
Yuxin Zhang’s BLANKNESS, Curating Tensions, Contradictions and Gaps, and Pointing to Silencing within Social Structures
By: Kalinca Costa Söderlund BLANKNESS, a group exhibition at A Space Gallery, New York (24-29 September 2026), departs from fixity in order to explore the tensions between artworks: through a sculptural object, a pure-white carrier bag that rests on a plinth beside a large, eerie painting in which form materialises against a vast black background, Zhang juxtaposes weightlessness and heaviness; the stillness of painting is set against video, where single shots move at imperceptible speed to generate a continuous image. For Zhang, the curatorial process ought to generate meaning through the contradictions and gaps between its constituent parts, rather than through an intelligible narrative that brings together the specificity of each work of art within a single space. Black and white are not only tropes for tension and contradiction, but also formal equivalents for a logic that, in space, defines hollowness and mass, as well as for one that paces the passage of time: small black landscapes, between the pictorial and the graphic, surface from white backgrounds almost like casts of real objects, whilst screens that remain dark or blank between moments underscore how images both appear and dissolve in video art. For Zhang, there is much to be apprehended


















