Index

Selected Photographs      / Selected Installations         /Selected Curatorial Projects

2026
Carrier

2025
Scherben: Two Roses & A Briar Pipe
White Hydrogen
2024
Maison Fragile
Millennial Hallway
2023
Athi Patra Ruga: …looking for The One.
Survival on Land & Sea
Desire
Reckless Rolodex
2022
Sketch for a Movie
Soccer Pictures
2021
Amina Ross: Man’s Country
Oli Rodriguez: Papi
John Neff: 101
2020
Bequest of Robert Blanchon
2018
Kevin Killian: Spreadeagle
Kelly Kaczynski, Thomas Kong, Patric McCoy, and John Neff: Curated by John Neff, Curated by Jamie Stevens
Coop Fund, Amalle Dublon, Constantina Zavitsanos, Devin Kenny, John Neff
2017
Blue Bathroom Blues Set for Frederick Weston
Authorization Sessions 
Dani and Sheilah ReStack: Stack for Carrington’s Hyena
Hervé Guibert: How Could It Be Otherwise?
Arnold Kemp
Eternal Youth
Militant Eroticism: The Art+Positive Archives

2016
Joe Cassan: Bed, Bath, and Beyond
Chicago and Vicinity
Tony Greene Movie (2014-2016)
2015
Thomas Kong / John Neff Making Chances Militant Eroticism: The Art+Positive Archives
Robert Beck / Robert Buck
Kelly Kaczynski: Oh! Oh! Oh!
2014
Tony Green
2013
Kaplan Project
Mark Jackson / Tony Lewis / John Neff
John Neff
2012
Mark Jackson: Darkness and Light
John Neff
Spectral Landscape (with Viewing Stations)
2011
Intimacies
John Neff Prints Robert Blanchon
Kelly Kaczynski
2010
The Book of the Tumblr on Fire
Production Site: The Artist’s Studio Inside-Out
2009
The Analog Hole (Or “Abundance”)
Artist Run Chicago/ Artists Run Chicago Digest
Basic or Boring Pictures
Doug Ischar: An Interview. In “Marginal Waters.”
2008
Dead Center / Marginal Notes Bathers and Other Liquid Pictures Father, can’t you see I’m burning Nocturnes for Boston Trans Blueprints and Trans Study
2007
Snowfall 
Printed Space
I’m Not Saying It Does & I’m Not Saying It Doesn’t- An Interview with Fred Camper.
2006
Pornographic Pantograph with Allusion to Juan Sanchez Cotan (In Progress, Patent Pending)
Monuments of the Prosaic. BAT Journal
2004
Travels Between the First and Third Dimension
2003
Hysterical Pastoral
Stray Show Catalogue (with Hypothetical Continent)
2002
Loop
Papers on Work- Collages and Explanations
2001
Triptych
Untitled (To My Mother)
2000
Cold Conceptualism
Figure / Ground
Repetitions
1999 Empty Space
1998
Two Comparsions
1997
Documentuh
Vexations
1996
214 West Gilman St. #2


2026Carrier
Gregory Bae, Rashayla Marie Brown, Robert Chase Heishman, Kiku Hibino, Kellie Romany, olivier, Maggie Wong
Curatorial Project

January 31–March 14

Co-Prosperity 
Chicago, IL 

Carrier is a group exhibition centered on a sixty-foot-long paper and tape collage scroll by the late Chicago-based Korean-American artist Gregory Bae. The work was created from non-alphabetical printed elements, such as punctuation marks and technical graphics, cut from radio instruction manuals. Carrier brings together a group of primarily Chicago-based artists, several of them collaborators and friends of Bae, to respond to the scroll.

Structured around a “score” developed by the curators, the exhibition invited the artists to engage with the scroll as a prompt: something to be read, misread, translated, withheld, or activated. The works exhibited consider how meaning is formed through fragments, omissions, and margins — elements that are often present but overlooked.

Bae’s scroll draws from three radio instruction manuals, sources designed to transmit information clearly and efficiently. By isolating punctuation, diagrams, and residual marks from these texts, Bae redirected attention away from instruction and toward what remains once printed language is stripped of its intended functions. The resulting visual abstraction evokes multiple reference points at once: ancient scrolls, Modernist musical notation, and the gestural mark-making associated with Abstract Expressionism. Bae described his interest in the “leftover margins, blank negative shapes, disassociated symbols and punctuation” that tend to disappear when systems prioritize clarity, order, and rule-following.

At the exhibition opening, Bae’s scroll will be presented fully unrolled for the first time. The opening will also include a talk by co-curator John Neff, who spent several months attempting to make a single-shot, high-resolution image of the entire scroll. That project began in conversation with Bae prior to his death and continued afterward, raising questions about authorship, access, and the limits of documentation. Neff’s talk reflects on those attempts and on the challenges of translating an object that resists easy re-presentation.

Following the opening, the scroll will remain concealed for the duration of the exhibition. This decision emphasizes the tension between presence and absence that runs throughout the project. With the scroll physically hidden, its influence will persist through the works, performances, and discussions it has set in motion.

The exhibition will conclude with a series of closing performances from Kiku Hibino (March 13) and Rashayla Marie Brown (March 7). These events will continue the exploration of the scroll as a score, particularly through sound and musical interpretation, and may include collaboration with Lumpen Radio.

An exhibition booklet, featuring an essay by Dr. Bosco Bae along with Neff’s interpretation of a 2019 interview he conducted with Gregory Bae about the scroll, will be printed at the end of the exhibition. The publication will also include a collaborative syllabi extending the exhibition’s inquiry into pedagogical and collective forms of knowledge-sharing.

Rather than positioning Gregory Bae’s work as a singular legacy, Carrier treats the scroll as a living site of exchange. The exhibition foregrounds how shared histories, relationships, and informal systems of learning continue to shape artistic practice, often through what remains unspoken, unseen, or unresolved.