News

Words by Andy Thomas In 1978, Lee Quiñones’ iconic mural Howard the Duck appeared on a handball court wall in the Lower East Side near where the 18-year-old had lived since arriving as a child from Ponce, Puerto Rico.The first freestanding urban mural to appear in New York was a symbolic moment for graffiti art’s emergence out of the underground, with walls replacing metal as the young artist’s urban canvas.Quiñones began spray-painting subway trains at 14 in 1974, creating ambitious murals in train yards on the Lower East Side. Two years later, Quiñones and the Fabulous Five crew had the audacious plan to paint an entire 10-car subway train with a mural that would make them folk art heroes across the five boroughs.These acts of artistic genius and ingenuity would prove as important to the evolution of hip-hop culture as DJ Kool Herc’s Back to School Jam at 1520 Sedgwick Ave in 1973, fellow Bronx schoolboy Grand Wizzard Theodore inventing scratching in 1975, and the arrival of “Rapper’s Delight” by the Sugarhill Gang in 1979.Another big moment in hip-hop was Charlie Ahearn’s Wild Style, which starred Quiñones as the semi-autobiographical Zoro. Ahearn became aware of Quiñones when he came across the Howard the Duck mural while filming his martial arts movie The Deadly Art of Survival on the Lower East Side with his Super 8 camera.In June 1980, Ahearn and his cohorts in the arts collective Colab transformed a three-storey building on 41st Street and Seventh Avenue into The Times Square Show, a DIY exhibition that, in the words of the Village Voice, was “the first radical art show of the ’80s”.It was also an important moment in the history of graffiti art, with Lee Quiñones and his Fabulous Five partner Fred Brathwaite (AKA Fab 5 Freddy) displaying works alongside around 100 other artists, including Kenny Scharf, Jean-Michel Basquiat, and Keith Haring. It was there that Ahearn met Brathwaite, who would introduce the filmmaker to Quiñones.Through his social commentary and poetry used in his expressionistic work with messages like “If we don't use our heads now we may lose our tails later” Quiñones had been speaking directly and profoundly to the marginalized from the streets where he was raised. But Quiñones had ambitions for his art and culture that went well beyond the Lower East Side.The December before The Times Square Show, an art collector named Claudio Bruni had invited Quiñones and Fab Five Freddy to exhibit at his Galleria La Medusa in Rome. It was the first step towards propelling Quiñones into the international art market and giving graffiti art the same attention and respect as other art movements - from pop art to abstractionism.By the mid-’80s, Quiñones was participating in groundbreaking group shows like Arte di Frontiera: New York Graffiti in Italy and Documenta 7 in Kassel, Germany. As the graffiti art he pioneered became recognized as a serious art movement in the years that followed, Quiñones continued to expand his artistic vision. Today, his works are displayed in the world’s leading museums - from MoMA in New York and Pérez Art Museum Miami to Museum Ludwig in Köln.In October 2025, he held his first solo exhibition in London for 40 years, Outside Is America, an intersection of old and new works that spanned his career - from iconic spray paint pieces like the self-titled Lee from 1979 to contemporary mixed material works such as Heart in a Hurricane from 2025, created from his Bushwick studio.With a lineage that reaches back to the mid ’70s, these works continue Quiñones'mission to communicate using a combination of striking visual symbols and written messages. Through empathy and resistance, his addressing of political and socio-economic issues in the age of Trump and the dark dystopian forces of ICE is needed more than ever.As Outside Is America drew to a close, we caught up with the artist to talk about the works displayed at Woodbury House and how they speak to contemporary America.“Art arrives at the time it deserves”, says Lee Quiñones. “I’ve always been at the forefront of something while also realizing I’m just following a lead of something bigger than myself. I think every artist has a responsibility to be committed to what they do in their time. Art does percolate under the surface until it comes up with something to say at a particular point in time. Creating art is in itself a political act. In some cases, a rebellious act; in most cases, an urgent act.“Titles have always been important to my work and they often speak to me before the work becomes a tangible thing. I want the work to correspond to the title and vice versa.  With this show, I wanted to talk to people outside of my country as an American with what we are going through today. This is nothing new, though. We’ve always lived in the abyss of the hypocrisy of humankind. But I’m a firm believer that the forces of good can be more powerful than the forces of evil.”HEART IN A HURRICANE“I had found this old vintage flag in the Brooklyn Navy Yard back in the mid-’90s that had been sewn together, not printed. This was a beautiful piece - it was more than a piece of fabric, it was the fabric of the country. But it started to get me thinking about all the atrocities over time in America. When you think about personal moments, you can go back to Mildred and Richard Loving, the interracial couple in the ’50s who married and went through hell just for being in love. Then, into today with Colin Kaepernick (of the 49ers). He’s not stepping on the flag or burning the flag; he is kneeling to bring a justifiable awareness of this country’s issues with its dirty dishes. Now I’m Puerto Rican, and we have our very rightful gripes and rifts with our country for obvious reasons. So I’m always going to have a rebellious part of me. But in this piece, which is a self-portrait, I’m not rebelling or lashing out; it’s a very tender moment. I’m lying down with a rose in my hand to show a love of country. But you can’t love a country if you can’t question the country.”UNFOLDED“Ori Carino is an Italian American who, like me, grew up on the Lower East Side and was inspired by my art. But he was also a huge inspiration to me, another man from the Lower East Side with whom I shared concerns and pride. Here are two men of Puerto Rican and Italian descent. The main reference of these two things combined is West Side Story. As beautiful as that story is, it's also a tragic story of migration. The real genius behind that painting is Ori Carino - he said to me, ‘Lee, I’m making these paintings on these layers of synthetic silk.’ So I went down to his studio, and I was floored. He told me he wanted to do a collaborative piece about the layers and layers of immigration and the different conversations and arguments over the centuries. So I was like, ‘Wow, this is great karma for us coming together.’ It was a beautiful collaboration even before we pulled the trigger on the paint. And the results were amazing.”TABLET #9 “These writings taken from studio walls are what I call soundboards. I think of them as liquid daily diaries of my thoughts, my isms, my poetry, that come to me now and then. Sometimes I feel as dumb as a church mouse. I just can’t talk, spell, or remember anything. Then the next day, I wake up, and I just spill out all this poetry. Lots of it makes sense, and much of it doesn’t at that time. But maybe it will become something that I will work out later in another painting. These ideas can be playfully funny or darkly poetic. The idea is you don’t hit people over the head with things, but you get them to think through the usage of words. I heard Basquiat say once that he would cross out words so people would be attracted to them. It got people thinking, ‘Why did he cross that out? What did he write?’ And sometimes the lack of words is more powerful and gets people thinking, ‘What is that about?’”LEE“This was one of a batch of paintings that I created between 1979-80, trying to exorcise myself from the fringes of the subway art era. That time was so powerful and special for me. It saved my life even though I was always putting my life on the line. It saved me from the abyss of my neighbourhood. I had painted in the dark about dark times for years. But in that darkness, I painted in the brightest colours because I wanted to bring this banquet of flowers to people. Lee featured in the 1979 exhibition The Fabulous Five at Galleria La Medusa in Rome [the first European exhibition to showcase artists from the graffiti movement], organized by gallerist Claudio Bruni. When we write, something comes out through us.”HONEST GEORGE“Honest George is rooted in the fairy tale of Little Red Riding Hood. It’s one of a series of pieces I’m doing based on all these follies and tales we hear as children, and on how we structure our beliefs about them and relate them to the real world as it unravels. My moral compass is angry, so my work relates to the hypocrisy of the human experience. But today my work goes all over the place. There are times that I do go into a rhythm, but I only stay there as long as I need to. My art will never be repetitive or redundant. I never want to be put in a corner. As artists, we have to switch gears; otherwise, we are going to burn the clutch.”  

Words by Chris DanforthChicago’s Anthony Gallery is taking its distinctive curatorial vision across the Atlantic with the opening of a new space in Amsterdam. Founded by Isimeme “Easy” Otabor in 2019, Anthony Gallery is known for pairing buzzing and established artists, fostering cross-cultural dialogue, and reflecting Otabor’s personal perspective. Now, Amsterdam has become its second home. More than a gallery, the Amsterdam location aims to be a cultural hub, integrating music, design, and community engagement while connecting local and international artists. Otabor emphasizes that the gallery’s goal is to foster dialogue with Amsterdam’s creative ecosystem, not impose an outside voice. The launch features a collaborative exhibition by Tony Lewis, whose observational drawings capture human connection, paired with cocktails inspired by his work. Looking ahead to 2026, the gallery will host solo and group exhibitions blending local talent with global voices, creating a space that is both globally connected and locally rooted.  Below, Patta Magazine chats with two of the minds behind the project, Easy Otabor, and supporting the project from Amsterdam multidisciplinary agency Tree Filling Window, Erum Shah.How did the relationship form between Chicago and Amsterdam?Erum Shah: I’ve worked with Easy for years, including on Tom Sachs projects. Easy has been thinking about expanding Anthony Gallery to Europe, and Amsterdam felt natural. Both cities are local yet global, with strong communities and a commitment to craft. Amsterdam, like Chicago, brings together music, design, and art in a way that aligns with Anthony Gallery’s values.Easy Otabor: Amsterdam has long been a crossroads for art and ideas — a place where conversations can take root. There’s a growing energy here around contemporary art, and we wanted to be part of that momentum while also creating a bridge between European and American audiences. You’re launching with Tony Lewis, tell us how that lined up.Erum Shah: We wanted a celebratory launch before the program officially kicks off in 2026. Easy has a long-standing relationship with artist Tony Lewis, whose drawings capture hospitality and human connection. He sketches in bars, observing people and spaces, which reflects the spirit of the gallery. The launch exhibition felt like a natural way to bring Amsterdam together while connecting US and European perspectives. Tony also plans to create cocktails to pair with his drawings, creating an interactive and authentic experience.Easy Otabor: We’ve admired Tony’s practice for years. His ability to use language to address questions of identity and communication feels incredibly relevant right now. When the opportunity arose to collaborate on a new body of work, the timing felt right for it to anchor our opening. It sets the tone for the kind of dialogue we want the gallery to fosterWhen you select artists to work with, what do you keep in mind?Erum Shah: Easy pairs new voices with established ones, challenging what fine art can be. He prioritizes cultural crossover and, as a Chicago-born gallerist, includes many Black artists. His roster is distinctive because he creates dialogues between emerging and established artists, for example, pairing an emerging painter with someone like George Condo in a group show.Easy Otabor: We want to continue to keep working with great artists, but more importantly, great people.What role do you see the gallery playing in Amsterdam’s community?Erum Shah: The gallery’s responsibility is to add to the existing cultural ecosystem. We chose Amsterdam because its values - intersection of music, design, art, and local brand culture - align naturally with his vision. The goal is not to impose an international voice but to bring Amsterdam into conversation, pairing local voices with artists from Easy’s global network, including the US, Tokyo, and the African diaspora.Easy Otabor: We hope to contribute to the ecosystem and culture. That means engaging with artists, curators, and institutions already here, while bringing new voices into the mix. Our goal is to build a space that’s both globally connected and locally grounded—a place for exchange, experimentation, and discovery.What’s planned for 2026?Easy Otabor: We have an exciting slate of exhibitions that build on this year’s conversations, some returning collaborators and some new names we’re thrilled to introduce. Beyond the program itself, 2026 will be about deepening relationships: with artists, collectors, and the communities around both galleries. We’re focused on long-term growth, not just expansion.Are there other ways the gallery will engage with the community?Erum Shah: We want to redefine what a gallery can be. It will host talks and conversations across culture, curated exhibitions, and events that create community engagement. We’re exploring partnerships with local establishments and other sectors like hospitality and food, so the gallery feels integrated with Amsterdam’s culture. Opening nights and ongoing events should encourage dialogue, participation, and a deeper connection to the city.

A self-portrait series by Tirino Yspol with lighting by Raphael Mapwata

Photography by Gabe Searles and Max Hummels“I'm using this residency to kind of reset a little bit mentally. This year was pretty busy for me,” says Raheem Esteban over FaceTime from Chatham in upstate New York.Esteban Raheem Abdul Raheem Samayoa has just wrapped up his first solo institutional exhibition at the Institute of Contemporary Art San José, titled Blood Be Water. Capping off a formative year that is not quite over yet, the moment even came with a profile in The New York Times. Born in Sacramento and now living in Oakland, the Mexican-Guatemalan artist took the opportunity to incorporate new mediums like pastels and ceramics rather than the airbrush and charcoal drawings that he has previously been known for.It is immediately evident that Samayoa’s art is a personal reflection of his life, experiences, and perspective. Based around themes of community and identity, “what I want people to grasp from the work is a feeling of being comfortable, a feeling of being seen and heard,” he explains.Below, Samayoa speaks to Patta Magazine about the themes that define his work, his love of dogs, and what’s next.Tell me about what you’re doing in New York and the residency. What do you have planned?I’m upstate in Chatham for the Macedonia Institute Residency with another artist, Leonard Macintosh. We’re here for a month. For me, it’s a reset. This year was busy, two solo shows, group shows, another residency in August, so being out in nature lets me get away from the noise and reflect on what’s next when I get back to Oakland. This is my last engagement of the year. Next year I’ll have a group show at Jonathan Carver Moore Gallery in San Francisco and a solo show with my friend Callie Jones at COL Gallery, a small space in Ghirardelli Square. It’ll be an intimate show, which I’m excited about.Tell me about your early exposure to art. When did you realize you wanted to be an artist?I’ve been drawing since I was a kid, maybe three years old. My mother said I was always sketching cars and people. But growing up, I didn’t see art as a possible career. I was focused on working and surviving, figuring things out on my own. Art was always a calling though. During the pandemic in 2020, I finally had the time and resources to create a body of work. I’d moved to Oakland in 2017, and by 2020, galleries started noticing my work for the first time.You often mention community. What does home mean to you, and how does it appear in your work?What I want people to grasp from the work is a feeling of being comfortable, a feeling of being seen and heard. I’ve faced a lot of hardships, and while my story isn’t unique, people in my community often feel isolated in their struggles. My work aims to show that we’re not alone. I try to be vulnerable with the viewer, to build connection and empathy. Many of my paintings reflect not just my life but stories from friends and people in my community. That’s why the work feels relatable, it’s all drawn from shared experiences.And the dogs that appear throughout your work. What do they represent?Dogs are a recurring motif. I grew up with Dobermans and Rottweilers, breeds people often see as dangerous because of how they look. But the ones I had were rescues, they just needed love and care. That mirrors how people see communities like mine. They might look at me, with tattoos or whatever, and assume something that isn’t true. The dogs represent misunderstanding, but also loyalty and family. In hip-hop, “my dog” is about brotherhood and trust. I also grew up on old cartoons - Looney Tunes, Tex Avery - those characters stuck with me. And funnily enough, I’m born in the Year of the Dog, so it all connects.Why do you gravitate toward charcoal?I love its softness, similar to airbrush, which gives my work a nostalgic, dreamlike quality. Charcoal feels physical, I’m blending it into the fibers of the paper, really working with it. Early on, I painted with acrylics and oils, but charcoal was the first medium that completely drew me in. It let me express myself the way I needed to.How do you think art can create real impact or change in the world?Artists are essential to keeping hope alive. If you have nothing else, you have art and water. Artists express what’s happening in their communities, and that sparks a connection. When I see great art, I leave inspired and eager to create. That ripple effect builds energy across people. The message varies for everyone, but art keeps the human spirit hopeful, especially in difficult times. It reminds us that change and connection are still possible.Given everything happening in the US right now, has it changed or influenced your work?Definitely. As I’ve grown older, I’ve tried to lead by example and take on more of a leadership role. I’m aware that what I create can have an impact, even for people I don’t know. These times push me to be intentional and use a louder voice in my work, to reach further and express freely.Looking ahead, what are your short- and long-term goals?I’m focused on getting my art in museums and institutions and creating more opportunities to speak at colleges and universities. I want to share my story with younger generations and make art more accessible. I didn’t grow up going to museums, my first time was in college, so I want to bring that experience to others. I’ve really been pursuing this career seriously for about five years, and I’m learning to be patient, but I know it’ll happen.Is there a moment or accomplishment you’re most proud of so far?This year, for sure. It was packed, but a blessing. I took every opportunity, even when I wasn’t sure how it would work out. I had my first institutional show at the ICA San Jose, got a New York Times write-up, then had my first LA solo show, plus two residencies. Making all of that happen through art alone, that’s a huge accomplishment for me. Get Familiar with Raheem Esteban's Artist Residency in the Patta Magazine Volume 6. Patta Magazine Volume 6 is available now at Patta chapter stores in Amsterdam, London, Milan and Lagos.