Romance, Pittsburgh
May 2–June 28, 2026
Fergus Feehily, Jookyung Lee, Wantanee Siripattananuntakul, Emilia Wang
“details to follow” is a group exhibition organized and presented collaboratively at Romance in Pittsburgh with Misako & Rosen, ROH, and Whistle—galleries operating in Tokyo, Jakarta, and Seoul, respectively—coming together in Pittsburgh on the occasion of the Carnegie Museum of Art’s 59th Carnegie International opening. Among and between works by Fergus Feehily, Jookyung Lee, Wantanee Siripattananuntakul, and Emilia Wang, “details to follow” emerges from the distinct sensibilities and chance overlaps of each gallery’s program, tracing a conversation through objects and images drawn from the textures and minutiae of daily life, in forms small enough to travel by suitcase. Provisional things, near-nothings, and almost-words accumulate, registering minor disruptions and unexpected rhymes: an unlikely trail of breadcrumbs, replete with contrasting emotional and conceptual registers. Cumulatively, these works point to the presence of larger patterns within the mundane, finding the macro within the micro and meaning beyond the symbolic.
Fergus Feehily’s works each contain a multitude of formats and provisional marks, like a coy how-to “masterclass” of contemporary painterly strategies. Often concealing or uncovering previous gestures, and often deceptively placid in palette, his paintings entertain the pleasure of dissonance, and the evidence of reward available to a viewer upon concentrated looking. Emilia Wang draws on makeshift materials and languages of craft and decoration in plays of opacity and transparency, strategies suggesting a private interior world brushing up against external forms, neither fully sealed off from the other. In her pocket-sized assemblages, found containers are adorned with dollar-store miscellany, femme accessories, and personal effects that riff on high production and modernist form. Inserting her passport photo, or twee items like multicolored toy balls into otherwise banal vessels, Wang subverts what is deemed important, questioning the emotional and metaphysical weight our ubiquitous forms are asked to hold.
Jookyung Lee attends to the ordinary through film photography, capturing moments of circumstance. Located in the instinctive, nonverbal language of the medium, Lee’s gaze suggests the flow, friction, and haze of the everyday. Moving across private and public spaces, his work quietly observes the tonal ambiguities that shape lived experience. His modest titles mirror this openness, initiating the viewer into his concept of “Everyday Gravity,” an imprint left by the act of existing. Wantanee Siripattananuntakul’s installation, sound, sculpture, and text-based works engage interspecies perception and relational forms of awareness, developed through long-term collaboration with the African Grey parrot, Beuys. Working across shared time and attention unsettles assumptions about authorship, intelligence, and communication, opening toward forms of agency that are not organised around human intention. Rather than treating perception as something belonging to a subject, her practice situates life within conditions such as gravity, atmosphere, terrain, and time, through which movement and orientation take form.
About the series: love letter
This show will be on view at Romance alongside the second iteration of Things to Come: OUTLINES, 1941–1947, which revisits the buried history of Outlines, an underrecognized gallery that helped to introduce European and American modernism in art, design, and performance to Pittsburgh during World War II. Set against this backdrop of contemporary art’s long history in Pittsburgh––in which sweeping terms like “the international” and “the contemporary” were at one time used to validate western-centric places at the art world’s periphery––“details to follow” turns toward a quieter register and inaugurates an intimate series of love letters addressed to visiting galleries––one that attends to a provisional and contingent form of relation that includes the geographic but extends to curatorial methodology and sensibility. The series, which builds on the gallery’s ongoing interest in how emotion and relationality operate as structural conditions, considers how a vision shifts when received into another context, and how that context is, in turn, altered by the encounter.