minimal, almost monochromatic works, reclaim the power of absence, evoking a longing to know—more curiosity than nostalgia. In Glenn Ligon’s Introduction (5) (2004), and Notes on the Prelude (2012), erasure results from accumulation. As stories are told and retold by different people over time, the essay or tale acquires a patina that may distort or make less visible the original. Alternatively, words, phrases, and passage may fall away, hollowing out what was originally captured or intended.

  • Subliminal Horizons: Part 2, installation view, Alexander Gray Associates, Germantown (2021)

  • Selected works on view by Karlos Cárcamo

    • Karlos Cárcamo Kase Painting (P6), 2021 Latex and spray enamel, graffiti remover, and collage on canvas in reclaimed plywood frame 29 x 25 x 2 in framed (73.7 x 63.5 x 5.1 cm framed) (KC018)
      Karlos Cárcamo
      Kase Painting (P6), 2021
      Latex and spray enamel, graffiti remover, and collage on canvas in reclaimed plywood frame
      29 x 25 x 2 in framed (73.7 x 63.5 x 5.1 cm framed)
      (KC018)
       
       
    • Karlos Cárcamo A Concrete Movement (For George Floyd), 2020 White vinyl records, black plexiglass, latex and spray enamel, and plywood pedestal 54 x 16 x 16 in (137.2 x 40.6 x 40.6 cm) (KC002)
      Karlos Cárcamo
      A Concrete Movement (For George Floyd), 2020
      White vinyl records, black plexiglass, latex and spray enamel, and plywood pedestal
      54 x 16 x 16 in (137.2 x 40.6 x 40.6 cm)
      (KC002)
       
    Close
  • The same is true of the memory of a place-a landscape, a road, a room. Henri Paul Broyard's painting of...

    Henri Paul Broyard, GTPS, 2019. Acrylic, flashe, spray paint, and correction fluid on canvas. 40 x 30 in (101.6 x 76.2 cm). (HPB003)

    The same is true of the memory of a place-a landscape, a road, a room. Henri Paul Broyard's painting of interiors (TFFSD, 2016 and GTPS, 2019) use vernacular photographs as their source material. Broyard focuses on a section of the photograph in which there are no people. In his artworks, the arrangement of the furniture, the vases, the lamps, the decorative objects, the paintings on the walls are the references and stimuli for the viewer's recollections. The interiors could be in a home in Anywhere America, but his small, often quirky inventions added to the scenes prompts us to rethink exactly what we are looking at, especially its relationship to real memory and emotional memory.

     

    I selected the art works in Subliminal Horizons partly to leave the viewer with resonating thoughts about cultures, histories, erasure, resilience, and rebirth in the Hudson River Valley. They were also chosen for the distinct individuality of each voice, each artistic practice, and each intent. To paraphrase the title of Jeffery Gibson's tapestry: The power of these artists comes from their difference.

     

    – Alvin Hall

  • Subliminal Horizons: Part 2, installation view, Alexander Gray Associates, Germantown (2021)

  • Selected works by Henri Paul Broyard

    • Henri Paul Broyard CE, 2021 Acrylic on canvas 30 x 24 in (76.2 x 61 cm) (HPB004)
      Henri Paul Broyard
      CE, 2021
      Acrylic on canvas
      30 x 24 in (76.2 x 61 cm)
      (HPB004)
    • Henri Paul Broyard 2X, 2021 Acrylic on panel 20 x 16 in (50.8 x 40.6 cm) (HPB006)
      Henri Paul Broyard
      2X, 2021
      Acrylic on panel
      20 x 16 in (50.8 x 40.6 cm)
      (HPB006)
    Close
  • Additional works on view

    • Huma Bhabha Not About You, 2012 Wood, wire, Styrofoam, wire mesh, cork, lucite, and acrylic paint 65 1/2 x 11 1/8 x 12 1/2 in (166.4 x 28.3 x 31.8 cm) (HB002)
      Huma Bhabha
      Not About You, 2012
      Wood, wire, Styrofoam, wire mesh, cork, lucite, and acrylic paint
      65 1/2 x 11 1/8 x 12 1/2 in (166.4 x 28.3 x 31.8 cm)
      (HB002)
    • Kenji Fujita Set/Reset #16, 2021 Oil on canvas mounted on MDF 20 x 16 in (50.8 x 40.6 cm) (KFU003)
      Kenji Fujita
      Set/Reset #16, 2021
      Oil on canvas mounted on MDF
      20 x 16 in (50.8 x 40.6 cm)
      (KFU003)
    • Angel Otero Untitled, 2017 Oil paint and fabric collaged on paper 30 x 22 1/2 x 1/4 in (76.2 x 57.1 x 0.6 cm) 32 3/4 x 25 1/2 x 1 3/4 in framed (83.2 x 64.8 x 4.4 cm framed) (AO002)
      Angel Otero
      Untitled, 2017
      Oil paint and fabric collaged on paper
      30 x 22 1/2 x 1/4 in (76.2 x 57.1 x 0.6 cm)
      32 3/4 x 25 1/2 x 1 3/4 in framed (83.2 x 64.8 x 4.4 cm framed)
      (AO002)
    Close
    • Adam Pendleton Untitled, 2019 Collage on paper 15 1/2 x 10 1/2 in (39.37 x 26.67 cm) 18 1/8 x 13 in framed (46.04 x 33.02 cm framed) (AP004)
      Adam Pendleton
      Untitled, 2019
      Collage on paper
      15 1/2 x 10 1/2 in (39.37 x 26.67 cm)
      18 1/8 x 13 in framed (46.04 x 33.02 cm framed)
      (AP004)
    • Glenn Ligon Notes on the Prelude, 2012 Aquatint with drypoint 21 1/2 x 17 in (54.6 x 43.2 cm) 23 1/2 x 19 x 1 5/8 in framed (59.7 x 48.3 x 4.1 cm framed) Edition of 35 with 10 APs (#33/35) (GL004)
      Glenn Ligon
      Notes on the Prelude, 2012
      Aquatint with drypoint
      21 1/2 x 17 in (54.6 x 43.2 cm)
      23 1/2 x 19 x 1 5/8 in framed (59.7 x 48.3 x 4.1 cm framed)
      Edition of 35 with 10 APs (#33/35)
      (GL004)
    • Martin Puryear Untitled (State 1), 2016 Intaglio in 3 colors on Hahnemühle bright white paper 41 x 40 in (104.1 x 101.6 cm) 44 3/8 x 43 3/8 x 2 in framed (112.7 x 110.2 x 5.1 cm framed) Edition of 29 (#18/29) (MP002)
      Martin Puryear
      Untitled (State 1), 2016
      Intaglio in 3 colors on Hahnemühle bright white paper
      41 x 40 in (104.1 x 101.6 cm)
      44 3/8 x 43 3/8 x 2 in framed (112.7 x 110.2 x 5.1 cm framed)
      Edition of 29 (#18/29)
      (MP002)
    Close
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