S.2.A is in between. S.2.A is a stairway. S.2.A is an exit.
S.2.A is a vision. S.2.A is not free.  S.2.A is a platform.
S.2.A is a ticket. S.2.A is borrowed. S.2.A is tiled.
S.2.A is an invitation. S.2.A is not a corporation.
S.2.A is a way in.S.2.A is to your left. S.2.A is a corridor.
S.2.A is written on the subway walls. S.2.A was Shoes for Boys.




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 by Daniel Feinberg


Concrete building in Damascus. Image courtesy Daniel Feinberg

November 19th  at 8pm

As Daniel Feinberg reads from the sole existing chapter of his debut novel ‘That Which Comes After,’  we expected an eclipse: Damascus -silk sheets- neon green-2009- steam slab.

That Which Comes Under at S2A, Nov 19, 2013




by Paula Doepfner

July 20th-27th/ Hours: 4:30- 7:30pm daily and by appointment/ Token: $2.75

 July 24th at 6pm / Artist Reception and performance  

S2A is pleased to present Paula Doepfner’s Rollin’ High and Mighty Traps.

In an installation, her first in the United States, Doepfner imagines a world where aesthetics capably crack concrete walls to let in primal paragons. A pair of figure-size drawings carefully made with black ink on translucent Japanese paper hang in the center of the downstairs space. Stained with an accumulation of small marks, the abstract works appear alive, trembling with each viewer’s passing body. The corners of S2A have also become active; tangled with tree branches and piles of leaves, they are skeletons of a future and past environment. The work here intimates the fleeting nature of the present: hanging paper is not quiet, it is tree bark; cut branches are not dead, they are pulp; utopia is not out there, it is inside each of us. Meanwhile, an ice sculpture adorning the upstairs with daring transparency encases a note hand written by Doepfner in blue ballpoint pen. As it transforms from block-state to puddle-state, simultaneously unlocking and destroying the artist’s printed words, each budding water drop hints that though renewal is possible some actions are simply irreversible.

Please join us on July 24th at 6pm for an artist reception and performance. Paula Doepfner will be presenting Moist Stash in collaboration with musician Steve Whipple.

With thanks to Sara Katz, Bronx Botanical Gardens and Openhouse Gallery.


 Paula Doepfner. ROLLIN’ HIGH AND MIGHTY TRAPS. 2013. Installation View.
Paula Doepfner. ROLLIN’ HIGH AND MIGHTY TRAPS. 2013. Installation View.





                           Saturday, June 1. Book Launch Party @ 5:00 pm    &    Sunday, June 2. Publishing @3:00 pm

    Featured writers: Ed Lin, Rachel Maude,Thaddeus Rutkowski, Melancton Hawks, Robin Grearson, Mariette Papic and Alex Morris.

On June 1st and 2nd, S2A is pleased to host LA-based Writ Large Press. PUBLISH! questions  the notion of writing as a private, solitary act and re-imagines the publishing process as an act of announcing. Over the course of this two-day event, typewriters, keyboards and voice technologies will be used to gather attendees’ real time reports and reflections into a book.

Turning the publishing process on its head, the event begins Saturday at 5pm with the launch of the book that will be written and ends Sunday afternoon with a bookbinding of content generated by participants.

Open to all.




April 17th: 4-8pm

April 18th, 19th, 20th: 3-6pm


In her ongoing project, Annabel Daou offers her services as a fortune teller.
Members of the public are solicited to partake in an intimate exchange,
presenting their palms to Daou who transcribes
their fortunes onto paper.

 Image courtesy of Olivia DiVecchia
 Image courtesy of Olivia DiVecchia



by Itziar Barrio


January 30-April 4, 2013
Opening Party: Wednesday, January 30th 2013, 6-9 pm

Performance at 8 pm
Featuring: Chavisa Woods, Yasha Bilan, Nora McCarthy, Alexander Bilu and Mark Gerring
performing as an ensemble utilizing methods  inspired by Butch Morris’ Conduction ®


S2A is pleased to present Itziar Barrio: WE COULD HAVE HAD IT ALL.

In this multi-layered digital video, Itziar Barrio takes a line borrowed from popular music as the departure point for an elaborate exploration of performance, language, politics, and sexuality. Drawing its title from the chorus of British pop star Adele’s 2011 smash single, “Rolling In The Deep,” the work pays homage to the global appeal of Adele’s music while inquiring into the myth-like notion of total fulfillment.

The work is set inside the Teatro Arriaga, an historic theater in Barrio’s native Bilbao. A sequence of slow tracking shots and luscious stills, inspired by segments from Adele’s Live at the Royal Albert Hall concert video, capture an ornate interior, emptied of spectators yet intermittently haunted by the voices of two female poets asked by Barrio to collaborate on the project by responding to the lyrics in Adele’s hit song.

Maialen Lujanbio, whose voice can be heard as the video opens, is a Basque poet who practices an improvisational form of sung poetry known as bertsolarismo. Chavisa Woods, whose words follow in subtitle shortly thereafter, is an American writer living in New York. Reflecting on the social, economic, and erotic dimensions of fulfillment and its frustrations, the two poets enter into a dialogue with one another and with their pop star counterpart. Portrayed with vivid sensuality, the vacant theater itself becomes another performative figure with which the poets interact. As the video’s soundtrack—based on a looping Adel sample—slowly builds, the intertwining of music and image, Basque and English, song, text, and speech creates a viewing experience in which the conventions of public performance are redistributed like the sexual sensorium described in Woods’s poetry.

In its present installation, the stark contrast between the classically styled proscenium depicted in the video and the subterranean space in which the piece is projected echoes the juxtaposition in the work between the global spectacle of popular culture and more local and intimate modes of engagement. This in turn reflects a prevailing focus in Barrio’s artworks on the interplay between idealism and pragmatism, the universal and the particular.

Thanks to the Old Bowery Station and Openhouse Gallery for partnering with us.

Download Playbill 

Itziar Barrio. WE COULD HAVE HAD IT ALL .2013. HD video 9’21 and Theatre chairs. Installation View
Itziar Barrio. WE COULD HAVE HAD IT ALL .2013. Installation Detail.   Itziar Barrio. WE COULD HAVE HAD IT ALL .2013. Installation Detail.    Itziar Barrio. WE COULD HAVE HAD IT ALL .2013. HD video 9’21. Video still
Itziar Barrio. WE COULD HAVE HAD IT ALL .2013. Installation Detail.  
                                                                                                                          Itziar Barrio. WE COULD HAVE HAD IT ALL .2013. Installation View.   
Itziar Barrio. WE COULD HAVE HAD IT ALL (I).2013. Silkscreen, Photopolymer and Linocut. 19.7 x 27.6 inches. Edition of 10. (LEFT)
     Itziar Barrio. WE COULD HAVE HAD IT ALL (II).2013. Silkscreen, Photopolymer and Linocut. 19.7 x 27.6 inches. Edition of 10.(RIGHT)    Itziar Barrio. WE COULD HAVE HAD IT ALL (IV).2013. Silkscreen, Photopolymer and Linocut. 19.7 x 27.6 inches. Edition of 10.             Performance at S2A. Chavisa Woods, Yasha Bilan & Nora McCarthy. Jan 30, 2013.