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Thea Djordjadze’s exhibition A well of night is on view at Sprüth Magers’ New York gallery through December 2026. The installation combines new and existing works and responds to the building through its materials, layout and reflected views.
Thea Djordjadze has returned to New York for the first time in a decade with A well of night, a solo exhibition at Sprüth Magers’ New York gallery that sets her sculptures and painted reliefs in dialogue with the building’s neo-Renaissance architecture. The installation is on view through December 2026, according to the exhibition report.
The exhibition brings together existing works and new pieces, including plaster relief paintings and reconfigured sculptures. Djordjadze’s works combine steel and aluminum with plaster surfaces layered with pigment. The resulting painterly reliefs occupy a space between painting and sculpture, using surface, depth and material to shape how viewers encounter them.
The room itself is part of that encounter. Djordjadze covers the gallery’s dark hardwood floors with light-colored vinyl, a contrast that changes the room’s appearance and softens its spatial boundaries. A steel vitrine holds a print sealed behind plexiglass; its reflective surface picks up the surrounding gallery, drawing the setting into the work.
The vitrine form refers to mid-century display cases designed for Tbilisi’s archaeological museum by Georgian anthropologist Alexander Javakhishvili and painter Avtandil Varazi. Djordjadze first introduced this form in 2017, according to the report. In this exhibition, the reference connects the installation’s contemporary materials to objects and design associated with the artist’s Georgian background.
How the Gallery Shapes the Work
The exhibition’s central concern is not only what individual objects look like, but how they change in relation to a room. By altering the floor, using reflective plexiglass and arranging sculptures alongside architectural features, Djordjadze treats the gallery as an active part of the installation. Viewers encounter the work through its relationship to the building, its surfaces and its sightlines.
That approach makes the show relevant to readers interested in the overlap between art and architecture. Rather than treating a gallery as a neutral container, Djordjadze’s installation adapts to this particular site. The placement of objects and the contrast between dark and light materials shape the experience, while the vitrine’s reflections make the surrounding space visible within the work itself.
The exhibition also offers a New York presentation of Djordjadze’s practice after a decade away from the city. The source describes this as her first solo exhibition at Sprüth Magers’ New York location; it does not characterize it as her first exhibition in New York overall.
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A Practice Responsive to Place
Djordjadze is a Berlin-based Georgian artist known for installations that respond to their surroundings. In a 2024 interview with Elephant, she described architecture and the building as important to her process, framing the work as an interaction between herself, the sculpture and the site. That account helps explain why the neo-Renaissance gallery is more than a backdrop for A well of night.
The artist has also said that when arranging an exhibition, she tries to listen to the building, the works and the space between them. The source report describes her pieces as works in progress: she reevaluates them in relation to one another and to each new exhibition setting. That means the arrangement in New York is specific to this gallery rather than a fixed display intended to look the same in every venue.
The title sets up another contrast. A well of night suggests darkness, while the pale flooring counters the gallery’s dark wood. The report connects this contrast to the exhibition’s broader attention to perception, material and spatial boundaries, rather than presenting the title as a literal description of the room.
“For me, the building and the design and the architecture are very important.”
— Thea Djordjadze, speaking to Elephant in 2024
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Details Beyond the Exhibition
The source identifies the exhibition’s location and says it remains on view through December 2026, but it does not provide a more specific closing date, public programming schedule or details about whether the installation will change during its run. It also does not list the individual works by title or give dimensions and materials for every piece.
The report describes the show as Djordjadze’s first solo exhibition at Sprüth Magers’ New York gallery. It does not provide a full account of her previous New York presentations, so the decade-long gap should be understood as the report’s description of her return, not as evidence that she had no work shown in the city during that period.
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Exhibition Runs Through December
A well of night remains on view at Sprüth Magers in New York through December 2026, according to the source report. The supplied information does not announce later venues, additional dates or a related programme, so any next stage for the exhibition has not been stated.
Visitors can expect the installation to be encountered as a site-specific arrangement of existing and new work, rather than simply as a group of independent objects. The gallery’s architecture, the altered floor and the reflective vitrine are all described as components of that presentation.
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Key Questions
Where is Thea Djordjadze’s A well of night showing?
The exhibition is at Sprüth Magers’ New York gallery.
How long is the exhibition on view?
The source report says A well of night is on view through December 2026. It does not give a specific closing day.
What works are included in A well of night?
The exhibition combines existing works with new pieces, including plaster relief paintings and reconfigured sculptures. The report also describes works using steel and aluminum.
How does the exhibition respond to the gallery?
Djordjadze uses the building’s neo-Renaissance architecture as part of the installation. She covers the dark hardwood floors with light-colored vinyl and includes a reflective vitrine that brings the surrounding room into view.
What is the Georgian reference in the exhibition?
A steel vitrine in the exhibition draws on mid-century display cases made for Tbilisi’s archaeological museum by Georgian anthropologist Alexander Javakhishvili and painter Avtandil Varazi.
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