Edel Assanti's St James's gallery is showing an exhibition of paintings and monotypes by the pioneering American artist, writer and curator Harmony Hammond. On view from 6 October to 13 November 2026, the presentation draws on Hammond's long investigation of the bodily and corporeal potential of abstraction. Hammond is a pivotal figure in New York's 1970s feminist art movement, whose work occupies the charged territory between painting and sculpture. The surfaces of these works — grommeted, sutured and ripped — belie their ambiguous material charge: although they can resemble flags or warnings, they refuse easy categorisation, sitting somewhere between sculpture, painting and print. As Hammond has written, 'Abstraction, like queerness, is indeterminant.' The exhibition is staged at the gallery's second, more intimate space in St James's, a 450-square-foot venue the gallery opened earlier in 2026 as a counterpart to its larger Fitzrovia gallery. Where the main space mounts four ambitious exhibitions a year, the St James's room is programmed for nimbler, focused presentations — the compact format suits Hammond's materially intense practice, allowing close encounters with works whose surfaces carry the marks of their making. The show runs alongside a busy autumn for the gallery, which is also presenting a site-specific installation by Marcin Dudek at its Frieze London booth and opening Dudek's solo exhibition 'PAWILON' at Fitzrovia on 16 October. For London audiences, the Hammond exhibition offers a rare sustained encounter with an artist whose influence on feminist abstraction has been profound, if historically under-recognised on this side of the Atlantic.