Installation view
Artwork, left to right: © Luke Agada, © Josèfa Ntjam. Photo: Owen Conway
Installation view
Artwork, left to right: © Luke Agada, © Josèfa Ntjam. Photo: Owen Conway
Installation view
Artwork, left to right: © Josèfa Ntjam, © Amoako Boafo. Photo: Owen Conway
Installation view
Artwork, left to right: © Amoako Boafo, © Emma Prempeh. Photo: Owen Conway
Installation view
Artwork, left to right: © Amoako Boafo, © Emma Prempeh. Photo: Owen Conway
Installation view
Artwork © Emma Prempeh. Photo: Owen Conway
Luke Agada
The Things That Stayed, 2025
Oil on canvas, 72 × 72 inches (182.9 × 182.9 cm)
© Luke Agada
Emma Prempeh
Di sea have many ghost, 2025
Oil, acrylic, and schlag metal on canvas, in 2 parts, 78 ¾ × 118 inches (200 × 300 cm)
© Emma Prempeh. Photo: Prudence Cuming Associates Ltd
Amoako Boafo
Don’t You Miss Me Already, 2025
Oil on canvas, 72 ⅛ × 88 ⅛ inches (183.2 × 223.8 cm)
© Amoako Boafo. Photo: Prudence Cuming Associates Ltd
Josèfa Ntjam
Nsaku Ne Vunda, 2025
Sublimation print on aluminum, in metal frame, 70 ⅞ × 47 ¼ × 2 inches (180 × 120 × 5.1 cm)
© Josèfa Ntjam. Photo: Thomas Lannes
Gagosian is pleased to announce Ever So Present II: Between Home and Elsewhere, a group exhibition at Park & 75, New York, featuring work by Luke Agada, Amoako Boafo, Josèfa Ntjam, and Emma Prempeh. Opening on June 25, 2025, it forms the second part of Ever So Present, which opened last December at dot.ateliers, the artists’ residency program in Accra founded by Boafo in 2022. Ever So Present II is curated by Brice Arsène Yonkeu—the first curator invited to dot.ateliers’s new residency program for curators, filmmakers, and writers—and brings together four artists of African descent who engage with the formation of the contemporary diasporic self. On Thursday, June 26, at 6pm, the gallery will host a public conversation between Yonkeu, Agada, and Prempeh.
The 2024 iteration of Ever So Present explored the relationship between dislocation and creative exchange through the practices of that year’s dot.ateliers’s artists-in-residence, whose contributions made direct reference to Accra. Ever So Present II expands this inquiry through work that examines how displacement shapes identity, and cultural ancestry informs emergent realities within a postcolonial context influenced by globalization. The artists assembled by Yonkeu respond to a world in which, for some, belonging remains tied to birthplace, while for others, intergenerational narratives of migration remain a primary force.
In his painting The Things That Stayed (2025), Agada considers the residues of personal and collective memory that remain after migration, dislocation, and reconstruction. Employing a palette evocative of his native Lagos, Nigeria, he conjures forms that embody the tension between memory, thought, and experience by selectively fusing the emphases and techniques of automatism, Surrealism, and gestural expressionism.
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about this exhibition
Join exhibition curator Donna De Salvo as she discusses her selection of the artist’s rarely seen sculptures, drawings, films, and archival materials in Walter De Maria: The Singular Experience at Gagosian, Le Bourget. Chief among these is Truck Trilogy (2011–17), De Maria’s final sculpture and the centerpiece of the exhibition.
The Fall 2025 issue of Gagosian Quarterly is now available, featuring Andy Warhol’s Blue Liz as Cleopatra (1962) on the cover.
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Jordan Carter, curator and cohead of the curatorial department at Dia Art Foundation, New York, engages with the new artist’s book Cady Noland: Polaroids 1986–2024.
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Ahead of her exhibition over the summer at the National Portrait Gallery, London, Jenny Saville met with the novelist Douglas Stuart to discuss Glasgow, the beauty and blemishes of bodies, and their respective creative processes.
Maximiliane Leuschner speaks with South Africa’s most-sought-after emerging choreographer, Mthuthuzeli November.
Carlos Valladares tracks the artist’s engagements with Hollywood glamour, thinking through the ways in which the star system and its marketing engine informed his work.
The celebrated New York School poet and Pulitzer Prize–winner James Schuyler is the subject of Nathan Kernan’s new biography, A Day Like Any Other: The Life of James Schuyler. Kernan narrates the wild turns in the poet’s life with great skill, from his peripatetic youth, through his years in the influential circle of W. H. Auden, on to his critical friendships with poets and artists such as John Ashbery, Jane Freilicher, Frank O’Hara, and Fairfield Porter. Here Raymond Foye, a friend of Schuyler’s (and the poet’s literary executor), talks with Kernan about the genesis of the project and some of the breakthroughs and challenges he encountered in its construction.
In this ongoing series the curator Hans Ulrich Obrist has devised a set of thirty-seven questions that invite artists, authors, musicians, and other visionaries to address key elements of their lives and creative practices. Respondents select from the larger questionnaire and reply in as many or as few words as they desire. For the third installment of 2025, we are honored to present Marina Tabassum, the architect behind this year’s Serpentine Pavilion in London, A Capsule in Time.
The third installment of a short story by Catherine Lacey.
