Exhibitions —

april april is pleased to present Horizon Synonym, a group exhibition with Peggy Ahwesh, Mo Costello, Renée Green, Margaret Honda, and Lai Yu Tong.

Horizons are blanks. Synonyms reflect their sources. Horizon Synonym pictures the world as an infinite, essential circuit. The works gathered here insist on memory as generative and betweenness as sacred. How the suspension of death is held in time’s uneasy matrix. How pictures profess an eternal function.

Two large, archival boxes lay open in the gallery’s flanking bay windows. In each, colored polyester gels are loosely stacked, bearing evidence of Margaret Honda’s prior use, and are here held down by a single film canister. Both titled Retired Work, one from 2016-2017 and the other 2021-2023, the boxes hold Honda’s extant material from past presentations of Film, a recurring body of work wherein she sequences Rosco and Lee lighting gels across windows such that, with sunlight and a viewer’s movement, a cinema unfolds.

Words and color reconstitute each other in a couplet of silkscreens from Renée Green’s series Space Poem #2 (Laura’s Words) (2020). Text and image vis a vis border, field, and ground. Green refigures fragments of Laura Riding Jackson’s 1938 poem There is No Land Yet with two lines of verse: Lonely and absolute salvation – / Boasting of constancy. The source text from which these prints emerge contends with the broken promise of language. Mysterious distances between speech and feeling are bridged chromatically; the effect of words designed recenters the text within the body.

Peggy Ahwesh’s the (We) Fallen (2026) debuts as a three-channel stack of CRTs, each channel echoing out of sync the same animated loop. Everyday figures in various American retail environments—purchasing cellophane wrapped strawberries, semi-automatic weapons, liquor, watches—become subject to hostile interaction and shooting scenarios. Deluging color blocks and images of the world orbiting commerce punctuate longer narrative cycles of people browsing. Symbols of both surveillance and freedom flicker amidst a din of terror.

Mo Costello’s gelatin silver print Untitled (100 Broad) (2025) documents an informal memorial outside of Murmur, a now closed artist-run space in South Downtown Atlanta. Candles, a book, Ciroc, and a plush heart reading ‘Love’ rest at the foot of a large tree that, in the years since this picture was taken, has grown over. For Costello, provisional forms of memorial, mourning, and gathering persist outside of the perceived legibility of regulation and development.

On the gallery floor, nineteen blocks of pine compose a dog on its side. In the dining room, works on paper render three other dogs, faint in their shadows. Lai Yu Tong observed stray dogs around his neighborhood in Singapore over the past year, riding his bike through their laneway environments at dusk, and cycling away when chased. Mutual fear led to curiosity, and curiosity to revelation: first in photographs and memory, and then in drawing, both of the dogs and of the night they inhabit.

Peggy Ahwesh (b. 1954 in Cannonsburg, PA) lives and works in Brooklyn NY. She received her B.F.A. from Antioch College. Her work has been widely shown at the Solomon R. Guggenheim Museum, New York; Yerba Buena Center for the Arts, San Francisco; the Balie Theater, Amsterdam; the Filmmuseum, Frankfurt; the Rotterdam International Film Festival, Rotterdam; Museu d'Art Contemporani Barcelona (MACBA), Barcelona; the Wexner Center for the Arts, Columbus, Ohio; the Whitney Museum of American Art, New York; The Museum of Modern Art, New York; Microscope Gallery, New York and Anat Ebgi, Los Angeles, among other venues. Her numerous awards include an Alpert Award in the Arts, a John Simon Guggenheim Memorial Foundation Fellowship, and grants from the Jerome Foundation, Creative Capital, and the New York State Council on the Arts. She teaches at Bard College, Annandale-onHudson, New York.

Mo Costello (b. 1989 in Seattle, WA) lives and works in Athens, GA. Solo and two-person exhibitions include Atlanta Center for Photography, Atlanta, GA (2025); Howard's, Athens, GA (2019); and april april (with Nabil Azab) in Brooklyn, NY (2021). Recent residencies include Skowhegan School of Painting and Sculpture, Bemis Center for Contemporary Arts and Denniston Hill. Alongside co-curator Katz Tepper, Costello recently opened the exhibition Beverly’s Athens at the Athenaeum at the University of Georgia, Athens, GA, for which they received Teiger Foundation grant. Costello is currently included in the Whitney Biennial 2026, and will be in residence at Wysing Arts Centre in Cambridge, UK later this spring.

Renée Green (b. 1959 in Cleveland, OH; lives in Somerville, MA, and New York, NY) is an artist, writer, and filmmaker known for her highly layered and formally complex multimedia installations in which ideas, perception, and experience are examined from myriad perspectives. Via films, essays and writings, installations, digital media, architecture, soundrelated works, film series, and events, her work engages with investigations into circuits of relation and exchange over time, the gaps and shifts in what survives in public and private memories as well as what has been imagined and invented. Green’s exhibitions, videos and films have been seen throughout the world in museums and art institutions. In the last decade, her work has been featured in solo or group exhibitions at Dia Art Foundation, Beacon; moCa Cleveland; Migros Museum für Gegenwartskunst, Zurich; KW Institute for Contemporary Art and daadgalerie, Berlin; Carpenter Center for Visual Arts at Harvard University, Cambridge, Mass.; MAK Center for Art + Architecture at the Schindler House, West Hollywood; the Museum of Modern Art, the Whitney Museum of American Art and the New Museum, all in New York.

Margaret Honda (b. 1961, San Diego; lives and works in Los Angeles) has developed a sculptural practice in which the historicity of objects, autobiography and process function as working materials since the late 1980s. The basic premise of rearranging things—scale, concepts, functions—and a reconsideration of production methods and their protocols undergirds all her work regardless of the medium she deploys. Sculpture, film and drawing are media through which she examines the material basis of her output and interrogates the processes by which objects are made, presented and seen. Margaret Honda's selected solo exhibitions include Galerie Molitor (2024), Art Institute of Chicago (2023), Carnegie Museum of Art (2019), KW Institute for Contemporary Art, Berlin (2017), and Künstlerhaus Bremen (2016). Her films have screened at festivals and museums including the Centre Pompidou, Paris Cinémathèque Française, Paris, Harvard Film Archive, Courtisane Festival, REDCAT Los Angeles, and Berlin International Film Festival. Margaret Honda is a 2022 Guggenheim Fellow. Her work is held in numerous public collections including Art Institute of Chicago, Carnegie Museum of Art, Centre national des arts plastiques, and FRAC Lorraine.

Lai Yu Tong (b. 1996 in Singapore) is an artist from Singapore who works across drawing, image-making, sculpture and sound. His practice is interested in creating adequate media to articulate the present, believing in the intrinsic need for humans to make images and tell stories. Recent works of his consider how art can evoke empathy in a world so damaged. Lai has presented his work at group exhibitions in Singapore and abroad, most recently at Radio28 (MX), Plague Space (RUS) and Barely Art Fair (US); and held solo exhibitions in Singapore at ShanghART (2025), Temporary Unit (2022), The Substation (2021), Comma Space (2020), and DECK (2019). Besides his art, Lai regularly publishes books under Thumb Books, a self-founded press that makes children’s books for both children and adults. His recent curatorial projects include Frida, an exhibition platform by his kitchen window; and Robin, a series of group exhibitions held in camping tents around Singapore.