{"id":5981,"date":"2026-10-06T10:24:03","date_gmt":"2026-10-06T08:24:03","guid":{"rendered":"https:\/\/fragmentation.fr\/?p=5981"},"modified":"2026-10-06T10:24:03","modified_gmt":"2026-10-06T08:24:03","slug":"jonah-dillon-foreign-domestic-new-york-2026","status":"publish","type":"post","link":"https:\/\/fragmentation.fr\/en\/jonah-dillon-foreign-domestic-new-york-2026\/","title":{"rendered":"Jonah Dillon, Foreign &#038; Domestic, New York (2026)"},"content":{"rendered":"<style id=\"fragment-featured-image-5981\">body.postid-5981 .wp-block-cover:has(img.wp-post-image){min-height:0!important;aspect-ratio:auto!important;padding:0!important}body.postid-5981 .wp-block-cover img.wp-post-image{position:relative!important;width:100%!important;height:auto!important;object-fit:contain!important}<\/style><p>An industrial fan joined to a figure of Christ, an illuminated prosthetic arm and a grid of first aid kits unsettle signs of care and survival. Through economical combinations, Dillon raises a shared unease: what remains of protection when the objects themselves seem vulnerable?<\/p>\n<blockquote class=\"instagram-media\" data-instgrm-permalink=\"https:\/\/www.instagram.com\/p\/DdjqnIUidD6\/\" data-instgrm-version=\"14\" style=\"max-width:540px;width:100%;margin:20px auto;\"><a href=\"https:\/\/www.instagram.com\/p\/DdjqnIUidD6\/\" target=\"_blank\" rel=\"noopener\">Instagram<\/a><\/blockquote><script async src=\"https:\/\/www.instagram.com\/embed.js\"><\/script>\n<p><strong>Location:<\/strong> Foreign &amp; Domestic, 24 Rutgers Street, New York, United States. September 11\u2013October 18, 2026.<\/p>\n<p><strong>Artist:<\/strong> Born in Massachusetts in 1999, Jonah Dillon lives in Brooklyn. His sculptural practice uses found objects and minimal assemblages.<\/p>\n<p><a href=\"https:\/\/www.instagram.com\/p\/DdjqnIUidD6\/\">Video source: Hypeart, Instagram post dated September 21, 2026. Listed credit: Erin Ikeuchi\/Hypeart.<\/a> <a href=\"https:\/\/www.foreigndomestic.io\/jonah%20dillon_documentation.pdf\">Gallery documentation<\/a>.<\/p>","protected":false},"excerpt":{"rendered":"<p>An industrial fan joined to a figure of Christ, an illuminated prosthetic arm and a grid of first aid kits unsettle signs of care and survival. Through economical combinations, Dillon raises a shared unease: what remains of protection when the objects themselves seem vulnerable?<\/p>\n","protected":false},"author":1,"featured_media":5970,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_seopress_titles_title":"","_seopress_titles_desc":"","_seopress_robots_index":"","_seopress_robots_follow":"","_seopress_robots_imageindex":"","_seopress_robots_snippet":"","_seopress_robots_primary_cat":"","_seopress_robots_breadcrumbs":"","_seopress_robots_freeze_modified_date":"","_seopress_robots_custom_modified_date":"","_seopress_robots_canonical":"","_seopress_social_fb_title":"","_seopress_social_fb_desc":"","_seopress_social_fb_img":"","_seopress_social_fb_img_attachment_id":0,"_seopress_social_fb_img_width":0,"_seopress_social_fb_img_height":0,"_seopress_social_twitter_title":"","_seopress_social_twitter_desc":"","_seopress_social_twitter_img":"","_seopress_social_twitter_img_attachment_id":0,"_seopress_social_twitter_img_width":0,"_seopress_social_twitter_img_height":0,"_seopress_redirections_value":"","_seopress_redirections_enabled":"","_seopress_redirections_enabled_regex":"","_seopress_redirections_logged_status":"","_seopress_redirections_param":"","_seopress_redirections_type":0,"_seopress_analysis_target_kw":"","_seopress_news_disabled":"","_seopress_video_disabled":"","_seopress_video":[],"_seopress_pro_schemas_manual":[],"_seopress_pro_rich_snippets_disable_all":"","_seopress_pro_rich_snippets_disable":[],"_seopress_pro_schemas":[],"pgc_sgb_lightbox_settings":"","footnotes":""},"categories":[16],"tags":[],"class_list":["post-5981","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-exhibition"],"_links":{"self":[{"href":"https:\/\/fragmentation.fr\/en\/wp-json\/wp\/v2\/posts\/5981","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/fragmentation.fr\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/fragmentation.fr\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/fragmentation.fr\/en\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/fragmentation.fr\/en\/wp-json\/wp\/v2\/comments?post=5981"}],"version-history":[{"count":2,"href":"https:\/\/fragmentation.fr\/en\/wp-json\/wp\/v2\/posts\/5981\/revisions"}],"predecessor-version":[{"id":5991,"href":"https:\/\/fragmentation.fr\/en\/wp-json\/wp\/v2\/posts\/5981\/revisions\/5991"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/fragmentation.fr\/en\/wp-json\/wp\/v2\/media\/5970"}],"wp:attachment":[{"href":"https:\/\/fragmentation.fr\/en\/wp-json\/wp\/v2\/media?parent=5981"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/fragmentation.fr\/en\/wp-json\/wp\/v2\/categories?post=5981"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/fragmentation.fr\/en\/wp-json\/wp\/v2\/tags?post=5981"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}