NEW YORK, NY.- The FLAG Art Foundation announced Clockwork, a solo exhibition featuring new and recent work by Sable Elyse Smith, the 2026 recipient of the Suzanne Deal Booth / FLAG Art Foundation Prize, on view from September 24, 2026, through February 13, 2027.
Following its presentation at The Contemporary Austin, FLAG reframes Clockwork by expanding its more cinematic elements into an immersive stage set environment, where video becomes an immediate means of visualizing unseen, ordinary violence. Including sculpture, video, neon, and photography, Clockwork interrogates the fundamental systems of power that define contemporary society, as well as their cultural and psychological impacts. Through formal strategies such as seriality and repetition, disorientation, and appropriation, Smith illustrates how systems of power not only overlap, but how they intertwine and mutually reinforce one another.
Clockwork features two video installations that signal moments of transition and pause within the exhibition. By layering found and original footage in LAUGH TRACK, OR WHO’S THAT PEEKING IN MY WINDOW (2021) and skin suit (2026)—created specifically for the Prize—Smith collages conflicting moments of suspense, humor, poetry, frustration, and pathos to expose personal and institutional biases. Both videos take their cues from harried police chase/bodycam footage popularized by reality shows such as Cops (1989-2020), whose cultural impact would and continues to shape televised entertainment in the U.S.
Evoking the mechanical precision of the systems from which they derive, Smith’s sculptures within the exhibition transform prison furniture in ways that show how repetition, doubling and layering can complicate, if not entirely obscure, the original meaning of their materials. In BARRICADE (2023), BARRIER (2023), and Riot III (2022), Smith repurposes the metal stools that populate prison waiting rooms into star-shaped forms reminiscent of Jacks, the childhood game; in Gravity (2022) and Vanilla Wafer (2023), those same stools project from the gallery walls to create unambiguously cruciform shapes—each offering different possible interpretation of systems of reward and punishment.
In Smith’s ongoing neon works, she turns an enduring interest in text into luminous forms, drawing on the aesthetics of institutional and commercial design to explore language as a psychological terrain. By playing with expectation and underscoring how language can, and so often is, used to reinforce prejudice and oppression, Smith also shows how it can be put to different, even liberatory uses. To further underscore the dissonance between image and language, Smith plays her Young Thug (2023) series throughout the exhibition, like musical notes. In this small-scale found photograph—framed and matted as if to exaggerate its gravity—a young white boy is shown wearing an American flag durag, cosplaying a trope of Black masculinity.
“The Suzanne Deal Booth / FLAG Art Foundation Prize was established in 2016 to support artists whose work challenges us to see the world anew and to engage deeply with its complexities,” says Suzanne Deal Booth. “Sable Elyse Smith embodies this vision through her profound exploration of the prison-industrial complex and the systems that shape language, perception and identity. Her work transforms lived experience into a powerful cultural critique, revealing the often invisible structures of power that shape our collective reality. I am honored to recognize her as the 2026 recipient of the Prize, and to celebrate art’s enduring capacity to inspire reflection, dialogue and change.”
“For almost a decade, the Suzanne Deal Booth / FLAG Art Foundation Prize has enfranchised some of the most innovative artists of our time at crucial points in their careers,” says Glenn Fuhrman. “I could not be prouder of the four, singular exhibitions The Contemporary and FLAG have made with Nicole Eisenman, Tarek Atoui, Lubaina Himid, and now Sable Elyse Smith.”
“I have long admired Sable Elyse Smith’s practice for her unique sculptural and visual vocabulary that mines the forms of material culture to reveal the systemic power structures that underwrite much of the American experience”, says Alex Klein, Head Curator and Director of Curatorial Affairs at The Contemporary Austin. “Through conceptual strategies of estrangement and appropriation, she lays bare the layers of indoctrination and violence that undergird pedagogy, entertainment, religion, and law. Through Smith’s deft deployment of language and objects, the everyday becomes uncanny, allowing us to understand that the mechanisms of social control we often take for granted are in fact by design.”
“From its inception, Suzanne Deal Booth and Glenn Fuhrman believed this prize would be a remarkable opportunity to support artists, a sentiment at the very core of The Contemporary Austin’s and The FLAG Art Foundation’s missions,” says Jonathan Rider, Director of The FLAG Art Foundation. “That support is both a collaborative venture and a generous act—between patrons and between institutions—to combine resources and teams in effort to better champion artistic practice. The prize also represents an unparalleled opportunity for both artist and institution to push each other forward, together. It’s an honor to be involved in every facet of the Suzanne Deal Booth / FLAG Art Foundation Prize, and I cannot wait to see how Sable transforms our institutions in this iteration.”
Sable Elyse Smith: Clockwork is curated by Jonathan Rider, Director, with Caroline Cassidy, Deputy Director, The FLAG Art Foundation. The presentation at The Contemporary Austin was co-curated by Alex Klein, Head Curator and Director of Curatorial Affairs, and Julie Le, former Assistant Curator, The Contemporary Austin.
An accompanying, fully illustrated exhibition catalogue co-published by The Contemporary Austin, The FLAG Art Foundation, and Dancing Foxes Press is forthcoming in early 2027. Contributors include the artist; Alex Klein, Head Curator and Director of Curatorial Affairs, and Julie Le, former Assistant Curator, The Contemporary Austin; Jonathan Rider, Director, The FLAG Art Foundation; Rizvana Bradley, Associate Professor, University of California, Berkeley; and Adrienne Edwards, Engell Speyer Family Curator and Curator of Performance at the Whitney Museum of American Art.
