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L'INCONNUE Gallery moving to New York in spring 2010
Big X Window 1975, by Vera Frenkel, 1938 – Present, work on paper, lithograph, dimensions 106.5 cm x 294 cm, image courtesy of the artist.


NEW YORK, NY.- Montreal-based gallery, L’INCONNUE (pronounced Lan-co-nu) will be relocating and opening a 600 square-foot space in New York City’s Chinatown.

Founded in 2016 by Leila Greiche, the gallery’s program has focused on championing the work of some 30 contemporary emerging and established artists including Melanie Ebenhoch, Maia Ruth Lee, Anne Low, Alex Morrison, Emily Ludwig Shaffer, Alison Yip, and Thea Yabut.

Leila Greiche says, “ The art world is a niche market and community therefor e I believe there is more opportunity to cultivate an audience and program in N ew York which will expedite the advancement of the gallery in the most optimal setting. I also look forward to bringing the knowledge I gained from the Canadian art community to this new venture. ”

The gallery’s inaugural exhibition will display the work of Canadian-based multimedia artist Vera Frenkel (b.1938, former Czechoslovakia. Lives and works in Toronto). Rooted in an interrogation of the abuses of power and their consequences, Frenkel's multidisciplinary practice explores the forces at work in human migration, the experiences of displacement and deracination and the learning and unlearning of cultural memory that results, in the increasing bureaucratization of everyday life. Frenkel’s work has been featured previously in Documenta IX (1992), the Venice Biennale (1972, 1997, and 1999), The Museum of Modern Art, New York (1998), and the National Gallery of Canada, Ottawa (2014). Frenkel was the recipient of the Governor General Award in Visual & Media Arts in 2006.

In addition, L’INCONNUE is participating in the 2019 edition of NADA, Miami. The booth (5.06) features a solo presentation of the paintings of the New York-based Emily Ludwig Shaffer (b.1988) alongside A Bench, Chairs: End Grain, a collaboration with architect Jason Scroggin. Shaffer depicts psychological and surreal interior and exterior spaces without the image of the figure thus revealing a void of presence.






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