Goodman Gallery New York is pleased to announce All Blues, a new exhibition by Sam Nhlengethwa that brings together a methodical and deeply personal body of work shaped by numerology, abstraction and the artist’s enduring love of jazz. Marked by milestones, tributes and memories, this show revisists various foundational moments for the artist.

The exhibition centres on a series of ten square works measuring 55 × 55 cm, a format loaded with significance. In 2010, the year Nhlengethwa turned 55, marked the 50th anniversary of Miles Davis’s landmark album Kind of Blue. To honour the occasion, he staged an exhibition of the same name at Goodman Gallery Johannesburg. Ten works produced during that period – a sequence spelling out “All Blues”, the title of Davis’s celebrated composition – were set aside at the time, partly because Nhlengethwa regarded them as a private gift to himself. Fifteen years later, invited to develop a new project for New York, Nhlengethwa has returned to these paintings, revisiting their structures and extending their logic into a fresh series.

All Blues and its presentation in New York also reflects on a much earlier milestone. In 1991, Nhlengethwa travelled outside South Africa for the first time in his life to attend a Triangle Network’s Artists’ Workshop in Pine Plains, New York. Triangle Network was founded by artist Sir Anthony Caro and collector and philanthropist Robert Loder after a workshop in upstate New York in 1982. Among more than 50 participants in 1991, Nhlengethwa was the only artist from the African continent. He recalls how the legendary and exiled Dumile Feni came to visit him, longing to meet a fellow South African and to understand what life was like there. Nhlengethwa encouraged him to come back, explained that apartheid was unravelling and gave him his number; Feni said he would be the first person he would call. He never had the opportunity to make that call nor see the moment of political transition he had desperately hoped for – Feni died of a heart attack in a New York City record store a few months later. The encounter remains a poignant marker of that period and its precarious thresholds.