What does it take to form a person when the rules are set before you arrive? A body, a place, a class, a race, and a history are placed on the board before the first move, and every move after is kept on record. Pawn Formations begins from that question and leaves it open.

Jet Le Parti approaches this problem as both artist and theorist, working across painting, sound, and writing—the figure Kaltblut placed at the center of the Residuum movement. His practice is grounded in an engaged phenomenology, attentive to what survives after saturation, and operates in what The Village Voice called “the impossible middle ground.” In this exhibition—his most minimal in tone, but one of the loudest in voice—Le Parti returns to the mark: paintings stripped to black on black, surfacing only for a viewer who moves; photographic images run through solvent and transfer until only residue remains; grids in wax, chalk, and graphite repeatedly crossed and interrupted; and Paris, Troy (Pirated), a spoken cento composed from borrowed lines—a voice built from the material of what’s already been said.

Nothing here resolves for the viewer. The epigraph reads less as comfort than as a dare, possibility rather than promise. Pawn Formations asks what can be claimed within a game already in motion—and what, when everything else has been stripped away, still holds its square.

Private viewings by request. Space is limited; priority is given to collectors, past guests, and members of our communities, and each viewing is confirmed individually.