NEW YORK, NY.- Jeffrey Deitch and Pace Gallery will present Untethered Journey, an exhibition of historical and recent works by Kiki Smith, at Deitch’s gallery at 925 N Orange Drive in Los Angeles from October 30, 2026, through January 23, 2027. Marking Smith’s first solo show in the city in thirty years, the exhibition will provide an overview of her rigorous, provocative, and poetic practice.
Smith, who began her career in the 1980s, is celebrated for her materially wide-ranging practice exploring the interconnection of the human body and the natural world. Throughout sculpture, drawing, glasswork, printmaking, and textile, among other forms, Smith’s work takes both a spiritual and psychologically charged approach to ideas of mortality, regeneration, and gender politics. Smith is deeply inspired by the visual culture of the past, from eighteenth-century scientific anatomical renderings to the imagery of relics, memento mori, folklore, mythology, Byzantine iconography, and medieval altarpieces.
Describing his first encounters with the artist, Pace founder Arne Glimcher says: “Having represented Tony Smith for many years, I met Kiki as a young woman assisting her father in the construction of the models for his works. Little did I realize then that she would become so influential an artist, at the forefront of a new movement expressing identity and the temporal nature of life through an investigation of the body and its internal and external parts.”
Untethered Journey brings together a group of Smith’s sculptures of the body, including iconic early bronze works like Virgin Mary (1994) and Blood Pool (1992) as well as investigations in papier mch, beeswax, polyester resin, and fiberglass. Unflinchingly transgressive, these works challenge held notions about the depiction of the human form, exposing its inner workings and upending classical postures. Smith often displays these works in unexpected positions; in a series of cast aluminum and bronze sculptures from 2002, titled Moon on Crutches, a single body is suspended amid a tangle of linear structures, while in the seminal 1989 Untitled, exhibited late last year at 125 Newbury in New York, a group of figures sculpted in paper hang from the ceiling between large paper sheets, hand painted in red vermillion ink.
Thought-provoking and at times unsettling, these sculptures are placed in conversation with a selection of multimedia wall-mounted works that also engage themes of humanity. At their heart is a tension between the public—a “body” of people—and the private. “I always think the whole history of the world is in your body,” Smith has said. In part, her works think through what becomes internalized and, as in the cast aluminum diptych Untitled (Skin) (1992), what is reflected externally. In the process she negotiates archetypes of femininity, as in the Hinterglas installation Sybills (2005), as well as understandings of collectivity, illustrated by the strings connecting the figures in an untitled paper work from 1993.
Smith’s works depicting animals and the natural world also feature in this exhibition, from recent bronze sculptures of owls and goats—beings whose portrayals are laden with symbolic meaning and whose images frequently reoccur in her oeuvre—to large-scale paper works that embrace the sweep of the cosmos. Stars and Scat (1996), a large blue expanse of Nepalese paper dotted with Schott crystal stars and bronze scat installed on the floor, exemplifies Smith’s singular artistic outlook; here, otherworldly beauty and wonder coexist with a fundamental corporeality, outlining the fragile yet profound networks of life.
Untethered Journey is the latest collaboration between Jeffrey Deitch and Pace Gallery, who have sustained a cooperative relationship over the years, presenting joint institutional exhibitions and projects in support of their artists. The exhibition is also borne out of the long friendships between Smith, Deitch, and Glimcher. After meeting Smith in 1975, Deitch went on to support the artist-run shop A. More Store, which launched in 1981 under the leadership of Smith, and later included her sculpture Mother/Child (1993)—on view in this presentation—in Aperto ’93 at the 45th Venice Biennale. Glimcher has worked closely with Smith for decades, since Pace began representing her in 1994. This marks Smith’s sixteenth solo exhibition with the gallery.
“Jeffrey Deitch and I have long admired many of the same artists, and our galleries have worked together seamlessly to their benefit,” says Glimcher. “This is the first time that we are presenting an entire exhibition together, and the first time a collaboration of this sort is taking place in another gallery. Working with Jeffrey on this project has been pure joy.”
Kiki Smith (American, b. 1954, Nuremberg, Germany) lives and works in New York City and the Hudson Valley. Smith has been the subject of numerous solo exhibitions worldwide, including over twenty-five museum exhibitions. Her work has been featured at five Venice Biennales, including the 2017 edition. Notable exhibitions include Books, Prints and Things, The Museum of Modern Art (2004–05); A Gathering, 1980–2005, organized by the Walker Art Center (2005–06), which traveled throughout the United States before closing at La Coleccin Jumex, Mexico City (2007); Touch: Prints by Kiki Smith, Staatliche Graphische Sammlung Mnchen, Munich (2019); Kiki Smith, Monnaie de Paris (2019–20); Hearing You with My Eyes: Kiki Smith, Muse cantonal des Beaux-Arts, Lausanne, Switzerland (2020–21); From the Creek, Albuquerque Museum, New Mexico (2022–23); Free Fall, Seoul Museum of Art (2022–23); Kiki Smith – From My Heart, Staatliche Graphische Sammlung Mnchen, Munich (2023–24); and Kiki Smith. Woven Worlds, Arp Museum Bahnhof Rolandseck, Remagen, Germany (2024), which traveled to Museum of Contemporary Art of Montenegro, Podgorica (2024–25) and Moderna Museet, Malm, Sweden (2025). Smith’s work resides in numerous public collections worldwide, including The Albertina Museum, Vienna; The Art Institute of Chicago; Centre Georges Pompidou, Paris; Fogg Art Museum, Harvard University, Cambridge, Massachusetts; and The Metropolitan Museum of Art, New York, among many others.
Smith has been commissioned to create several permanent installations over the course of her career. In 2008, she was invited to design a stained-glass window for the Museum at Eldridge Street, New York, in the historic synagogue's main sanctuary. In 2022, Smith was commissioned by Metropolitan Transportation Authority Arts & Design to create five permanent floor-to-ceiling mosaics for the Madison terminal of Grand Central Station in New York City. In 2023, Smith, in collaboration with Brckner & Brckner Architects, designed an on-site chapel for the Diocesan Museum in Freising, Germany; The Chapel of Mary’s Mantle opened. In 2026, she was commissioned by the Obama Presidential Center in Chicago to create a bronze sculpture, Receive, for the Hope and Change Lobby of the center’s museum.
