“It is definitely at the heart of what I learn when I ask whom I touch when I touch a dog. I learn something about how to inherit in the flesh. Woof . .."- Donna Haraway, When Species Meet

A weird dog show featuring Natalie Wadlington, Raven Moffett, Brittany Kieler, Eva Sturm-Gross, Ella Rose Flood, Noelle Choy, Cameron Cameron

“Birthmarks” features recent work by the St. Paul-based painter Kristen Sanders and the Chicago-based sculptor David Sprecher. Both Sanders and Sprecher explore mark-making as the trace of a negotiation between a living being and its environment

In Anika Steppe’s photo-based work, representations and reflections lie on top of one another, emphasizing the interrelatedness of images as a way of addressing our shifting relationship to the world around us. For her site-specific installation at stop-gap projects, “Between the phone and the window,” Steppe has created printed curtains that act as both screen and mirror. Combining Google Street View photos of the buildings across from the gallery with photographs Steppe took through the window of her Chicago studio, the curtains’ patterns are at once familiar and distorted. Intended to be viewed through the gallery windows and from the sidewalk, Steppe’s installation considers how photography itself might be like a window: a view into a space that simultaneously reflects what is outside. This meeting of inside and outside is mediated by technology as well as individual history, social connections, and political forces.

The heel is a body part, but it lends its name to a command, a performative role, a building feature, and a piece of food. The heel is figural: both a figure of speech and an evocation of the human figure. It therefore serves well as the title of Coco Klockner’s solo exhibition at stop-gap projects, which takes such figuration as its artistic approach. Through sculptures and interventions in the architecture of the gallery, the body becomes like a building, or a building like a body. Both are governed by codes, intended for uses that may or may not pan out; both go through periods of care and neglect, stasis and renovation, and are ultimately destined to decay.

In conjunction with the 2024 T/F Film Festival, stop-gap projects presents The Hollow of Your Throat, a solo exhibition by artist and writer Luisebastián Sanabria. This poetic show will feature video and text-based works by the Colombian artist, and will be on view during the T/F Festival as well as the month of March.

a new puppet work by Johanna Winters & Elizabeth Braaten Palmieri.Presented by Greenhouse Theater Project in partnership with stop-gap projects Two nights only! Dec 16 + 17 at 8pm at COMO Rocks Climbing Gym

A group show in conjunction with the Columbia Experimental Music Festival. Featuring Annie Hayes, Nick Hobbs, josh graupera, Alissa Ohashi, SK Reed, Kayla Rumpp, Boryana Rusenova-Ina,

Longtime friends, Katie Batten and Eleanor Conover’s distinct painting languages overlap and illuminate each other. For Conover and Batten painting is a way to navigate the natural world. But the path is not intended to be clear: they combine imagery and materials, representation and abstraction, haze over and obscure. If these are landscapes at all, they are psychic ones—built somewhere between memory and premonition. It is why, after looking at their paintings for a long time, it is still possible to grapple with seemingly simple questions: Where is the edge? Is it bright or dark? Are we close or far? The tides change; the light is always shifting.

“Soon After” is a solo exhibition featuring recent works by Lawrence-based artist Yoonmi Nam. On view will be a selection of Sumi ink & cut Tyvek paintings and a new installation of ceramic ceremonial bowls containing Sumi ink. Nam celebrates the discarded (& ephemeral) through accumulation and material transformation. Her work considers time as both fleeting and eternal.

In the kind of homes in which braids are a regular hairstyle, it is common to select a bead color complementary to a child’s wardrobe. They afford a little body a quiet kind of confidence, as it is, at the very least, an indicator a child has a kitchen-beautician at home who stole enough time to not only braid in zigzags or straight-backs or curves or singles, but further ornament the style with a complementary pink or yellow or green or clear or purple bead. To adorn, in this case, is to love.

“Little miss mary mack you make my heart go young Venus Williams (1994)” features large-scale, text-based tapestries by akeylah imani wellington. Using thousands of colorful pony beads, Wellington poetically weaves together material, verse, and memory. The exhibition will take place in the windows of the gallery and is all be on view from the outside July-August.

Tracing a Border (Dissolved with the Sun) presents an installation of cyanotypes on silk by New York–based artist Haley Darya Parsa. On view will be a selection from the artist’s ongoing series, depicting the fence gates surrounding her house in New York and her family’s yard in Texas. The exhibition will take place in the windows of the gallery and is all be on view from the outside June-July

“A Line in the Sand” is a project that explores ways of seeing and being seen. Using photography, 3D printed tapestries, laser engraved mirrors, and LED panels, Drew Nikonowicz navigates the dissonance of an identity.

A performance and exhibition in partnership with True/False Film Festival

A group exhibition about THINGS, featuring the work of Perla Segovia, Kenni Dankert, Bella Varela, Marta Lee, Anna Brody, and Leah Netsky. Curated by Kenzie Wells.

La Onda is dynamic series of exhibitions organized by Kansas City artists and curators Cesar Lopez and Kiki Serna focused on Latine/x heritage in the region. The group show at stop-gap projects in Columbia, MO is the 11th iteration of this traveling exhibition and will feature artists Abraham Diaz, Marina Cano, Frank Vega, Cesar Lopez, and S. Alvarez.

In “We Are So Nervous We Almost Look Calm,” Weissberger combines elements of collage, sculpture, and photography to stitch together an altered understanding of space, time, and body.

In Morgan Rose Free’s sculptural installation, “The Forest Through The Trees,” relics of the forest and fragments of the household converge. Flames and foliage of the forest are flattened into walls of studs and framework, questioning where interior ends and exterior begins. The structure is simultaneously partition and portal.

MdW Assembly will bring together artist-led projects from across the region for a three-day alternative (to an) art fair September9th-11th, 2022 at MANA Contemporary in Chicago. stop-gap projects will present work by Dorian Dean (Iowa City, IA) and Flatpack Publications (Columbia, MO).

“Fly in Any Weather” is an exhibition of new mixed-media paintings by Louisiana-based artist Vitus Shell. Shell’s powerful, life-size portraits “deconstruct, sample, and remix identity, civil rights, and contemporary Black culture” as a way of centering both the Black experience and a Black audience.

“Wherever Forever” presents multi-media work by artists Angela Zonunpari and Amy Jarding. The exhibition features weavings, quilts, and constructions that serve as ruminations on patience and practice. Both Zonunpari and Jarding welcome adaptation, exploration, and interaction while simultaneously focusing on routine and intention. Curated by Bethanie Irons

In this two-person exhibition and conversation between artists Azadeh Gholizadeh and Nazafarin Lotfi, both artists use landscape as a view-finder that allows for the re-drawing of maps, homes, and the bodies that inhabit them. In Gholizadeh’s needlepoint tapestries and Lotfi’s performative photographs, boundaries serve as a way to create spaces, rather than define or circumscribe. In Lotfi’s images and sculptures, the line between object/subject and human/nature is removed and hybridized, creating fragmented portals that reveal “possibilities of life within them.” In Gholizadeh’s topographical, pixelated tapestries, the “gesture of connecting two points with the yarn… is a constant negotiation within an image and between the boundaries of forms.”

Using different techniques of cutting and layering, Taylor Loftin and Kat Richards create saturated spaces that pulse between depth and flatness. In Loftin’s paintings, the intricate cutting of painted canvas, paper, and his grandparents’ playing cards creates a woven thicket of familial memory. In Richards’s prints, a monoprint stencil technique is used to deconstruct the body, and then rebuild it into a queer reality in which form and space are as boundless as the luminous gradients and color fields they achieve on the paper’s surface.

Walking into Ahead and Above Water feels like an escape to the beach in the middle of winter. And yet Chantal Wnuk’s atmospheric and tactile paintings exist in a state of longing, not ease. Languishing bodies in postures of fatigue check their phones but not the tides.They sunbathe and they cry. They fall asleep on their wet palette. They push against the edges of their frame and the boundaries of the body. They try to heal.