This page serves as a visual portfolio, highlighting selected client projects we've completed. For a deeper look into our process, capabilities, and deliverables, please visit the related Service pages. Those entries provide detailed explanations, additional examples, and a clearer view of our approach.

A coordinated set of full-page advertisements designed for the New York Times to highlight Jacob Collins’s still-life and figurative realism. Each layout follows Adelson Galleries’ classic black-and-white visual language, combining quiet typography with Collins’s meticulous painting. This series presents multiple works from the 2015 exhibition, unified by a refined, restrained layout structured specifically for the Times’ column format.

A full promotional poster designed for Metro-North Railroad’s ‘Deals & Getaways’ program, highlighting the Hudson River Museum exhibition Adrien Broom: Envy, On Sin Seven Stories The design presents Broom’s installation artwork with clear typographic hierarchy, integrating MTA travel messaging while maintaining the museum’s visual identity. Produced for widespread commuter visibility in stations and printed travel promotions.

Multiple display ads designed for placement within The New York Times grid system, for the Adelson Galleries exhibition Andrew Wyeth: Seven Decades.

A full-page promotional advertisement created for Adelson Galleries’ 2015 Winter Show. The design presents John Singer Sargent’s The Candelabrum (1885) with a clean, restrained typographic layout. The ad follows the gallery’s traditional winter show format, combining generous white space with a straightforward presentation of the artwork and exhibition details.

A display advertisement created for the group exhibition Ten Artists presented by Adelson Galleries Boston. The design uses a work from the exhibition to commemorate the opening of the gallery’s Boston branch, set within a crisp layout that foregrounds the artwork while reinforcing the exhibition’s visual branding.

A full-page advertisement produced for Adelson Galleries for the 2016 Winter Show. Two layout variations were delivered: a standard bordered format used within the publication, and an optional full-bleed version used on the back page when space allowed. The design highlights Mary Cassatt’s *Augusta Reading to Her Daughter* (1910) and follows the gallery’s established typographic and compositional standards.

A full-page advertisement produced for Adelson Galleries and published in Art & Antiques magazine to announce Peter Reginato’s 2015 exhibition, Fiction. The layout presents the artist’s 2014 work Memories of Things Past within a simple white-space structure, using Adelson Galleries’ standard typographic style to display exhibition information.

A coordinated advertising campaign designed for the New York Times, promoting Marc Rosen Fine Art’s exhibition Picasso/Vollard at Adelson Galleries. The series highlights Picasso’s works from Ambroise Vollard’s stock and employs a refined, typographically restrained layout consistent with Marc Rosen Fine Art’s visual identity. These ads were formatted specifically for the Times’ column grid, balancing historical printmaking imagery with contemporary clarity and elegance.

A full-page advertisement designed for Artforum magazine to promote Adelson Galleries’ exhibition “Federico Uribe: Drawn in Pencils.” The layout foregrounds Uribe’s vibrant, meticulously constructed colored-pencil collage, allowing the richly textured portrait to dominate the composition. Clean, modern typography enhances the artist’s contemporary voice while maintaining the gallery’s refined visual standards. Printed in a high-profile publication, this advertisement balanced bold visual impact with museum-quality restraint.

A refined full-page advertisement created for Art & Antiques magazine to announce Adelson Galleries’ landmark exhibition Andrew Wyeth: Seven Decades. Featuring Wyeth’s 1992 tempera painting Ship’s Door, the layout emphasizes clarity, restraint, and respect for the artist’s visual language. The design integrates understated typography with ample white space, reflecting the quiet precision characteristic of Wyeth’s work while maintaining Adelson Galleries’ polished, contemporary identity.

This promotional poster was designed for the Hudson River Museum’s exhibition "Promoting the President" as part of the MTA Metro-North Deals & Getaways campaign. The layout integrates exhibition artwork with the museum’s identity system while conforming to the MTA’s established visual framework, resulting in a clear, bold, commuter-facing advertisement. The design balances historical imagery with accessible public-facing messaging, optimized for high-visibility placement across transit channels.

A refined display advertisement designed for Adelson Galleries' participation in The Winter Show. This piece highlights John Singer Sargent’s masterful portraiture with a clean, museum-grade typographic layout that reflects the gallery’s classical visual language. The design emphasizes clarity, elegance, and respect for the artwork, presenting a timeless promotional aesthetic well suited to a prestigious art fair environment.

A digital email campaign produced for Lehman College Art Gallery to announce the 2021 exhibition The Eyes Have It. Text layout includes exhibition dates, reservation details, and a complete roster of participating artists. Distributed as an email invitation (e-vite) to promote the opening.

This promotional poster was designed for the Hudson River Museum’s exhibition STRUT: The Peacock and Beauty in Art as part of the MTA’s Metro-North Deals & Getaways advertising program. The design foregrounds a striking period woodcut illustration of a peacock, paired with bold typography and the MTA’s distinctive commuter-oriented visual language. Positioned for high visibility within Metro-North stations and print distribution, the poster combines museum branding and public transit messaging into a unified, energetic presentation.

A coordinated advertising campaign designed for the New York Times, promoting Marc Rosen Fine Art’s exhibition Picasso/Vollard at Adelson Galleries. The series highlights Picasso’s works from Ambroise Vollard’s stock and employs a refined, typographically restrained layout consistent with Marc Rosen Fine Art’s visual identity. These ads were formatted specifically for the Times’ column grid, balancing historical printmaking imagery with contemporary clarity and elegance.

A full promotional poster designed for Metro-North Railroad’s ‘Deals & Getaways’ program, highlighting the Hudson River Museum exhibition ‘Thomas Doyle: If the Creek Don’t Rise.’ The design presents Doyle’s miniature-installation artwork with clear typographic hierarchy, integrating MTA travel messaging while maintaining the museum’s visual identity. Produced for widespread commuter visibility in stations and printed travel promotions.

A partial-page exhibition advertisement designed for Adelson Galleries to promote Andrew Stevovich’s 2015 show “Familiar Faces.” The design presents a tightly framed detail of Stevovich’s distinctive figurative style, allowing the expressive geometry and soft palette to dominate the composition. Minimal white typography is carefully integrated into the artwork, reflecting the refined visual language of contemporary gallery advertising. Published in Gallery Guide, the piece provides a clear, elegant announcement for one of the gallery’s feature exhibitions.

A full-scale promotional poster created as part of Metro-North Railroad’s ‘Deals & Getaways’ campaign, highlighting the Hudson River Museum’s exhibition ‘Dancers Among Us: Jordan Matter.’ The design integrates bold seasonal typography, museum branding, and transportation messaging while featuring Jordan Matter’s dynamic photography. Produced as part of the MTA’s printed advertising series and visible within Metro-North stations and travel campaign materials.

A single-column advertisement designed for the Hudson River Museum to announce the exhibition Jordan Matter: Dancers Among Us. Created for publication in the New York Times on October 30, 2015, the design uses a tall, vertical composition with strong typographic hierarchy and an energetic full-length image of a dancer in motion. The layout maintains clarity and visual impact within the constraints of the Times’ narrow column format.

A coordinated advertising campaign created for Adelson Galleries and published over four consecutive weeks in The New York Times. Designed specifically for the paper’s column grid, the series presented selected works from Federico Uribe: Animals and Friends in Pencils, Books, and Bullets in a clean, contemporary format that emphasized Uribe’s inventive imagery. Each ad paired the artwork with restrained, modern typography, creating a consistent and immediately recognizable visual presence throughout the duration of the campaign.

All design and layout for this project by Alex Stevovich.

A refined full-page advertisement produced for Marc Rosen Fine Art’s presentation of ‘Picasso/Vollard: Prints from the Stock of the Artist’s Publisher.’ Designed for the International Fine Print Dealers Association, the layout highlights a key work from the exhibition while conveying essential dates, location, and gallery details. The design maintains a classical, print-focused sensibility suited to the fine print audience, emphasizing clarity, scholarship, and understated typographic hierarchy.

A full-page advertisement created for Adelson Galleries’ participation in the 2014 Winter Show. The design centers on John Singer Sargent’s Madame Errazuriz (The Lady in Black), framed with generous white space and understated typography consistent with the gallery’s established visual identity. The layout provides a clear and formal announcement of the gallery’s exhibition of Sargent’s work during the annual Winter Show.

A full-page print advertisement produced for Adelson Galleries and published in the December 2014 issue of Art & Antiques. The design showcases Jamie Wyeth’s dramatic painting The Coop: Fourth in a Suite of Untoward Occurrences on Monhegan Island, allowing its vivid palette and expressive figures to dominate the layout. The clean, restrained typography provides a contemporary contrast to Wyeth’s energetic brushwork, maintaining Adelson Galleries’ signature presentation style while placing the artwork at the center of attention.

A pair of print advertisements designed for Adelson Galleries’ 2017 Winter Show presentation. Each version features John Singer Sargent’s Kate Haven (1903), with one layout using Adelson’s standard white-border format, and a second full-bleed alternative prepared for publications with flexible page space. Both retain the gallery’s established typographic style and quiet, museum-grade presentation.