Ethical Managers Make Their Own Rules
Jessica Diamond
Hélène Fauquet
Jason Hirata
March 21 – May 2, 2026
The exhibition supports the exhibition and vice versa, you know? I think it’s a reflex. It’s a gift to write something and say nothing, and vice versa. So much, so little, and so on. Does that mean what I think it does? I mean, it is mean.
Display can be a descriptive and effacing presence, you know. Affirmative. When I place this here, is it any different than if I placed it there? Okay, now what if you placed it? Not this, that. I’ll pick this up and move it, but I’m afraid nothing will change. It’s only as meaningful as the surface it butts up against. The walls touch the floor and only sometimes the ceiling, which feels important. Eyes up here.
At the end of each year we destroy whichever wall has the most holes in it. Like day old bread and gypsum board, context is everything!
No big words and only a few small ones, please. Less of both in general. Checks, balances, and gradients from gray to grey. Equilibrium is not as delicate as they make it out to be. If you fade into the background ever so slightly, it becomes much easier to skirt responsibility. All decisions are made back here anyway. Influence/influenza. And look how well that worked out for you.
New word: plataphorism. Platitude, aphorism, you know? They’re all I’ve been saying lately. Let everything speak for itself even if it has nothing to say. Grayrea. Greydient. The sins of whose father? The holes in your brain and the gaps in your knowledge can be filled with new words if you just make them up.
I once wrote a poem and I twice crossed it out. Stop me if you’ve heard this one before.
When you said display, what did you mean? I didn’t ask but maybe that’s the problem. It’s gray in every corner but nothing’s been flattened. Stretched out but not stretched thin, it’s still sharp and I’m sorry but there’s no end in sight. Clearer than ever, really. You could live here if you felt so compelled.
You’ll have to reenter under different circumstances next time and maybe then you’ll be surprised. Take it all in and don’t get too close. I mean, look around! I could tell you more but what’s the fun in explaining something we both already know, you know? We’re living it.
All that red string is too sexy, too sensational. A straight gray line connects the dots much more easily and proves my point just as well. Point A, Point B, and so on. It’s all parallel. It’s a matter of pragmatism. This is a business after all. An unemotional endeavor. Isn’t that what you’re after?
—
Fig. 1: DOC_101894.pdf
Jessica Diamond
I Hate Business, 1989
Flashe paint on wall
Dimensions variable upon installation
Edition 2 of 3
Jason Hirata
Like Butter, 2025
Screws, magnets and screws
Dimensions variable
Hélène Fauquet
Ether, 2024
Prints, frames, table
41 x 63 x 24 inches
104.1 x 160 x 61 cm
Hélène Fauquet
nuit de cellophane, 2024
Prints, frames, table
36 x 55 x 24 inches
91.4 x 139.7 x 61 cm
Jason Hirata
Books, 2025
Plastic wrapped books
Dimensions variable
Jason Hirata
Books, 2025
Plastic wrapped books
Dimensions variable
Jessica Diamond (b. 1957, New York, NY) lives and works in New York. She received a BFA from the School of Visual Arts in 1979 and an MFA from Columbia University in 1981.
Diamond has been the subject of monographic exhibitions at museums including the Hirshhorn Museum and Sculpture Garden, Washington, D.C. (2023); El Centro Andaluz de Arte Contemporáneo, Seville (2011); the Montreal Museum of Fine Arts, Montreal (2002); and Stedelijk Museum Het Domein, Sittard (1999). Solo gallery exhibitions include Team Gallery, Los Angeles (2016); Ota Fine Arts, Tokyo (1999); Deitch Projects, New York (1996); Galleria Massimo De Carlo, Milan (1993); and American Fine Arts Co., New York (1989).
Diamond has participated in numerous international exhibitions including the Lyon Biennale (2015); Sonsbeek 9, Arnhem (2001); and Aperto, 45th Venice Biennale (1993). She was also included in the 1991 Whitney Biennial and the historic 1985 group exhibition Infotainment, which traveled between Texas Gallery, Houston; Rhona Hoffman Gallery, Chicago; Vanguard Gallery, Philadelphia; Aspen Art Museum, Aspen; Galerie De Selby, Amsterdam; and Galerie Montenay-Delsol, Paris.
Selected group exhibitions include Mudam Luxembourg; Speed Art Museum, Louisville; MRAC Occitanie, Serignan; Karma International, Zürich; Martos Gallery, New York; Museums Sheffield, Graves Gallery, Sheffield; Hessel Museum of Art, CCS Bard, Annandale-on-Hudson; Hirshhorn Museum and Sculpture Garden, Washington, D.C.; Ellis King, Dublin; Elizabeth Dee, New York; James Fuentes, New York; Fortnight Institute, New York; Team Gallery, New York; the New Museum, New York; ICA London; Palais de Tokyo, Paris; Portland Institute of Contemporary Art; Zwirner & Wirth, New York; Whitney Museum of American Art, New York; and Rosamund Felsen Gallery, Los Angeles.
Diamond is the recipient of several awards, including the National Endowment for the Arts Award in 1989, the John Simon Guggenheim Memorial Foundation Fellowship in 2000, and the Anonymous Was A Woman Award in 2004.
Hélène Fauquet (b. 1989, Saint-Saulve, France) lives and works in Paris. Solo and duo exhibitions include Dansk Datahistorisk Museum, Copenhagen (forthcoming); Édouard Montassut, Paris (2026, 2022, 2020); Galerie Meyer Kainer, Vienna (2025, 2019); Ronadale, Craryville (with Chadwick Rantanen, 2025); Galerie Max Mayer, Düsseldorf (2024); Rodeo, London (2024); Ulrik, New York (2024); Kunsthaus Glarus (2023); Alienze, Vienna (2022); Schiefe Zähne, Berlin (2020, 2018); Kunstverein Nürnberg (2019); Kunstverein Eisenstadt (with Kathrin Wojtowicz, 2019); and Forde, Geneva (2016).
Recent group exhibitions include Hoffman Donahue, Los Angeles; Kunsthistorisches Museum, Vienna; Layr, Vienna; Terminal Projects, London; Kunstverein Ludwigshafen; Joy, Paris; Kunstverein Nürnberg; Kammer Rieck, Hamburg; Le Bourgeois, London; Frac Lorraine, Metz; Galerie Chantal Crousel, Paris; Centralbanken, Oslo; Frac Alsace, Sélestat; Rodeo, Piraeus; Campoli Presti, Paris; Bonner Kunstverein, Bonn; Haus Wien, Vienna; Tokyo Arts and Space, Tokyo; Fondazione Morra, Naples; Christian Andersen, Copenhagen; Jan Kaps, Cologne; Museum für Moderne Kunst, Frankfurt am Main; and Portikus, Frankfurt am Main.
Jason Hirata (b. 1986, Seattle, WA) lives and works in New Jersey. Recent solo and duo exhibitions include 100 Belltowers, Montreal (2025); Kaiserwache, Breisgau (2025); Fanta-MLN, Milan (2024, 2021); Billytown, The Hague (with Magnus Frederik Clausen, 2023); Ulrik, New York (2022); Paid, Seattle (2022); Theta, New York (with Tony Chrenka, 2021); 80WSE, New York (2020); Svetlana, New York (with Levi Easterbrooks, 2019); Veronica, Seattle (2019); Kunstverein Nürnberg (2019); and Frye Art Museum, Seattle (2013).
Selected recent group exhibitions include the 59th Carnegie International, Carnegie Museum of Art, Pittsburgh (forthcoming); Hessel Museum of Art, CCS Bard, Annandale-on-Hudson (with Ghislaine Leung and Robert Barry); Kunsthaus Baselland, Münchenstein; Château Shatto, Los Angeles; Triest, New York; ensemble, New York; Fluentum, Berlin; Regards, Chicago; Simian, Copenhagen; Museion, Bolzano; Baader-Meinhof, Omaha; The Wig, Berlin; Bonner Kunstverein, Bonn; Drei, Mönchengladbach; Kunstverein Kevin Space, Vienna; Artists Space, New York; Kunsthalle Friart Fribourg; Kunstverein Nürnberg; Kai Matsumiya, New York; The Kitchen, New York; Joan, Los Angeles; Kunstverein München; and the Los Angeles County Museum of Art.
Hirata's recent publications include The Supporting Role (2024), a collection of the artist's writings from 2019 to 2024 published by Reliable Copy Press, comprising checklists, press releases, visual descriptions, exhibition reviews, invoices, and curricula vitae—texts built from the supporting documents of an artistic practice; Contingency Lines in Touching Paper: Writing Towards Art, Love, and the Weather, edited by Rachel Haidu and Hanna Feldman (2025); and A Theory of Need in Assistances, edited by Tamara Antonijevic and Christopher Weickenmeier (2024).