Carter Burden Gallery presents three exhibitions: Forms and Fields in the East Gallery featuring Andree Brown, Marilyn Church, and Veronica Lawlor in an exploration of figure and landscape; Beautiful Collision in the West Gallery featuring Stephen Cimini and Christopher Skura in a dialogue between structure and intuition; and On the Wall featuring the installation Tree Line by Joy Nagy, featuring large-scale graphite drawings that explore the physical and symbolic presence of trees. The reception will be on Thursday, March 19 from 6pm to 8pm. The exhibitions run from March 19 - April 14, 2026, at 548 West 28th Street in New York City. The gallery hours are Tuesday - Friday, 11 a.m. - 5 p.m., Saturday 11 a.m. - 6 p.m.

Forms and Fields unite the work of Andree Brown, Marilyn Church, and Veronica Lawlor in an exploration of the visual and conceptual connections between the human form and the natural world. Marilyn Church and Veronica Lawlor engage in a painterly dialogue from opposite directions: Church moves from the figure toward abstraction, while Lawlor moves from abstraction toward landscape, marked by recurring leaf motifs. This leaf motif resonates with Andree Brown’s sculpture, echoing the verdant greens found throughout Lawlor’s work. Opening at the start of spring, the exhibition reflects on growth, renewal, and the shared language between bodies and plants, where terms such as “limb” and “trunk” blur distinctions between figure and field, revealing nature and humanity as deeply intertwined.

Beautiful Collision brings together two distinct yet deeply compatible practices that investigate structure, perception, and the emergence of form. Through painting and sculpture, Stephen Cimini’s and Christopher Skura’s distinctive approach to construction, one architectural and measured, the other intuitive and psychologically charged, create a dynamic visual dialogue. Beautiful Collision is not about synthesis or resolution, but about proximity. By placing two distinct methodologies in direct conversation, the exhibition allows differences to remain visible and active. The collision is beautiful precisely because of the tension, inviting viewers to engage with contrast, structure, and intuition as parallel forces shape perception.

Tree Line, an installation by Joy Nagy in the space On the Wall, is a visual study of trees rendered in graphite on paper. Measuring six feet in height, each work stands at human scale, transforming the wall into a forest of upright forms that evoke a sense of standing amongst a crowd. Each portrait conveys the tenacity, strength, and quiet power of this enduring species while drawing subtle parallels to the human form. Trunks, branches, scars, and textures echo anatomical features, like spines, limbs, and skin, suggesting a relationship between humanity and the natural world. Nagy’s practice is rooted in personal history, lived experience, and an ongoing engagement with nature. Family narratives, memory, and observation shape her approach, allowing each endeavor to emerge from both emotional and material inquiry. Working across drawing, painting, ceramics, installation, audio, and assemblage, Nagy selects her media based on what best serves each project. In Tree Line, graphite becomes both tool and metaphor, capable of expressing delicacy and density, fragility and permanence.