Wedge has been revived! As we reset, moving through the oppressive control of the pandemic, we are happy to announce that we have begun to schedule projects once again. We are also excited about our completely re-configured space. In collaboration with Lindsey Dorr-Niro, we’ve devised a space plan which allows viewers outside to see into and through the space from three sides, 24 hours a day. From now on, we’ll be able to offer the public a more connected, proximate experience to the art work inside, whether by intention or simply by chance.


See you soon.

Nayeon Yang

Upcoming residency at Wedge Projects

Opening reception Oct. 23, 6-8 p.m.

Wedge, 1448  W. Howard St. Chicago, IL 60626

Title: 1448 W Howard St 

Year: 2021

Medium: Site-specific installation project - black line tape, approx. 2000 digital photos prints (11in by 17in)
Dimensions: the size of the Wedge Projects space


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I look around my studio. Old, dusted ceiling structures, walls and columns with accumulated thick layers of paints, and gaps between the walls and floor: They were the surfaces of the space that did not exist to me before, even though they worked as parts of the building I was in. Perhaps it was because how I experienced them was not direct enough to apprehend their presence and endurance. In every corner of the space, now I began to see presences that remained unnoticed.


I see the architectural structures resemble the structure of society in many ways.


Through my interdisciplinary art practice, I work with the various surfaces of a space, such as ceiling, floor, and corners of a building to honor inconspicuous and unrecognized areas. I try to bring the skins of the architectural and social structures together to reflect and question our interrelation with the surroundings.


@ Wedge Projects

If an art gallery is a space to carry an art piece, what would be left when the given focal points (art piece) are subtracted from the space? 


1448 W Howard St project starts with my obsession with removing art as focal points and letting the space itself emerge. I draw the grids on uneven textured surfaces throughout the gallery, working with some residues from a previous exhibition. Then all squared surfaces framed by those lines are photographed and printed on paper. However, it inevitably reflects what, when, and how I see, define, and recognize what is in the space. Also, it reveals limited technical capacity in the process of flattening the space. Therefore, I need to note that even with all those numbers and volumes of the photo document, they do not, or cannot represent the gallery. I merely hope the building and people meet through this project, using it as a platform.