Adam Pendleton’s practice includes painting, silkscreen, publishing, collage, and video. He moves seamlessly between genres, creating works that provoke reflection on language, history, politics, and subjectivity.

Pendleton appropriates language as well as images, drawing from different contexts and periods in a multiperspectival approach. Cut out and isolated from any original background, reconfigured into layers, grids, and single letters, visual and verbal material becomes experienceable in its abstract corporeality.

„Black Dada is an idea.
When pressed, I often say it’s a way
to talk about the future while talking
about the past.“

 – Adam Pendleton –

Adam Pendleton: Our Ideas’ installed at Pace Gallery

The works critically juxtapose sources of diverse origin and varying legibility, often obscuring and problematizing their identities by subjecting them to multiple rounds of processing, overwriting, and montage. In his recent series of works on Mylar, Pendleton frequently incorporates images of traditional African masks;

Techniques of marking and masking, together with the clear Mylar film that serves as a substrate, work to compose a complex play of transparency and opacity, disclosure and concealment.

Pendleton is known for his work animated by what he calls “Black Dada,” a critical articulation of blackness, abstraction, and the avant-garde.

Drawing from an archive of language and images, Pendleton makes conceptually rigorous and formally inventive paintings, collages, videos, and installations that insert his work into broader conversations about history and contemporary culture. He often references artistic and political movements from the 1900s to today, including Dada, Minimalism, the Civil Rights movement, and the visual culture of decolonization.