BFA, Mason Gross School of Arts, Rutgers University, Newark, New Jersey, 2011


59. Esposizione Internazionale d’Arte, La Biennale di Venezia, Venezia, I, 2022

My Reflection of You, The Perimeter, London, UK, 2022

The Stand-Ins: Figurative Painting from the Collection, Zabludowicz Collection, London, UK Biography Jamian Juliano-Villani, 2021

JUNQUE, curated by Jamian Juliano Villani, Massimo De Carlo, London, UK , 2020

Pioneers, Influencers, and Rising Voices: Women in the Collection, High Museum of Art, Atlanta, USA, 2020

Trouble in Paradise, Collection Rattan Chadha, Kunsthal Rotterdam, Rotterdam, NL, 2019

DOG DAYS, C L E A R I N G, Brooklyn, USA, 2019

Trouble in Paradise, Kunsthal Rotterdam, Rotterdam, NL, 2019

Low Form. Imaginaries and Visions in the Age of Artificial Intelligence, curated by Bartolomeo Pietromarchi, MAXXI, Roma, I. Cataloguem, 2018

Infinite Blue, Brooklyn Museum, Brooklyn, USA, 2018

Nothing Will Be As Before - Ten Years of Tanya Leighton, Tanya Leighton, Berlin, DE, 2018

Difference Engine, Lisson Gallery, New York, USA, 2018

The Policeman´s Beard is Half Constructed: Art in the Age of Artificial Intelligence, Bonner Kunstverein, Bonn, D. Catalogue,2017

Home. An Homage to Colin de Land, Massimo De Carlo, Milano, I, 2017

The Policeman's Beard Is Half Constructed, Kunst Im Zeitalter Künstlicher Intelligenz, Bonner Kunstverein and Artothek, Bonn, D. Catalogue, 2017

Something Living, Art Gallery of New South Wales, Sydney, AT, 2017

Unpacked: Contemporary Works from Private Collections of Northern California, Art Museum of Sonoma County, Santa Rosa, USA, 2017

Self, Massimo De Carlo, London, UK, 2016

Animality - A Fairy Story by Jens Hoffmann, Marian Goodman Gallery, New York, USA, 2016

Performance by the collective George De George Hair cuts Hair, Serpentine Pavilion, London, UK, 2016

Park Nights 2016, Serpentine Gallery, London, UK, 2016

Goulding the Lolly, curated by Brian Belott, Gavin Brown's Enterprise, New York, USA, 2016

The Politics of Portraiture, Jessica Silverman Gallery, San Francisco, USA, 2016

Omul Negru, Galeria Nicodim, Bucharest, RO 2016 - Inside Out, Eva Presenhuber, Zurich, CH, 2016

FADE IN: INT. ART GALLERY – DAY, Swiss Institute, New York, USA, 2016

A Shape That Stands Up, Hammer Museum, Los Angeles, USA, 2016

I Pledge Allegiance, curated by Elisa R. Linn & Lennart Wolff, Stellar Rays, New York, USA, 2016

Flatlands, Whitney Museum of American Art, New York, USA, 2016


Try Explaining How You Feel, Kunsthall Stavanger, Stavanger, N, 2021

Steak Wars, Pond Society Foundation, Shanghai, PRC, 2021

Mrs. Evan Williams, JTT, New York, USA, 2020

Let's Kill Nicole, Massimo De Carlo, London, UK, 2019

Ten Pound Hand, JTT, New York, NY, 2018

Sincerely, Tony, Massimo De Carlo, Milano, I, 2017

Hydra Workshop, Hydra, GR, 2017

Hydra Workshop, Hydra, Hydra Island, GR, 2017

The World's Greatest Planet on Earth, Studio Voltaire, London, UK, 2016

Nudge the Judge, Tanya Leighton, Berlin, D, 2015

Crypod, JTT, New York, USA, 2015

Detroit Affinities, Museum of Contemporary Art Detroit, Detroit, USA, 2015

Gambler's Choice, Retrospective, Hudson, USA, 2014

Me, Myself and Jah, Rawson Projects, New York, USA, 2013


Lebanon Aïshti Foundation, Beirut United States of America Brooklyn Museum, Brooklyn, New York Hammer Museum, Los Angeles High Museum of Art, Atlanta The Solomon R. Guggenheim Museum, New York Whitney Museum of American Art, New York.


Venice Biennale, Arsenale, 2022


The New York Times


allery openings tend to be staid affairs. White wine, art-world hobnobbing and maybe dinner. O’Flaherty’s, a scrappy gallery in the East Village of Manhattan that’s named after a nonexistent Irish pub, sought to invert the whole notion of the summer group show. First, it held an “open call” in which anyone — starving artists, children, even Terence Koh, an established artist — could submit their work and see it hung in a New York City gallery. (More than a thousand people dropped off submissions, the gallery said.)

The Cut


On a recent Wednesday night, O’Flaherty’s, a new art gallery named for an imaginary Irish pub, had an opening. The storefront space, which has a neon sign in the window reading WHAT’S WRONG?, shares its block on Avenue C with a community garden, a dentist’s office, and a Jehovah’s Witnesses Kingdom Hall, far from the decorous, museumlike megagalleries of West Chelsea. In the most overheated, self-serious, and asset-hungry contemporary-art market the world has likely ever known, O’Flaherty’s has so far sold nothing; it’s hard to say if that’s on purpose. By a little after 7 p.m., the gallery had filled with casually tattered, unmasked young people, and everything was bathed in a radioactive glow. “Black light is very important,” said Jamian Juliano-Villani, a rising-star artist herself who is one of the gallery’s three founders. “Taste is out the door.”

The New York Times


The idea of “deskilling” has incited considerable chatter in the contemporary art sphere in the past decade. In economics the term refers to the technically undemanding labor performed by most modern industrial workers. In art discourse it identifies the deliberate rejection of traditional craft in the service of conceptual provocation and expressive freedom.