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Dallas Art Fair

Booth A3

April 11 - 14, 2019

María Fernanda Cardoso, Spiders of Paradise: Maratus splendens from Actual Size Series, Ed. 5/5 [Edition of 5+2 AP], 2019, Deep focus microscopy, pigment print on premium photo paper, 5/5, 59 1/16 x 61 3/8 in (150 x 156 cm.)

María Fernanda Cardoso, Spiders of Paradise: Maratus splendens from Actual Size Series, Ed. 5/5 [Edition of 5+2 AP], 2019, Deep focus microscopy, pigment print on premium photo paper, 5/5, 59 1/16 x 61 3/8 in (150 x 156 cm.)

Gabriel de la Mora. MCI / 1-XII f, 2015. Discarded offset printing rubber blankets, wood mounting, 41 11/32 x 29 1/8 x 1 9/16 in. (105 x 74 x 4 cm.)

Gabriel de la Mora. MCI / 1-XII f, 2015. Discarded offset printing rubber blankets, wood mounting, 41 11/32 x 29 1/8 x 1 9/16 in. (105 x 74 x 4 cm.)

Gabriel de la Mora, 173,900 from the series Cerillos Cancelados, 2014. 6,956 used sides of match boxes from 3,478 burnt matches on cardboard, 79 x 63 in. (200 x 161 cm.)

Gabriel de la Mora, 173,900 from the series Cerillos Cancelados, 2014. 6,956 used sides of match boxes from 3,478 burnt matches on cardboard, 79 x 63 in. (200 x 161 cm.)

Gabriel de la Mora, 215, from the series El Peso Del Pensamiento, Discarded shoe soles mounted on lead, 23 1/16 x 33 3/16 x 1 13/16 in. (58.7 x 84.3 x 4.7 cm.)

Gabriel de la Mora, 215, from the series El Peso Del Pensamiento, Discarded shoe soles mounted on lead, 23 1/16 x 33 3/16 x 1 13/16 in. (58.7 x 84.3 x 4.7 cm.)

Gabriel de la Mora, 161, from the series El Peso Del Pensamiento, Discarded shoe soles on lead, 23 1/16 x 33 3/16 x 1 13/16 in. (58.7 x 84.3 x 4.7 cm.)

Gabriel de la Mora, 161, from the series El Peso Del Pensamiento, Discarded shoe soles on lead, 23 1/16 x 33 3/16 x 1 13/16 in. (58.7 x 84.3 x 4.7 cm.)

Gustavo Díaz, #trajectories #complexconnectivities #fluids #fuzzycluster #hipernatural #granularpatterns #phenomenon #neural networks  #varolius #no-lugar #fossil #map #neuroplasticity #topology #color #timeandcomplexity #02, 2019, Cut out paper, 22 13/16 x 37 3/8 in. (58 x 95 cm.)

Gustavo Díaz, #trajectories #complexconnectivities #fluids #fuzzycluster #hipernatural #granularpatterns #phenomenon #neural networks #varolius #no-lugar #fossil #map #neuroplasticity #topology #color #timeandcomplexity #02, 2019, Cut out paper, 22 13/16 x 37 3/8 in. (58 x 95 cm.)

Gustavo Díaz, #trajectories #complexconnectivities #fluids #fuzzycluster #hipernatural #granularpatterns #phenomenon #neural networks  #varolius #no-lugar #fossil #map #neuroplasticity #topology #color #timeandcomplexity #01, 2019, Cut out paper, 22 13/16 x 37 3/8 in. (58 x 95 cm.)

Gustavo Díaz, #trajectories #complexconnectivities #fluids #fuzzycluster #hipernatural #granularpatterns #phenomenon #neural networks #varolius #no-lugar #fossil #map #neuroplasticity #topology #color #timeandcomplexity #01, 2019, Cut out paper, 22 13/16 x 37 3/8 in. (58 x 95 cm.)

Gustavo Díaz. Observando dentro de la línea, en algún nivel existe un patrón. Prigogine mira..., from the series Acumulación de autoligaduras. [AA2], 2018. Cut out paper. 22 5/16 x 67 31/32 in. (56.7 x 172.7 cm.)

Gustavo Díaz. Observando dentro de la línea, en algún nivel existe un patrón. Prigogine mira..., from the series Acumulación de autoligaduras. [AA2], 2018. Cut out paper. 22 5/16 x 67 31/32 in. (56.7 x 172.7 cm.)

Gustavo Díaz. Modelo conjetural en el que 150 x L es 1. Zadeh cuenta... 1- 150 = 0, from the series Conjuntos Borrosos (Conjectural model in which 150 x L is 1. Zadeh counts ... 1- 150 = 0, from the series Blurred Sets), 2018. Cut out paper. 45 3/16 x 69 7/8 x 1 3/4 in. (114.8 x 177.5 x 4.4 cm.)

Gustavo Díaz. A/T/01, from the series Arquitexturas de sendas futuras y recorridas, 2017, Cut out paper. 42 3/4 x 22 3/4 x 22 3/4 in. (108.6 x 57.8 x 57.8 cm.)

Gustavo Díaz. A/T/01, from the series Arquitexturas de sendas futuras y recorridas, 2017, Cut out paper. 42 3/4 x 22 3/4 x 22 3/4 in. (108.6 x 57.8 x 57.8 cm.)

Gustavo Díaz, Big Data Einstein y Monet conversan sobre la naturaleza de la Luz. A lo lejos se escucha Gymmopedie. Gödel observa y piensa sobre la incompletitud. Empieza Gnossienne, 2019, Cut out paper, 24 1/8 x 23 1/2  x 2 in. (61.3 x 59.7 x 5.1 cm.)

Gustavo Díaz, Big Data Einstein y Monet conversan sobre la naturaleza de la Luz. A lo lejos se escucha Gymmopedie. Gödel observa y piensa sobre la incompletitud. Empieza Gnossienne, 2019, Cut out paper, 24 1/8 x 23 1/2 x 2 in. (61.3 x 59.7 x 5.1 cm.)

Gustavo Díaz, De la serie: “Variaciones sobre un bosque hipotético previo a la Gran Bifurcación - Modelo 002/ Era Prearbolitica,” 2019, Cut out paper, 17 1/8 x 12 x 2 in. (43.5 x 30.5 x 5.1 cm.)

Gustavo Díaz, De la serie: “Variaciones sobre un bosque hipotético previo a la Gran Bifurcación - Modelo 002/ Era Prearbolitica,” 2019, Cut out paper, 17 1/8 x 12 x 2 in. (43.5 x 30.5 x 5.1 cm.)

Marco Maggi, Growing Squares 3, 4 and 5 colors [Triptych], 2017. Slide mounts with 35 mm cut papers, 40 x 40 in. each (101.6 x 101.6 cm.)

Marco Maggi, Growing Squares 3, 4 and 5 colors [Triptych], 2017. Slide mounts with 35 mm cut papers, 40 x 40 in. each (101.6 x 101.6 cm.)

Liliana Porter, The Lecture, 2008, Duraflex print mounted between Sintra and UV Plexiglas, 40 in. x 30 in. (101.6 x 76.2 cm.)

Liliana Porter, The Lecture, 2008, Duraflex print mounted between Sintra and UV Plexiglas, 40 in. x 30 in. (101.6 x 76.2 cm.)

Liliana Porter, Memorabilia, Ed. 2/5 [Edition of 5 + 2AP], 2016, Fuji-flex c-print 2/5, 29 3/4 x 40 in. (75.6 x 101.6 cm.)

Liliana Porter, Memorabilia, Ed. 2/5 [Edition of 5 + 2AP], 2016, Fuji-flex c-print 2/5, 29 3/4 x 40 in. (75.6 x 101.6 cm.)

Liliana Porter, Lavandera, 2014, Acrylic and assemblage on wooden shelf, 3 x 16 x 8 in. (7.6 x 40.6 x 20.3 cm.)

Liliana Porter, Lavandera, 2014, Acrylic and assemblage on wooden shelf, 3 x 16 x 8 in. (7.6 x 40.6 x 20.3 cm.)

Liliana Porter, Black Drip, Women with Red Scarf, 2019, Acrylic and assemblage on canvas, 14  x 11 x 1 1/2 in. (35.6 x 27.9 x 3.8 cm.)

Liliana Porter, Black Drip, Women with Red Scarf, 2019, Acrylic and assemblage on canvas, 14 x 11 x 1 1/2 in. (35.6 x 27.9 x 3.8 cm.)

Liliana Porter, The Copy, Monkey, 2019, Acrylic, collage and graphite on canvas, 8 x 10 x 1 1/2 in. (20.3 x 25.4 x 3.8 cm.)

Liliana Porter, The Copy, Monkey, 2019, Acrylic, collage and graphite on canvas, 8 x 10 x 1 1/2 in. (20.3 x 25.4 x 3.8 cm.)

John Sparagana, Themesong Variation #8, 2015. 25 Archival inkjet prints sliced and mixed on paper, mounted on aluminum, 94 x 71 in. (238.8 x 180.3 cm).

John Sparagana, Themesong Variation #8, 2015. 25 Archival inkjet prints sliced and mixed on paper, mounted on aluminum, 94 x 71 in. (238.8 x 180.3 cm).

John Sparagana, Breather #8, 2016. Oil on canvas, 48 x 36 in. (122 x 91.5 cm.)

John Sparagana, Breather #8, 2016. Oil on canvas, 48 x 36 in. (122 x 91.5 cm.)

Press Release

Sicardi | Ayers | Bacino is excited to announce our participation in the eleventh annual Dallas Art Fair, held at the Fashion Industry Gallery in Dallas’ dynamic Arts District. The fair will be open to the public from Friday, April 12 through Sunday, April 14. The Collector Preview will be held on Thursday, April 11 from 11am to 2pm, followed by a Preview Benefit in the evening.

Sicardi | Ayers | Bacino presents an exhibition of recent work by noted artists including Maria Fernanda Cardoso, Gustavo Díaz, Gabriel de la Mora, Marco Maggi, Liliana Porter, and John Sparagana. These diverse and important works range from limited edition photographs to unique sculptures and original paintings, exploring themes such as identity, memory, and the artistic process.

Please purchase tickets here and visit our exhibition in Booth A3. For more information, please call 713.529.1313 or email William Isbell at william@sicardi.com, Annalisa Palmieri Briscoe at annalisa@sicardi.com, or Rebekah Straton Bredthauer at rebekah@sicardi.com.

Opening Night Preview (By invitation only)

Thursday, April 11 from 7pm to 10pm

Fair Dates
Friday, April 12 from 11am to 7pm
Saturday, April 13 from 11am to 7pm
Sunday, April 14 from 12pm to 6pm

Purchase tickets and view more here.