Boraz’s Front Room Takeover
For The Taking: a show about what we take, what we inherit, and artists confidently making art.
At Froelick Gallery’s art talk on June 20, 2026, it was clear Rebecca Boraz has taken control of the front room with her latest works: prints, ceramics, questions, and a few quiet accusations hiding in plain sight.
The show moves through consumption, privilege, politics, bodies, memory, and the ways people take from each other without always knowing they’re doing it. Rebecca isn’t preaching. She’s doing something more interesting: asking questions she doesn’t pretend to have answers for.
A lot of the work circles around who gets fed, who gets emptied out, who gets to move freely, who gets displaced, who gets watched, and who gets turned into a pattern, a trophy, or a story. One piece asks whether one person’s plate is empty because another’s is full. That question feels like the engine of the show.
Rebecca grew up in a deeply religious Jewish household and found printmaking young. Intaglio gave her the line — that sharp, strange mark that still runs through the work. During the pandemic, she moved deeper into relief printing and ceramics, partly because the studios shut down, partly because the work seemed to want a different kind of pressure.
The ceramics push the show somewhere stranger. There’s a leopard puppet that feels funny at first, then not so funny the longer you look at it. It’s about control, trophy hunting, nature, violence, cameras, guns, and the language they share: take a shot, frame it.
What makes the show land is that Rebecca doesn’t separate the political from the personal. A fight over blankets becomes a power struggle. A childhood memory about sitting “properly” becomes a question about womanhood and the space a person is allowed to take up. Rumination turns into architecture inside the skull.
The work isn’t loose, even when it feels playful. She draws, plans, thinks, revises, and then lets the materials push back. The result is handmade, smart, uneasy, and alive.
It’s not trying to solve the world. Thankfully. That would be suspicious. It’s asking where we stand inside the mess — and what we’re holding while we pretend our hands are clean.
For The Taking
For The Taking, June 2 - July 28, 2026.
For the Taking brings together reduction relief prints, intaglio works, and ceramics that examine the human impulse to consume. These pieces consider how taking can exist as both survival and excess. Through images, objects, patterns, and symbols, the works interplay with one another, revealing how consumption can be layered and nonreciprocal-at times essential for survival, at others driven by greed. At the same time, moments of tenderness surface: the warmth of holding a child, the intimacy of sharing a meal with friends. The exhibition reflects on the complexities of desire and the negotiations that shape what we choose to take.
