LISA CORINNE DAVIS
FRAUGHT LINES
Connie Choi
Lisa Corinne Davis does not allow for any easy readings of her paintings. Her works offer instead productive tensions that refuse resolution: crisscrossing lines that vacillate between the geometric and the organic; luminous colors that alternately shout and whisper; rhythmic compositions suddenly interrupted; biomorphic forms that defy containment. There is a sense of familiarity unsettled, where the viewer’s expectations and assumptions about what the works might be are upended upon closer examination. Time becomes a factor as well, with the works unfolding across lengthy or multiple viewings. Davis is deliberate in her decisions, creating paintings that are intentionally fraught and that suggest the textures and resonances of lived experience.1
Davis’s works are not static; movement occurs naturally and repeatedly throughout. Shifting forms dance across the surface of the compositions while illusory depth challenges perception, unsettling viewers. A seemingly straightforward line can never be taken for granted; more often than not such lines are broken off or somehow transformed as they find their way across the canvas. Depth is suggested, then quickly withdrawn, causing a viewer’s eye to stumble across the two-dimensional surfaces of the works. This sense of perpetual motion and fluctuation destabilizes the viewing experience as the paintings continually morph. The titles of these works also reflect this sense of movement, with evocative yet enigmatic phrases such as Fleeting Form (2025) and Illusive Location (2025). Davis’s paintings are conversational and responsive to the world around her. In a world that feels increasingly turbulent, the pulsing, unruly, and wavering passages within these compositions seem to reflect the very real disquiet in society.
1 This text is based on a studio visit with Lisa Corinne Davis on April 22, 2025. The author is grateful to have been given the opportunity to spend time with these paintings while they were in the process of creation.
Davis utilizes a variety of techniques to reflect a sense of unease within her paintings. Nothing is as it might appear at first glance. There is usually just enough of a peculiarity or odd trait to warrant a double-take. While many of her works suggest complex maps with grid-like structures, the geographies that are formed are inconsistent and consciously perplexing. The blue and white squares of Convulsive Calculation (2025) are often not true squares, and they are frequently bisected by flowing lines that belie the seemingly geometric orderliness of the composition. The lattice-like grid of squares in Categorical Contrivance (2025) are just off-kilter enough to throw off any sense of depth perception, aided by the use of complementary pink and green to create an illusion of planes simultaneously emerging and receding in space. Movement in these works is about disorder, about purposely breaking any sense of pattern to call into question the expectation of a known rhythm to the paintings.
Color plays an important role as a destabilizing force within Davis’s works, navigating and imposing turmoil in directed and specific ways. Within a line, color will often move, shifting in tone or changing completely. The result is an abrupt break or rupture even as the line continues. These disruptions are intentionally jarring and force viewers to hesitate and recompose themselves before they continue to let their eyes roam around the work. The colors themselves are not easy. Clashing hues often abut one another and compete for attention, as seen in Fleeting Form . Or there might be an abrupt appearance of a shade not found elsewhere in that section of a work, as in the blue and red shapes in Illusive Location . Davis describes her colors as “muscular,” which one can sense in these paintings. In bold combinations that reverberate across the canvases, they suggest movement and presence. The colors additionally have form and take up space as equals to the lines and shapes in the compositions.
The “muscular” aspect of the artist’s color choices has resonance with the way her paintings come to life. Davis has articulated that she feels she has to wrestle with her works until they resolve themselves. The process can take weeks or even months. She works through each stage of their composition, looking and looking again, contemplating and shifting ideas as the paintings take shape. There is, therefore, a physicality to their creation that suggests the paintings, perhaps as much as the society they embody, do not come easily. In each work, there are moments when this clash is clearly visible,
when order and chaos, certainty and uncertainty come together in sometimes harsh or subdued or unpredictable ways. As a result, the works hold many possibilities, evoking a kind of openness even as the conversations they encourage are complex. This sense of struggle becomes a part of the works themselves, a message about the labor and hurdles involved in their creation, and the eventual rewards found in their completion.
The resolution seen in these paintings is not about a cut-and-dried answer, but rather the reality of holding multiple truths at once. The works are both constructed and ephemeral, both geometric and organic. The seemingly rigid lines in Notional Adage (2025) unsuccessfully attempt to contain a riot of largely rectangular forms, while a mostly pink line weaves and bobs between, around, and through the shapes. What might begin as a standard grid dissolves and re-forms into a web, as seen in Volatile Precept (2025). Every painting contains edges and lines that are both soft and hard, reminding the viewer that this balance can be found elsewhere in life, while at the same time rejecting a straightforward interpretation. Scale, too, plays a role; the paintings are just large enough to envelop viewers and transport them to a space of contemplation while keeping them aware of the boundaries of the canvases.
Meanwhile, the surfaces of Davis’s paintings also suggest a kind of rhythmic spontaneity that evokes music. In Convulsive Calculation , the lines undulating across the canvas are almost staff-like, while the shapes that rest on them become notes or clefs. The lines in Fleeting Form , on the other hand, are like vibrating sound waves, with their density and thickness implying sound at a frenzied tenor. Here, one can imagine the clangor of thunder with its reverberating echoes. These lines are similar to the syncopated cadence found in the squares of Categorical Contrivance. Their variety of color combinations and progression of magnitude mimic the call and response of certain musical styles. The aural references in the works are another destabilizing force, undermining any direct readings of the paintings and introducing the element of sound to the two-dimensional compositions.
The limited and precise use of organic forms offers another way of disturbing the viewer’s presumptions about and understandings of these works. Amorphous shapes can be found throughout,
but they have a major presence in several paintings, such as Volatile Precept and Notional Adage. Stretched to the edges of the canvas, the shapes seem to push against the constraints of the planar surface, with the form in Notional Adage even appearing to have possibly found its way beyond. These biomorphic forms are in deliberate contrast to the grids found within them, which further call attention to the contrast between the organic and the geometric. This juxtaposition also serves to underscore the tension between the ephemeral and the immutable; the corporal and the built; and, by extension, the human body and societal constructs. In paintings such as Volatile Precept and Notional Adage then, which are bound by and are within the limitations of the existing environment, the organic bodily form remains fluid and open to possibilities.
With the plethora of images and visual material that inundates the public on a daily basis, viewers may be tempted to view Davis’s works casually. Her paintings are deceiving, however. They defy categorization. They are not completely abstract, nor are they at all representational; they are at once structured and gestural. Thus, a passing glance often turns into a lingering take as elements of the work hook the viewer in. The paintings are meant to be discomforting, so that the viewer spends time discovering their quirks and their intentional inconsistencies. Davis is not interested in a neatly packaged product. Instead, her works offer open-ended conversations that embrace a multiplicity of narratives and interpretations.
Her paintings hold many dichotomies, but Davis remains true to a core set of principles that drive her painting practice. She follows a both/and philosophy, which rejects a binary way of thinking and assumes that multiple elements can be correct at the same time. Her works are several things at once, reflecting the realities of lived experiences where truth is often found lodged among many divisive voices. Davis works through these competing forms, grappling with their presence until her compositions arrive at a resolution that honors them all. Her paintings demand time since their resonances become clearer with multiple and prolonged viewings. Luminous color, destabilizing compositions, and engulfing scale all come together in paintings that speak of movement and portals to gaining understanding of the world around us—and to further questioning it.
Connie Choi is the curator at The Studio Museum in Harlem, New York.
Categorical Contrivance, 2025
178 x 140 cm
Oil on canvas
70 x 55 inches
Convulsive Calculation, 2025
72 x 100 inches
183 x 254 cm
Oil on canvas
Dogmatic Deceit, 2025
Oil on canvas
80 x 60 inches
203 x 152 cm
80 x 60 inches
203 x 152 cm
Fleeting Form, 2025
Acrylic and oil on canvas
Illusive Location, 2025
80 x 60 inches
203 x 152 cm
Oil on canvas
229
Notional Adage, 2025
Oil on canvas
90 x 65 inches
x 165 cm
80 x 60 inches
203 x 152 cm
Temporal Terrain, 2025
Oil on canvas
Transient Reticulation, 2025
80 x 60 inches
203 x 152 cm
Oil on canvas
70 x 55 inches
178 x 140 cm
Volatile Precept, 2025
Oil on canvas
LISA CORINNE DAVIS
Born in 1958 in Baltimore, MD
Lives and works in Brooklyn, NY and Hudson, NY
EDUCATION
1983
MFA, Hunter College, New York, NY
1980
BFA, Pratt Institute, Brooklyn, New York, NY
1978
Cornell University, Ithaca, NY
SOLO EXHIBITIONS
2025
“Syllogism,” Miles McEnery Gallery, New York, NY
“Adjustments,” Pamela Salisbury Gallery, Hudson, NY
2024
Weber Fine Art, Greenwich, CT
2023
“You Are Here?,” Miles McEnery Gallery, New York, NY
“Convulsive Calculations,” Pamela Salisbury Gallery, Hudson, NY
2020
“All Shook Up,” Pamela Salisbury Gallery, Hudson, NY
2018
“Capricious Calculations,” Spanierman Modern, Miami, FL
“Turbulent Terrain,” Esther Massry Gallery, The College of Saint Rose, Albany, NY
2017
“No THERE there...,” Zolla/Lieberman Gallery, Chicago, IL
Galerie Gris, Hudson, NY
“Location...location...,” Farmer Family Gallery, The Ohio State University at Lima, Lima, OH
2015
“New Paintings,” Gerald Peters Gallery, New York, NY
2014
Galerie Gris, Hudson, NY
2012
Peter Marcelle Gallery, Bridgehampton, NY
2011
“Abstract Infidelities,” Spanierman Modern, New York, NY
2010
“Bona Fide Disorder,” Lesley Heller Workspace, New York, NY
2007
“Facts & Fiction,” June Kelly Gallery, New York, NY
2005
“person, place or thing?,” June Kelly Gallery, New York, NY
2002
”New Work,” June Kelly Gallery, New York, NY
2001
“Index,” Lehman College Art Gallery, Bronx, NY
2000
“Ontologies,” June Kelly Gallery, New York, NY
1998
“Chartings,” June Kelly Gallery, New York, NY
“Indirection,” Aljira: A Center for Contemporary Art, Newark, NJ
1997
“Essential Traits,” Longwood Gallery, Bronx Council on the Arts, Bronx, NY
1994
Dell Pryor Galleries, Detroit, MI
“Transparent Brown,” Halsey Gallery, School of the Arts, College of Charleston, Charleston, SC
“Layered,” Municipal Gallery, Atlanta, GA
1993
Second Street Gallery, Charlottesville, VA
“Mixed Media,” Print Club, Philadelphia, PA
GROUP EXHIBITIONS
2025
“System and Sequence: Pattern and Ornament in Contemporary Art,” Oakland University Art Gallery, Rochester, MI
“Intersections & Diversions,” Strohl Art Center, Chautauqua Institution, Chautauqua, NY
“Between the Lines,” Markel Fine Arts, New York, NY
“Beauty is a Blast: For Jeremy Gilbert-Rolfe” (curated by Christian Haub), Art Cake, New York, NY
“Winter Garden,” RUTHANN, Catskill, NY
“La Banda 2025,” Tappeto Volante Projects, Brooklyn, NY
“Winter Group Exhibition,” Weber Fine Art, Greenwich, CT
2024
“All Bangers, All The Time: 25th Anniversary Exhibition,”
Miles McEnery Gallery, New York, NY
“ALL small,” Pamela Salisbury, Hudson, NY
“On Drawing,” Orwell’s Garden, Brooklyn, NY
“The Brooklyn Artists Exhibition,” Brooklyn Museum, Brooklyn, NY
“191st Annual: Academy Style,” National Academy of Design, New York, NY
“Right is Right,” Jenkins Johnson Gallery, San Francisco, CA
“SYNCOPATION,” GTownArts, Georgetown, CT
“Century: 100 Years of Black Art at MAM,” Montclair Art Museum, Montclair, NJ
2023
“Cyclical Bloom,” Jenkins Johnson Gallery, San Francisco, CA
“Two Years and Change,” Olympia, New York, NY
“Come A Little Closer,” DC Moore Gallery, New York, NY
“Given Time,” Milton Resnick and Pat Passlof Foundation, New York, NY
2022
“American Visions II: The Art of Collecting,” Brown and Juanita C. Ford Art Gallery, Wayne County Community College District, Detroit, MI
“Between States,” M. David & Co., Brooklyn, NY
“Summer Drift,” Miles McEnery Gallery, New York, NY
“DUAL: Lisa Corinne Davis & Shirley Kaneda,” New York Studio School, New York, NY
2021
“Exuberance: Dialogues in African American Abstract Painting,” Duke Hall Gallery of Fine Art, James Madison University, Harrisonburg, VA
“Un-Representation: Sanford Biggers, Lisa Corinne Davis, Jack Whitten,” The Frances Young Tang Teaching Museum, Saratoga Springs, NY
“Point of Departure: Abstractions 1958–Present,” Sheldon Museum of Art, Lincoln, NE
“I Dream in Black & White,” Olympia Gallery, New York, NY
“What’s It All About,” Jenkins Johnson Projects, Brooklyn, NY
“Multilayer Vision 20/20,” Schloss Plüschow, Upahl, Germany
“The Burning Kite,” Geary Contemporary, Millerton, NY
“Seeing Past the Future,” Pollock-Krasner House and Study Center, Artland (digital exhibition)
“Genius Stable” (curated by Jane Fine), Store-For-Rent Gallery, Brooklyn, NY
“Hope For Bluer Skies,” The Mayor Gallery, London, United Kingdom
“Year of the Unicorn,” Store-For-Rent Gallery, Brooklyn, NY
2020
“Art for Your Collection,” The Catherine Fosnot Art Gallery and Center, New London, CT
“A Place To Visit, vol.2,” Jip Gallery, New York, NY
“The Pursuit of Aesthetics: Artwork Created During Quarantine,” Morgan Lehman Gallery, New York, NY
“African American Abstraction: Frank Bowling, Lisa Corinne Davis, Felrath Hines and Sam Middleton,” Spanierman Modern, Miami, FL
2019
“The Metaphysics of Abstraction III,” The University of Hawaii at Hilo Campus Center Gallery, Hilo, HI
“At The Core Club: New Members of The National Academy of Design,” The Core Club, New York, NY
“Dance With Me” (curated by Kyle Staver), Zurcher Gallery, New York, NY
2018
“Turbulence,” Sylvia Wald and Po Kim Gallery, New York, NY
“Known: Unknown,” New York Studio School, New York, NY
“Modes of Mapping,” Shirley Fiterman Art Center, New York, NY
“Lisa Corinne Davis, Sam Middleton, Norman Lewis, Herb Gentry,” Featherstone Art Center, Martha’s Vineyard, MA
“Benders,” Real Estate Fine Art, Brooklyn, NY
“MacDowell Now: Recent Abstract Painting,” Curator Gallery, New York, NY
“Mixed Bag,” Real Estate Fine Art, Brooklyn, NY
“The Nature Lab,” LABspace, Hillsdale, NY
2017
“Lack of Location is My Location,” Koenig & Clinton, Brooklyn, NY
“Solace...” (artist organized pop-up exhibition), New York, NY
“Text/ure,” The Shirley Fiterman Art Gallery, Borough of Manhattan Community College, New York, NY
“Holding it Together,” 68 Jay Street, Brooklyn, NY
“Taconic North,” LABspace, Hillsdale, NY
“The Bedroom,” Joyce Goldstein Gallery, Chatham NY
2016
“Alternative Dimension: Lisa Corinne Davis, Maureen Hoon,” Project: ARTspace, New York, NY
“Seeking Space: Making The Future” (curated by Julie Torres), David&Schweitzer Contemporary, Brooklyn, NY
“On the Waterfront” (pop-up exhibition), Brooklyn, NY
2015
“NEW NEW YORK: Abstract Painting in the 21st Century,” University of Hawaii at Manoa Art Gallery, Honolulu, HI
“Beyond Boundaries,” Flinn Gallery, Greenwich, CT
“Keep Out,” Lesley Heller Workspace, New York, NY
2014
“Soccer Mom,” Lehman College Art Department, Bronx, NY
“Awkward Phase” (pop-up group show), Brooklyn, NY
“Nation II At the Alamo,” Sideshow Gallery, Brooklyn, NY
2013
“Terra Incognita,” Storefront Bushwick, Brooklyn, NY
“The Nature of Women: An Exhibition of 6 Women Artists,”
The Mayor Gallery, London, United Kingdom
Lehman College Art Gallery, Bronx, NY
“Decisiveness,” RuSalon (hosted by helper), Brooklyn, NY
“Contemporary Cartographies,” Lehman College Art Gallery, Bronx, NY
2012
“Anywhere But Here,” Pelham Arts Center, Pelham, NY
“Two River,” One River Art Center, Englewood, NJ
2011
“Driven to Abstraction,” Von Lintel Gallery, New York, NY
“Time and Again,” McCormick Gallery, Chicago, IL
“Paper Jam,” Neuberger Museum of Art, Purchase, NY
2010
“When I Come Around: The Artists Around Me,” Apartment Show, Brooklyn, NY
“Group Show,” Craven Gallery, Martha’s Vineyard, MA
2009
“Eye/World” (curated by Emily Cheng and Michelle Loh), Triple Candie, New York, NY
“The Black and White Show” (curated by AMP Tracks), Collective Hardware, New York, NY
“Gallery Selections,” Spanierman Modern, New York, NY
“Lisa Corinne Davis, Edward Evans & Pinkney Herbert,” Allen Projects, New York, NY
“The Faculty Show,” Hunter College, Times Square Gallery, New York, NY
2007
“Art of Collecting,” Flint Institute of Arts, Flint, MI
“Invitational Exhibition of Painting and Sculpture,”
American Academy of Arts and Letters, New York, NY
“Five Contemporary Voices,” Delta Arts Center, Winston-Salem, NC
“Universe of Art,” Credit Suisse First Boston, New York, NY
“Rhythm of Structure: The Mathematical Aesthetic,” Wilbur
Jennings Gallery, New York, NY
“Glasgow School of Art/Hunter College Art Department, Works on Paper by Painting Faculty,” The Bertha and Karl Leubsdorf Art Gallery, Hunter College, New York, NY
2003
“Works on Paper: Variations and Themes” (curated by Linda Gottesfeld), Pace University Gallery, Pleasantville, NY
“High and Inside” (curated by Maurice Tuchman),
Marlborough Gallery, New York, NY
“On The Record,” Skylight Gallery, Brooklyn, NY
2001
“Paper Remix: Dieu Donné Workspace Program: 19952000” (curated by Edwin Ramoran), New York, NY
“Buying Time,” New York Foundation for the Arts, Sotheby’s Galleries, New York, NY
2000
“Book Art 12: Artist’s Books from the Library & Research Center,” National Museum of Women in the Arts, Washington, D.C.
1999
“Waxing Poetic: Encaustic Art in America,” The Montclair Art Museum, Montclair, NJ; traveled to the Knoxville Museum of Art, Knoxville, TN
1998
“Black New York Artists of the 20th Century: Selections from the Schomburg Center Collection,” Schomburg Center for Research in Black Culture, New York, NY
1997
“Generations: A.I.R. 25th Anniversary,” A.I.R. Gallery, New York, NY
1996
“Artist in the Marketplace Benefit Exhibition,” Bronx Museum of the Arts, Bronx, NY
“Prints,” Dell Pryor Galleries, Detroit, MI
“Allegory and Identity,” Visceglia Art Center, Caldwell University, Caldwell, NJ
“With All Deliberate Speed: Revisiting Race and Education,” Aljira: A Center for Contemporary Art, Newark, NJ
1995
Dieu Donné Papermill, Brooklyn, NY
1994
“Resisting Categories, Finding Common Ground,” City Without Walls, Newark, NJ
Gallery Annext, New York, NY
“Identity and Culture, African-American Heritage Exhibition,” Barrett House Galleries, Poughkeepsie, NY
1993
“Artist’s Books” (curated by Tom Butter), Butters Gallery, Portland, OR
“AIM Artists” (curated by Lydia Yee and Marisol Nieves), Bronx Museum of The Arts, Bronx, NY
“Child’s Play” (curated by Holly Block), Art In General, New York, NY
“Nancy Bowen, Rosann Berry, and Lisa Corinne Davis” (curated by Rosann Berry), Organization of Independent Artists, New York, NY
“Emerging Artists” (curated by Corinne Jennings), Kenkeleba Gallery, New York, NY
Granary Books, New York, NY
1992
“Utopia/Distopia” (curated by Kathleen Edwards), Print Club, Philadelphia, PA
Pyramid Atlantic Workshop, Washington, D.C.
Okeanos Gallery, Berkeley, CA
1991
Artist’s Space, New York, NY
1990
Artist’s Space, New York, NY
AWARDS
2024
Painting Fellowship, New York Foundation for the Arts/ New York State Council on the Arts, New York, NY
2022
Fine Arts Fellowship, John Simon Guggenheim Foundation, New York, NY
2021
Arts and Letters Award in Art, American Academy of Arts and Letters, New York, NY
2020
Grant Recipient, Pollock-Krasner Foundation, New York, NY
2019
Nominee, Anonymous Was A Woman Award, New York, NY
2018
Painting Fellowship, New York Foundation for the Arts, New York, NY
Nominee, Joan Mitchell Foundation Grant, New York, NY
2017
National Academician, National Academy of Design, New York, NY
Presidential Travel Grant, Hunter College, New York, NY
2013
Nominee, Anonymous Was A Woman Award, New York, NY
2006
Invitational Exhibition of Painting and Sculpture, American Academy of Arts and Letters, New York, NY
2001
Biennial Competition Award Winners, The Louis Comfort Tiffany Foundation, New York, NY
Artist in the Marketplace, The Bronx Museum of the Arts, Bronx, NY
2000
Artist Fellowship in Painting, New York Foundation for the Arts, New York, NY
Master Printer Residency, Printmaking Council of New Jersey, Branchburg, NJ
1999 - 1994
Board Member, Art in General, New York, NY
1997
Fellowship in Works on Paper, New York Foundation for The Arts, New York, NY
Workspace Program, Dieu Donné Papermill, Brooklyn, NY
1996
Project Room, Bronx Council on the Arts, Bronx, NY
1995 - 1996
Visual Artist Fellowship, National Endowment for the Arts, Washington, D.C.
1994 - 1999
Board Member, Art in General, New York, NY
1994 - 1996
The College Council, Parsons School of Design, New York, NY
1993 - 1994
Advisory Committee for Exhibitions, Art in General, New York, NY
1993
Faculty Development Grant, Parsons School of Design, New York, NY
1992
Regional Fellowship, Mid Atlantic Arts Foundation, Baltimore, MD
RESIDENCIES
2025
Residency, Corporation of Yaddo, Saratoga Springs, NY
2024
Residency, BAU Institute, Cassis, France
Visiting Artist, Anderson Ranch, Snowmass Village, CO
Residency, Sea Breeze Artist Residency, Block Island, RI
2023
Residency, Anderson Ranch, Snowmass Village, CO
2019
Museum of Fine Arts, Houston Brown Foundation Fellowship, Dora Maar House, Ménerbes, France
2017 Fellowship, MacDowell, Peterborough, NH
2016
Summer Residency Award, Siena Arts Institute, Siena, Italy
Residency, Corporation of Yaddo, Saratoga Springs, NY
2011
Museum of Fine Arts, Houston Brown Foundation Fellowship, Dora Maar House, Ménerbes, France
2010
Residency, Corporation of Yaddo, Saratoga Springs, NY
Residency, The Pollock-Krasner Foundation, New York, NY
2003
Residency, Corporation of Yaddo, Saratoga Springs, NY
SELECT COLLECTIONS
Achenbach Foundation for Graphic Arts, Fine Arts
Museums of San Francisco, San Francisco, CA
Atlanta College of Art, Atlanta, GA
Beinecke Collection, Yale University, New Haven, CT
Goldman Sachs, New York, NY
Harvard University, Cambridge, MA
J. Paul Getty Museum, Los Angeles, CA
JPMorgan Chase Art Collection, New York, NY
Mills College, Oakland, CA
Montclair Art Museum, Montclair, NJ
Museum of Modern Art, New York,
NAACP Legal Defense and Educational Fund, New York, NY
National Museum of African American History and Culture, Washington, D.C.
National Museum of Women in the Arts, Washington, D.C.
New York Public Library, New York, NY
Philadelphia Museum, Philadelphia, PA
Rose Art Museum, Brandeis University, Waltham, MA
Schomburg Center for Research in Black Culture, New York, NY
School of the Art Institute of Chicago, Chicago, IL
Sheldon Museum of Art, Lincoln, NE
Stanford University, Stanford, CA
Time Warner, New York, NY
University of Alberta, Edmonton, Alberta, Canada
University of California, Los Angeles, Los Angeles, CA
University of Chicago, Chicago, IL
University of Colorado at Boulder, Boulder, CO
University of Miami, Miami, FL
University of Rhode Island, South Kingston, RI
U.S. Embassy, Lomé, Togo
U.S. Embassy, Yaoundé, Cameroon
Victoria and Albert Museum, London, United Kingdom
Visa Corporation, San Francisco, CA
Published on the occasion of the exhibition
LISA CORINNE DAVIS SYLLOGISM
4 September – 25 October 2025
Miles McEnery Gallery
525 West 22nd Street
New York NY 10011
tel +1 212 445 0051 www.milesmcenery.com
Publication © 2025 Miles McEnery Gallery
All rights reserved
Essay © 2025 Connie Choi
Associate Director
Julia Schlank, New York, NY
Photography by Christopher Burke Studios, New York, NY
JSP Art Photography
Catalogue layout by Allison Leung
ISBN: 979-8-3507-5349-3
Cover: Fleeting Form, (detail), 2025
