VSG Contemporary is pleased to present a solo booth by Griffin Goodman at NADA New York 2026. Titled Where’s All The Peace and Quite at the Hello Goodbye Hotel, the presentation considers the search for comfort in an increasingly overstimulated world.
Conceived as a deliberately busy and visually crowded “stay,” the booth features four large-scale paintings alongside twenty-four smaller works, transforming the familiar language of hospitality into something restless, humorous, and psychologically charged. Goodman uses the hotel as both setting and metaphor: a temporary refuge where privacy, desire, distraction, and unease all coexist. What is meant to soothe instead overwhelms, asking where peace and quiet can still be found.
The presentation follows a breakout 2025 for the artist, marked by his first institutional exhibition and inclusion on the Forbes 30 Under 30 list for Art & Style. Goodman received his MFA in Painting and Drawing from the School of the Art Institute of Chicago and his BFA from Ringling College of Art and Design. His career has also included collaborations with the Chicago Bulls, Warner Bros., and Lollapalooza.
With Where’s All The Peace and Quite at the Hello Goodbye Hotel, Goodman expands his distinctive visual language into an immersive environment that mirrors the anxieties, excess, and humor of contemporary life.
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Past Fairs
NADA Miami: Mason Pott 2-6 December 2025 VSG Contemporary is thrilled to present a solo presentation of Chicago-based artist Mason Pott at NADA Miami 2025, ahead of his debut solo exhibition with the gallery in April 2026. Born and working in Chicago, Pott is a fine artist whose practice centers on traditional oil painting with a contemporary sensibility. Known for his vivid explorations of florals and color theory, he approaches each work with a deeply considered, multidisciplinary process. Every painting begins with a carefully staged, high-quality photoshoot of a floral arrangement—an essential step in shaping the composition, lighting, and emotional tenor of the final piece. From there, Pott hand-cuts an aluminum panel to echo the contours of the bouquet, creating a sculptural support that blurs the line between painting and object. This integration of form and subject transforms the still-life tradition, inviting viewers to engage the work as both image and physical presence. Pott’s practice reflects his belief in the interconnectedness of craft, intuition, and design. His meticulous attention to color relationships animates the surface of each painting, resulting in works that feel simultaneously timeless and distinctly of the present. He received his BFA from the University of Illinois at Urbana-Champaign in 2015.
