Regen Projects is pleased to present A-Z Personal Uniforms: Third Decade, a series of 48 garments designed and worn by Andrea Zittel between 2013 and 2023. This is the artist’s eighth solo exhibition at the gallery. A-Z Personal Uniforms is one of Zittel’s longest standing experiments. She began the project in 1991 to liberate herself from the need to make choices about what to wear by voluntarily adhering to a set of constraints. Each uniform is worn exclusively throughout the season for which it is made. When Zittel initiated the project, she designed her uniforms for a two-season year (spring/summer and fall/winter). However, after relocating from New York City to California’s High Desert in 2000, she began making uniforms for each three-month season to comply with the region’s greater variations in weather. Zittel has produced three complete collections of uniforms grouped by the decade in which they were made and worn: 1991–2003, 2003–2013, and 2013–2023. The first decade is in the collection of the Schaulager, Münchenstein. _____ Regen Projects is pleased to announce an exhibition of new paintings by Alex Hubbard. This is the artist’s second solo exhibition at the gallery. In these most recent works, Hubbard continues to refine the improvisational approach to artmaking he has developed in painting, sculpture, and video over the last two decades. He has pared down his palette, limited the range of techniques at his disposal, and quieted the cacophony of imagery that had recently featured in his paintings. Here, there’s a greater emphasis on line and varied brushwork, pointing to a new direction in his practice. For the seven paintings on view, Hubbard has taken chance or contingency as his point of departure. He began several of the paintings by laying his blank canvas on the ground and pouring vibrant hues of synthetic resins across the surface. Other works started with a hand-painted image of ordinary objects around the studio—the wheel of a dolly, a sheet of lined paper torn from a notebook, a picture of a missile he happened to be looking at. In each case, a compositional problem was formed, to which Hubbard responded in a variety of ways. For example, he occasionally added a hand-painted abstract shape that echoed or extended the arbitrary contours of a glossy pool of resin already on the canvas. Often, he has painted meandering lines that suggest a new and contradictory perspectival space within the composition. After painting with the canvas on the wall, he sometimes returned it to the floor of his studio to pour additional translucent veils of thinned paint across the surface.