We're happy to announce that our beloved Artist Programs Director, Romina Schulz (aka Romina Chuls), is opening her first solo show in New York City this September.
Romina participated in the A.I.R. Gallery Fellowship Program for Emerging and Underrepresented Women and Non-Binary Artists, a year-long program that culminates in a solo exhibition.
La Cosecha (The Harvest) will be on view from September 5th until October 4th, with an opening reception on September 9th, 6pm - 8pm. We are delighted to celebrate this significant milestone in Romina’s artistic practice and hope you won't miss the opportunity to see this exhibition. All Invited!
La Cosecha
at A.I.R. Gallery: 155 Plymouth St, Brooklyn, NY 11201
on view: Sept 5 - Oct 4, 2026
Opening reception: Wednesday, September 9 from 6–8pm
Gallery hours: Wed-Sun 12- 6pm
"A pre-Hispanic funerary cloak poses an unanswered question. A hand holding an unidentified plant, three figures characterized as women, repeated supernatural faces, a multi-species crowd sticking out their tongues, and bean-like shapes are among the imagery that remain a mystery to this day. La Cosecha is a playful interpretation of the iconography of a Nasca textile dated 100-300 C.E., found in the Peruvian coastal desert and currently located in the collection of the Brooklyn Museum. The textile portrays Nasca agriculture; a knitted procession celebrating the harvest decorates its border. Resembling a placenta, the Nasca mantle was found wrapped around a corpse placed in fetal position, perhaps impregnated with the seeds for future plants. It’s an ode to fertility, to the interconnection of birth and death.
Utilizing material languages and allegory, Chuls reconsiders and repositions the industrial and procedural elements of reproductive care, combining allusions to medical technologies with forms inspired by the Nasca mantle. Knitted pieces such as Eucaristía (2025) or Las tres Marías (2026) invoke the textile’s opaque presence, while evoking Chuls’ own ceramic embryo-like shapes through black-thread details. Aluminum details resemble needles. Elongated hands become tools for midwifery, conjuring the caring touch of past and present doulas, mediators of the communion between life and death. Vases, ceramic appendages, knitted petals, and latex hoses stained with iron oxide intertwine to form a network of shared gestation.
In La Cosecha, Chuls knits a tale of a cycle of reproduction, punctuated by grief and pleasure. The work unfolds as a queer, feminist landscape, nourished by the mantle’s multi-species characters and the bond between an aborted embryo and a blooming flower. Gestation becomes a process that may begin, shift, and end multiple times. In this world, abortion does not mean no to life. It means yes to other life forms, other timings, other expressions. The body that aborts does not exist in isolation. It is a node in an ecosystemic dance." (Romina Chuls)