Lisson Gallery at FOG Design+Art 2026

19 January 2026

Lisson Gallery is pleased to return to FOG Design+Art with a focused presentation of historical and recent works that examine material transformation, the persistence of the figure, and the metaphysical charge of form, color, and surface. The presentation brings together works by Kelly Akashi, Olga de Amaral, Hugh Hayden, Leiko Ikemura, Oliver Lee Jackson, Anish Kapoor, Liu Xiaodong, Hélio Oiticica, Pedro Reyes, Leon Polk Smith, and Hiroshi Sugimoto, highlighting practices across generations and geographies that engage perception, spirituality, and the shifting relationship between object and viewer.

Anchoring the presentation is Ombrío 15 (2014) by Olga de Amaral, a luminous work from her celebrated Ombrío series (2000–2017). Meaning “shaded” or “ombré,” the series is defined by layered metallic and painted acrylic surfaces applied to tightly woven linen patchworks. Incorporating gold, silver, and palladium, Ombrío 15 achieves striking optical depth and sculptural presence while retaining a sense of movement evocative of the rocky landscapes of de Amaral’s native Colombia. The presentation also features Oliver Lee Jackson’s Painting (8.5.23) (2023). A Bay Area native, Jackson is known for compositions in which the figure remains a constant. Serving as both point of departure and structural anchor, it generates layered gestures, handprints, and fields of color, producing a dynamic sense of depth and spatial flux. The presentation precedes the artist’s forthcoming solo exhibition at the gallery.

Dialogues around geometry and perception continue with Hélio Oiticica’s Metaesquema (1957–58), a gouache on cardboard from his seminal series created while working with Grupo Frente in Rio de Janeiro. Marking a radical reduction of form, the Metaesquemas occupy a space between painting and drawing. Repeated geometric forms are folded, flipped, and transposed, generating an energetic optical rhythm that asserts color and form as autonomous agents.

Material and perceptual transformation is further explored through Anish Kapoor’s Tangerine to Clear (Satin) (2023), a mirror work that dissolves boundaries between object, viewer, and environment. The works on view in the booth anticipate the artist’s forthcoming New York gallery exhibition and a solo exhibition at the SCAD Museum of Art. The presentation includes Hiroshi Sugimoto’s Past Presence 070, Grande Femme III, Alberto Giacometti (2016), a photograph centered on Alberto Giacometti’s attenuated figure and produced through multiple temporal exposures. Moving between daylight and twilight, the work collapses past and present, aligning Modernist sculpture with theatrical structures of recurrence while emphasizing photography’s capacity for temporal and imaginative layering.

New stone mosaics by Pedro Reyes, composed of volcanic stone, marble, glass, silver, and gold, will be presented on the booth, offering a quiet yet materially rich extension of the artist’s broader sculptural practice. Additional highlights include Leon Polk Smith’s Constellation CI (1969); new and recent works by Kelly Akashi, including sculptures from Daisy Oracle for Weeping (after Il bacio) (2024), which respond to 19th-century sculpture through glass, bronze, and vessels modeled after historical tear catchers; and Hugh Hayden’s Louis (2025), a copper-plated coronet and pan that merges references to music, domestic labor, and cultural ritual. The presentation is rounded out by landscape paintings by Liu Xiaodong and works by Leiko Ikemura, ahead of their forthcoming solo exhibitions in Los Angeles.

Image: Oliver Lee Jackson, Painting (8.5.23), 2023, Artist oil paints, oil enamels on primed panel, 241.3 x 182.9 x 2.2 cm, 95 x 72 x 7/8 in © Oliver Lee Jackson, Courtesy Lisson Gallery