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Berlin-based Georgian artist Thea Djordjadze is showing “A well of night” at Sprüth Magers in New York through Oct. 24, 2026. Her first solo exhibition at the gallery’s New York location combines new and existing works with changes to the room, including light-colored vinyl laid over its dark hardwood floor.
Berlin-based Georgian artist Thea Djordjadze is presenting “A well of night” at Sprüth Magers in New York through Oct. 24, 2026, marking her first solo exhibition at the gallery’s New York location and her return to the city to exhibit in a decade. The installation brings new and existing works into a conversation with the gallery building’s neo-Renaissance architecture, making the room itself part of how visitors encounter the art.
The exhibition combines existing pieces with new works, including plaster relief paintings and reconfigured sculptures. In the reliefs, pigment is worked into a porous surface and built up in layers over a creamy plaster ground. The resulting forms occupy a space between painting and sculpture: they are abstract images with a raised, sculptural surface.
Djordjadze also changes the room around the works. She covers the gallery’s dark hardwood floors with light-colored vinyl, setting up a contrast with the title’s suggestion of darkness and altering the way the floor and gallery boundaries read. A steel vitrine holds a print behind plexiglass; its reflective surface catches the surrounding space, bringing the room into the work’s appearance.
The vitrine form has a history in Djordjadze’s practice, according to the source report: she first introduced it in 2017. It refers to mid-century display cases made for Tbilisi’s archaeological museum by Georgian anthropologist Alexander Javakhishvili and painter Avtandil Varazi. The exhibition therefore draws on both the particular New York gallery and references connected to the artist’s Georgian roots.
How the Gallery Shapes the Work
The installation makes the relationship between art and architecture visible through specific decisions about materials, placement and reflection. The floor covering changes the room’s appearance, while the vitrine’s reflective plexiglass incorporates parts of that setting into the viewer’s experience of the print. These features support the exhibition’s central premise: the works are presented in relation to the building, rather than as objects isolated from it.
That approach matters to visitors because the room is not simply a container for the sculptures and paintings. Djordjadze’s choices affect how the pieces sit in the space and how the space is perceived around them. The relief paintings further complicate familiar divisions between media, combining a painted surface with three-dimensional form. The show offers a concrete example of an artist treating an exhibition’s setting as an active part of its composition.
The presentation also connects a New York gallery interior to references from Tbilisi. The vitrine’s museum-related design history gives one object a link to the artist’s Georgian background, while its reflective surface remains responsive to the New York room around it. The source report describes the installation and the artist’s stated interest in context; broader claims about how audiences will interpret the works or how the exhibition may affect her practice have not been established.
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A Practice Responsive to Place
Djordjadze is known for integrating installations with their surrounding architecture to create site-specific sculptural environments, according to the source report. “A well of night” continues that practice in the neo-Renaissance building housing Sprüth Magers’ New York gallery. The report describes the exhibition as her return to New York to exhibit after ten years, as well as her first solo show at this gallery location.
In a 2024 interview with Elephant, Djordjadze described the building, design and architecture as important to her work. She said the sculpture helps determine where she goes and how she positions herself, and characterized the process as an interaction among herself, the sculpture and the building. The remark offers a direct account of her working approach, while the present exhibition shows how that approach takes shape in a particular room.
The artist has also described beginning an exhibition by listening to the space and the works. In the source report, she says she is curious about how context informs the perception of art. Her view that works remain in progress is relevant to the combination of existing pieces, new work and reconfigured sculptures in New York: she continually reevaluates pieces in relation to one another and to each new exhibition space.
““For me, the building and the design and the architecture are very important.””
— Thea Djordjadze, speaking to Elephant in 2024
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Details Beyond the Exhibition
The exhibition is scheduled to remain on view through Oct. 24, 2026. The source material does not provide visitor numbers, a full checklist of works, or details about related public events. It also does not report how the gallery or artist expect the exhibition to affect future presentations of the works.
The account describes Djordjadze’s choices and her own comments about working with architecture, but it does not establish how individual visitors will respond to the installation. The significance of the reflective vitrine and the floor treatment can be described from their materials and placement; specific audience interpretations remain open.
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The Show Runs Through October
Visitors can see “A well of night” at Sprüth Magers in New York through Oct. 24, 2026. The source material identifies that closing date but gives no later exhibition dates or next public milestone for the works. Any subsequent presentation, or whether Djordjadze will further reconfigure these pieces for another space, has not been announced in the supplied information.
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Key Questions
Where is “A well of night” on view?
The exhibition is at Sprüth Magers’ New York gallery.
When does the exhibition close?
“A well of night” is scheduled to remain on view through Oct. 24, 2026.
What kinds of works are included?
The show brings together existing pieces, reconfigured sculptures and new plaster relief paintings. The reliefs combine layered pigment with a raised plaster surface.
How does the exhibition use the gallery space?
Djordjadze responds to the building’s neo-Renaissance architecture, covers its dark hardwood floor with light-colored vinyl, and includes a reflective vitrine that catches the surrounding room.
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