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Gretchen Scherer’s solo exhibition, “In Time,” opened at Monya Rowe Gallery in New York and is scheduled to run through January 9. The paintings depict imagined and historically inspired interiors filled with artworks, ornate furnishings and architectural detail; the gallery’s exhibition announcement is the basis for the report.
Gretchen Scherer’s solo exhibition “In Time” opened at Monya Rowe Gallery in New York and is scheduled to run through January 9. The exhibition brings together oil-and-acrylic paintings of ornate, art-filled interiors, extending Scherer’s interest in historical rooms and the ways artworks inhabit them.
The paintings show palatial halls, libraries, drawing rooms and other interiors, often hung with framed pictures arranged salon-style. Scherer’s settings draw on real places but are described as partly imagined, combining historical architecture and art with playful, bright details. The scenes contain no figures beyond those represented in portraits, while the accumulated objects give the rooms a sense of recent activity.
Works identified in the exhibition include “A French Cafe with Paintings” (2026), an 18-by-24-inch oil-and-acrylic painting on panel, alongside “Kenwood House, Library” and “The National Gallery at Night,” both also dated 2026. Other listed paintings refer to the Ambrosiana Library, Wilanow Palace and the Petit Trianon. The source describes “A Secret Room, Beneath the Ambrosiana Library” as a 2025 work; the other named works are dated 2026.
In “A French Cafe with Paintings,” the report points to recognizable historical works placed within the painted interior: Gustav Klimt’s “The Kiss” (1908–09) and Henri de Toulouse-Lautrec’s “At the Moulin Rouge” (1892–95). Scherer works in oil and acrylic on panel. The exhibition report gives the gallery location and run dates but does not provide a full checklist or details about admission.
Historic Art Reimagined as Interior
“In Time” makes the relationship between rooms and artworks its subject. Rather than presenting historical paintings in a neutral gallery, Scherer places familiar images amid furnishings, wall coverings and architecture, inviting viewers to notice how a setting changes the experience of looking. The dense arrangements also make the paintings themselves objects to explore: attention can move from a room’s overall design to a particular frame, artwork or floral arrangement.
The source report interprets Scherer’s interiors as an embrace of craftsmanship and visual richness in contrast with contemporary interiors it characterizes as dominated by steel, glass, concrete and subdued finishes. That contrast is an editorial reading, not a claim that the exhibition documents current interior-design trends. The show may interest visitors drawn to art history, architecture and representational painting, while its New York run gives audiences an opportunity to see the works together in person.
The paintings also raise a question about what survives as cultural inheritance. Their historical references put older works in view while leaving open what objects and images made today might command comparable attention in the future. That is a theme suggested by the exhibition report, rather than a stated conclusion from Scherer quoted directly there.
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From Libraries to Palace Rooms
The exhibition continues Scherer’s documented interest in historical interiors, including museums, drawing rooms, palatial spaces and ecclesiastical settings. The reported works range across specific locations and types of rooms: a library at Kenwood House, a painting room at Wilanow Palace, a reception room at the Petit Trianon and a gallery shown at night. The titles connect the paintings to particular sites, though the source describes the spaces more broadly as based on real places and partly imagined.
The paintings’ use of oil and acrylic on panel links a contemporary studio practice with subjects that include older art and architecture. In “A French Cafe with Paintings,” historical works appear inside a newly composed setting rather than as a formal catalogue display. The source material presents the show as a solo exhibition at Monya Rowe Gallery, with an opening in October 2026 and a scheduled closing date of January 9.
““half-imagined spaces””
— Colossal’s exhibition report
Exhibition Details Still Unspecified
The supplied report confirms the exhibition title, gallery, opening and scheduled closing date, but does not specify opening hours, admission costs or whether visitors need reservations. It also does not provide a complete work list, installation photographs for every piece, or details about programming during the run. Those practical details should be checked with the gallery.
The source offers an interpretation of the paintings’ themes but no direct statement from Scherer about her intentions. The characterization of the spaces as playful, escapist or a response to contemporary interiors belongs to the report’s framing; it should not be treated as a direct artist quotation. The exhibition was scheduled to continue through January 9, but the source does not specify whether any extension or later presentation is planned.
Visit Before January 9
According to the exhibition report, “In Time” remains on view at Monya Rowe Gallery through January 9. Readers seeking current visitor information, including hours and access arrangements, will need to consult the gallery directly. The source also points readers to Scherer’s Instagram for additional work, but it does not announce future exhibitions or other upcoming milestones.
Key Questions
Where is Gretchen Scherer’s “In Time” exhibition?
It is at Monya Rowe Gallery in New York, according to the exhibition report.
How long is the exhibition scheduled to run?
The report says the exhibition opened in October 2026 and continues through January 9. It does not mention an extension.
What kind of work is included?
The show features paintings of historically inspired interiors, including libraries, palace rooms and galleries. The named works are made with oil and acrylic on panel.
Does “A French Cafe with Paintings” include famous artworks?
Colossal’s report identifies Gustav Klimt’s “The Kiss” and Henri de Toulouse-Lautrec’s “At the Moulin Rouge” among the works depicted within the painted interior.
Are visitor hours or admission prices available?
The supplied report does not state hours, ticket prices or reservation requirements. Check with Monya Rowe Gallery for current visitor information.
Source: thisiscolossal.com
