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Berlin-based Georgian artist Thea Djordjadze is showing A well of night at Sprüth Magers in New York, her first return to the city for an exhibition in a decade. The installation combines existing and new works and responds to the gallery’s neo-Renaissance building; it is scheduled to remain on view through December 2026.
Berlin-based Georgian artist Thea Djordjadze has returned to New York for the first time in a decade with A well of night, an installation at Sprüth Magers that brings new and existing works into dialogue with the gallery’s neo-Renaissance architecture. The exhibition is her first solo show at the gallery’s New York location and is listed as on view through December 2026.
The exhibition combines reconfigured sculptures and existing pieces with new plaster relief paintings. In those works, pigment is built up in layers across a porous, creamy plaster surface, producing forms that sit between painting and sculpture. Steel and aluminum pieces add contrasting materials and structures to the installation.
The room itself is part of the arrangement. Djordjadze has covered the gallery’s dark hardwood floors with light-colored vinyl, changing the visual boundaries of the space and setting up a contrast with the exhibition’s title. A steel vitrine holds a print behind plexiglass, whose reflective surface catches the surrounding gallery and folds it into the work’s appearance.
According to the source report, the vitrine form draws on mid-century display cases made for Tbilisi’s archaeological museum by Georgian anthropologist Alexander Javakhishvili and painter Avtandil Varazi. Djordjadze first introduced this form in 2017. The show brings that reference to Georgian design history into a setting where architecture, objects and the viewer’s perception interact.
How the Gallery Shapes the Work
The exhibition offers a clear example of how Djordjadze treats a gallery not simply as a container for objects, but as part of the work’s conditions. Its flooring, architecture and reflective surfaces affect how the sculptures and reliefs are encountered. That approach means the installation’s appearance depends on its particular site, rather than presenting each work as an entirely fixed object independent of its surroundings.
For visitors, the material contrasts provide a practical way into that idea: steel and aluminum sit alongside layered plaster, while the pale floor interrupts the room’s darker finish. The vitrine’s reflection also makes the gallery visible within the display. These decisions shift attention between individual pieces and the space connecting them, showing how the setting can shape the perception of art without requiring the room itself to disappear.
The exhibition also links this spatial practice to Djordjadze’s Georgian references. The vitrine recalls museum display cases designed for Tbilisi, while its reflective construction responds to the New York gallery around it. The result, as presented in the report, places historical reference and present-day installation in the same environment; the source does not describe the artist as making a broader claim beyond those specific relationships.
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A Decade Between New York Shows
Djordjadze is based in Berlin and is described in the source report as a Georgian artist. A well of night marks her return to New York for an exhibition after a decade and gives her a solo presentation at Sprüth Magers’ New York gallery. The report identifies her practice as one in which installations are integrated with their surroundings to create site-specific sculptural environments.
In a 2024 interview with Elephant, Djordjadze described architecture and the building as important to her decisions. She said the interaction involved not just herself, but also the sculpture and the building. The report also quotes her describing the process of configuring an exhibition as listening to the space, the works and what she calls the void. Those statements help explain the method behind this installation, but do not establish that every piece in the show was made specifically for this building.
The artist has also said that she regards works as ongoing rather than fully finished, reevaluating them in relation to one another and to each exhibition space. The current presentation includes older work alongside new pieces and reconfigured sculptures, consistent with that account of an evolving practice.
“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 the Gallery Has Not Specified
The source report gives the exhibition’s title, venue, central materials and listed closing month, but it does not provide a full checklist, a detailed floor plan or the dimensions of the installation. It also does not say which existing works are included, how many new relief paintings are on view, or whether every work has been altered or reconfigured for this presentation.
The listing says the show remains on view through December 2026, but the source material does not give exact opening or closing dates, visitor hours, admission information or details about related public programs. Those particulars should be checked with the gallery. The report’s account of the installation does not include a response from the gallery or a separate curatorial statement.
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The Exhibition Remains on View
A well of night is scheduled to remain at Sprüth Magers in New York through December 2026. The next confirmed point for visitors is the exhibition’s continuing run; the supplied report names no later event, tour or publication tied to the show.
Further information about access, exact dates and gallery programming was not included in the source material. Visitors seeking those details can consult Sprüth Magers directly. Until additional information is announced, the central development is the installation’s presentation in New York and its planned extended run.
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Key Questions
What is A well of night?
A well of night is an exhibition by Thea Djordjadze at Sprüth Magers in New York. It brings together existing pieces, reconfigured sculptures and new plaster relief paintings in an installation shaped in relation to the gallery.
Why is this exhibition notable for Djordjadze?
It is her first solo exhibition at Sprüth Magers’ New York location and her first New York exhibition in a decade, according to the source report.
How does the installation use the gallery space?
Djordjadze has covered the dark hardwood floor with light-colored vinyl and placed reflective and sculptural works in the room. The report describes the installation as responding to the building’s neo-Renaissance architecture.
What are the new plaster relief paintings?
They are works with pigment layered over a porous, creamy plaster ground. Their raised surfaces combine qualities of painting and sculpture, according to the report.
How long is the exhibition on view?
The source lists the exhibition as on view at Sprüth Magers in New York through December 2026. It does not provide exact opening or closing dates.
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