Olney Gleason Adds Pablo Bronstein as New York Exhibition Looms
New York gallery Olney Gleason has announced representation of Pablo Bronstein (b. 1977) in collaboration with Herald St, setting up a September 2026 exhibition that will introduce a new series of enlarged clock-face works in acrylic on paper. The move brings the London-based artist back into New York’s gallery orbit after a career that has repeatedly folded architecture, performance, and historical fantasy into a single, sharply staged practice.
Born in Buenos Aires in 1977 and raised in London after immigrating as a child, Bronstein studied at the Slade School of Fine Art, earning his BA in 2001, and later completed a Master of Arts at Goldsmiths, University of London, in 2004. His work has long moved between drawing, performance, and architectural speculation, often with a dry wit that turns the language of power and ornament into something unstable.
That sensibility first drew wider attention in 2006, when he led Frieze Art Fair attendees on a bus tour of London’s less celebrated postmodern buildings. The same year, he staged “Plaza Minuet” at the Tate Triennial, a choreographed performance involving Baroque-trained dancers. In 2009, Bronstein was the subject of an early solo exhibition at the Metropolitan Museum of Art, where he imagined whimsical pasts and futures for the institution itself.
The representation announcement arrives amid a run of institutional presentations. In 2025, Waddesdon Manor in Buckinghamshire, England, presented “The Temple of Solomon and its Contents,” an installation of imagined designs for the biblical structure. Bronstein is also included in the Chengdu Biennale, on view through August, and a work by the artist remains on view at Tate Britain following the museum’s 2023 collection rehang.
His recent exhibition history underscores the range of his practice: “We Live in Mannerist Times” at the Museum of Fine Arts, Houston, in 2015; “Historical Rhode Island Decor” at the RISD Museum in Providence in 2019; and “Hell in Its Heyday” at London’s Sir John Soane’s Museum in 2021. Together, those projects trace an artist whose work treats history not as a fixed archive, but as a set of forms to be rearranged, exaggerated, and made newly legible.
