Lehmann Maupin has opened a solo exhibition of new work by Los Angeles painter Lari Pittman at its Chelsea space on West 24th Street, on view from 29 October to 19 December 2026. The show, titled The Remedy of Analog Space and Time, brings together twelve new paintings and ten works on paper, all made in the past two years.

Pittman, born in Los Angeles in 1952, has spent four decades building paintings out of dense layers of pattern, ornament and signage. Heraldic emblems, domestic interiors, Victorian decoration and graphic lettering crowd his surfaces, arranged into diagram-like compositions that reward slow, close looking. Several of the paintings are built across multiple panels, their grids and floral motifs unfolding like stage sets in which private and public imagery overlap. The new works continue that approach, treating the physical act of painting as a deliberate counterweight to the speed and fragmentation of screen-based life.

The exhibition follows a run of museum attention for the artist, including survey shows at the Jeonnam Museum of Art in South Korea and the Long Museum in Shanghai, and a painting that shares the show's title appeared in David Zwirner's California Light and Space group exhibition in Los Angeles over the summer. At Lehmann Maupin, the emphasis falls squarely on the new work: large multi-panel canvases in jewel tones sit alongside intricate drawings that show off Pittman's control of line and surface.

For a painter long associated with excess and accumulation, the show's argument is that abundance itself can be a form of resistance — that a picture built slowly, by hand, can still hold attention in a culture trained to scroll past. The gallery is open Tuesday to Saturday, and admission is free.