Klapper Gallery, Queens College, December 2017

Flushing Meadows, Corona
Performing June 11th Art as A Tool of ResistanceResistance Theater
Performing June 25th heart2heart : Building Shared Identities

On view Conversations with Tate III in Creative Mischief 2017
at National Academy Museum1083 Fifth Avenue New York, NY 10128
Open May 18 - June 13 

at Sideshow Gallery, 319 Bedford Ave, Brooklyn, New York
Open  April 7-30, 2017 Fri thru Sun 12-6pm
Opening Friday April 7th 6-8
Closing Saturday April 29th 6-8

 Untitled (Empathy) (2017), performance, mirror  and stickers 

Godwin Ternbach Museum, Queens, New York
Jan 30th - March 18th 2017

The Unseen (2017), performance intervention, transparencies, gallery map and magnifying glasses 

Queens Museum, New York  
Feb 12 - Mar 5, 2017


"Untitled" (2016 - ongoing), photographs, emphemera, audio, conversation and performance 
Collaboration with Erin Turner 

On view Atlas [Index] Archive, Queens College Art Center
Curated by Adriana Pauly
Oct 17th - Dec 9th, 2016, 
Queens, New York 

On view in "Dining with Vultures" curated by Sarah Fritchey at Sideshow Gallery
319 Bedford Ave, Brooklyn, New York 

Open May 15–28, 2016 Thu 12-6pm, Fri & Sat 12-9pm

 Conversations with Tate (2016), photographs, performance and audio 

On view in Creative Mischief at the National Academy Museum 
1083 Fifth Avenue New York, NY 10128

Open May 19-29 2016 Mon-Sun 11am-6pm

 self portrait (2010), diptych, cotton rag inkjet print & acrylic, 15x20x2in (38x51x5cm)

Opening reception Friday, April 22, 2016 at 6pm 

This collaboration between Flushing Council on Culture and the Arts and Queens College 
is a milestone to introducing art, design and art history to our community.

Opening of Material Archive - curated by Adriana Pauly 
Monday 28th of March - 1st April 2016 and participate in vulnerability part 2 (2014- )

Material Archive

Join the Living Museum(2015)at the Queens Art Intervention 

Queens Art Intervention 2015

Experience my latest piece Jetez La - J'étais Lá (2015)

@National Academy Museum & School opening Friday 15th of May 6-9pm
on view until the 24th of May



Opening Reception of Solo Show 20th November 2014 6-8pm @National Academy School New York City 



Unframed Opening Reception 16th August 2014 @FiveMyles Gallery Brooklyn
Showing a site specific rendition of Invisible Presence 

Follow the process of Vulnerability Part 2 on

instagram: fgrasa
twitter: fgrasa
#underwhere #vulnerabilitypart2


Reviews Clio Art Fair


Clio Art Fair this week in Chelsea, New York
March 5,6,7 & 8 2014



vulnerability part 1 - reflections, lithography, 118"x25"(300x64cm), 2014


Was on show at Sonia Gechtoff Gallery, New York
January 21st - March 1st 2014

This is the first part of a new body of work Valuables


Valuables - Part 1, lithography, 9x10 in (23x25cm), 2013


The Relativity of Distance and some of its consequences show has been reviewed:
in ARTforuand on ArtCurate

On the Relativity of Distance (and some of its 
consequences): American and Italian Art, 1963-

October 2 – November 7, 2013 

Opening Reception 
Thursday, October 3, 2013, 5:30 – 8:00pm 

New York, NY (September 16, 2013) – On the Relativity of Distance features the 
art of important American and Italian artists who created work between the mid-
1960s through the mid-to-late 1970s, including Ed Ruscha, Richard Pettibone, 
Pino Pascali and Alighiero Boetti (see full listing below), as well as National 
Academy students and faculty who were influenced or affected by the aesthetic 
ideas of those periods. 

The exhibition opens October 2 and will run through November 7, 2013 at the 
National Academy School, located at 5 East 89th Street and Fifth Avenue. The 
opening reception will take place on Thursday, October 3, 2013. The exhibition is 
free and open to the public. For information, contact 212.996.1908. 

The show has been curated by National Academy faculty member Filippo Fossati 
and the director of the National Academy School, Maurizio Pellegrin. “The work 
in this show is linked by the natural consequences and the influential impact which, as 
is often the case in history, begins with a radical shift in language, in the collective 
consciousness and, consequently, in the way that art is made wherein the process 
becomes more relevant than the final result,” states Fossati. 

 “This exhibition is in part due to the aftermath of work made at the school through 
a series of theoretical classes,” states Pellegrin. “Its aim is not to be an exhaustive 
study of a specific period in art, but more of an ‘unconventional’ contribution that 
portrays the changes in ideas and materials of art of our time.” 

Featured are works by the following artists and National Academy faculty and 

Giovanni Anselmo - Ingo-Heinrich Appel - Robert Arneson - Cristina Avello - John 
Baldessari - Alighiero Boetti - Alexander Calder - Vittoria Chierici - Christo - Pirro 
Cuniberti - Holland Cunningham - Roshanak Elmendorf - Daniele Galliano - Marco 
Gastini - Piero Gilardi - Gianfranco Gorgoni - Floor Grootenhuis - Gary Kuehn - Karen 
Lindsay - Nicus Lucà - Piero Manzoni - Alfredo Martinez - Nadia Martinez - Fausto 
Melotti - Jeffry Mitchell - Paolo Mussat Sartor - Richard Nonas - Dennis Oppenheim - 
Giulio Paolini - Pino Pascali -Paolo Pellion - Giuseppe Penone - Richard Pettibone - 
Gianni Piacentino - Nicola Ponzio - Emilio Prini - Carol Rama - Man Ray - Ed Ruscha 
- Salvo - Mario Schifano - Judith Shea - Ayumi Shibata - Nancy Spero - Caryl Stern - 
William Villalongo - Gilberto Zorio 

Floor Grootenhuis
Vulnerability, 2010
worn underwear
118” x 12” x 6”, (cm. 300 x 30 x 15)
Collection of the artist
Vulnerability is an invitation that I continue to extend to all the women I know to contribute their unwashed underwear. This is an on-going process of investigating shared womanhood, intimacy, body, shame, sexuality and beauty. I received envelopes from places as varied as Europe, Africa, Asia, America and Australia. The crux of the work lies in the process and dialogue generated in gathering the material, while the installation serves as the actual documentation. 

Although my art references the feminist movement of the 60’s and 70’s, it differs in that it emphasizes the celebration and empowerment of womanhood.

In my work, I like to play with everyday, commonplace materials. I invite the viewer to re-consider their relationship to objects we all know well, an evolution of Duchamp’s concept of “Ready-mades”.