Rita Ackermann

The Chemical Alphabet

9 September – 17 October

New York, Wooster Street

Opening Reception

9 September, 6 – 8 pm

Dates

9 September – 17 October 2026

Location

New York, Wooster Street Directions

Materials

Press Release

Artwork Inquiry

In the Chemical Alphabet paintings, Rita Ackermann takes on a new source of vocabulary: letters from a Semitic alphabet. The structure of each symbol serves as an anchor for each composition.

The configuration of the letter, painted in acrylic green chalkboard paint on a canvas primed by multiple silkscreen prints, allows the surface to be built through Ackermann’s chalkboard method: layers of pastel and chalk drawings are erased, washed away, and redrawn until multiple states of the painting coexist on the canvas.

Here, the picture advances through accumulation and erasure. At the center of this constructive destruction, the letter remains, its meaning shifting with the evolving image around it.

What stays visible is not the frozen image but the chronicle of its becoming.

About the Artist

Rita Ackermann

Rita Ackermann (b. 1968, Budapest, Hungary) immigrated from Hungary to New York in 1992, where a formative body of work positioned her within the cultural zeitgeist of the city. At the outset of her early career, a breakthrough series of paintings—composed of bold contour lines and semi-transparent bodies—anticipated aesthetic and technological shifts that have proven remarkably timeless.

Though Ackermann’s works may be recursive, they are anchored by improvisation, disruption, and formal negation—the protein of her aesthetic. These elements were shaped in part by her engagement with cinema, particularly the films of Jean-Luc Godard and the theories of Paul Virilio, who viewed perception as structured by montage and fragmentation.

Ackermann’s paintings continue to bear the imprint of visual phenomena—not only in their subject, but in their structure. Images operate cryptically, fractured and charged with interior volatility. Their continual appearance and disappearance suggest that suspension, rather than development, is central to her method. The upshot has been a sustained visual practice that subtly confronts the tensions of the present.

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