Current and Upcoming Exhibitions

All our galleries are open to the public Monday to Sunday, 10:00 AM - 5:00 PM.

Admission is free of charge. Hours are subject to chan
ge, especially for our Grand Gallery as it is frequently used for private events. 

Grand Gallery
Kyle Staver: Printed Matters (2001 - 2018)
Linocuts, Monotypes, and Aquatint Etchings

January 29 - March 1

“Kyle Staver’s recent work exceeds its predecessors in confidence, ease and even a kind of perfection. In this century’s resurgence of figurative painting, Ms. Staver is a significant precedent.” (Roberta Smith - The New York Times)    
     The National Arts Club is pleased to present this first comprehensive show of prints by Kyle Staver. Acclaimed for her large imaginative canvases filled with light, movement and excitement, Ms. Staver brings these same qualities to her prints depicting family and friends enjoying ordinary pleasures and pursuits. Employing her mastery of line, space and gesture, she has the rare gift to make the everyday monumental.    
     Kyle Staver was born in Minnesota and received her MFA from Yale University in 1987. She was awarded a Guggenheim Foundation Fellowship in 2015 and in the same year was elected a member of the National Academy. She has exhibited in New York with Kent Fine Art, Tibor de Nagy, and most recently, Zurcher Gallery.

Pictured: Bad Dog, 2007, Linocut

Gregg + Marquis Gallery

January 31 - March 2 

Highlight: Gramercy is the latest in a series of enlightening and captivating exhibitions, and is curated by independent curators, Paul Efstathiou and Eleanor Flatow. It features works by eight emerging and established contemporary artists based in Athens, Vienna, New York City, Connecticut and Los Angeles.  The artists included in the exhibition are Marcel Dzama, Amir Fallah, André Hemer, John Knuth, Liz Leggett, Olga Migliaressi-Phoca, Evan Robarts and Anne Vieux.  
     While drawing attention to each artist’s particular style, techniques, mediums, themes and intentions, Highlight: Gramercy collectively delivers a vibrant, enthralling and erudite visual experience evoking positivity, verve and curiosity. Parallels can be made among the artists –their interest in extraordinary processes and materials, use of technology, and the integration of social commentary – however, it is the uniqueness of their visual expressions that produces a compelling show and reflects the essence of contemporary art.  
     Referencing Islamic and graffiti art, while grappling with his identity as an Iranian-American, Amir Fallah reinterprets conventional notions of portrait painting with his distinctive use of boldly painted rich ornamentation and layered patterns. Evan Robarts uses found objects and unusual tools in his singular sculpture and paintings elevating ordinary materials and tasks while investigating themes of gentrification and the condition of the blue-collar worker. John Knuth employs flies and their regurgitation to create minimal and pointillistic abstractions that capture the chaos and beauty of nature, and are metaphors for the density and sprawl of urban landscapes. Liz Leggett, championing the act of painting, dynamically applies vibrant colors to her canvases empowering the spontaneity of the medium and process to reveal the narrative and composition.  
     Integrating technology within their unique and complex processes, Anne Vieux and André Hemer both explore the harmony and dichotomies of the digital and physical worlds resulting in striking abstract compositions. Vieux’s works depict vibrant, lustrous and fragmented planes in striking hues of purples, blues and pinks; meanwhile, Hemer’s works are gestural and sculptural while skillfully visually balancing physical objects and their digital representations.  
     Responding to the current political and socially charged environment, Olga Migliaressi-Phoca challenges the mainstream portrayal of women by referencing global fashion magazines, editorials, found objects and photographs of street graffiti. With sarcasm and humor, Migliaressi-Phoca manifests the female image with empowerment and equal privilege. Marcel Dzama gleans from the Surrealists and various source materials to create fantastic worlds where women carrying guns lead a revolution and marvelous creatures wearing costumes perform playful yet sinister roles.    

About Paul Efstathiou
Paul Efstathiou is a second-generation art dealer and native New Yorker with expertise in the primary and secondary contemporary painting and sculpture markets. For more than a decade he has been working as an art dealer in New York. In 2016, he made his successful curatorial debut with Highlight: Summer One at Hollis Taggart Galleries in Chelsea. Since then his Highlight exhibitions featuring emerging contemporary artists continue to achieve acclaim. More information about Paul Efstathiou can be found at

About Eleanor Flatow
Eleanor Flatow, a native New Yorker, has held leadership positions at various art organizations over the past 20 years, including as a specialist at Christie’s and most recently as Executive Co-Director of the Carriage Barn Arts Center in New Canaan Connecticut. Her background in the worlds of for-profit fine art, not-for profit institutions, and financial services informs her work as an entrepreneur in the arts. This is her second collaboration with Paul Efstathiou.    

Pictured: 1) Olga Migliaressi-Phoca THIS WOULDN'T BE SO HARD IF I HAD SOMEONE TO TALK TO2017 Digital Print on canvas, Acrylic, Ink, Oil Pastels, Wax  2) Liz Leggett, The Big Hype 2018 Oil on canvas  3) Evan Roberts Tenant 2018 Hydrocal plaster on vinyl tile mounted to wood panel
Trask Gallery
White: Elizabeth O'Reilly

Extended through March 1

White as a color. How does white work as a color? In this body of work, Elizabeth O’Reilly looks closely at white in sunlight and white in shadow. Painted on site from locations on the North Fork of Long Island to cabins in Maine, O’Reilly’s work is based on her close observation of the natural world.
     Irish-born but Brooklyn-based since 1986, O’Reilly received her B.Ed from The National University of Ireland and an MFA from Brooklyn College. Her work has been reviewed extensively in Art in America, The New York Times and Art News among others. She has received numerous awards including a Pollock Krasner Foundation grant. A documentary on her work, An Artist Abroad, was shown on network TV in Ireland. O’Reilly’s work is found in many public and corporate collections both in the United States and abroad.

Pictured: SNOW AND PINK PATH, Oil on panel
Grand Gallery
The Annual Exhibiting Artist Members Exhibition

March 4 – 28 

Reception & Awards Ceremony: March 7,  6:00-8:00 PM

In 1906 The National Arts Club celebrated its new headquarters on Gramercy Park with an exhibition of American paintings belonging to member and collector William T. Evans. A successful businessman and renowned collector, Evans, as the Club’s Art Committee chair, was instrumental in creating the Artist Life Membership Program and establishing the Exhibiting Artist Members Program and Annual Exhibition.

Pictured: The NAC 2018 First Prize Winner, Dee Shapiro, East is East
Gregg Gallery
Abner Hershberger: Recent Paintings

March 4 – 29

Opening Reception: March 15,  6:00-8:00 PM

Artist Statement:
Images of North Dakota and the Midwest flatland, vast expanses of expressive grids of grain punctuated with cultivation stripes are always with me. These are fields I plowed in my youth and well into adulthood. The stark markings of furrowed land, patterns of irrigation, and stubble fields have a poetic quality.  In them I find a rich and meaningful source for visual expression. Abstracted, their imprint seems even bolder, representing colorful independent sections that coexist peacefully despite their diversity. I left the North Dakota farm and its long, difficult workdays and inclement weather to explore the greener pastures of artistic pursuits, only to be pulled back to the fields portrayed here.

Pictured: Cultivating Private Thoughts' mixed media: 28.5" x 24"
Marquis Gallery
From Constructivism to Socialist Realism:
Artistic Propaganda in Applied Graphic Art of the 1920s–1930s in the USSR.

March 4 - March 29

Opening reception: Monday, March 4, 6-8pm

The exhibition is a selection from R.R. and R.N. Bagichev collection of domestic industrial graphic art of the early Soviet Union. The collection totals over 1200 works that comprise a unique body of material for studying the printing and graphic arts of the domestic packaging industry during a period of radical transformation in everyday life after the establishment of the Soviet power. The collection is valuable in that it primarily contains the early printings of industrial graphic arts, including unique works, as well as works created through the joint efforts of the founders of constructivism, Aleksandr Rodchenko and Vladimir Mayakovsky. By studying this collection of applied artistic graphics we can picture the nuances of daily existence and how people lived in the challenging time of the 1920s and 1930s: we learn how they dressed, what they ate and drank, what they used for bathing and health care, and much more. The period in question, following the Russian civil war, also coincided with the Red Terror—a period characterized by severe hunger against a backdrop of spectacular parades and depictions of happy builders of a “socialist society.” This difficult time lead to the appearance of unique foodstuffs, such as oatmeal coffee, carrot tea, and other creative substitute beverages. Some labels include recommendations with practical advice and recipes.
    Aside from glimpses of daily life, society, and politics, these applied artistic graphics enables us to observe the development of progressive trends in the art of the 1920s. The principles of constructivism are reflected in the accentuated flatness of the images, their linearity, and the clean-cut shapes. In analyzing this material we see changes in the aesthetics of Soviet applied graphic art during the early decades of Soviet rule, and we observe how the influence of the avant-garde movement of constructivism smoothly transitioned to new artistic views in the style of social realism with its realistic take on images and vivid, affirmative symbolism, permeated with propaganda of the socialist order and way of life.
Also in our Trask Gallery
Society of Scribes

March 4 – 29

Gallery Talk: March 8, 6:00 PM to 8:00 PM

The Society of Scribes presents its annual Members Exhibition of calligraphic works. Visit