A minimal drawing of a picnic blanket.
2
The Picnic Show
2025 October 4
Round two: this time outside at Brooklyn Bridge Park, as the season turned to Autumn.
Helen Chen
Taylor Corley
Timothy Ho
Nicole Kiki Jaffe
Anastasia Miller
Stacked LaCroix sparkling water cans on a red and white checkered picnic blanket on grass.
Stacked colorful beverage cans arranged in a mastaba shape on a red and white checkered picnic blanket outdoors at sunset.
La Croix Mastaba
Helen Chen
‍La Croix Mastaba, 2025
Beverage cans, tape

135 cans, majority La Croix. Special thanks to Erin Murphy and Caroline Corbett for their contributions.
Inspired by Christo and Jeanne Claude's barrels, Helen regurgitates American populist taste but in clean form, offering angles en masse.
Ink sketches of expressive dancing figures displayed on a red-and-white checkered cloth, with containers holding prompt and time choice slips.
Two people seated outdoors on folding chairs with red checkered blankets, a mastaba of cans, and square mirrors on the grass, with a city skyline in the background at sunset.
Amuse Bouche
Nicole Kiki Jaffe + Timothy Ho
‍Amuse Bouche, 2025
Performance, ink, paper
Two Russel Wright Manitoga black bowls from which picnic guests pick a food and pick a time. At these requests, over the course of 3 hours, Nicole and Tim figuratively cooked, baked, shaped, and delivered the food in time on paper. There was swiss cheese, a baguette, sangria, deviled eggs, pizza, salad, mimosa, cherry pie. By the end of the show, it was a full picnic spread.
Small triangular lantern with red and yellow leaf patterns planted in grassy soil next to a wooden stump with an art label nearby.
Small geometric lantern with warm red and orange hues placed on the ground among dry branches and leaves near a tree at sunset.
Season's End
Anastasia Miller
‍Season’s End, 2025
Leaves, Chemex filter, sticks, glue, drywall mesh
Season's End started as Ana gathered straw inspired by European corn dollies, which then became social gathering of pristine leaves for canopy. But the leaves quietly revealed their translucent nature and pieced themselves together as a lantern, just in time for the harvest moon.
Square mirrors laid on grass reflecting parts of people, blue sky, and tree branches.
Small white sanitary pad on a white wall above black and beige tiles.
The Practice of Love
Taylor Corley
‍The Practice of Love, 2025
12 12” mirrors
Robert Smithson (1938-1973) pioneered the use of mirrors as sculpture. In his work, square mirrors are considered three-dimensional elements. They are inserted in and are metaphorically at war with the natural landscape, routinely embedded in piles of dirt, covered with sand, hidden behind trees.

Taylor’s work considers the mirrored surface instead of its power to transpose reflected space. Here, mirrors are two-dimensional planes without volume, without need for earthly opposition. The squares collect fragments of sky and bring them to the ground, reminding New Yorkers to reconsider their downward gaze.
View of Manhattan skyline across the water with a tall ship sailing and green grass with bushes in the foreground.
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