Gallery 1337 is our flagship gallery at the heart of Art Works Downtown. Facing Fourth Street and serving as the main entrance, Gallery 1337 showcases an ever-changing mix of traditional, contemporary, and cutting-edge art by a diversity of Bay Area artists. Visitors encounter dynamic group shows, high-concept exhibits, and thought-provoking themes that reflect the pulse of today’s art scene.

Upcoming Exhibits
October 2–November 14, 2026: Numina
November 23, 2026—January 24, 2027: Skaters — Tintype Portraits by Jenny Sampson
April 9—May 29, 2027: Shaping Sound, Tracing Light: Bart Hopkin x Joshua Moreno

Gallery 1337


Numina: Six Artists Exploring Consciousness

Numina
Six Artists Exploring Consciousness 

October 2–November 14, 2026
Exhibition Dates

November 7, 11am
Artists Talk

October 9 + November 13, 5–8pm
Reception & 2nd Friday Art Walk

Artists:
Fariba Bogzaran, Nancy Genn, Mike Grady, Jeremy Morgan, Zea Morvitz, Peter de Swart 

Curator:
Fariba Bogzaran, cofounder, Lucid Art Foundation. 

In collaboration with the Lucid Art Foundation

 Curatorial Statement

This exhibition presents art as a way of knowing. Entering the unknown territories of consciousness and inner spaces, requires multiple approaches. Science and art offer different, yet complementary, ways of exploring phenomena. The quantitative methods of science and the qualitative inquiries of artistic practice illuminate experience from different directions. Art contributes to this broader understanding through its capacity to reveal and communicate dimensions that might otherwise remain unseen or invisible.

Art is a form of inquiry that creates an intersubjective encounter between the artwork and the viewer. A work of art is not merely an illustration of knowledge acquired elsewhere; it can itself become a site of discovery.

The unveiling of inner space likewise calls for a multiplicity of approaches. In this exhibition, each artist enters this world through a distinct visual language, revealing dimensions of inner and outer experience through abstraction, automatism, alchemy, nature, light, and energy.

The artworks themselves become portals. Some invite contemplation and sustained attention; others seize us immediately. Each offers a different threshold between the known and the unknown.

View the Exhibition Catalog

The Exhibition
I was invited to curate this exhibition exploring the relationship between art and consciousness and to participate as one of the exhibiting artists. Given the breadth and depth of this subject, Numina offers only a glimpse into the long and sustained explorations represented here. This exhibition creates a constellation of artworks rather than a comprehensive survey.

Intentionally, I chose artists in the later stages of their careers. For decades, they have pursued questions concerning art, consciousness, and the unknown. Their work reflects sustained inquiry into inner experience and its relationship to the world around us.

The Artists
Three artists in this exhibition—Mike Grady, Jeremy Morgan, and myself—were professors in the Department of Arts and Consciousness at JFK University in Berkeley, California. Our practices were shaped by Western art traditions as well as Asian philosophy and aesthetics. Grady and Morgan were both inspired by J. M. W. Turner, while my own work was influenced by the surrealists, particularly Giorgio de Chirico, and, more profoundly, my experiences of lucid dreaming and hypnagogia.

For Grady, art, meditation, and yoga are inseparable, joined in a single state of awareness. Morgan's paintings seek to register “the magic, the mystery, the beauty and the enigmatic nature of being,” reflecting his understanding of consciousness as that which connects us indivisibly to nature. All three of us have engaged, in different ways, with Buddhist and Taoist philosophies and practices, yet each approaches consciousness through a distinct artistic language and practice.

Nancy Genn's paintings immediately resonated with qualities central to this exhibition: meditation, abstraction, and an openness to experience beyond representation. Her lifelong dedication to painting and her affinity with the work of Mark Tobey offer another path into these territories. Exhibiting her work since 1947, Genn brings to this exhibition a remarkable lifetime of sustained artistic exploration.

Zea Morvitz and I have been part of the Bishop Pine Preserve artist community in Inverness, California, for three decades—a lineage connected to the writer Jacqueline Johnson and the artists Gordon Onslow Ford, J. B. Blunk, and John Anderson. While alchemy may be an implicit influence in the work of some of our works, it enters Morvitz's work explicitly. Her visual language transforms elements of nature into living presences, where transformation becomes both a material and a psychic process.

Peter de Swart's work creates a threshold between what he calls “presence and absence.” His work invites us into the space between the visible and the invisible. Working across sculpture, painting, and multimedia installation, he creates environments that evoke the contemporary, the sublime, and the otherworldly. The opening verse of the Tao Te Ching reminds us that what can be named or spoken is not the eternal Tao. De Swart similarly observes that “what is not said is as important as what is said; language is steeped in silence.”


Skaters — Tintype Portraits by Jenny Sampson

Skaters
Tintype Portraits by Jenny Sampson

November 23, 2026—January 24, 2027
Exhibition Dates

December 11, 5–8pm
Reception & 2nd Friday Art Walk

January 8, 5–8pm
Reception & 2nd Friday Art Walk

January 17, 1pm

Artist—Panel Talk + Book Signing
Marin Art Day with SF Art Week

Curator: Marialidia Marcotulli, PhD

Berkeley-based photographer and San Francisco native Jenny Sampson has dedicated the last two decades to documenting West Coast skateboarding culture through a unique lens. While skaters have traditionally been viewed through the prism of counterculture—defined by their distinctive style, the sound of wheels on pavement, and their creative reimagining of urban spaces—Sampson's work reveals a deeper, more nuanced narrative.

This exhibition builds on the momentum of Sampson's 2024 show at the Bolinas Museum, which marked the first time over 250 of these portraits were exhibited collectively as a group. The presentation at Art Works Downtown (AWD) goes further still. It is the first opportunity to display Sampson's complete collection to date, approx. 400 portraits, offering an unprecedented window into the depth and intimacy of skate culture.

Sampson employs the historic wet collodion tintype process, a 175-year-old photographic technique that strips away artifice to reveal raw authenticity. The resulting images are both striking and vulnerable, echoing the ethos of skate culture itself—unfiltered, bold, and pushing beyond conventional boundaries. Sampson's methodical approach involves a portable darkroom and exposure times of up to 30 seconds, creating a collaborative experience where subjects witness their portraits materializing in real time. This process demands mutual trust and cooperation and results in remarkably intimate portrayals.

Sampson's work is published in two books, Skaters (Daylight, 2017) and Skater Girls (Daylight, 2020). She recognizes the underrepresentation of women, LGBTQ+, and other diverse voices in skating culture. Alongside organizations like Women’s Skateboard Alliance (The Alliance), HAGS, All Girl Skate Jam, Withitgirl, Villa Villa Cola Collective, Mahfia TV, Skate Like A Girl, Exposure, Girl is NOT a Four Letter Word, Skateistan, Meow Skateboards, Gnarhunters, OHSO, FroSkate, Rogue, Hoopla, WomenSK8 History, Unity, and Welcome Skateboards, her portraits contribute to a movement of inclusion and the reshaping of skateboarding's cultural landscape. This evolution is particularly evident in the 2024 SFMOMA exhibition Unity Through Skateboarding (August 17, 2024 - May 4, 2025). Portraits of Jeff Cheung and Gabriel Ramirez, who curated the SFMOMA exhibition, as well as those of other pioneering figures in the queer, trans, BIPOC, and women's skating communities, are included in this exhibit along with Unity and There skateboards displayed in the gallery windows.

Sampson's work transcends traditional skateboarding photography through its patient, deliberate process. Her portraits offer a counter-narrative to conventional stereotypes, revealing skate’s democratic spirit and its participants' humanity. Like skateboarding, which requires only a board with four wheels and a surface, these images provide accessible entry points to understanding the emotional landscape of their subjects. Each portrait captures not just individual skaters but moments of vulnerability, courage, and connection—universal experiences that resonate far beyond the skateboarding community.

Special gratitude goes to the Bolinas Museum, Jessica Shaefer, Executive Director and Louisa Gloger, former Executive Director Bolinas Museum, current Executive Director Headlands Center for the Arts.


In collaboration with the Further Triennial
Promotional Partner: KEXP San Francisco 92.7 FM

Shaping Sound, Tracing Light: Bart Hopkin + Joshua Moreno

Instruments of Sound and Light: Bart Hopkin x Joshua Moreno

April 9—May 29, 2027
Exhibition Dates

April 9, 5–8pm
Reception & 2nd Friday Art Walk

May 14, 5–8pm
Reception & 2nd Friday Art Walk

April or May 2027
Further Triennial Gallery Nights

How does an idea become audible? How does light become tangible? Instruments of Sound and Light: Bart Hopkin x Joshua Moreno—opening April 2027 in Gallery 1337 at Art Works Downtown—offers an immersive encounter with light, sound, form, and color through the work of two distinctive Bay Area artists. Comprising one-of-a-kind interactive musical instruments alongside tracings of sun rays that transform over time on the gallery walls, these works reveal unique physical processes through which the ineffable becomes perceptible.

A composer and instrument inventor whose work reverberates within the long and storied tradition of Bay Area experimental music and sound art, Bart Hopkin gives playable form to ideas through the construction and use of his sculptural musical instruments. An artist and educator who often uses site-specific mark-making to document overlooked environmental phenomena, Joshua Moreno turns light to form as he tracks the shifting course of the sun—and the objects that obstruct and reflect its rays—within the gallery over days, weeks, and months.

Hopkin brings sound from nothingness into an audible field. Moreno coaxes light into the physical plane, revealing shadows in the process. During reception events, these actions will be performed live by the two artists. And throughout the duration of the exhibition, visitors are invited to experience and participate in this synesthetic interplay that is by turns subtle and dramatic, harmonious and dissonant, ethereal and substantial.