Inside “Home and Work” at TSL: Nancy Shaver, George Liu, and Maximilian Goldfarb

In early January of this year, I visited Time and Space Limited in Hudson to see (co-founder and badass) Linda Mussman’s one-woman show. It was a joy to kick-off a winter of art in the region with her work, and I had the pleasure of Mussman’s company during that visit. We enjoyed a dynamic conversation as we perused her politically charged paintings and photographs of her muse and partner Claudia Bruce. (Mussman and Bruce have been creative collaborators for 50 years.)

Fast forward to a chilly afternoon last week and my return visit to TSL to see the three-person exhibition “Home and Work,” on view through December 14. Featuring mixed media artworks by Nancy Shaver, George Liu, and Maximilian Goldfarb (all Hudson-based artists), this show is a brilliant embodiment of the TSL spirit: determined, somewhat weird, and totally wonderful. As stated in the press release: “’Home and Work’ is the essence of TSL.”

Once again Mussman greeted me with her warm smile and welcoming vibe, and we chatted about everything at once—art, politics, the misery of our government, birthdays, love. “Home and Work” is a delightful orchestration of playful pieces that seem to tease each other from their various positions around the room. The fun begins with Nancy Shaver’s Wall Project (2024–2025), a series of layered, square works consisting of various fabrics hung at random. The bright fabrics conjure different moods: some synthetic and monotone, others shiny and wild, and all of them pleasing by way of their tactile loveliness (one can imagine curling into Shaver’s motley blanket of cozy squares). Also installed around the space are Shaver’s box-like painting-sculptures on stands, acting as a stoic troupe of fabric-figures.

Next within this free-wheeling show are needlework-meets-ephemera to form Pop-art-inspired sculptural works by George Liu. These amorphous installations radiate with performativity and silliness, giving their all from each different angle. Liu’s work titled Sink (2025) is a perfect metaphor for the “all in” nature of his creative practice: consisting of yarn, PVC pipes, caulk, wood, toilet paper tubes, stuffing, room dividers, acrylic paint, tape, cardboard, and wire, it is a most delightful sight indeed. Liu’s other eccentrically happy pieces smile alongside.

While Shaver’s and Liu’s artworks lean toward the notion of home within the “Home and Work” ambiance, Maximilian Goldfarb’s work embodies the intensity of work within this curatorial configuration. His steel sculpture Work Stations (2025) anchors the room with power and provocation. Consisting of inkjet images on film transparency wrapped around steel armatures that create a modular architectural form, some of the inkjet images are unexpectedly alarming, notably the harrowing image of a sinking barge as it is engulfed by waves (it’s not looking good) and another image of first responders attending to some kind of post-violence scene (two men in yellow uniforms assist people laying on the ground while a policeman with an AK-47 holds steady nearby).

TSL remains a cultural leader in the region, and any visit to their stronghold on Columbia Street in Hudson brings inspiration and connectivity. This is the final weekend to see “Home and Work” and TSL is open with open arms!