Affordable Art Fair NYC Spring 2026

Harsh Collective is pleased to present Idiosyncrasy, a curated group exhibition at the Spring 2026 edition of the Affordable Art Fair New York, featuring works by Kayla Dantz, Olivia Overfield, and Juliette Vaissière. On view from March 18–22 at booth A28 in the iconic Starrett-Lehigh Building, the presentation investigates the interplay between dimensionality and surface, challenging traditional perceptions of mediums through materiality and immersive form.

The featured artists in Idiosycrasy invite viewers to reexamine the relationship between photography, prints, and paintings – typically two-dimensional mediums – and three-dimensionality. By combining unexpected materials and integrating innovative visual techniques, the artists challenge conventional expectations of form, surface, and style, creating works that expand the possibilities of each medium.

Kayla Dantz’s woven photographs reject the traditional role of photography as a medium for naturalistic representation. By cutting and reassembling her photographs, Dantz abstracts her compositions, obscuring them to mimic memory’s distortion of reality. Olivia Overfield expands the possibilities of printmaking beyond paper, applying glaze to ceramic tiles through printing techniques. In doing so, Overfield adds dimensionality to her work while highlighting the physical printing processes and tools she employs. Juliette Vaissière alternates between naturalistic trompe l'oeil and fluffy Rococo brush strokes, demonstrating that painting need not adhere to conventional perspective or stylization. Vassière’s hyperrealistic subjects reflect on the pressures of perfection under the gaze of social media and gain heightened impact through their tangible presence in an era dominated by screen-based imagery. Together, these artists blend traditional techniques with modern applications,  inviting viewers to further explore the intersections of material and perception.

For Juliette Vaissière, her works emerge from a personal and collective perception. “Rooted in fleeting childhood memories and fairytale imagery, my invented landscapes juxtapose satirical social commentary with apocalyptic motifs. My work is a response to the subconscious unease a lot of us are feeling right now, the isolation that comes from being chronically online, and the pressure to construct idealized identities. Showing alongside Dantz and Overfield feels especially impactful: across very different mediums, we share a devotion to memory, material, and the expressive power of the handmade as a means of documenting time, pattern, and the multi-faceted self.”