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split ribbon . San Francisco Art Fair. Lindsey Harald-Wong, Frantz Jean-Baptiste, Trey Ross, 80, Chris Reisig & Leeza Taylor. April 16 – April 19, 2026. Political-Economy Project.

Fort Mason Festival Pavilion. 2 Marina Boulevard. San Francisco, CA 94123.

*Booth E16

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Now take a line which has been cut into two unequal parts, and divide each of them again in the same proportion, and suppose the two main divisions to answer, one to the visible and the other to the intelligible, and then compare the subdivisions in respect of their clearness and want of clearness, and you will find that the first section in the sphere of the visible consists of images. And by images I mean, in the first place, shadows, and in the second place, reflections in water and in solid, smooth and polished bodies and the like: Do you understand?

Yes, I understand.

Imagine, now, the other section, of which this is only the resemblance, to include the animals which we see, and everything that grows or is made.

—“Analogy for the Divided Line” from Plato’s Republic (509d–510a).

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Lindsey Harald-Wong(born: Denver, Colorado, United States) is an artist based in Malaysia, where she currently lives and works. She was formerly on the faculty of Pratt Institute and at Parsons School of Design in New York, where she taught drawing. She earned an M.F.A. in Painting and Drawing at Brooklyn College, Brooklyn, New York. Harald-Wong has also studied at the New York Studio School of Painting and Drawing.

Her earlier work begins at the level of perception, directly drawing from light and space and working between the limits of vision and abstraction. These earlier works were often produced around still-life imagery (such as flowers, especially orchids). Eventually, beginning in the early 2000s, around the time of the work Small Cosmos (2005) included in a group exhibition at Reisig and Taylor Contemporary (Los Angeles: Fall 2024), her work starts to shift to more immediate encounters with the surface (paper, canvas) itself—and with mark-making itself—through a generative practice produced at its own pace, in response to its own processes. (Small Cosmos presents an intermediary or transitional moment between her work with perception and the works driven by abstraction.)

Living in Malaysia, Harald-Wong works in relative isolation from Western economic and social contexts of contemporary art. But within this isolation she has cultivated a practice of working-through a deep time that uniquely evolves through its own language. A cryptic, but immediate, mode of expression made of frenetic marks and webbed movements that have patiently, meditatively, morphed over many years of working in her own terms.

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Frantz Jean-Baptiste (0423, B 1991, Miami) is a multidisciplinary artist currently based in Los Angeles. He is a first generation American of Haitian descent. He graduated from Art Center in Pasadena and The California College of Arts in San Francisco. His works have been featured in exhibitions at galleries in Los Angeles and the Bay Area: Reisig and Taylor Contemporary (Los Angeles), Gallery Sade (Los Angeles), Band of Vices (Los Angeles); Friend Indeed (Micki Meng) Gallery (San Francisco); Naming Gallery (Oakland); Zoolab (Oakland); ZK Gallery (San Francisco); Merchants of Reality (San Francisco), Mirai Collective (Berkeley); and, Mothership Gallery (Oakland). He recently participated in a residency at “CeRCCa :Center for Research and Creativity Casamarles, Llorenç del Pendès, Spain.

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trey ross (b. 1999) grew up in the Silicon Valley. He currently lives and works in Los Angeles.

His work engages ceramic and lithographic processes in an experimental practice that explores the natural, technological, and magical.

His solo exhibition Future Fossils was presented at Long Play Contemporary (Santa Monica), and his work was recently included in the group exhibition ratio at Reisig and Taylor Contemporary (Los Angeles).

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Mysterious 80-foot ObjectEmerges on a Florida Beach, Setting Off Speculation.

The object appears to be about 80 feet long and made of wood and metal.

A mysterious object has recently washed ashore on a Florida beach, sparking intense speculation and intrigue. The object, which measures about 80 feet in length, appears to be a combination of wood and metal materials, making it an unusual sight against the backdrop of the sandy coastline.

Eyewitnesses have reported that the object’s design is perplexing, with no obvious signs of identification or known markings. Local authorities have been quick to secure the area, but little information has been released about its origin or purpose, fueling further theories. Some locals are suggesting it could be part of a shipwreck, while others speculate it might be an abandoned piece of a military or scientific vessel.

The shape and composition of the object, as well as its size, have led some to believe it might be an old, forgotten relic from a past era, perhaps dating back to a time when ships or large industrial machinery were commonplace. Others are more imaginative, proposing that the object could be a piece of something larger, possibly part of a satellite, spacecraft, or even something more fantastical.

As the investigation continues, experts are carefully examining the object for any signs of its origin, but the true nature of the mysterious find remains a tantalizing puzzle. Whether it’s a natural occurrence, a historical artifact, or something more out of the ordinary, the discovery has certainly captivated the public’s attention….

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Chris Reisig and Leeza Taylor are an art duo living in Los Angeles.

Both their early works in analog photography and current works in lenticular assemblage are exhibited in galleries throughout the United States, including: The White Room Gallery (Bridgehampton); Julie Zener Gallery (Kentfield, Mill Valley); and Aspen Art Gallery (Aspen). In 2020, the founded Reisig and Taylor Contemporary as an extension of their lifelong careers as artists, collectors, and artworkers.

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A Note on Economy:

In the context of art fair exhibitions such as this, Reisig and Taylor Contemporary organizes shows as direct encounters with the market, and therefore as a unique way of facing the public and the economy. As a gallery which aims to focalize the often absent political-economic context of exhibitions as part of the literal material of the gallery-space, it is important that the gallery takes-up the space of an art fair as an opportunity to critically engage the economic structures governing the transaction and circulation of artwork. The gallery takes the context of the market as a question of how artworks circulate and what it means for an artwork to become a financial object that is wholly attached to the work of art (or at least its significance), while also having almost no relation to the object or encounter in itself. Therefore, there is the question of the work of art “before and after” the market—before it becomes something else, somewhere else. This particular problem-place of vision, desire, object, consumption, and exchange structures the critical formulation of the gallery’s art fair exhibitions.