Art Toronto 2025

Corner installation view of the PROXYCO Gallery booth at Art Toronto 2025. Left wall features two large circular needle-felted works depicting close-up views of green vegetation. Center wall displays two framed drawings — one with repeating red geometric forms, one with repeating black triangular patterns. A freestanding panel to the right holds a large horizontal needle-felted textile depicting a costumed figure atop a burned-out car.
Exterior view of the PROXYCO Gallery booth at Art Toronto 2025, in the Arte Sur section. A freestanding white wall panel displays a large horizontal needle-felted textile with a red border, depicting a costumed figure atop a burned-out car on a highway. On the wall behind, two circular needle-felted works with dark borders show close-up views of green vegetation. The booth sign reading 'PROXYCO Gallery, New York' is visible in the upper right.
Detail of a corner wall at the PROXYCO Gallery booth at Art Toronto 2025. Two large circular needle-felted textile works hang on the left — one with a dark border showing a forest canopy, one with a red border showing a close-up of a green surface. Two framed drawings on the right wall display repeating geometric patterns, one in red and one in black on white paper.
Entrance signage for Art Toronto 2025. The fair's name is displayed in large cream-colored serif type against a deep purple background panel. A glass atrium ceiling and steel structural beams are visible above.
Aerial overview of the Art Toronto 2025 fair floor, photographed from an elevated vantage point through glass. Rows of white booth walls extend across a large convention hall, with colorful artworks visible throughout. Visitors and gallery staff are seen among the booths. Potted trees are visible in the foreground.

Sheroanawe Hakihiiwe & Adela Goldbard
Art Toronto 2025
Booth A16-E

PROXYCO Gallery presents a booth featuring a dialogue between Sheroanawe Hakihiiwe and Adela Goldbard — two artists rooted in distinct yet resonant cultural contexts whose practices engage with language, memory, and resistance through material and mark-making.

Hakihiiwe, a Yanomami artist from the Venezuelan Amazon, creates delicate visual poems drawn from the cosmology, landscape, and oral histories of his community. His graphic language of symbols, lines, and patterns translates ancestral knowledge into refined visual codes that speak to both preservation and transformation.

Adela Goldbard’s hand-felted textile pieces, produced in collaboration with artisans in Oaxaca, Mexico, are charged with political critique and collective memory. Her work reimagines vernacular forms of protest and ritual through vibrant, tactile surfaces that fuse traditional techniques with contemporary urgency.

Together, their works propose an alternative cartography — weaving the personal, the political, and the cosmological across geographies and mediums.