Unfinished Business: A Capsule Survey of the Works of Marie Anine Møller
Future Fair: The Studio Series 2026
November 20, 2026 – January 30, 2027
Purchase work
In Unfinished Business the objects object. For this curated capsule survey as part of Future Fair: The Studio Series 2026 Danish artist Marie Anine Møller takes materials out of context, giving them new identities commanding a second look. Here glass gradually replaces a living mushroom while altered knives become sculptures whose purpose is no longer clear. There’s a defiant streak in Møller’s approach, echoing Max Ernst’s statement that “Art has nothing to do with taste. Art is not there to be tasted.” Drawing a line from Møller to Ernst and the Dadaist movement, Møller questions the rules we use to decide what art should be, what objects are for, and what makes something valuable or decorative. Her work asks us to stay open to the possibility that art can be both engaging and reject an easy definition.
In this capsule survey serving as a snapshot of her practice, Møller plays with the gap between what things are and what we think they are. She combines natural and manufactured materials, personal memories, and unexpected pairings. Familiar objects take on new roles, and materials behave in ways we might not expect. Instead of explaining everything, she leaves room for us to make our own connections.
Personal history finds its way into several works. In Soccer Girl (2023), glazed ceramic and kiln-fired glass bring together memories of Møller’s father, a soccer coach who died in a fire when she was in her twenties, and her own experience of moving from Denmark to New York City. With few physical mementos of her father, memories of family life and sport become a way to hold onto the past. The contrast between European football (fodbold in Danish) and American soccer also reflects the experience of finding her place in a new culture. But beneath its familiarity is a story of loss, family and belonging.
In Bib Bib (2025), ceramic, photographic imagery, and plastic-covered wire come together in a scene that feels both familiar and mysterious. Bib Bib references the games the artist played as a kid, “bib bib spil” (“beep beep games”) is a nostalgic Danish slang term used to describe handheld electronic LCD video games. The work draws on Møller’s interest in nature and the ways the past stays with us, even as things change. Møller sometimes uses poems to title her work. The full title of this work is:
Bib Bib, the game is on and in my hand.
The video build as a movie with an ending
It’s about who’s sleeping on the bench under the table that the picture came from. The frozen stare sees nothing while limitless digestive tracks of the forest recycle my past on clay. All is quiet, except the birds
In The Wall (2025), Møller uses glazed ceramic, photographic decals, and miniature tin figures. The tiny figures are embedded against a vast, weathered surface marked by patches, seams, and scattered imperfections. They seem to exist within a much larger world, surrounded by a wall that both contains and separates them. It makes you wonder what the wall keeps out, what it holds in, and how the spaces around us shape the way we live.
In Rocks in a Glasshouse (2026), Møller replaces the blades attached to mass-produced knife handles with glass. This colorful blade swap creates knife-like works that are both appealing and unsettling. Inspired by still life, the works turn objects made for action into things to be looked at. Their original purpose remains in the background, raising questions about how much an object’s history matters and whether changing its use changes what it means.
Shroom #2 (2020) takes a different approach to change. The work pairs a natural mushroom with glass, with the intention that the glass will gradually replace the mushroom as it shrinks and decomposes. Møller plans to repeat this process every five years. The sculpture is therefore never quite finished; its appearance will continue to change over time. As the mushroom withers and the glass remains, the work turns a familiar process of decay into an ongoing exchange between nature, and something made by hand.
Møller shares the Dadaists’ willingness to question accepted ideas and to find new possibilities in ordinary things. But her work is also grounded in the personal histories and associations that objects carry. A knife is never just a knife; a mushroom is never just a mushroom. Things become something other than what we expect. Her work actively challenges us to think about what we value, why we hang onto things, and how our perspective changes when we look at them differently.
Unfinished Business reminds us that not everything comes to a neat ending. Objects outlive their purpose, materials change, and things we might otherwise throw away can find a new life. Møller is drawn to these in-between moments, when something is no longer what it was but hasn’t quite become something else. Her work asks us to look again and consider what else something might be or become. Like the Dadaists, she challenges our ideas about what art should be and how we judge it. As Max Ernst suggested, art is not simply there to be tasted, but to challenge what we think we know. In Møller’s hands, the question becomes whether we are willing to look beyond what we like and see things differently.
Work available for purchase online at futurefairs.com
ABOUT THE ARTIST
Marie Anine Møller is a Danish visual artist and curator based in New York. She holds a BA (Hons.) in Fine Art Photography from The Glasgow School of Art and an MFA in Sculpture from Pratt Institute in New York. Through everyday objects, Møller explores the relationship between material culture and emotional space, investigating their social and symbolic charge. She transforms fragments of consumer culture into sculptural meditations on value, identity, and the systems that shape both. By repurposing materials such as knives, found objects, childhood drawings, letters, and notes, she disarms their original function and reconfigures them as tools for reflection-examining how objects carry memory and how the spaces we build around them quietly shape our inner lives.
Møller has previously exhibited at, among others Enter Art Fair Copenhagen with The Locker Room, Tribeca, New York, NADA, New York, NADA Miami, and UNTITLED Art Fair with Tappeto Volante Gallery, Compass Gallery, Glasgow, Upstate Art Weekend and UNTITLED Art Fair, Miami with NYC gallery and event space Beverly’s, SPRING/BREAK Art Show, New York with Field Projects. In Denmark, her exhibitions include Photographic Center and Arden Asbæk Gallery, Copenhagen
I explore relationships between material culture and emotional space. Through everyday objects, I investigate their social and symbolic charges, transforming fragments of consumer culture into sculptural meditations on value, identity, and the systems that shape both. I examine how objects carry memory and meaning, and how the spaces we build around them quietly shape our inner lives. By repurposing materials such as knives, found objects, my childhood drawings, letter and notes I disarm their original function and transform them into tools for reflection, examining ideas of power, control, and law.
Addressing environmental and sociopolitical concerns I ask who determines value on individual, cultural, and commercial levels. Existing between the beautiful and the unsettling my work draws on the still life tradition (Nature Morte), where life becomes suspended and value is continuously renegotiated.
marieaninemoller.com
ABOUT FUTURE FAIR
Future Fair is a community-focused exhibition that champions curatorial vision, access, and growth in the global art industry.
Each year, Future Fair features around 60 artist presentations, ensuring focused engagement for participants and visitors alike in New York City. Since 2020, the fair has brought together diverse global artistic voices through carefully crafted in-person events, while its digital platforms provide ongoing storytelling and community engagement that extend well beyond the exhibition dates.
Through intentional programs, Future Fair welcomes and empowers both new and established voices to participate, connect, and grow together. It is a place of convergence where artists, galleries, curators, collectors, and cultural patrons engage with art that shapes and reflects our cultural experience today.
futurefairs.com
ABOUT THE CURATOR
Michele Jaslow is a Brooklyn-based independent curator, art advisor, writer, and USPAP-compliant appraiser. Her curatorial practice spans institutional and alternative spaces, art fairs, and digital platforms. She holds an MFA Cranbrook, a BFA Purchase, and postgraduate studies New Media at NYU. She is co-founder of ThinkFiner, an arts platform exploring new ways of presenting and experiencing art within a digital environment. Recent curatorial projects include SPRING/BREAK Art Fair (New York), Mana Contemporary (Jersey City), and palladium/Athena Project in association with The Landing Gallery (Los Angeles). Funding for past projects include the Lily Auchincloss Foundation, Inc. and the William Talbott Hillman Foundation, New York State Council on the Arts, New York City Department of Cultural Affairs, New York City Council, Brooklyn Arts Council, The Brooklyn Delegations of the New York State Senate and New York State Assembly, and National Endowment for the Humanities. Her writing and curatorial work have been featured in various media outlets including CBS News, BRIC TV, ArtDaily, Art Spiel, Tussle, The Art Gorgeous, The Daily Beast, Culturebot, Time Out Worldwide, Artnet, and Hyperallergic. more…