The Armory Show 2026: Yossi Milo and thirteen artists on what objects hold of time

What Yossi Milo proposes at this year’s Armory Show is not a question of medium. The gallery’s Booth 302 at the Javits Center brings together thirteen artists — working in painting, photography, sculpture, ceramics, and experimental fabrication — whose practices differ enough that the usual grouping logic fails. What connects them, the gallery’s framing suggests, is something more material than style: a shared attention to evidence. How a surface holds the mark of what happened to it. How an object — made by hand, by chemical reaction, or by extruded metal — carries the conditions of its making forward into the room where you encounter it.

Two artists appear at the fair for the first time with Yossi Milo. Flora Temnouche, a Berlin-based French painter born in 1991, works from the spaces she inhabits — domestic interiors built from close observation and photographs she takes on her phone. Influenced by Pierre Bonnard’s reading of domestic space as psychological territory, her canvases transform shifting light and personal objects into scenes that move between observation and memory. Temnouche studied at the Sorbonne and the Kunstakademie Düsseldorf and has exhibited across Europe and the United States; the Armory Show marks her debut with the gallery.

Portrait of painter Flora Temnouche — Portrait of Flora Temnouche. Courtesy of Galerie Philia / Benjamin Juhel

The second debut is Yonathan Moore, a Brooklyn-based French-Israeli architect and designer whose current work begins with a single industrial process: aluminum extrusion. Moore noticed that the cross-sections of extruded aluminum profiles — the hidden frameworks of curtain walls and the flowering interiors of heat sinks — are unintentionally beautiful as drawn forms, ordinarily concealed as infrastructure. His proprietary system, Flux Metal Drape, uses two interlocking extrusions to generate continuously rippling metal surfaces of varying wave frequency across lighting, objects, and spatial installations. Moore completed his first solo show with the gallery earlier this year.

Portrait of designer and architect Yonathan Moore — Portrait of Yonathan Moore. Image: Yossi Milo

Around the two debuts, the booth assembles the gallery’s wider program: Linus Borgo, Markus Brunetti, Ritsart Gobyn, Natia Lemay, Kathrin Linkersdorff, Meghann Riepenhoff, Alison Rossiter, Ibrahim Said, Shikeith, and Zoe Walsh. The approaches range from Meghann Riepenhoff’s photographic works made by direct contact with natural phenomena, to Alison Rossiter’s recovery of expired photographic papers, from Shikeith’s performance-derived imagery to Markus Brunetti’s monumental architectural photography. What holds the group together, the gallery proposes, is a shared attention to how materials accumulate the evidence of history, identity, and transformation.

At 245 Tenth Avenue, the gallery’s concurrent solo exhibition by Pierre Knop — Le Sacre Du Printemps — is on view through October 17. The French-German painter, born in 1982, turns entirely to landscapes in this, his third solo show with Yossi Milo, developing compositions through a dialogue between material, gesture, and memory. In the announcement, the gallery quotes the artist: “My paintings don’t depict an external reality, but rather an inner one.” Several works appear at Booth 302, placing his landscapes in direct dialogue with the booth’s wider argument.

The Armory Show 2026 runs September 25–27 at the Javits Center in New York, with a VIP preview on September 24. Yossi Milo is at 245 Tenth Avenue, New York; gallery hours are Tuesday through Saturday, 10 a.m. to 6 p.m.

Tags: The Armory Show, Yossi Milo, contemporary art fairs, contemporary photography, Flora Temnouche, Pierre Knop