Katharina Grosse Announces Joint Representation with White Cube

White Cube has announced its representation of the German artist Katharina Grosse (b. 1961, Freiburg im Breisgau). The arrangement is a joint representation, managed alongside Gagosian, Galerie Max Hetzler, and Galerie nächst St. Stephan.

Grosse’s first presentation with White Cube occurred in 2002 at its former Hoxton Square gallery. A solo exhibition is now scheduled for White Cube Bermondsey in London in April 2026. Prior to this, a new painting by the artist will be shown at the gallery’s booth at Art Basel Miami Beach in December 2025.

For more than three decades, Grosse has been recognized for work that has radically reshaped the terrain of painting. Her practice is defined by the application of vibrant, sprayed color across interiors, architecture, and landscapes. This method is intended to transform the painted image into a multisensory experience that alters the viewer’s perception of reality. Grosse defines painting not as an application onto a surface, but as what she terms a “temporary ecology” where the artist, the site, and the viewer converge.

Katharina Grosse
CHOIR — Katharina Grosse CHOIR 2025 Acrylic on asphalt, fabric 1600 x 9100 x 5500 cm | 629 15/16 x 3582 11/16 x 2165 3/8 in. © VG Bild-Kunst Bonn, 2025. Photo © Jens Ziehe.

Since the late 1990s, Grosse has utilized an industrial spray gun and acrylic paint. She describes this tool as a “conceptual extension of the brush”. This equipment enables her to apply paint across varied surfaces and obstacles without interruption, working at a distinct scale and speed.

Her first in-situ sprayed work, Untitled (green corner) (1998), was created by painting directly onto the architecture of the Kunsthalle Bern in Switzerland. The work, appearing as a hovering field of dark green at a wall’s junction, altered viewers’ perception of surface and volume. This approach was informed by an earlier period Grosse spent in Florence, where she analyzed the inseparability of fresco painting from daily life and architecture.

Other significant works include Das Bett (2004), for which she spray-painted her Düsseldorf bedroom and its contents, and Rockaway (2016), an intervention on a derelict beachfront military building in Queens, New York. Most recently, her 2025 Art Basel Messeplatz commission, CHOIR, involved sweeping strokes of magenta flowing across the public plaza, clock tower, fountain, and fair logo. This marked the first instance in the project’s history that it took the form of a painting.

Grosse’s studio practice, which includes canvases and three-dimensional works, is guided by a similar methodology. She describes this as an “unruly impulse to take over space with painting, to trespass”. Both her canvases and in-situ works are intended to stage an encounter that is as visceral and physical as it is visual. In doing so, Grosse invites viewers to inhabit what she calls “a time capsule that takes you out of the logic of consequence or beginning”.

The artist’s solo exhibition ‘The Sprayed Dear’ is currently on view at Staatsgalerie Stuttgart, Germany (until 11 January 2026). Her work is also included in the touring exhibition ‘Making Their Mark: Works from the Shah Garg Collection’ at The Mildred Lane Kemper Art Museum, St. Louis, US (until 5 January 2026) and in ‘The Scharf Collection’ at Alte Nationalgalerie, Berlin, Germany (until 15 February 2026). A future solo exhibition, ‘Black Bed’, is scheduled for MUNCH, Oslo (25 September – 31 December 2026).