Nazarian / Curcio is pleased to present The Other Side, a group exhibition curated by Los Angeles-based artist Annie Lapin. On view from July 25 through August 29, 2026, the exhibition opens with a reception on Saturday, July 25, from 6–8 PM.
The exhibition features works by Brian Bress, Widline Cadet, Kristin Calabrese, John Divola, Julian Hoeber, Inès Kivimäki, Annie Lapin, Paul Pfeiffer, Samantha Roth, Rachel Mica Weiss, and Lisa Williamson.
The Other Side brings together artists whose work prolongs the act of perception, resisting the rapid consumption of images that increasingly defines contemporary life. Rather than referring to what lies behind the image, the exhibition title points to the subtle shift that occurs when perception itself becomes the subject. Through distinct approaches to image-making, the artists create moments in which certainty gives way to inquiry, asking viewers to linger with the instability of what they see.
Throughout the exhibition, images and objects resist immediate recognition, unfolding through sustained attention rather than instant comprehension. Julian Hoeber's binocular paintings and mirrored sculptures reveal vision as both a physiological and psychological construction, while Kristin Calabrese's meticulously painted depictions of painted canvas collapse distinctions between image and object. Brian Bress and John Divola similarly destabilize familiar spatial relationships, dissolving the boundaries between figure and ground to produce distinct visual fields that remain in constant negotiation.
Elsewhere, perception expands beyond the optical to encompass memory, absence, and physical experience. Inès Kivimäki's video sculptures unsettle the language of surveillance, producing an uncanny awareness of presence and self-perception. Paul Pfeiffer transforms the iconic figure of the athlete into an ambiguous image that oscillates between abstraction and icon, while Samantha Roth's luminous transparencies recast everyday forms through meditations on memory and light. Rachel Mica Weiss's layered thread sculptures shift between opacity and transparency as the viewer moves through space, and Lisa Williamson's sculptures occupy the threshold between two-and three-dimensional form, blurring distinctions between abstraction and utility. Widline Cadet extends these questions into photography, treating the image as a sculptural object whose material presence carries the weight of personal and collective memory.
Rather than offering definitive interpretations, the works in The Other Side invite viewers to inhabit the space between recognition and uncertainty. In doing so, the exhibition proposes sustained attention as both an aesthetic experience and a quiet form of resistance—a reminder that the act of looking can still surprise us, and that meaning often emerges only after our first assumptions begin to fall away.
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