Gabriel Rico is known as one of "the most talented artists in Latin America". He is good at combining natural objects and man-made civilization in an interdisciplinary way to present a unique humorous poetry. Through the combination of neon lights, specimens, ceramics, stones, branches, formulas and other elements, he created a series of "wall installations", chiseling out the meaning hidden behind the objects and expanding the concept of "discovering objects".

New York

United States

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As I ascended the Empire State Building observation deck, the lights of Manhattan gradually illuminated the twilight, like a galaxy inverted on the earth. The cold wind jingled the love locks on the railings, and the streaks of light from the yellow taxis below reminded me of the time-traveling encounter in &quot;Sleepless in Seattle.&quot; On the 86th floor, in a corner, I spotted an elderly couple, their wrinkled wool scarves billowing like gentle sails in the night breeze, quietly embracing through binoculars. As neon signs flashed in the distance, I suddenly understood why this city forever attracts dreamers&mdash;not because of its height, but because behind every window lies an untamed yearning.

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Getting lost at the Metropolitan Museum of Art is a kind of bliss&mdash;turning past Roman columns, you suddenly stumble upon the Temple of Dendur, the Nile&#39;s mist seemingly still condensed on the sandstone. Lingering for a long time before &quot;Riverside Scene&quot; in the Chinese gallery, one can almost hear the pine trees whispering in Fan Kuan&#39;s ink-wash landscape. Most wondrously, in the European armor gallery, a knight&#39;s visor still bears the marks of 1547, while a Giacometti sculpture in the adjacent modern gallery speaks to it with a similarly rugged posture. Sitting in the tiered lobby at closing time, listening to an impromptu piano performance, twilight streaming through the glass dome onto Rodin&#39;s &quot;The Gates of Hell,&quot; you suddenly feel that the entire museum is like an ark carrying human civilization, with each exhibit an anchor point for its journey.

The Museum of Modern Art

Upon first seeing the original &quot;Starry Night&quot; on the fifth floor of MoMA, Van Gogh&#39;s swirling eddies were more turbulent than I had imagined; I could almost hear the paint roaring across the canvas. Passing through the installation art area, I was engulfed by Yayoi Kusama&#39;s Infinity Mirror Room&mdash;millions of my own reflections floated and sank in points of light, instantly disorienting me. In the contemporary art gallery, Duchamp&#39;s urinal remained playfully placed, next to which lay apple cores left by visitors. Most movingly, in the rest area, I saw an elderly man with white hair copying Mondrian; his trembling brushstrokes held the lingering warmth of the 20th century.

Central Park

Jogging along the long paths of Central Park, every step feels like stepping to the city&#39;s rhythm. A boy plays guitar by the Bethesda Fountain, the melody of &quot;Imagine&quot; flowing from the strings, blending wonderfully with the clatter of horse-drawn carriages. In front of the star-shaped mosaic at Strawberry Fields, someone always leaves behind a dew-kissed rose, the air filled with the scent of onion hot dogs and fresh grass. My favorite spot is the skating rink near Bow Bridge, watching beginners tumble and fall like snowballs, while the skyline silhouettes silently behind the treetops&mdash;in this steel jungle, there lies a heart-warming oasis.

Time:	Jun 12–Aug 1, 2025 (UTC-5) ENDED
Location:	PERROTIN NEW YORK

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GABRIEL RICO A FINGER POINTING TO THE MOON | PERROTIN NEW YORK

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The Museum of Modern Art

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