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Return, Return
Rebekah Goldstein, Margaux Ogden, and Priyanka Rana, 7 November - 19 December 2026

Return, Return: Rebekah Goldstein, Margaux Ogden, and Priyanka Rana

Forthcoming exhibition
  • Works
  • Press release
  • Related Artists
Works
  • Priyanka Rana, Trees are poems that the earth writes upon the sky, 2025
    Priyanka Rana, Trees are poems that the earth writes upon the sky, 2025
  • Rebekah Goldstein, Sweet Nothing, 2025
    Rebekah Goldstein, Sweet Nothing, 2025
  • Priyanka Rana, Holding Hope II, 2025
    Priyanka Rana, Holding Hope II, 2025
Press release

RETURN, RETURN

Rebekah Goldstein, Margaux Ogden, and Priyanka Rana

November 7 - December 19, 2026

 

A Pop-Up Exhibition on View at
Minnesota Street Project
San Francisco, CA

 

Morgann Trumbull Projects is proud to announce our newest exhibition, Return, Return, featuring works by Rebekah Goldstein, Margaux Ogden, and Priyanka Rana. The exhibition will be on view from Saturday, November 7 to Saturday, December 19, 2026. An opening reception will be held on Saturday, November 7 from 5:00-7:00pm, coinciding with First Saturday at Minnesota Street Project.

 

In Return, Return, memory is understood not as a fixed archive of the past, but as a living process shaped by repetition, transformation, and shifting perspectives. Through distinct material languages, Rebekah Goldstein, Margaux Ogden, and Priyanka Rana consider how forms are shaped by time, carrying traces of the past into new and evolving contexts. The act of returning becomes a means of discovery, allowing familiar forms to shift in meaning and acquire new associations. Color operates beyond a purely visual register, instead marking transformation. Together, these works inhabit the space between permanence and change, suggesting that to return is never simply to repeat, but to encounter the past anew and consider how its forms continue to shape the present.

 

Based in San Francisco, California, Rebekah Goldstein works across multiple mediums, including painting, sculpture and works on paper. More recently, as in Return, Return, Goldstein creates specialized shaped canvases that blur the line between painting and sculpture. The artist describes her approach to image-making as akin to glimpsing a scene through fogged-up glass, one that is at times indistinct and obscured, at others very nearly visible. Painting is the act of coaxing this elusive image to materialize. Compositions are reworked, layers of paint obsessively added, each gesture an attempt to capture that fleeting image. Over the years, the artist has established a visual lexicon of shapes, forms, and gestures. Goldstein posits, how does color create structure? Working on multiple paintings simultaneously allows the artist to return to them over the course of months or even years, never with a predetermined sense of the end result. The inherent internal logic of the work guides Goldstein to the painting’s completion. This sustained process of searching reflects the shifting nature of personhood over time. For Goldstein, painting becomes a site of dialogue between the artist, her younger self, and future self—a conversation shaped by transformation and the continual reconsideration of who one has been and who one is becoming.

 

Margaux Ogden lives and works in Brooklyn, New York. Ogden’s practice begins with a defining shape or detail that establishes the work’s foundational visual architecture. Within this framework, Ogden navigates a dynamic interplay between reflection and response, order and intuition. Rather than limiting expression, structure activates experimentation and possibility. In her four newly released aquatints presented in Return, Return, Ogden iterates on forms that are a recurring point of departure in her practice and that have evolved through years of repetition and reinterpretation. Removed from its original context, a shape or idea gradually relinquishes its recognizable identity, becoming an abstracted unit whose significance lies less in its source than in its capacity for transformation. This single visual motif determines the relationship between all subsequent colors and forms, yielding an ever-shifting field of possibilities.

 

Return, Return presents the debut of Ogden’s new series of limited edition aquatints, co-published by Morgann Trumbull Projects and 45th Street Editions. Ogden spent a week at the press in July 2026, working closely with master printer Courtney Sennish, with the support and expertise of Morgann Trumbull, to create the series. Each aquatint employs the language of color to explore form and repetition. Of the process, Ogden says, “Printmaking allowed for me to play with the iterative part of my practice, returning to the same starting point, and exploring how the tension in the composition can change with subtle shifts in the palette. My painting process is very direct; I found an exciting counterposition in aquatint's mediation and delay.”

 

Priyanka Rana is a San Francisco Bay Area-based sculptor whose practice explores the intersection of cultural memory and the material possibilities of the natural world. Rana creates sculptures from untreated California wood, specifically redwoods, using a range of tools and materials—from physically dangerous chainsaws and blowtorches to delicately woven threads. The layered temporalities held within the wood inform Rana’s approach to making, with the tree’s rings directing the forms and shapes that emerge as she carves. Across Rana’s practice, color, fire, and thread operate as both material interventions and cultural signifiers, connecting her Indian heritage to the ecological histories of the California landscape. In Memory Palace, Rana lattices twelve redwood pillars in sari threads, symbolizing the invisible root mycelium networks through which trees communicate while simultaneously citing the Indian tradition of tying sacred threads around trees as offerings. In the Holding Hope series, Rana chars the surface of the redwood, describing the process as “painting with fire”—alluding to both the ritualistic significance of fire in Indian tradition and the increased prevalence of California wildfires as a result of climate change. Bright green oil paint punctuates the scorched surface, a symbol of new growth and the hope of renewal. Ultimately, Rana’s work holds destruction and renewal in tension, bringing cultural tradition and ecological memory into dialogue.

 

Return, Return will be on view at Morgan Trumbull Project’s pop-up location at Minnesota Street Project, 1275 Minnesota Street, San Francisco, CA 94107 from Saturday, November 7 to Saturday, December 19, 2026. The gallery will be open on Tuesdays through Saturdays from 12:00 to 5:00pm, and by appointment. For inquiries, please email info@morganntrumbull.com or call 650-257-0485.

Download Press Release

Related artists

  • Rebekah Goldstein

    Rebekah Goldstein

  • Priyanka Rana

    Priyanka Rana

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info@morganntrumbull.com
650.257.0485

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