Julie Chung
The Hunt, 2024
Oil on canvas
60 x 60 inches
Annika Tucksmith
The Rabbit, 2024
Oil on wooden panel
40 x 30 inches
Paulina Moncada
Husk, 2025
Aquaresin, soil, cinnamon, acrylic, wood, aluminum foil, handmade paper, Saint Francis of Assisi figurine
12 x 48 x 66 inches
Calvin Kim
Shade, 2025
Oil on canvas
12 x 12 inches
Lauren Cline
Wouldn’t need to be near my dolls to play with them, 2026
acrylic, paper, polyester, charcoal and ink on wood
48 x 36 inches
Ji Zou
The Bed in The Earth, 2025
Mixed media on linen
24 x 36 inches
Calvin Kim
Utterance (for a shy sun), 2025
Oil on canvas
16 x 16 inches
Gabrielle Dobrzelewski
Tree Talk, 2026
Oil and acrylic on canvas
16 x 20 inches
Ji Zou
Rain Tree, 2025
Mixed media on linen
47 x 35 inches
Gabrielle Dobrzelewski
Prelude, 2025
Oil and acrylic on canvas
24 1/4 x 24 1/4 inches
Julie Chung
Fields of Asphodels, 2024
Oil on canvas
60 x 60 inches
Annika Tucksmith
Steal-away, 2026
Oil on wooden panel
40 x 30 inches
Paulina Moncada
Of Being Numerous, 2026
Oil on canvas
42 x 55 inches
Julie Chung, Lauren Cline, Gabrielle Dobrzelewski, Calvin Kim, Paulina Moncada, Annika Tucksmith, Ji Zou
Marking thirty years of Fredericks & Freiser, this exhibition looks forward rather than back. Instead of revisiting past milestones, the gallery turns toward what has long defined its program: the introduction of artists at formative moments.
Innocence here is not purity. It is a condition of containment, a way of holding the world at bay. Intrusion does not always arrive from outside. It begins when something already present presses against the surface.
The works in Innocence and Intruders unfold in bedrooms, fields, dollhouses, and thickets of shadow and saturated color. Figures lean, fold, and merge. Bodies press into animals and into one another. Protection and exposure coexist. The world appears intact, yet filled with pressure.
Nothing in this exhibition announces itself as strange. There are no theatrical ruptures. Instead, familiarity begins to bend. What feels protective becomes porous. What appears tender carries weight. Instability does not erupt. It accumulates.
In these works, nothing enters to explain what we are seeing because everything is already inside the frame. The dreamer and the dreamed share the same ground. Safety is provisional.
Innocence and Intruders gathers artists working within this charged stillness, where the boundary between care and threat, interior and wilderness remain unsettled.
