Sept 16 - Oct 26



Virginia Lee Montgomery makes her New York solo show debut at MEYOHAS on East 90th Street on September 16, 2016. SOS ONSHORE OFFSHORE presents a performative mapping of Reagan's infamous deregulatory Tax Reform Act of 1986 and its impact via a 30 year old witch's dislocated, dream-logia narrative of ominous Carribean tax shelters, 80s nostalgia, and dying coral reefs.

To film the 15 minute 45 second and 1 minute 57 second videos in SOS ONSHORE OFFSHORE, Montgomery traveled to the tax shelters of the Cayman Islands and Grenada, the Kinnear Centre for Creativity and Innovation in Banff, Canada, the marble memorials of Washington DC, North America’s premier marble quarry in Barre, Vermont and the domestic US tax shelter of Wilmington, Delaware. The exhibition includes the artist’s collection of uncirculated, minted, Lincoln error coins as well as folded Memory Foam mattresses weighed down by circulated penny rolls and eroded marble fragments. She has tinted the view blue.

Globalism has many origin stories; Montgomery braids together an associative material narrative of ponytails, copper, marble, foam, and vintage 80's plastic toy sea ponies that travel great, liquid distances. Her props are ordinary but through clandestine activation reveal an intertwined account of emotive, economic, and ecologic costuming. SOS ONSHORE OFFSHORE suggests a metaphysical paradox. As global capital increases, its physical trace decreases. Narratives break down. 2016’s Panama Papers. The anthropocene. How do we make sense of Reagan’s lineage? Deregulation equates dislocation. We can, as Montgomery has, visit these paradoxical sites. Grand Cayman's notorious Ugland House, an “invisible” tax shelter, is physically situated across from a dying coral reef. This is the humble office building from which 18,857 individual, international, and corporate entities fictitiously claim working residence to evade global visibility. The tides are rising. How will we assemble the unseen?


Virginia Lee Montgomery received her MFA from Yale University School of Art in 2016 and her BFA from The University of Texas at Austin in 2008. Between her BFA and MFA she worked performatively in corporate creative consulting illustrating agendas that proselytize creative commodity and innovation standards, both onshore and offshore. Her contemporary movements channel the metaphysics of its dematerialization.



1 - SOS ONSHORE OFFSHORE - HD video, 15:45, 2016

2 - OCEAN BOX – HD video, 1:57, 2016

3 - POOLS – HD video, 1:57, 2016


4 - Soft Limits - Memory foam, water-worn 19th century industrial marble offcut, circulated penny rolls; 72" x 84" x 36", 2016

5 - Soft Ends – Memory foam, water-worn 19th century industrial marble offcuts, circulated penny rolls; 20" x 26" x 8", 2016

6 - Error Coins – Uncirculated Lincoln mint errors, dimensions variable, 2016

7 - WISHING WELL - Blue film; dimensions variable, 2016