Greene Naftali is pleased to announce the representation of HANNA HUR.

Hanna Hur’s absorbing compositions hinge on the constancy of the grid, transformed through prolonged encounter from static matrix to embodied event. “Where do images come from,” she asks—less a question than a kind of summons. “Repetitive gesture becomes a petitioning of the gods for the image to come near.” In an essay that accompanies Hur’s first solo exhibition at Greene Naftali, Daniel Marcus details her approach to painting “as ‘an act of submission’ . . . testing her capacity (and ours as well) to bear the burden of its mystery.”

Hur's rhythmic grounds are plotted with rectilinear grids, coupling the biomorphic and geometric modes that abstraction tends to cleave apart. What looks immaculate from a distance begins to waver on close inspection—the drag of pencil against the tooth of raw canvas divulging the hand at work. The final layer belongs to the image, which the discipline of patterning brings to light. Hur situates individual paintings within large-scale installations which charge the space between them, grounding their visions in the spatial coordinates of a given architecture. To stand before these works is thus to occupy the threshold state that attends their making, poised between material fact and revelation.

Hanna Hur (b. 1985, Toronto) lives and works in New York. Her work was featured in Made in L.A. (2025–26) at the Hammer Museum, Los Angeles, and in group exhibitions at the ICA Los Angeles (2026, 2021); CAPC Bordeaux (2024); and the Aspen Art Museum (2022). Recent solo exhibitions have been held at Antenna Space, Shanghai (2026); Doosan Art Center, Seoul (2024); and Dracula’s Revenge, New York (2024). Her work is in the permanent collections of the Museum of Modern Art, New York; Museum of Contemporary Art, Los Angeles; and the Hammer Museum, Los Angeles.