Skip to Main Content

Let Us Gather in a Flourishing Way

Friday, March 6, 2026Sunday, September 6, 2026

Rogelio Báez Vega (Lives and works in Santurce, Puerto Rico). New York Department Store, Bayamón Branch, 2024–25. Oil, beeswax, and gold powder pigment on canvas / Óleo, cera de abeja y polvo de oro sobre lienzo. 48 × 72 in. (121.9 × 182.9 cm). Courtesy of the artist. Photo: Courtesy of the artist 

Jeffrey E. Gundlach Building 
Floor 3 

Ver en Español

Let Us Gather in a Flourishing Way explores contemporary Latinx artists’ innovations and interventions within established traditions of painting, inviting discussion on a variety of themes and revealing the diversity and expansiveness present within the field. The fifty-eight artists in the exhibition—and those in the Latinx field more broadly—encourage us to interrogate the continued relevance of boundaries, from political borders to disciplinary confines. This exhibition therefore celebrates artists whose expressions are first and foremost personal and subjective, but whose heterogeneous and culturally specific interventions enrich one another and the history of American and contemporary art, two fields from which such artists have been historically excluded. Inspired by former U.S. Poet Laureate Juan Felipe Herrera’s poem “[Let Us Gather in a Flourishing Way],” the show celebrates abundance and presents a vision of Latinx art that is, like the diaspora itself, infinitely complex.  
 

x
David Antonio Cruz (Lives and works in New York). iknowyou’vebeenwonderingwherei’vebeen:adrift,adraft,astare,atilt,asigh,exhale.but,icamebacktoletyouknow,gotathingforyou,andican’tletitgo_the raft., 2024. Oil, acrylic, and ink on wood panel / Óleo, acrílico y tinta sobre panel de madera. Two panels, each 72 × 48 in. (188 × 121.9 cm). Overall 72 × 98 1/2 in. (188 × 250.2 cm). Collection of Igor DaCosta. Photo: Robert Chase Heishman, courtesy of the artist and Monique Meloche Gallery, Chicago 

The show’s intergenerational and regionally broad dialogue is reflected in seven thematic groupings: (New) Histories, offering new perspectives on personal, cultural, and global histories; Bodies & Figures, representations of and by marginalized people, considering the importance of the body, and who is or isn’t seen in an image; Identity/Place, a consideration of how identity and place shape each other with a diasporic lens; Land/tierra, varied approaches to land and the built environment, from the material to the imaginary; Community, highlighting various communities—artistic, blood, and chosen—and their importance to populations within the diaspora; Pinturx, contemporary Latinx approaches to traditional painting genres like still life and portraiture; and Abstractions, exploring centuries-long Indigenous and European abstract traditions still in use by artists today. 

Allowing for cacophony and heterogeneity in its narratives, the exhibition takes its cues from the artists themselves, who are actively cultivating the landscape of contemporary painting as visitors will experience it in the museum. Rather than telling a finished story, as survey exhibitions often do, this exhibition gives audiences a peek into this vibrant and lively active network. 

Yvette Mayorga (Lives and works in Chicago). The Brunette Latinx Self Portrait After François Boucher’s “The Brunette Odalisque,” c.1745, 2022. Acrylic nails, acrylic marker, false eyelashes, collage, plastic rings, plastic nail charms, rhinestones, car wrap vinyl, and acrylic piping on panel / Uñas acrílicas, marcador acrílico, cejas postizas, collage, anillos de plástico, decoraciones de plástico para uñas, diamantes de imitación, vinil de auto y acrílico aplicado con manga pastelera sobre panel. Overall 60 × 120 × 2 in. (152.4 × 304.8 × 5.1 cm). Courtesy of the artist. Photo: Robert Chase Heishman 

Vincent Valdez (Lives and works in Houston). The Sea, 2020. Oil on canvas / Óleo sobre lienzo. 50 × 70 in. (127 × 177.8 cm). Courtesy Matthew Brown. Photo: Paul Salveson, courtesy of Matthew Brown

 

 

Manuela Gonzalez (Lives and works in Lake Worth Beach, Florida). Inanna, 2024. Acrylic on mixed fabrics / Acrílico sobre tejidos mixtos. Overall 66 × 58 × 2 in. (167.6 × 147.3 × 5.1 cm). Collection of the artist.

Lilian Martinez (Lives and works in Los Angeles). Garden Club, 2024. Acrylic on canvas  / Acrílico sobre lienzo. 50 × 65 in. (127 × 165.1 cm). Collection Buffalo AKG Art Museum, Gift of Pamela and David Hornik, 2025 (2025:9). Photo: Deen Babakhyi, courtesy of the artist and OCHI

Eamon Ore-Giron (Lives and works in Los Angeles). Talking Shit with Illapa (variation I), 2023. Mineral paint and Flashe on canvas / Pintura mineral y Flashe sobre lienzo. 72 × 96 1/8 in. (182.9 × 244.2 cm). Collection Buffalo AKG Art Museum, George B. and Jenny R. Mathews Fund, 2024 (2024:6). Photo: Brenda Bieger, Buffalo AKG Art Museum

Patrick Martinez (Lives and works in Los Angeles). Promised Land, 2022. Acrylic, stucco, neon, Mean Streak, ceramic, spray paint, latex house paint, banner tarp, ceramic tile, tile adhesive, and family archive photo collage on panel / Acrílico, estuco, neón, Mean Streak, cerámica, pintura en aerosol, pintura de látex para interior, cartel publicitario, azulejos de cerámica, adhesivo para azulejos y collage de archivo fotográfico familiar sobre panel.  84 × 192 × 7 in. (213.4 × 487.7 × 17.8 cm). Collection Buffalo AKG Art Museum, George B. and Jenny R. Mathews Fund, 2022 (2022:78). Photo: Yubo Dong, ofstudio photography, courtesy of Charlie James Gallery

Candida Alvarez (Lives and works in Baroda, Michigan, and Chicago). Flor de Caballo 3, 2022. Acrylic on linen  / Acrílico sobre lino. 48 × 48 in. (121.9 × 121.9 cm). Courtesy of the artist. Photo: Robert Chase Heishman, courtesy of the artist and Monique Meloche Gallery, Chicago 

Carlos Rosales-Silva (Lives and works in New York). Peep Hole 3, 2023. Crushed stone and glass bead in acrylic paint on panel / Piedra molida y cuentas de vidrio en pintura acrílica sobre panel. Overall 50 × 40 × 1 1/2 in. (127 × 101.6 × 3.8 cm). Courtesy of the artist and Sargent’s Daughters. Photo: Nicholas Knight 


Let Us Gather in a Flourishing Way is organized by the Buffalo AKG Art Museum and curated by Associate Curator Andrea Alvarez. It will be followed by a national tour including presentations at the Des Moines Art Center, the Museum of Contemporary Art Denver, the Phoenix Art Museum, and the Frye Art Museum, Seattle.


About the Catalogue

x

A robust bilingual catalogue featuring scholarly investigations of topics related to contemporary Latinx art, an artist roundtable discussion, newly commissioned poetry, and illustrations of all works in the exhibition will be available in the AKG’s Shop during the run of the show. Revealing the richness and diversity that characterizes contemporary Latinx painting, this book offers a panoramic overview of the field at a crucial moment in its history. 

 

 

 

 

 

 

 

Sponsors

Let Us Gather in a Flourishing Way is made possible by the Henry Luce Foundation and the Terra Foundation for American Art. Major support is contributed by the Rich Family Foundation and the Rich Family Fund for Community Access. Generous support is provided by Catherine Beltz Foley, Esq. Additional sponsors include the Blum Family, Charlie James Gallery, Fred Eychaner, Lehmann Maupin, and Luis De Jesus Los Angeles. Exhibition programming is supported by New York State Assemblymember Jonathan D. Rivera.

Henry Luce Foundation and terra Foundation for American Art

 

 

 

 

 

Rich's Family Foundation

 


 

This exhibition is presented with leadership support from the Let Us Gather in a Flourishing Way International Exhibition Committee:

Co-chairs
Deidre Buddin & Jose Fernandez
Brandon John Harrington
Roberta S. & Michael L. Joseph
Susie & Rick Rieser
Katherine Stueland

Committee Members
Amy & Julio Alvarez-Perez
Eleanor Ash
Pablo Barreiro & Gabriela Borja
Scott C. Billman & J. Christine Chiriboga
Estrellita Brodsky
Lynn Factor & Sheldon Inwentash
Mark Giambrone
Mirja Spooner Haffner/The Laksmi Fund
Alice & Jeremy Jacobs, Jr.
Jurasek Family
Nancy Kenny
Bob & Ann Myers
Abby Pucker
Strangman Family
as well as patrons who prefer to remain anonymous