“Currency of Identity”
- OvonoAgency
- Nov 17
- 4 min read
Margarita Howis: Opens at Taylor & Ponce Contemporary, NYC
New York, NY — November 2025: Taylor & Ponce Contemporary hosted the solo exhibition Currency of Identity by contemporary artist Margarita Howis, produced by Frank Giella in collaboration with Taylor & Ponce Contemporary. Presented from November 5–12, the exhibition drew collectors, curators, and critics to the gallery’s Midtown Manhattan location at 4W 43rd Street, where Howis unveiled a new body of work investigating identity, beauty, and the psychological frameworks that shape personal perception.
A Focus on the Present Self The central premise of the exhibition is rooted in a straightforward yet complex inquiry: How does an individual understand who they are in the present moment? Rather than relying on memory or future projection, Howis frames identity as a continually shifting construct, one that must be assessed through immediate experience. Her latest works build on this concept by presenting the self as the result of layered influences rather than a fixed state.
The exhibition challenges the viewer to evaluate their own assumptions about identity formation, prompting a reflection on how individuals present themselves publicly versus how they understand themselves privately.
Aesthetic Standards & Cultural Conditioning Much of Currency of Identity addresses the contradictions at the core of aesthetic judgment. Although beauty is widely considered subjective, Howis highlights how individuals internalize their personal preferences as objective standards. The exhibition critiques this “quiet absolutism,” exposing how cultural conditioning shapes our metrics for beauty and value.
Through this lens, Howis presents identity as something negotiated within the structure of societal expectations. Her portraits reveal the consequences of this negotiation, illustrating how personal histories and external pressures converge into a transactional understanding of the self.
Photography By Nizzelle
The Artist’s Visual Language
The exhibition features layered portraiture, architectural influences, and mixed-media techniques that create a sense of movement across the canvas. Howis frequently uses overlapping frames, duplicative forms, and glitch-like repetition to represent identity as fragmented yet interconnected.
The results are portraits that operate simultaneously as images and as psychological diagrams. Each piece offers insight into how individuals navigate vulnerability, perception, and visibility in an era defined by constant self-presentation.
Her technique, marked by expressive strokes, abrupt tonal shifts, and structural composition, reflects her background in architecture and design. These formal elements give the portraits a physical sense of structure even as they explore intangible personal themes. Themes of Rebellion and Individualism Many works in the exhibition exhibit a defiant tone. Howis positions individuality not as a stylistic choice but as an act of resistance. Her rejection of polished perfection challenges contemporary visual culture’s emphasis on flawlessness and uniformity.
By incorporating elements that evoke erosion, time, and impermanence, Howis underscores the instability inherent in personal identity. Yet this instability is not framed negatively. Instead, it is portrayed as an essential component of self-definition and independence.
The exhibition argues that developing one’s identity, authentically and without concession, requires an ongoing willingness to confront discomfort and complexity.
Color, Atmosphere, and Emotional Framework Color plays a critical narrative role throughout the exhibition. Howis uses saturated hues and luminous skin tones to signal self-awareness and personal reckoning. The repeated presence of radiant color fields around her subjects suggests an aura-like visualization of psychological states.
Dripping paint, layered textures, and movement across the surface contribute to a sense of time passing, reinforcing the theme of identity as an evolving process rather than a final product.
Viewer Engagement and Interpretive Demands Perhaps the exhibition’s most compelling feature is its insistence on viewer participation. Howis does not provide definitive narratives within the work; instead, she presents multiple interpretive pathways.
The portraits function as open-ended propositions. Viewers are prompted to assess their own relationship with the subject matter, effectively becoming part of the identity construction process. This dynamic positions the exhibition as a dialogue rather than a set of declarative statements.
Photography By Hideki Aono
A Reflection on Identity in Contemporary Culture Currency of Identity arrives at a moment when conversations surrounding visibility, authenticity, and representation are at the forefront of cultural discourse. Howis contributes meaningfully to these conversations by offering work that is visually ambitious and intellectually grounded.
Her exploration of identity extends beyond personal expression, touching on broader social themes:
• the commodification of selfhood
• the influence of digital culture on perception
• the tension between individuality and conformity
• the psychological cost of sustained self-awareness
By addressing these topics, Howis situates her work firmly within the landscape of contemporary art concerned with human experience in the
digital ag
Photography By Michael Anthony Bennett
Impact and Conclusion
Photography By Nizzelle
The exhibition succeeded in drawing a diverse and engaged audience, many of whom responded to the show’s blend of technical precision and conceptual depth. Howis demonstrates a clear commitment to exploring identity with sincerity, discipline, and contemporary relevance.
Currency of Identity stands as a significant milestone in her practice, offering one of her most cohesive and insightful examinations of the modern self to date. With its layered construction, psychological rigor, and architectural clarity, the exhibition positions Howis as a compelling voice in the current art landscape.
