Tomás Reyes-Vargas
Bone Geometry
A new body of work tracing the architectures of memory through cast bone and patinated bronze. Reyes-Vargas's second show with the gallery.
"Morales paints the residue of attention — the after-image that lingers when the eye finally rests. These are paintings about returning, about how a stain becomes a language."
In her third solo exhibition with the gallery, Ana Morales (b. 1988, Guadalajara) returns to oil on linen after a two-year hiatus working in pigment-on-paper. The fourteen canvases gathered here were made between Oaxaca and Mexico City over eighteen months.
The works refuse landscape, refuse portrait. What remains is a slow drift of mark and breath — what the artist calls quietudes en mancha: stillness as stain. The gallery has been re-painted in a single warm gray for the run of the show.
A new body of work tracing the architectures of memory through cast bone and patinated bronze. Reyes-Vargas's second show with the gallery.
Báez's first institutional-scale solo: a four-room installation of dyed cotton, embroidered ledgers and a five-channel recording of household silence.
A summer survey of six painters working between Tijuana, CDMX and the Yucatán. Includes new commissions from Aldo Chaparro and Sofía Táboas.
Halley House works closely with a small group of artists at every stage of their practice — from studio visits and production to international fairs and institutional placements.
Halley House participates in seven international fairs per year. Booth visits by appointment — private viewings available 48 hours before each opening.
“Halley House has quietly become the most disciplined eye in CDMX — a gallery that trusts the long game.”
“Few rooms in Latin America make space for slowness the way Roma Norte's Halley House does. Morales's show is its proof.”
“Una galería que parece más editorial que mercado — y por eso, indispensable.”