Berry Campbell is pleased to participate in the 2026 ADAA Fair, November 13 through November 16 at the Park Avenue Armory in New York. The fair opens with a Preview Gala on November 12, benefiting the Whitney Museum of American Art. Central to Berry Campbell's presentation are the women of Abstract Expressionism, an area of expertise within the gallery's program.
Highlighting the achievements and contributions of important postwar women artists, Berry Campbell will feature works by Janice Biala, Bernice Bing, Elaine de Kooning, Dorothy Dehner, Lynne Drexler, Perle Fine, Judith Godwin, Mercedes Matter, Edith Schloss, and Yvonne Thomas. Working beyond the constraints of prevailing artistic conventions and expectations, these women forged distinct visual languages that challenged established boundaries of abstraction, figuration, and representation. Major museum exhibitions, scholarly publications, and renewed critical attention have affirmed that their significance is not a recent discovery, but rather a long-overdue acknowledgment of their contributions to modern art.
In conjunction with her solo exhibition currently on view at the gallery, Berry Campbell will present an important example of Elaine de Kooning's portraiture. Gandy Brodie (1973) exemplifies the artist's quick, gestural approach to figuration, combining the energy of Abstract Expressionism with a perceptive rendering of her artist friend, a prominent figure in the downtown art scene. Also featured are two iconic, vibrantly colored works on paper from 1961 by Lynne Drexler, sourced directly from the Lynne Drexler Archive. The centerpiece of the presentation is Judith Godwin's Pale Thunder (1986), a large-scale painting that demonstrates the artist's expressive use of color and gestural forms. Godwin's signature arc form dominates the composition, reflecting her lifelong engagement with movement and dance, particularly her relationship with pioneering choreographer Martha Graham. Janice Biala's Campo Santo Spirito Venici (c. 1982) is also on view. The Venetian scene reflects the artist's distinctive synthesis of European modernism and Abstract Expressionism. Additionally, Berry Campbell has paired a Dorothy Dehner sculpture (1969) with a delicate ink and watercolor on paper (1952), revealing her early experimentation with geometric form, linear structure, and spatial relationships.
At the 2026 ADAA Fair, Berry Campbell brings these artists into dialogue, emphasizing both the individuality of their practices and their collective impact on the course of modern art history. Through its continued commitment to research, exhibitions, and the stewardship of artist estates, Berry Campbell remains dedicated to advancing these legacies and ensuring their enduring place in art history.
