Data Center 2026

Gemini G.E.L., the publisher, artists' workshop and, gallery present concurrent exhibitions featuring two artists with deep collaborative histories at the gallery. Tacita Dean: Eclipse Drawings features twelve screenprints created from Dean's observations of the 2024 solar eclipse in Eagle Pass, Texas. These prints features drawings made with sunlight itself, loops and arcs of luminous energy seared onto the blackness of the sky. Analia Saban: Data Center 2026 brings together a new body of work in which the artist turns to one of the oldest printmaking processes to render the invisible infrastructure of our data-driven world tangible and material. The exhibitions open concurrently at Gemini G.E.L., each reflecting the long-standing collaborative relationships between the publisher and its artists that have defined the organization across its 60-year history. In Analia Saban: Data Center, the artist creates woodcuts—one of the oldest printmaking processes, rooted in the grain and resistance of natural material—to make something physical out of the infrastructure of our digital world, a data center, through which so much of modern life is passed through. The Pie Chart series begins with a formal provocation. Woodcut is one of the oldest printmaking processes, rooted in the grain and resistance of natural material. The pie chart is among the most familiar tools of data visualization — a diagram designed to make information legible at a glance, to reduce complexity to clean proportion. Saban brings them together deliberately. The beauty of the wood grain is not incidental; it is the point. The organic surface pushes back against the rational diagram, absorbing it, complicating it, making it feel ancient rather than analytical. Two opposites — the digital and the natural — held in the same image. For this exhibition, Saban has chosen to show the full edition of the Computer Fan — all 30 impressions together. It is a decision that honors the labor of the printers, making visible the process and the people behind it, the physical act of combining hand and machine that printmaking has always been. In the 32 woodcuts Saban renders the computer fan in black and white woodcut, printed with oil-based ink, a natural medium for a machine component. E-Trash is the only work in the exhibition to break from the black-and-white vocabulary of the woodcuts. The cables are the junk, the overflow, the physical residue of digital life.