Exhibition

Deep Play

8th Floor

ARIA DEAN
LIZ DESCHENES
DAVID DIAO
HARUN FAROCKI
RACHEL HARRISON
CRAIG KALPAKJIAN
CAROLYN LAZARD
LEE LOZANO
KARA WALKER

Only when you destroy it do you come to address it, at least formally.
— Harun Farocki


Deep Play
brings together a multigenerational group of artists who share a structuralist tack, using formal means to dismantle the systems that scaffold our lived reality. Across painting and sculpture, video, cut-paper collage, and cameraless photography, their work indexes recent methods to expose and upend art’s means of production—implicating the checkered conditions of life under capitalism in its wake. Employing documentary candor or gallows humor, poetic dissonance or an ethics of care, the assembled artists mount trenchant critiques of the levers of societal control: from automation and surveillance to racial animus and the carceral state, the antiseptic voids of virtual space to the material dreck of industrial consumption. The exhibition’s title is lifted from a 2007 video by Harun Farocki, which urges viewers to look beneath the surface of mass-media events of contrived consensus. Deep Play thus furrows our perceptions to counter a sense of totalizing hold, stressing the fractures in the current order to imply a new way forward.

Installation view, Deep Play, Greene Naftali, New York, 2026

Aria Dean
fragment from skinning cattle by power 1867 (fig. 122 in gideon), 2022
Plywood and rubber
96 x 60 inches (244 x 152 cm)

Installation view, Deep Play, Greene Naftali, New York, 2026

David Diao
I was caned by the Headmaster 1, 2016
Acrylic and silkscreen on canvas
78 1/4 x 60 inches (199 x 152 cm)

David Diao
I was caned by the Headmaster 2, 2016
Acrylic and silkscreen on canvas
78 1/4 x 60 inches (199 x 152 cm)

Kara Walker
The Inert Scenery of Self-determination, 2024
Sumi-e ink on cut paper on paper
79 x 87 3/4 inches (201 x 223 cm)

Kara Walker, The Inert Scenery of Self-determination, 2024 (detail)

Installation view, Deep Play, Greene Naftali, New York, 2026

Liz Deschenes
Quincy, 2026
Silver toned photogram
58 1/2 x 27 inches (149 x 69 cm)

Liz Deschenes
Braintree, 2026
Silver toned photogram
19 3/4 x 47 inches (50 x 119 cm)

Liz Deschenes
Quincy, 2026
Silver toned photogram
58 1/2 x 27 inches (149 x 69 cm)

Liz Deschenes
Braintree, 2026
Silver toned photogram
19 3/4 x 47 inches (50 x 119 cm)

Installation view, Deep Play, Greene Naftali, New York, 2026

Installation view, Deep Play, Greene Naftali, New York, 2026

Craig Kalpakjian
NaturalBeauty?_16v2Etw2ML/qPM, 2024
UV Pigment on Dibond with custom frame
58 3/4 x 58 3/4 inches (149 x 149 cm)

Craig Kalpakjian, NaturalBeauty?_16v2Etw2ML/qPM, 2024 (detail)

Liz Deschenes
Green Screen #6, 2001
UV laminated Fujiflex print mounted on 1-inch Plexiglass
22 x 36 inches (56 x 91 cm)

Installation view, Deep Play, Greene Naftali, New York, 2026

Harun Farocki
Ich glaubte Gefangene zu sehen [I Thought I Was Seeing Convicts], 2000
Two-channel video installation (color, sound)
25 minutes

Lee Lozano
Untitled
, c. 1960
Crayon on paper
6 3/4 x 23 inches (17 x 58 cm)

Installation view, Deep Play, Greene Naftali, New York, 2026

Installation view, Deep Play, Greene Naftali, New York, 2026

Overhead view of two hands sorting pills into seven pillbox compartments on an embroidered tablecloth. The compartments are yellow, blue, pink, green, and white, and the pills inside are various colors. A patch of bright sunlight falls across the cloth, and open pill bottles sit along the edge of the frame.


Carolyn Lazard, CRIP TIME, 2018 (still). HD video (color, sound), 10 minutes

[Image Description: Overhead view of two hands sorting pills into seven pillbox compartments on an embroidered tablecloth.T he compartments are yellow, blue, pink, green, and white, and the pills inside are various colors. A patch of bright sunlight falls across the cloth, and open pill bottles sit along the edge of the frame.]

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