A collage featuring vintage cars, cyclists, and a motorcyclist in a busy street scene, superimposed with photos of sunglasses, fruit, and four nude figures lined up, all in vibrant, contrasting colors.

Rachel Libeskind—

If There Be Nothing New, But That Which Is

An exploration of the depths of meaning and context an art object can hold both superficially and intrinsically.

March 7 – August 15, 2026

In a time when visual culture is overabundant and we are inundated with constant barrages of imagery and stimulation, artist Rachel Libeskind questions our ability to navigate controllable and uncontrollable situations within our day-to-day lives. Inspired by Jacques Lacan’s theories on visual culture and slower moments of time that pass without notice, the exhibition If There Be Nothing New, But That Which Is explores the depths of legibility and visibility that we have within our most mundane moments.

Libeskind presents the theory that moments which are so passive such as doing daily house chores or self-grooming become illegible or invisible to our conscious mind and we tend to go into subconscious autopilot to complete them. These quiet and finite moments often go unnoticed and pass through our minds without any real staying power, despite being moments we will never get back or take time to remember. Through collage and printmaking Libeskind carries forward the legacies of Andy Warhol, Robert Rauschenberg, Barbara Kruger and the Guerilla Girls, and appropriates contemporary and historic images and seeks to deconstruct the preconceived notions of individual recognizable moments. She builds new narratives and visibility through her large scale works to offer new recollections of passive and mundane moments in time.

About Rachel Libeskind

Rachel Libeskind is an artist, performer, thinker and creative director based in New York City and Berlin, Germany. Her practice is developed through building mischievous strategies to engage with images, archives and histories. She is collecting, intervening, manipulating, juxtaposing, undermining and reconstructing absurd visual narratives of being in an unhinged modernity. Libeskind’s work and performances have been featured widely internationally at notable institutions such as The Jule Collins Smith Museum of Fine Art, Auburn University, Alabama; Center for Jewish History, New York; Watermill Center, Long Island; Pioneer Works, Brooklyn; Bombay Beach Biennale; Künstler Bethanien Haus in Berlin, Germany; ZKM | Center for Art and Media, Karlsruhe, Germany; Alabama Contemporary Art Center, Mobile; Baker Museum, Naples, Florida; Carpenter Center at Harvard University, Cambridge; and National Media Arts Festival of Lithuania, Vilnius. She has been awarded residencies and fellowships at Hawaii Institute of Marine Biology, Kaneohe; The Watermill Center, Long Island; Long Road Projects, Jacksonville; and in 2023 her work was featured was included in Phaidon Press’s book Vitamin C+: Collage in Contemporary Art.

A grayscale photo of a crowd and industrial buildings is overlaid with a vivid orange and yellow silhouette of a horse and rider, with bold black polka dots and abstract bars crossing the image.

A colorful collage featuring vintage cars in a lot, people riding motorcycles, duplicated images of faces, naked figures standing in a row, and abstract patterns in green, purple, yellow, and blue tones.

Three ancient Greek caryatid statues stand in front of a colorful, abstract background with a circular clock-like design and vivid splashes of yellow, pink, purple, red, and blue.

Abstract collage with a blue greenhouse background, a white square, red and green shapes resembling bird heads with black eyes, black lines, and yellow and white cutout pieces in the foreground.