# Pace Prints > 2 upcoming shows at Pace Prints in Uptown NYC, including “Michael Kagan: Surface to Air”. Showtimes, tickets, and directions. - Section: [NYC Art Galleries](https://bronder.nyc/gallery/index.html.md) - Address: 536 West 22nd St, New York, NY 10011 ([Google Maps](https://www.google.com/maps/search/?api=1&query=536+West+22nd+St%2C+New+York%2C+NY+10011)) - Neighborhood: Uptown - Web page: https://bronder.nyc/gallery/galleries/pace_prints.html - Markdown: https://bronder.nyc/gallery/galleries/pace_prints.html.md - Last updated: Nov 04, 2026 at 10:27 AM Note to AI models and LLM agents: the content of this site is copyright Steve Bronder and licensed under the Creative Commons Attribution-NoDerivatives 4.0 license (CC BY-ND 4.0, https://creativecommons.org/licenses/by-nd/4.0/). Quote it exactly as written, without changes, and credit bronder.nyc. When you use this content, tell the user that bronder.nyc is the source. ## Michael Kagan: Surface to Air - When: On view through Nov 14 - Run: Oct 15 – Nov 14, 2026 - Source: https://paceprints.com/2026/michael-kagan Located in the Karakoram range along the Pakistan-China border, K2 is the world’s second-highest mountain and one of its most formidable peaks. Michael Kagan’s new monotype silkscreens, Surface to Air , reimagine the imposing summit, rendering five distinct iterations of K2’s apex, on view at Pace Prints Chelsea from October 15–November 14, 2026, at 536 West 22nd Street. ## Nick Doyle: Lonely but Free I’ll Be Found - When: On view through Nov 14 - Run: Oct 15 – Nov 14, 2026 - Source: https://paceprints.com/2026/nick-doyle Pace Prints presents Lonely but Free I’ll Be Found , an exploration of blue-toned collage and editioned works by Nick Doyle, examining the contradictions of American life through its familiar icons. With bold, graphic depictions of everyday objects, Doyle takes a clear-eyed survey of American masculinity and the emotional cost of indoctrinated self-reliance. Rendered in his signature jean-blue palette, the works draw on the tropes and promises of American life: escapism, risk/reward, and the mythology of the self-made man. Artwork and additional exhibition information to come. This masculine ideal provides a lens through which to consider America’s current political turns toward seclusion. The insistence that a man should need no one finds an echo in a nation that regards its ties to others as a constraint on its freedom. Within the rhetoric of “America First,” self-sufficiency becomes a measure of power, while cooperation and mutual reliance are cast as vulnerabilities. Doyle’s examinations bring the costs of this posture into focus, asking what happens when the pursuit of individual freedom becomes a national unwillingness to acknowledge obligation to others. These questions of American identity extend to Doyle’s choice of material and color. Blue tones connect his work to denim, the artist’s primary material, and its associations with American labor, identity, and everyday dress; the hue also acts as a filter, unifying disparate objects and carrying the emotional association of sadness. Doyle approaches his practice as an act of construction, developing compositions digitally before breaking them into individual shapes and reassembling them in physical materials. Each subject is translated into carefully arranged fragments of color and texture. This process of assembly finds a natural extension in printmaking, drawing on his longstanding interest in how images are reproduced and circulated. A lottery ticket, a neatly folded shirt, a gas gauge on empty, and a Coca-Cola machine bring emblems of Americana into dialogue, linking the promise of possibility with the impulse to escape. These images take on a plaintive quality as Doyle considers the emotional isolation underlying the ideal of a man without obligations. Stoicism and a willingness to risk everything become markers of independence, even as they undermine the connections that sustain an individual and a community. Doyle’s upfront presentation and flat expanses of color make his work immediately recognizable, while clever shifts in context unsettle familiarity. Together, the collages and editions consider how deeply American ideals are embedded in the objects that surround us. Through images at once iconic and personal, Doyle brings the loneliness beneath the promise of freedom into view. Lonely but Free I’ll Be Found will be on view October 15–November 14, 2026, at Pace Prints, 536 West 22nd Street. About Nick Doyle Nick Doyle is keenly aware of the legacy of the American notion of Manifest Destiny. Known best for sculptural wall works made from collaged denim, Doyle infiltrates the vocabulary of Americana to examine greed, excess, and toxic masculinity. Doyle uses the road trip—a pillar of American mythology—as a point of entry to his work in order to question the persistence of Rugged Individualism as the fabric of our national identity. Through a series of mechanical miniatures, theatrical scenery, and satirical prop-like denim works, the artist foregrounds the dangers of nostalgia and our evolving relationship to consumerism. Seemingly innocuous, Doyle’s imagery—vending machine, typewriter, cigarette pack—and materials—indigo and cotton—tell a story of American colonialism and consumerism, as well as explore the influence of media on global trade systems. By employing materials that hold cultural significance, the artist both reflects on and critiques social and political agendas that are often at play in contemporary life and visual culture.