Black rubber is not a typical centerpiece for an artistic body of work. The inner tubes that keep bicycles moving and the treads that anchor cars to wet asphalt are everyday objects, often overlooked despite their ubiquity. Yet black rubber is a remarkably versatile material—one that French artist Marie Hazard and Portuguese designer Constança Entrudo explore with particular care in their collaborative exhibition, Ad hoc.

Entrudo and Hazard first met while studying Textile Design at the renowned arts and design college Central Saint Martins. Drawing on her textile expertise, Entrudo began constructing garments using her signature “un-woven” technique, in which recycled materials are manipulated with heat to create surfaces that feel textured, tactile, and deliberately deconstructed. After graduating in 2017, she joined the Parisian fashion house Balmain before launching her own label and relocating production to her native Portugal.

“When I think about my attraction to unusual color combinations and patterns, I often find myself thinking about the postmodern architecture I grew up around,” Entrudo said. “Different materials, colors, and styles coexist in ways that shouldn’t necessarily work together, but somehow do.”

Hazard arrived at Ad hoc from a different direction: weaving. Since graduating from Central Saint Martins, she has combined a range of media in her practice, from ancient literature to contemporary photography, creating richly layered visual works. It was Hazard who first incorporated tires into her art, weaving inner tubes together to create pieces that are at once deceptively simple and intricately reflective of the material itself. Her work has been exhibited around the world, from Dallas and Warsaw to Tokyo, and now finds a home in the historic SoHo loft operated by Studio2M.

“The audience was very receptive,” Hazard said about the exhibition, which opened on May 7th. “But I’m not sure most people truly realize that making a garment can take as much time as creating a work of art, and that its value is comparable to it.”

The creative duo approached Ad Hoc differently from a traditional artist-designer collaboration. There is no “fashion section” created solely by Entrudo, nor an “art section” produced exclusively by Hazard. “Every piece was developed collaboratively,” Entrudo said. Instead, Ad Hoc functions as an ongoing conversation between Entrudo, Hazard, and Studio2M, the space founded and led by Abby Caulkins.

The exhibition also draws inspiration from the loft itself. Before becoming Studio2M, the space served as the live-work studio of sculptor Jackie Winsor. While developing the project there last fall, Entrudo and Hazard came across a 1992 interview in which Winsor recalled attending an artists’ meeting called “Ad Hoc,” a shortened form of The Ad Hoc Committee of Women Artists.

The committee emerged in response to the underrepresentation of women in the Whitney Museum’s landmark biennial survey exhibitions. More than three decades later, the women behind Ad Hoc find themselves connected to that earlier generation through a shared name. Questions of time, legacy, and creative exchange weave through the exhibition alongside its material investigations.

“Sometimes the way these collaborations are framed can diminish fashion’s role, positioning it merely as a vehicle for artistic ideas rather than as a creative discipline with its own intellectual and cultural contributions,” said Entrudo. “With Ad Hoc, we wanted to create a genuine exchange, less about authorship and more about real dialogue.”