Ken Okiishi

Born 1978 in Ames, Iowa. Lives and works in New York.




A Model Childhood, The Art Gallery, University of Hawaii at Mānoa, Honolulu, Hawaii, US

Vital Behaviours, MoMA, New York, US


A Model Childhood, Pilar Corrias, London, UK


A Model Childhood, Reena Spaulings, Los Angeles, US

Being and/or Time, Reena Spaulings, New York, US


Solar/Data/Matter: Sobreteixims i escultures, 1972, 1968, 2016, 1978, Fundació Gaspar, Barcelona, Spain


Porous Feedback, Arbeiterkammer Wien, Vienna, Austria

Gestures, data, feedback, Take Ninagawa, Tokyo, Japan 


Screen Presence, Projekt 25 / 25 / 25, Museum Ludwig, Cologne, Germany
Eggleston und Andere, "reality bites"
, Mathew, Berlin, Germany

Ken Okiishi, Reena Spaulings, New York, US


gesture/data, Pilar Corrias, London, UK

[List Projects]  Ken Okiishi, MIT List Visual Arts Center, Cambridge, Massachusetts, US

A Way Out As Hovering, Rongwrong, Amsterdam, Netherlands
The Very Quick of the Word, Hessel Museum of Art, Bard Center for Curatorial

Studies, Annandale-on-Hudson, New York, US    


(Goodbye to), Take Ninagwawa, Tokyo, Japan

Gino / Marcel Duchamp on, Mathew, Berlin, Germany 


Gino / "thinking about moving uptown" / Marcel Duchamp on, Alex Zachary, Frieze Art Fair: Frieze Frame, London, UK


(Goodbye to) Manhattan, Mehringdamm 72, Berlin, Germany

(Goodbye to) Manhattan, Alex Zachary, New York, US




Plein Ecran, La Station, Nice, France

Performing Time, Leo Xu Projects, Shanghai, China

Poetry as not, with singing, Artist Web Project, Dia Art Foundation, New York, US

Mixtape 2016, Pilar Corrias Gallery, London, UK

MashUp: The Birth of Modern Culture, Vancouver Art Gallery, Vancouver, Canada


Poetry as not, with singing, Artist Web Project,, Dia Art Foundation, New York, US

Nick Mauss & Ken Okiishi, Mendes Wood DM, Sao Paulo, Brazil


Looking Back: The White Columns Annual, White Columns, New York, US


A Fair to Meddling Story, Künstlerhaus Stuttgart, Germany

One Season in Hell, Upstairs at Gavin Brown's Enterprise, New York, US




Ice and Fire: A Benefit Exhibition in Three Parts, The Kitchen, New York, US


Jutta Koether, Ken Okiishi, Josephine Pryde, Goton & Reena Spaulings Fine Art, Palais-Royal and Cinéma Le Brady, Paris, France


The Vitalist Economy of Painting, Galerie Neu, Berlin, Germany


Being Modern: MoMA in Paris, Fondation Louis Vuitton, Paris, France


PLEIN_ECRAN, La Station, Nice, France

À la Présentation de la Collection Thea Westreich Wagner et Ethan Wagner, Centre Pompidou, Paris, France

Mixtape 2016, Pilar Corrias Gallery, London, UK

MashUp: The Birth of Modern Culture, Vancouver Art Gallery, Vancouver, Canada

Performing Time, Leo Xu Projects, Shanghai, China


Collected by Thea Westreich Wagner and Ethan Wagner, The Whitney Museum of American Art, New York, US

Full of Peril and Weirdness: Painting as a Universalism, M Woods, Beijing, China
RR ZZ, Gluck50, Milan, Italy

Over you/you, 31st Biennial of Graphic Arts, Ljubljana, Slovenia
Under the Clouds: From Paranoia to the Digital Sublime, Serralves Museum, Porto, Portugal

Second Chances, Aspen Art Museum, Aspen, US

The Tell-Tale Heart, Chi Art Space, K11 Foundation, Hong Kong, China


Cut to Swipe, The Museum of Modern Art, New York, US

Galerie Neu at La Douane, Galerie Chantal Crousel, Paris, France

The Material Image, Marianne Boesky Gallery, New York, US

Whitney Biennial 2014, Whitney Museum of American Art, New York, US

The Granite Block, Overduin & Co., Los Angeles, US


Speculations on Anonymous Materials, Fridericianum, Kassel, Germany

Frieze Projects, Frieze Art Fair, London, UK

Das Beste vom Besten: Vom riskanten Geschäft der Kunst [On the Risky Business of Art], Kunstverein für die Rheinlande und Westfalen, Düsseldorf, Germany

Love is still colder than capital, Mathew, Berlin, Germany

Version Control, Arnolfini, Bristol, UK 

Liebe ist Kälter als das Kapital [Love is Colder than Capital], Kunsthaus Bregenz, Austria

Frozen Lakes, Artists Space, New York, US


Now I am quietly waiting for the catastrophe of my personality to seem beautiful again, and interesting, and modern, Bortolami, New York, US

TCCA, NEW THEATER 2012-2013, APN Research, autoslides #1-3, shindisi home videos, the deleted scene, a fanzine as a museum /a museum as a fanzine, cut-out bin / apnegative, sci-fi sounds from the alienated kitchen, OOO &&& LLL, hc r 1, Kunsthalle Bern, Switzerland

The Log-0-Rithmic, GAMeC, Bergamo, Italy

Volcano Extravaganza, Stromboli, Aeolian Islands, Italy

Films and Windows II, Mathew, Berlin, Germany

“During the Second World War, a British sergeant piloting a Kittyhawk fighter plane disappeared in the Sahara Desert. Now employees of an oil company have come upon the plane's remains within the shifting Egyptian sands. To the joy of historians, the aircraft is astonishingly well-preserved and reveals a great deal about its pilot's fight for survival”: Heike-Karin Föll, Ken Okiishi, Robin Bruch, Peep-hole, Milan, Italy

Relocated, MD 72, Berlin, Germany


Grand Opening Part 1, Mathew, Berlin, Germany

Perfect Man II, White Columns, New York, US

Books on Books, Swiss Institute, New York, US

Based in Berlin, Berlin, Germany

Hasta Mañana, Greene Naftali, New York, US

Nobody Can Tell the Why of It, 1857, Oslo, Norway

I don't know if it makes any sense – I feel quite dizzy and a little drunk due to the blow. I will

return with more info shortly..., IMO, Copenhagen, Denmark

Chris Kraus, Ken Okiishi, George Perec / Bernard Queysanne and friends, Herald St, London, UK

One is the loneliest number (with Nick Mauss), Institute of Contemporary Art, Philadelphia, US


In the Middle of Affairs, Kunstlerhaus Stuttgart, Germany


Head-wig (Portrait of an exhibition), selected by Paulina Olowska, Camden Arts Centre, London, UK

Modernmodern, Chelsea Art Museum, New York, US

Gennariello, Balice Hertling, Paris, France

Evas Arche und der Feminist, Contemporary Art Museum St. Louis, St. Louis, US


One Season in Hell, MD72, Berlin, Germany


When Artists Say We, Artists Space, New York, US

Between the Lines, Daniel Reich temporary space at the Chelsea Hotel, New York, US

Sehnsüchtig gleiten Ballone rund um die Welt (KünstlerInnen-Archiv), Gormannstrasse/ Mulackstrasse, Berlin, Germany


Exile: New York is a Good Hotel, Broadway 1602, New York, US


Home, American Fine Arts, Co. at P.H.A.G., New York, US

New Image Art, Los Angeles, US 

Nowojorskie Porno, Foksal Gallery Foundation, Warsaw, Poland

Was ist in meiner Wohnung wenn ich nicht da bin? (Programm im Gästezimmer), Temporary project space, Berlin, Germany


Now Playing, D’Amelio Terras, New York, US

Listen Translate Translate Record Andrew Kreps Gallery, New York, US

Karaoke Death Machine, Daniel Reich Gallery, New York, US


Sharing Horizons That Are New to Us, Houghton Gallery, Cooper Union School of Art, New York, US

Coal By Any Other Name: The Journey Towards The Good Taste (compiled and set on stage by Syntax, Early Century Unrest & The Society Of Control” a.k.a. Stephen Dillemuth) American Fine Arts, Co., Colin de Land Fine Art, New York, US 


The Anita Pallenberg Story (Video by Laura Cottingham and Leslie Singer, with production still photographs by Aaron Cobbett, Laura Cottingham, Rainer Ganahl, Lucas Michael, Chuck Nanney and Ken Okiishi) Postmasters, New York, US



The Cooper Union for the Advancement of Science and Art, New York, BFA



‘Andy Warhol After Pop’ (symposium in conjunction with the Warhol retrospective as the Whitney Museum of American Art, NY), Eugene Lang College of Liberal Arts at The New School / Whitney Museum of American Art, NY, US

Artists on Artists Lecture Series: Nick Mauss and Ken Okiishi on Hanne Darboven, Dia Art Foundation, Dia:Chelsea, New York, US

Ken Okiishi in Conversation with Jens Hoffmann, AM at the JM, February 21, Jewish Museum, New York, US


Albert Oehlen: Home and Garden, Contemporary Painting Symposium, Panel 2: "Digital Abstraction", New Museum, New York, US

Light Repairs: A Roundtable on the Restoration of Mark Rothko's Harvard Murals, with Yve- Alain Bois, Harry Cooper, Lynn Hershman Leeson, Carol Mancusi-Ungaro, Ken Okiishi, R.H. Quaytman, David Reed, Jeffrey Weiss and Michelle Kuo, Artforum, Summer 2015, pp. 290– 299, 380, 382, 384

Universal Pictures: Considering Contemporary Video Practice (roundtable with Joan Jonas, Ken Okiishi, Lucy Raven and Jennifer West), Jewish Museum, New York, US

Who Cares if it’s Painting?, panel discussion organised in conjunction with Alibis: Sigmar Polke 1963–2010 (with Frances Stark, Carroll Dunham, Wolfgang Tillmans, Ken Okiishi, and Glenn Ligon. Moderated by Kathy Halbreich), The Museum of Modern Art, New York – US Who Cares if it's Painting: Artist Ken Okiishi Talks with Curator Kathy Halbreich, The Museum of Modern Art, New York, US

Corrected Slogans: A Publication in Four Acts: Act 1: Poems for America: A Rebours [Aaron Kunin in conversation with Ken Okiishi, moderated by Katie Raissian], Triple Canopy, Brooklyn, New York [podcast: america-part-1]





Ribas, João, Under the Clouds: From Paranoia to the Digital Sublime, Serralves Museum, Porto

Singer, Deb, The Material Image [exhibition catalogue], New York, Marianne Boesky

Ken Okiishi, Annie Godrey Larmon, Alise Upitis, The Very Quick of the Word,
Sternberg Press

Whitney Biennial 2014 [exhibition catalogue], Yale / Whitney Museum of American Art, New York

Ken Okiishi and Annie Godfrey Larmon, [DRAFT] A Way Out as Hovering: Congestion and Porosity in the Work of Ken Okiishi, New York: Hessel Museum of Art, CCS Bard Center for Curatorial Studies


Corrected Slogans: Reading and Writing Conceptualism, New York: Triple Canopy

Based in Berlin [exhibition catalogue], Berlin: König

Hertling, Pati, Stefan Kalmar, Ariane Müller, Jan Verwoert, modern modern, New York/Berlin: Chelsea Art Museum/Starship

A Fair to Meddling Story. With Nick Mauss and Jill Johnston. Zürich: JRP Ringier

One Season in Hell. With Nick Mauss. New York: Gavin Brown's Enterprise



Citizenship, Texte Zur Kunst, December “The Canon,” p. 124.

"Painting Paintings," [essay on Joan Mitchell] in Joan Mitchell: Retrospective: Her Life and Paintings, Verlag der Buchhandlung Walther König, pp. 39-49

Light Repairs: A Roundtable on the Restoration of Mark Rothko's Harvard Murals, with Yve- Alain Bois, Harry Cooper, Lynn Hershman Leeson, Carol Mancusi-Ungaro, Ken Okiishi, R.H. Quaytman, David Reed, Jeffrey Weiss and Michelle Kuo, Artforum, Summer 2015, pp. 290–299, 380, 382, 384

Time as Material: Joa Jonas, Ken Okiishi, Lucy Raven, Jennifer West, Mousse 47, February 2015, pp. 222-233

Critics Page, curated by Barbara London, "Tools and Contemporary Art," Ken Okiishi,
The Brooklyn Rail, March 2015,

Carlo Scarpa, Artforum, November

"Live from Harlem," in El Mundo: A Classical Music Concert, Booklet/LP, Mousse/Villa Merkel/White Columns/ Haunted House Projects

"Ei Arakawa interviewed by Ken Okiishi about his participation in the UNITED MileagePlus Program," Wandering No. 2

“Best of 2012: Bernadette Corporation: 2000 Wasted Years,” Artforum, December, pp. 222- 225

“Sun Photographs: Ken Okiishi and Nick Mauss reflect on Zoe Leonard’s Sun Photographs,” MAP, sun-photograph/

“Ken Okiishi on Forrest Bess,” Artforum, May, pp. 89-92

“The Threat of the Provincial [Le menace du provincial],” May, No. 8 (February), pp. 16 - 37

“Fancy Feast: Ken Okiishi on The Leopard at Des Artistes,” Artforum, November, pp. 107- 108


“Artists’ Artists,” Artforum, December


"On Georges Perec's 'Un homme qui dort'," Bidoun, No. 14 (Spring/Summer)

"If/Then: Carey Young," [review] Bidoun, No. 14 (Spring/Summer)

"Top Ten," [with Nick Mauss] Artforum, March

"K/L/M/N/O/P: a conversation," Noël sur le balcon / HOLD THE COLOR. with Nick Mauss, LucyMcKenzie and Paulina Olowska, Ed. Jan Seewald and Stephan Urbaschek. Munich: Kunstverlag Ingvild Goetz. pp. 64-112

"Documenta 12," [review] Bidoun, No. 12 (Fall)

"Never Forget to Remember: On Disaster and Tourism," Bidoun, No. 7, pp. 71

“How Raël taught me how to meet the aliens,” K48: “Kult 48,” No. 4, pp. 11-13



"Ken Okiishi," The New Yorker, March 6, pp. 18

Schwendener, Martha, “Ken Okiishi,” New York Times, February 16

Bell, Kirsty, “Recalibrating the Eye. Ken Okiishi and Kirsty Bell in Conversation,” Camera Austria International, Issue #134, 2016 2015

Bacon, Alex, “Surface, Image, Reception: Painting in a Digital Age,” Rhizome May 24.

Henry, Max, “Ken Okiishi 'Porous Feedback'” Spike Art Quarterly No. 47

Maerkle, Andrew, “AB/EX/AMB/OM,” ART iT, November 6

“Artist Pick Up: Ken Okiishi,” Bijutsu Techo, November Issue, pp. 132-135

Wilk, Elvia, "Ken Okiishi," Art in America, February 28,

Smith, Roberta, "Ken Okiishi: Reena Spaulings Fine Art," New York Times, March 13

Nagy, Jeff, "Ken Okiishi," Artforum, Summer 2014

Pollack, Maika, "Alibis: Sigmar Polke 1963-2010, The Museum of Modern Art," Gallerist NY, April 16, modern-art/

Roben, Scott, "PICKS: Ken Okiishi,"

Howe, David Everitt, "Everywhere at Once: Ken Okiishi: painting in the age of Instagram," Frieze Magazine, April 2014

Pollack, Maika, "Ken Okiishi," Interview Magazine, March 2014

Doran, Ann, "Ken Okiishi," TimeOut New York, March 10, 2014

Cotter, Holland, “Frozen Lakes,” New York Times, February 21

Fiske, Courtney, "Frozen Lakes," lakes/

Russeth, Andrew, “New York Artists Now,” GalleristNY,

Russeth, Andrew, “’Frozen Lakes’ at Artsits Space,” GalleristNY, January 29,

McGovern, Fionna, “Roto-Zebra-Reliefs,” Annual Magazine (Paris), pp. 49-51

McGovern, Fiona, “Roto-Zebra-Reliefs,” Texte zur Kunst, pp. 204-206

Stakemeier, Kerstin, [review]

Smith, Roberta, “Looking Back / The 6th White Columns Annual—Selected by Ken Okiishi and Nick Mauss,” The New York Times, February 10

Wilson, Michael, “Looking Back: The 6th White Columns Annual,” Artforum, April

“Looking Back,” The New Yorker, January 17

Heinrich, Will, “The End of the Beginning: Looking Back/The White Columns
Annual,” The New York Observer, January 16

Trembley, Nicolas, “Happy Galleries,” Numéro, December 2011 – January 2012, pp. 52

Holmqvist, Karl, “(Goodbye to) Manhattan,” May, No. 7, October, pp. 118-124

Russeth, Andrew, “In Artforum, Artist Ken Okiishi Becomes a Restaurant Critic,” GalleristNY, October 25, restaurant-critic/

Mcgarry, Kevin, “Frieze Frame: Ken Okiishi’s Manhattan Transfer,” T Magazine (The
New York Times Style Magazine), October 18

“Frieze hopes for a fair wind,” The Independent, October 13

Cotter, Holland, “PERFECT MAN II,” New York Times, October 7

Rutland, Beau, “Hasta Mañana,” Artforum, October, pp. 341

“Hasta Mañana,” Time Out New York, July 14-20, pp. 38

Røed, Kjetil, “Nobody Can Tell the Why of It,” Aftenposten, May 2011

Nordby Wernø, Johanne, “Nobody Can Tell the Why of It” / Critics Pick

“Nobody Can Tell the Why of It’ at 1857, Oslo,” Mousse Magazine Blog, June

Haraldseth, Geri,“NOBODY CAN TELL THE WHY OF IT Curated by Esperanza Rosales at 1857,Oslo,”Kaleidoscope Blog, curated-by-esperanza-rosales-at-1857-oslo-27-05-14-08-2011-by-geir-haraldseth/

Lewis, David, “Neverland,” Mousse 26, December 2010/January 2011, pp. 190-195.

Camblin, Victoria, “Ken Okiishi,” / Critics Pick
DAS INSTITUT, “Top Ten,” Artforum, April, pp.95

“Ken Okiishi,” The New Yorker, March 8

Sanchez, Michael, “From the Inside Out: Ken Okiishi,” Art in America, February
17, the-inside-out-ken-okiishi/

Rosenberg, Karen, “Art in Review,” New York Times, Feb 5, pp. C27

Geldard, Rebecca, "Head-wig. (Portrait of an Exhibition) Selected by Paulina Olowska," Art Review, December, pp. 116

Charlesworth, JJ, "Head-wig (Portrait of an Exhibition)," Time Out London, Oct.

Eichler, Dominic, "How do these things touch each other?" Mousse, September-October, pp. 41-45

Stillpass, Zoe, "Gennariello. Balice Hertling--Paris," Flash Art, May-June 2009, pp. 130

Lewis, David, "Gennariello," / Critics Picks, March 20,


Wolin, Joseph, "Ken Okiishi & Nick Mauss," Modern Painters, December 2008 /January 2009, pp.62-63

Zerweck, Dietholf, "Realität mit Fragezeichen," Esslinger Zeitung, Oct 19

Leisten, Georg, "Ein blutrotes Fragezeichen," Stuttgarter Zeitung, Nov 6

Schacher, Marko, "Austellung als Schnitzeljagd," Stuttgarter Nachrichten, 9 Nov. listing, film screening of Georges Perec and Bernard Queysanne's Un Homme Qui Dort for the end of the Künstlerhaus exhibition, Stuttgarter Nichrichten, Nov 24

Cotter, Holland. "Between the Lines," New York Times, March 24

Armetta, Amoreen, "Out of the Box," art on paper, September-October, pp. 36-37

Cotter, Holland. "Exile in New York is a Good Hotel," New York Times, August 5

“Happenings: Home Economics” New York Magazine, August 9, pp. 82 and 84


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