the artist alongside a selection of objects—ranging from Egyptian, Greek, and Aztec artifacts to works by Joseph Beuys, Louise Bourgeois, Jacob Epstein, Lucio Fontana, Henri Gaudier-Brzeska, Julia Isídrez, Jacques Lipchitz, Henri Matisse, Marisa Merz, Meret Oppenheim, James ‘Son Ford’ Thomas, and Günther Uecker. Titled after the obsidian mirrors of Aztec culture—an example of which will be on display—Death’s Sacred Mirror takes the visitor on a journey through the sculptural histories important to Houseago’s own practice.

A new edition of Houseago’s Crystal No. 1 (2026) anchors the presentation. The work represents the artist’s examination of themes such as beauty, grace, and femininity, complementing his career-long exploration of towering masculine figures. “Sculpture,” Houseago has said, “is a very brutal commitment. You’re forced to look back and marvel at what was done...” In Death’s Sacred Mirror, Houseago’s sculptures find resonance in artworks and antiquities that span millennia—revealing his never-ending search for timeless aspects of the sculptural medium and his ongoing investigations of its legacies and possibilities.