Presented as an imperfect yet urgent response, Coverage arises from San Francisco artist Adam Caldwell’s acute concern about the cultural and political trajectory of the United States. Each picture in the exhibition begins with a single word that has been removed from U.S. federal websites: Belong. Disabilities. Ethnicity. Hate Speech. Minority. Refugee. From these disappearances, Caldwell builds a vivid, critical language of images.

Working across collage, drawing, and painting, Caldwell assembles his compositions from scattered fragments of personal experience and public omission. Treating each work as a mode of visual text, the artist invites viewers not only to look, but to read, parsing layers of mark-making, redaction, and reconstruction. The resulting canvases give form to what is being suppressed, transforming political erasures into a deeply personal yet politically attuned meditation on visibility, vulnerability, and resistance.

Each erased word is a pressure point, and Caldwell presses on that bruise, layering paper, pigment, and experience, until meaning surfaces again. The works’ hybrid grammar, part image, part text, mirrors the fractured way information is now encountered. In Caldwell’s hands, those fractures become structure.

In conjunction with the exhibition, Ryan Graff Contemporary will release a unique graphic-novel interpretation of the show, presenting Caldwell’s imagery in a sequential format that extends the project’s narrative and archival dimensions.

Adam Caldwell (b. 1963) paintings and drawings fuse abstract expressionism, illustration, and classical figuration. What began in school as hand-cut collages from their own drawings has evolved into a process that treats oil paint like collage: digital composites built in Photoshop serve as armatures for classical oil technique, then are deliberately unraveled—faces obscured, edges dragged, images dripped and smeared after careful rendering. The resulting pictures mirror the way technology mediates vision today—fractured, discontinuous, and intentionally disorienting—while probing the construction of identity, with particular attention to gender and sexuality. Politically and culturally alert, the work registers Caldwell’s unease with figures both confined by and defined within their environments. Caldwell's work reflects a wide range of interests and influences, including Francis Bacon, Dave McKean, Antonio López García, Jenny Saville, and his teacher Barron Storey.