Doron Langberg (b. 1985, Yokneam Moshava, Israel) is a New York–based painter whose intimate, tactile figurative work has become a central voice in contemporary queer portraiture. Working primarily in oil on canvas and works on paper, Langberg renders close-up domestic scenes—lovers embracing, friends at rest, mirror reflections and quotidian interiors—with an immediacy that makes vulnerability and care legible as political acts. Their paintings foreground the physicality of touch: surfaces accumulate layered brushwork and palpable facture so that paint itself becomes an index of contact, memory and desire. Langberg trained in the United States, earning a BFA from the University of Pennsylvania, a Certificate from the Pennsylvania Academy of the Fine Arts (PAFA), and an MFA from Yale University School of Art. They also attended the Yale Summer School of Music and Art in Norfolk. Their studio development has been strengthened by participation in major residency and studio programs, including the EFA Studio Program, the Sharpe/Walentas Studio Program, Yaddo, and the Queer Art Mentorship Program. Their practice has been recognized with notable honors such as the American Academy of Arts and Letters John Koch Award for Painting, the Elizabeth Greenshields Foundation Grant, and the Yale Schoelkopf Travel Prize. Langberg’s pictorial language negotiates observation and invention. They often work from life and photographic reference, building compositions that compress time and emphasize partial recollection: a face half‑seen in a mirror, a hand mid‑gesture, a body nestled in a sofa. Facial features and expressions receive delicate attention while surrounding forms—sheets, cushions, organs of domestic space—are handled with broader, often expressive strokes and saturated color. The result is a tension between naturalism and painterly dissolution: the human figure is rendered with specificity and tenderness, while the facture of paint remains visible as evidence of the artist’s touch. This strategy yields tableaux that feel both immediate and archival—intimate records of interpersonal networks and queer modes of care. Over the past decade Langberg has expanded both scale and subject matter without relinquishing the intimate core of their work. Their paintings translate personal experience into broader questions about belonging, memory, and historical responsibility; they register eroticism and tenderness alongside the ethical urgency of representation. A notable thematic turn is their recent Landscapes series, in which Langberg moved from interior vignettes to larger, often monumental canvases that engage sites of familial and historical significance. These works extend their concern with witnessing and memory into terrain that interrogates intergenerational trauma as well as the consolations of queer communal life. Langberg’s work has earned significant institutional attention. In 2024 they presented their first solo institutional exhibition in Europe, Doron Langberg: Part of Your World, at Kunsthal Rotterdam. The Rubell Museum, Miami, mounted an exhibition of their new and recent works in 2022–23. They have been included in major group exhibitions, notably A Place for Me: Figurative Painting Now at the Institute of Contemporary Art (ICA) Boston (2022) and Living Histories: Queer Views and Old Masters at The Frick Collection, New York (2022). Other institutional venues to feature their work include FLAG Art Foundation, Hill Art Foundation, RISD Museum, Leslie-Lohman Museum, PAFA Museum and the LSU Museum. Langberg’s paintings are held in prominent public and private collections internationally. Public collections include The Metropolitan Museum of Art and the Whitney Museum of American Art (New York), Museum of Fine Arts, Boston, Institute of Contemporary Art, Boston and ICA Miami, Des Moines Art Center, Baltimore Museum of Art, High Museum of Art (Atlanta), National Portrait Gallery (London), MAMCO Geneva, PAFA, RISD Museum, Rubell Museum (Miami), Rennie Museum (Vancouver), Crystal Bridges and others. Their presence in these collections underscores both critical esteem and sustained collector interest. Critics and curators frequently highlight Langberg’s capacity to render queerness not as spectacle but as an ethics of proximity: their paintings insist on the seriousness of tenderness, the political dimension of care, and the painter’s role as witness. By fusing close observation with visible process—color, texture and mark—Langberg produces work that is formally rigorous, emotionally direct and culturally resonant. They live and work in New York City.