For the 2025 edition of Art Basel Miami Beach, Garth Greenan Gallery is pleased to present a selection of works by Melissa Cody, Allan D’Arcangelo, Rosalyn Drexler, Pap Souleye Fall, Paul Feeley, Sadao Hasegawa, Oscar Howe, Nicholas Krushenick, Cannupa Hanska Luger, Stephen Mopope, Howardena Pindell, Fritz Scholder, Jaune Quick-to-See Smith, Emmi Whitehorse, and B. Wurtz.

Booth highlights include:

   • A Kabinett presentation of paintings by legendary Japanese erotic artist Sadao Hasegawa.

   • A freestanding sculpture by emerging Senegalese American artist Pap Souleye Fall.

   • Important historical works by Allan D’Arcangelo, Paul Feeley, Fritz Scholder, and Jaune Quick-to-See Smith.

   • A special display of “flat style” paintings by Kiowa artist Stephen Mopope, alongside a signature 1958–62 piece by Yanktonai Dakota painter Oscar Howe.

Art Basel Miami Beach will take place at Miami Beach Convention Center from December 5–7, 2025, with VIP access days on Wednesday, December 3, and Thursday, December 4.  Garth Greenan Gallery will be at booth E4.

About the artists

A major midcentury painter and printmaker, Allan D’Arcangelo (1930–98) made detached, graphically flat depictions of highways, desolate industrial landscapes, and transmission lines. Though associated with American Pop, D’Arcangelo’s work is equally indebted to the tradition of landscape painting. His cold, overtly unnatural meditations on America’s postwar built environments are at once abstracted visions of consumption and connection and oblique meditations on the topography of an accelerating world.

Born in No Water Mesa, Arizona, Melissa Cody (b. 1983) is an enrolled member of the Navajo Nation. A fourth-generation weaver, Cody creates tapestries that draw on the tradition of Germantown Revival, a stylistic movement that emerged from the Long Walk or Hwéeldi. For Cody, this century-old genre of weaving—characterized by vivid colors and bright, dazzling designs—is simultaneously an expression of history and a powerful vehicle for picturing contemporary life: “I’m a child of ’80s video game culture,” she says. “Pac-Man, Frogger, Nintendo. I grew up with this world of pixelation.”

Rosalyn Drexler (1926–2025) was born in the Bronx, New York. Part of the original generation of American Pop artists, Drexler began using commercial imagery in 1961—the same year as Andy Warhol and Roy Lichtenstein. Only recently, however, has she received critical recognition for this achievement. Graphically intense and thematically dark, Drexler’s artworks channel the sinister undercurrents of American life, summoning themes of sexuality, fame, and violence. On view in the gallery’s booth is an iconic work from the 1960s: Night Riders (1965).

A recent graduate of the Yale School of Art, Pap Souleye Fall (b. 1994) is a Senegalese American artist whose multidisciplinary output spans the realms of video, performance, comic book art, and cosplay. Deeply influenced by the world-building and self-fashioning associated with internet subcultures and online fandoms, Fall has created a growing constellation of narratives and images that explore dynamics of visibility and invisibility, opacity and fugitivity, as they play out amid the virtual and physical spaces of the present. 

Paul Feeley (1910–66) was born in Des Moines, Iowa, and spent much of his career as a teacher at Cooper Union and, later, Bennington College, where he spearheaded the school’s celebrated art department. Appearing in such era-defining exhibitions as Post-Painterly Abstraction (1964), The Responsive Eye (1965), and Systematic Painting (1966), Feeley was an influential artist and major figure in the Color Field movement. Informed by a lifelong fascination with Greek, Moorish, and Cycladic art, Feeley’s art is distinguished by rounded, symmetrical shapes, expansive fields of bold color, and a profound, almost meditative stillness.

“My desire is to create [a] universe of beauty of men,” wrote the Japanese erotic artist Sadao Hasegawa (1945–99), “in a way which differs from the Western point of view.” In Hasegawa’s work, dazzling colors, evenly shaded grounds, and smooth, chiseled physiques populate fantastical playgrounds of metamorphosis and sadomasochism. Occupying the tradition of erotic illustration, Hasegawa drew on a wide array of sources, incorporating references to Southeast Asian mysticism, Japanese folklore, science fiction, and Ovidian myth to limn a pan-Asian paradise where the erotic and spiritual commingle and become one.

Born in the Bronx, New York, Nicholas Krushenick (1929–99) studied painting at the Art Students League of New York and the Hans Hofmann School of Fine Arts. The loose geometries and web-like forms of his early 60s “pop abstract” paintings demonstrate his deliberate caricature of Abstract Expressionist drips and skeins into what more closely resemble details from cartoons—like “Superman’s hair follicles,” as critic Robert Rosenblum once described. Here, the gallery presents a signature work from this period: Yellow Submarine (1966).

Oscar Howe (1915–83) was a Yanktonai Dakota artist from South Dakota. Working in casein and gouache on heavy watercolor paper, Howe developed a revolutionary style defined by crisp lines, pinwheeling planes of color, and abstracted forms. Breaking decisively from the conventions of so-called “Indian art,” Howe’s aesthetic was a major influence on future generations of Native artists as they forged new, expanded possibilities for creative expression.

Born on the Standing Rock Reservation, North Dakota, Cannupa Hanska Luger (b. 1979) is of Mandan, Hidatsa, Arikara, Lakota, and European descent. An enrolled member of the Three Affiliated Tribes of the Fort Berthold Reservation, Luger works in media including installation, sculpture, video, and performance. Forming a spine through the artist’s practice is his Future Ancestral Technologies series, an ongoing body of work, inaugurated in 2018, that imagines a distant future shaped by inherited systems of Indigenous knowledge.

Born in Oklahoma, Stephen Mopope (1898–1974) was a dancer, a flute player, and a progenitor of “flat style” painting. Part of the Kiowa Six—a group of Kiowa artists known for their distinctively graphic style of solid planes and minimal shading—Mopope created skillful, unmistakably modern renderings of the life and traditions of the Kiowa people. In addition to producing many paintings, Mopope received a New Deal commission to paint the sixty-foot-long mural Ceremonial Dance (1939) for the headquarters of the United States Department of Interior in Washington DC, where it remains on view today.

Howardena Pindell (b. 1943) is a New York-based artist born in Philadelphia. A key member of a group of Black abstract painters, including Jack Whitten, Al Loving, and Sam Gilliam, Pindell developed a multifaceted art practice that fused deeply political commitments with a rigorous inquiry into the medium of painting. The large-scale diptych Aegean (2025) features a groundbreaking technique of indirect mark-making the artist first began in the late 1960s. Pindell sprays colored paint through hole-punched cardstock or manila folders to build up expansive, abstract veils of diaphanous color.

Born in Breckenridge, Minnesota, Fritz Scholder (1937–2005) was an enrolled member of the Luiseño tribe. A major influence for generations of Native artists, Scholder is best known for a groundbreaking series of paintings from the 1960s and 70s that depict brutal scenes of alcoholism, poverty, and the cultural subjugation of Native Americans. “People say that I must hate Indians since I sometimes paint them as monsters,” Scholder wrote in 1973. “But I paint what I see, faces reflecting the torment in the minds of Indians today, torment resulting from the impositions on them of contemporary American society.”

An enrolled member of the Confederated Salish and Kootenai Nation, Jaune Quick-to-See Smith (1940–2025) passed away this past January at the age of 85. The recipient of a major survey at New York’s Whitney Museum of American Art in 2023, Smith is one of the defining Native artists of her generation. Across her five-decade career, she has imbued her paintings, sculptures, prints, and drawings with motifs drawn from Native iconography, American Pop art, and mass media, yielding profound, satirical meditation on histories of violence, environmental destruction, and dispossession.

An enrolled member of the Navajo Nation, Emmi Whitehorse (b. 1957) is an artist based in Santa Fe, New Mexico. Her paintings—four examples of which appeared in the 2024 Venice Biennale—feature atmospheric fields of diffuse and shifting color that teem with elemental forms. Meditative and slow, Whitehorse’s painting is rooted in the Navajo philosophy of Hózhó, a concept connoting beauty, order, harmony, and balance. “My paintings tell the story of knowing land over time,” she says, “of being completely, microcosmically within a place.”

The subject of an ongoing show at Garth Greenan Gallery’s New York location, on view through December 13, B. Wurtz (b. 1948) is an artist based in New York. A consummate artist’s artist, Wurtz has developed a distinctive approach to artmaking defined by the alchemical transformation of mundane materials such as plastic grocery bags, takeout containers, and tin cans into playful, formally sophisticated assemblages. Here, the gallery presents Untitled (2024) a hanging sculpture consisting of plastic bags, wooden clothespins, and a metal drying rack.