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“A sustained becoming: Studio Museum Artists in Residence 2026” presents work by resident artists Derriann Pharr, Simonette Quamina and Taylor Simmons in a fourth-floor gallery at the Studio Museum in Harlem. Hyperallergic’s review describes Pharr’s 2026 works as drawing on girlhood and womanhood, with figures that combine human and animal forms.
According to Hyperallergic’s review, the Studio Museum in Harlem is presenting work by its 2026 artist-in-residence cohort in “A sustained becoming: Studio Museum Artists in Residence 2026,” an exhibition in the fourth-floor gallery of the museum’s new building. The review names Derriann Pharr, Simonette Quamina and Taylor Simmons and describes Pharr’s paper works, dated 2026, as turning to girlhood and womanhood through figures that combine human and animal forms.
Hyperallergic describes Pharr’s “Squinching my eyes shut and wishing real hard (Honey’s Dream)” (2026) as made on paper with raw, frayed edges. The review describes a long, animal-like woman whose form gathers scales, fur, flower petals, wings and dewdrops. It says these details give the figure a shifting appearance, while the composition remains held within the rough-edged sheet.
In its account of “Bring My Bones Home!” (2026), Hyperallergic describes a bulbous female figure coiled around a small creature. The review characterizes the pose as tender but watchful and notes spiky sculptural elements rising above the figure. These are the review’s descriptions of the work; they are not presented as an explanatory statement from Pharr.
Hyperallergic also identifies Simonette Quamina’s indigo-hued dreamscapes and Taylor Simmons’s intimate oil tableaux in the exhibition. The review says the works occupy a spacious fourth-floor gallery, with curatorial care taken to avoid crowding and allow each practice room. It identifies the venue as the Studio Museum’s new 82,000-square-foot building in Harlem.
Three Practices in a New Gallery
Hyperallergic’s review places the work of three resident artists in the Studio Museum’s new Harlem building and describes space between works in the fourth-floor gallery. The review’s account suggests a presentation shaped around distinct practices rather than a tightly packed survey. It names Pharr’s paper and sculptural elements, Quamina’s indigo-toned scenes and Simmons’s oil paintings.
Hyperallergic describes Pharr’s works as focusing on girlhood, womanhood and metamorphosis. The review says the images bring together human, animal and natural forms, and describes the protective pose in “Bring My Bones Home!” as a larger figure coiled around a small creature. These are the reviewer’s descriptions; the review does not present them as a definitive account of Pharr’s intentions.
The 2026 Residency Exhibition
Hyperallergic identifies “A sustained becoming: Studio Museum Artists in Residence 2026” as an exhibition of the museum’s resident cohort, located on the fourth floor of the Studio Museum’s new Harlem building. The review gives the building’s area as 82,000 square feet. It does not provide opening or closing dates, or details about the residency’s length or selection process.
Hyperallergic’s account centers on Pharr’s works while also naming Quamina and Simmons and briefly characterizing their work. The review suggests that the gallery is arranged to give each artist space, but does not describe every work, the complete installation or the exhibition’s full curatorial framework. Its reporting supports a focused account of the three artists named and the works described, rather than a complete catalogue of the show.
Dates and Full Exhibition Scope
Hyperallergic’s review does not say when the exhibition opened, how long it will remain on view or whether it is currently open. It also includes no artist statement from Pharr and no direct remarks from the museum, curator, Quamina or Simmons. Descriptions of Pharr’s themes and the gallery’s arrangement are attributed to the review, not presented as direct quotations or as the artists’ own explanations.
The review names three artists and describes selected works, but does not list the complete exhibition contents, visitor information or related public programs. It includes no attendance figures or institutional statements about the show’s reception.
Visitor Details Still Needed
Hyperallergic reports that the exhibition is in the Studio Museum’s new Harlem building but gives no schedule or closing date. Readers seeking to visit will need to check the museum’s current exhibition listing for dates, hours and access information. The review identifies no later event or announcement as the next milestone.
Further reporting could establish the show’s full schedule, gather comments from the participating artists and curators, and document more of the works on view. Based on Hyperallergic’s account, the 2026 cohort exhibition brings together Pharr, Quamina and Simmons in a fourth-floor gallery; the review gives specific descriptions of two works by Pharr.
Key Questions
What is “A sustained becoming: Studio Museum Artists in Residence 2026”?
According to Hyperallergic’s review, it is an exhibition of the Studio Museum in Harlem’s 2026 artist-in-residence cohort, presented in a fourth-floor gallery in the museum’s new building.
Which artists are named in the report?
Hyperallergic’s review names Derriann Pharr, Simonette Quamina and Taylor Simmons. It describes two 2026 works by Pharr, Quamina’s indigo-hued dreamscapes and Simmons’s intimate oil tableaux.
What works by Derriann Pharr does the source describe?
Hyperallergic describes “Squinching my eyes shut and wishing real hard (Honey’s Dream)” and “Bring My Bones Home!,” both dated 2026. The review says the first is made on paper and describes the second as depicting a large female figure coiled around a small creature.
When can visitors see the exhibition?
Hyperallergic’s review does not give opening or closing dates, hours or visitor information. Check the Studio Museum’s current listing for scheduling details.
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