Sally Egbert: Everyday Devotions: Gifts from the Alex Katz Foundation and Beyond

EFA Studio Member Sally Egbert is featured in the upcoming exhibition Everyday Devotions: Gifts from the Alex Katz Foundation and Beyond, opening February 12, 2026 at the Lower Jetté Gallery.

The exhibition brings together more than forty works by twenty-five artists who embrace collage as a medium or conceptual strategy. Featuring transformative gifts from the Alex Katz Foundation alongside works from the museum’s collection, the show spans cut paper collage, painting, textiles, sculpture, and assemblage, highlighting collage as both a site of serious artistic inquiry and an accessible form of creative expression.

The exhibition will be on view through May 31, 2026, and we encourage our community to visit and support our Studio Member!

Image: Sally Egbert, Perfumes, 2010. Mixed media (acrylic paint, paper, fabric, watercolor) on canvas, 70 x 60 1/8 in.

Vidal Mouet: C24 Gallery Representation

EFA Studio Member Vidal Mouet (b. Navojoa, México) is now represented by C24 Gallery in New York.

Mouet is an abstract painter whose work reconsiders the fundamental language of painting—canvas, oil, shaped stretchers, and space—to transform the way we see everyday moments. His compositions turn familiar objects—a leaning stack of coffee cups or the edge of an open magazine—into precise, quietly disorienting works that fully engage with space, considering front, back, and edge equally.

This representation follows his recent group exhibition, Traces, at C24 Gallery alongside Leda Tsoutreli and Elise Coker. We congratulate Vidal on this exciting milestone and encourage our community to follow his practice as it continues to grow.

Image: Vidal Mouet in his studio, Photo courtesy of C24 Gallery.

Keren Benbenisty: 2026 NYSCA Award

Image by Keren Benbenisty

EFA Studio Member Keren Benbenisty has been awarded the 2026 NYSCA Support for Organizations award via EFA for her ongoing project “The Blackheads (Les Points Noirs)”.

The project excavates a buried history of Jewish-Arab coexistence through Morocco's sacred citron (Etrog) trade. Returning to her mother's homeland, this work confronts personal and collective trauma by documenting an ancient agricultural collaboration that challenges dominant Western narratives about Jewish and Arab identities.

The film traces her investigation of this forgotten symbiosis, where Jewish religious needs and Arab agricultural expertise created centuries of interdependence.

Akira Ikezoe: 2026 Whitney Biennial

Image: Akira Ikezoe: Toads on the Diagram of Nuclear Fuel Cycle, 2021/2024

© Foto: Haupt & Binder, Universes in Universe

EFA Studio Member Artist Akira Ikezoe has been selected as one of the 56 artists in the 2026 Whitney Biennial, opening March 8.

This year's show will contend with what the museum described as "various forms of relationality, including interspecies kinships, familial relations, geopolitical entanglements, technological affinities, shared mythologies, and infrastructural supports."

Akira Ikezoe (b. 1979) is a New York-based artist born in Kochi, Japan. Ikezoe creates works in diverse disciplines, including drawing, painting, video and performance, in relation to the balance between the forces we think of as outside or before ourselves, and the “civilizing” of ourselves. In Ikezoe’s works, the human figure is presented as his alter ego and woven into a metaphysical and mythological context that depicts a timeless melting point between human and natural boundaries.

Wafaa Bilal: 2025 Established Artist of the Year

Image: Wafaa Bilal (b. 1966, Najaf, Iraq; lives in New York, NY), Domestic Tension, 2007. © Wafaa Bilal, courtesy of the artist.

EFA Studio Member Wafaa Bilal was named ARTnews’ 2025 Established Artist of the Year.

“For nearly two decades, Wafaa Bilal has put his body on the line for his art-making. “Indulge Me” at the MCA Chicago, the first major survey for the Iraqi American artist, showcased how his work highlights the tension—implicit at times, explicit at others—between what is perceived to be a conflict zone and what is perceived to be its inverse, a “comfort zone.”

Much of his work examines the role of the United States in the Middle East, particularly in Iraq, in the immediate aftermath of 9/11. “I watched the terror unfold on a small TV in my studio apartment in Lakeview, and I knew the world would never be the same,” he has said. An even more personal reality—the 2004 killing of his brother by a remotely operated drone in Iraq—has further informed his practice…

…Bilal’s art has contended with that powerful inquiry for years, making it prescient in our current moment, in which conflicts in many corners of the world are seen at a remove by many.”

Devin N. Morris at RBPMW: Best Booths at NADA Miami

Devin N. Morris, Shaving Grays, 2025.
Photo: Maximilíano Durón/ARTnews

Devin N. Morris at Robert Blackburn Printmaking Workshop’s booth was featured in ARTnews’ Best Booths of NADA Miami.

“In 2019, Devin N. Morris was a printmaking fellow at New York’s legendary EFA Robert Blackburn Workshop, where he honed his craft in stencil monotypes. Now, Morris has returned to collaborate with Blackburn in support of its year-round printmaking activities, with the sale of his work at NADA. In these works, you see the shadow of Morris’s stencil monotypes depicting various figures. He then collages these elements into larger compositions incorporating found objects—from parts of gold frames to door frames to sets of keys on hooks to deflated balloons.

This presentation, titled “Building Materials,” considers what “the home” represents, or as Morris put it in an artist statement, “as a metaphor for peace” and all that entails. That idea connects directly to his use of collage, which he describes as his “charge, utilizing what one has to make what one needs.” The tableaux on view depict intimate domestic scenes with a surrealist bent. Among the strongest are Shaving Grays (2025), in which a buff man in a towel faces a bathroom mirror as he grooms his groin in a frame resembling a doorway, and Burning (2025), featuring a blinking red telephone in front of an emergency exit door, seen through a circular portal in a hardwood-floor artist frame.”

—Maximilíano Durón, ARTnews