As part of TEFAF New York 2026, the New York gallery Friedman Benda presents a carefully curated selection of works that explore the evolution and legacy of modernism, with a standout highlight: an early version of Gerrit Rietveld’s iconic Red Blue Chair (circa 1922).
Regarded as one of the most influential three-dimensional manifestos of the 20th century, the piece encapsulates the essence of the De Stijl movement: clean lines, an open structure and a primary colour palette that redefines the relationship between form and function. As detailed in the gallery’s official documentation, this work “combines the logic of a manifesto with an imaginative leap towards what design could become”.
The exhibition, held at Booth 325 of the Park Avenue Armory from 14 to 19 May, does more than simply celebrate an icon; it fosters a cross-generational and cross-disciplinary dialogue. Early works by figures such as John Chamberlain and Wendell Castle sit alongside contemporary creations by Nicole Cherubini and Joris Laarman, demonstrating how the experimental spirit of modernism continues to permeate contemporary design.
The exhibition also highlights the global dimension of this legacy, incorporating pieces from Japan, Mexico, Europe and the United States. Of particular note are the chairs by Shiro Kuramata, presented for the first time in New York, which demonstrate Rietveld’s direct influence on later generations.
Far from being seen as a closed movement, modernism emerges here as a constantly expanding field, capable of incorporating new technologies, materials and discourses. Friedman Benda’s exhibition thus confirms that, more than a century later, Rietveld’s conceptual radicalism remains an inexhaustible source of inspiration for contemporary design.
