He has shown in many group exhibitions including David Zwirner Gallery, Marlborough Chelsea, Phillips de Pury, and Deitch Studios, and most recently at Barbara Gladstone gallery, “Adam McEwen Selects” in collaboration with the The Foundation for Contemporary Arts.

Adam has erected three solo shows in NYC, at Coleman Burke Gallery, Fuse Gallery and Kin+Gold gallery.  He was also included in several group museum exhibitions including Syracuse University. Krueger’s work has been covered by Whitehot Magazine, M Magazine, the New York Times, Raine Magazine and the Huffington Post, among others.

Despite being esoteric with personal symbolism, Krueger’s art explores the nearly universal human capacity for self-awareness. Recognizing the self (“me”) as being separate from the external world (“not-me”) begins when an infant comes to understand that they are a separate being from its mother, resulting in feelings of loneliness and fear.

To cope, a child may become attached to a comfort object, which exists in limbo between the internal and the external, to serve as a stand-in for its mother. Krueger taps into this impulse with “Security Blanket”, which transforms a ubiquitous childhood balm into an allegory of distinctly adult experiences.

In this work, Krueger weaves together outwardly trivial imagery, such as Christmas themed wrapping paper, take- out menus and magazine ads, to form a curiously expressive collage made from hundreds of intricate oil paintings in the shape of a quilt on a hanger.

The kaleidoscopic patterns initially appear random, however, upon deeper inspection a cryptic narrative appears. Images such as the packaging of Plan B, a plastic packet holding traces of white powder and an upright Seven of Swords tarot card all serve to allude to a wanton tale of lust, danger, betrayal, and grief.