Dates
Nov 6 – Apr 19, 2026
Golnar Adili, Karen Azoulay, Tsohil Bhatia, Tania Bruguera, Robert Davis, Abigail DeVille, Zachary Fabri, Ernst Fischer, Fereidoun Ghaffari, Camilo Godoy, Juan Eduardo Gómez, David Humphrey, Steffani Jemison, Miatta Kawinzi, Devin Kenny, Myeongsoo Kim, Mo Kong, Jade Guanaro Kuriki-Olivo, Athena LaTocha, Levani, Judy Linn, Keli Safia Maksud, Yang Mai, Esperanza Mayobre, Paul Miller (DJ Spooky), Naeem Mohaiemen, Shellyne Rodriguez, Cal Siegel, Kiki Smith, Catalina Tuca, James Yakimicki What’s Left in the Remaking is simultaneously a return and a proposition: a collective gesture of generosity and advocacy by artists who take risks and challenge existing boundaries of practice—and who have defined the spirit of Cue's program over our 23-year history. All the works on view are offered for sale, directly supporting Cue’s deeply relational and robust model at a moment of urgency. We live in a landscape of many fissures; the systems we inhabit are breaking open with an intensity that can feel at once cathartic and overwhelming, inspiring both rage and relief. In the cracks and crevices that ensue, what remains? What is of value to carry forward, and what can—and should—be relinquished? Cue exists to hold and make space for emerging and underrecognized artists whose practices are inherently entangled with the breaking points, live edges, and unfinished forms of our time. Their work moves with velocity and depth: they experiment with new materials and methods, reframe complex histories, and reshape relations between bodies, spaces, and communities. The overlaps, tensions, and resonances among them reveal new ways of seeing, unanticipated collectivities, and transformative shifts in perception and power. In their hands, remaking is not what lingers after collapse, but the force through which new worlds emerge. What’s Left in the Remaking makes visible the multiplicities embedded in the practices of emerging artists today, and invites a shared investment in the infrastructures that allow them to be visible and complex, visionary and reflective, ambitious and reciprocal. It insists on forging an ecosystem in which the act of exhibition-making is a perpetual and iterative form of solidarity. The works on view are not merely artifacts of a fractured present. They are offerings and openings: thresholds into futures that are still coming into being, and that depend on what we choose to hold together.