For “Stone Telling,” a 2019 exhibition at Vienna’s Kunstraum Niederoesterreich that examined the influence of feminist science fiction on contemporary art, curators Daniela Hahn and Andrea Lehsiak included a Keresztes sculpture that, they said, dominated “the exhibition space like an armed warrior or a strange goddess.” The lower part of the work, titled Totem of Hidden Accounts (2018), resembles a pair of strong legs with a gaping, pointy-toothed mouth at the center. Four detached, rotund arms hover above this lower structure, holding spear-like copper tubes. On this sculpture, the mosaic serves as a protective skin. “The figure can be interpreted as foe or ally,” the curators said. They enjoy the light, flowing aspect of Keresztes’s sculptures and see her practice as a “fantastic game of shapes.”
Carolina Wheat and Liz Nielsen, the married duo who run Elijah Wheat Showroom, discovered Keresztes’s work in 2016. Nielsen, who’s a photographer as well as a gallery owner, was participating in a residency at the Budapest Art Factory when she first visited the artist’s studio. The next year, while on their honeymoon, the couple stopped by again. “It was like she had made a monumental, quantum shift in her work,” recalled Nielsen. The pair liked the suggestiveness of Keresztes’s forms—representational but ambiguous—and how, in certain areas, the structures folded in on themselves. Keresztes’s ability to wrangle ideas about the internet and social media into sculpture intrigued them. They began scheming: How could they give her a show in Bushwick?